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 :

4560 Post No. : 16171

The blog ten year challenge series is in progress in the blog since 2019. The current blog ten year challenge (2011-2021) has not yet picked up steam because very few songs were discussed during the initial days of 2010. That year even had a few DOT days during the first few days of the year.

This day ten year ago (viz 20 january 2010) saw just one song getting discussed, and that one song was from “Anjaan”(1956). This movie cannot be taken up for Blog Ten year challenge today because the movie has already been YIPPEED.

So what to do ? “Anjaan”(1956) may have been YIPPEED in the blog, but “Anjaan”(1941) is not. So let me discuss a song from “Anjaan”(1941) today. 🙂

“Anjaan”(1941) was directed by Amiya Chakraborty for Bombay Talkies Limited, Bombay. The movie had Devika Rani, Ashok Kumar, V H Desai, Girish, Suresh, P F Pithawala, Gulab, Fatty Prasad, Yusuf Suleman, Saiyyad Mukhtar, David, Reva, baby Madhuri, Arun Kumar, Ibnul Hasan, Bachan Lal Dixit, Om Prakash, Tarun Kumar, Bhargavi etc in it.

The movie had ten songs in it. Three songs have been covered in the past.

Here is the fourth song from “Anjaan”(1941) to appear in the blog. This song is sung by Rajkumari. Kavi Pradeep is the lyricist. Music is composed by Pannalal Ghosh.

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

PS-Our regular visitor Ammj Wijesiriwardene points out that the video of the song is available. From the video, we see that the song is picturised as a stage performance song where one lady, flanked by two others, lip syncs this song and that is performed by their dance accompanied by a dholak player, as this performance is watched by a housefull audience in a haveli. I request our knowledgeable readers to help identify the actors seen in the picturisation.

Audio

video

Song-Chhalko chhalko na ras ki gagaariya(Anjaan)(1941) Singer-Rajkumari, Lyrics-Kavi Pradeep, MD-Pannalal Ghosh

Lyrics

chhalko chhalko na ras ki gagariya
chhalko chhalko na ras ki gagariya
mori panghat pe bheeje chunariya
ho
mori panghat pe bheeje chunariya
chhalko chhalko na ras ki gagariya
mori panghat pe bheeje chunariya
ho
mori panghat pe bheeje chunariya

aayi peene pilaane ki bela
haan aayi peene pilaane ki bela
haan aaj panghat pe pyaaso nka mela
haan aayi peene pilaane ki bela
haan aaj panghat pe pyaason ka mela
dekho laage na mohe najariya
haan dekho laage na mohe najariya
dekho dekho na laage najariya
haan mori panghat pe bheeje chunariya
haan mori panghat pe bheeje chunariya
chhalko chhalko na ras ki gagariya
mori panghat pe bheeje chunariya
haan mori panghat pe bheeje chunariya


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 :

4542 Post No. : 16112

Chandraseniya Kayastha Prabhu, popularly known as CKP is one of the numerically smallest Marathi speaking communities of Maharashtra. But he cummnity has produced many intellectuals, playwrights, writers and bureaucrats. They are also regarded as an elite and a broad-minded community. But when one of their girls, Saroj Shilotri (Shobhna Samarth after marriage) tried to venture into films, her maternal uncle (who became the guardian after the death of her father) vehemently opposed her entry into films. The reason was, ‘who will marry her’? Those days, even broad-minded communities regarded working in the films as an act of moral turpitude.

Luckily for Shobhna Samarth, before signing her first film in 1935, she got engaged to Kumar Samarth who also belonged to CKP community. He had just returned from Germany after completing a course in cinematography. Later, they married. But her maternal uncle did not forgive her for the act of what he regarded as a sacrilege of family traditions.

About 5 years later, Shobhna Samarth’s maternal uncle again faced a similar situation. This time, it was his daughter, Nalini Jaywant who was inclined to join the film industry after she was picked up by producer Chimanbhai Desai for his film, ‘Radhika’ (1941). After a great deal of persuasion by a common friend of Chimanbhai Desai and Nalini Jaywant’s maternal uncle, the latter reluctantly permitted her to act in the film.

Today, December 24, 2020 is the 10th Remembrance Day of Nalini Jaywant. 10 years ago, she died of a heart attack but it came to the notice 3 days after her death in her bungalow by neighbours, thanks to the continuing howling by her two pet dogs. She was staying alone after the death of her husband, Prabhu Dayal and was leading a life of a recluse with a couple of pet dogs to give her the company. A distant relative of her is said to have took her body on a municipal ambulance and cremated her.

This unfortunate happening shows that Nalini Jaywant’s 25 years of an active and successful filmy career with 63 films did not counted at the end. During her heydays, she used to host a number of filmy parties and get-together in her bungalow. But after the death of her husband, Prabhu Dayal, the same bungalow had witnessed almost a deserted look during her last 20 years. Her first marriage her director, Virendra Desai in 1945 who was already married with children (whom she divorced in 1948) probably the marriage arising out of infatuation. The second with Prabhu Dayal in 1963 were probably the marriage of convenience. Her parents and brothers kept distance from her. Probably, they did not like her indulgence in socially unexpected behaviour after she joined the films.

Nalini Jaywant (18/02/1926 – 24/12/2010) had two distinct phases of her filmy career. The first phase began with her debut film ‘Radhika’ (1941) produced by Chimanbhai Desai and directed by his son, Virendra Desai. Baburao Patel, the editor of ‘Filmindia’ magazine did not review the film by saying that he did not want to waste the costly paper by reviewing the useless film. Her second film to release was Mehboob Khan’s ‘Bahen’ (1941) where she was paired with Sheikh Mukhtar in the role of his younger sister. This was followed by ‘Nirdosh’ (1941) with Mukesh, ‘Aankh Michowli’ (1942) with Satish Batra and ‘Aadab Arz’ (1943) with Karan Diwan. These films did not create much ripples in the box office front but Nalini Jaywant established herself in the Hindi film industry as an accomplished actress.

Sometime in 1945, Nalini Jaywant married Virendra Desai who was already married with children. This was not liked by his father, Chimanbhai Desai who expelled Virendra Desai from the house and removed him from his film production company, Amar Films. Later, both of them signed a 2-year contract with Filmistan – Nalini Jaywant as an actress and Virendra Desai as a director with a monthly salary and a bungalow in Malad to stay. However, both of them did not get any assignment during the period of contract though Filmistan had produced films like ‘Shikaari’ (1946), ‘Aath Din’ (1946), ‘Safar’ (1946), ‘Do Bhai’ (1947), ‘Saajan’ (1947). ‘Shehnaai’ (1947) etc during the period of their contract. The two-year contract was like two-year ‘vanwaas’ for them from films. This gap was long enough for the film industry to forget their existence.

The first thing Nalini Jaywant and Virendra Desai did after the period of contract got over was to re-establish themselves in the film industry. Both of them formed a film production company, Nalini Films. ‘Gunjan’ (1948) was the outcome of it which was directed by Virendra Desai. After the failure of the film at the box office, Nalini Jaywant divorced Virendra Desai in 1948. My assessment of their divorce is that she may have realised that so long as her name is attached with Virendra Desai, she would not get any role in the new films in the making as her husband would insist to be the director of her films. The divorce was also good for Virendra Desai in that he went back to his family.

The first film Nalini Jaywant signed after her divorce was ‘Anokha Pyaar’ (1948) with Dilip Kumar and Nargis. This film gave her a new lease of life in her filmy career. Film critics praised her in the role of a flower girl. But the real-take off in her filmi career came from a hit film. ‘Samaadhi’ (1950) in which she paired with Ashok Kumar for the first time. This was followed by another big success for her in ‘Sangraam’ (1950), once again pairing with Ashok Kumar. The success of Ashok Kumar-Nalini Jaywant combination resulted in both working together in as many as 11 films during 1950-57. Her second film. ‘Shikast’ (1953) was a milestone in that she could stand-up to the acting caliber of Dilip Kumar for which he praised her for her performance.

The box office success of ‘Naastik’ (1954) in which she was paired with Ajit resulted her working with him in 11 films. But after ‘Kaala Paani’ (1958), Nalini Jaywant did not have films to much talk about. From the beginning of the 1960s, film offers started declining. Many new leading actresses had joined the film industry and the age was catching with her.

The box office failure of ‘Amar Rahe Ye Pyaar’ (1961) jointly produced by Radhakrishan and Prabhu Dayal and directed by Prabhu Dayal financially broke both of them. While Radhakrishan committed suicide by jumping from his building, Prabhu Dayal who by this time had married Nalini Jaywant, became an alcohol addict. ‘Bombay Race Course’ (1965) was virtually her last film as a heroine after which she did not work in the films until she was offered character roles in ‘Bandish’ (1980) and ‘Naastik’ (1983).

In an interview published on DNA India on the eve of Dilip Kumar’s 90th birthday, he said among other things that he consistently rated Nalini Jaywant as his formidable co-star. He further said that she was the only actress who could spring surprises in the final takes if he was not alert, thanks to the natural spontaneity she possessed.

In a rare interview of Nalini Jaywant published in the Deccan Herald after her death in 2010, she regretted that she could get the opporrtunity to show her acting prowess only in films like ‘Anokha Pyaar’ (1948), ‘Samgraam’ (1950), ‘Shikast’ (1953), ‘Raahi’ (1953) and ‘Kaala Paani’ (1958). She said that she was not interested in making a come back in the film when the offer came for a character role in ‘Naastik’ (1983). But she had to accept it after many requests from Pran and Promod Chakravarty.

Pranay Gupte, the first cousin of Nalini Jaywant [Pranay’s mother, Professor (Dr.) Charusheela Gupte and Nalini Jaywant’s mother are sisters] who had visited her bungalow many times in his teen, wrote a tributary article – ‘Alone and Forgotten’ which appeared in ‘The Hindu’- December 29, 2010. In this article, he said “Actor Nalini Jaywant was a relic of a glorious past who lived in an unforgiving present. Listening to her in the autumn of her life made you flinch”. By the way, Pranay Gupte is a veteran international journalist and authors of several books who is based in the U.S.A.

On the occasion of Nalini Jaywant’s 10th Remembrance Day, I have selected one of the songs from her second released film ‘Bahen’ (1941). In this film, there were 12 songs of which 2 songs have been covered in the Blog. The songs picturised on Nalini Jaywant in the film were sung by her.

The song I am presenting is ‘aayi jawaani jiya lehraaye’ which is rendered by and picturised on Nalini Jaywant who was 15 years of age. The song is written by Safdar Aah Sitapuri which is set to music by Anil Biswas. As the song comes to an end, one can see Shaikh Mukhtar weeping because he does not want his sister to go away from him after marriage. A young Kanhaialal, the prospective bridegroom, is also seen at the end of the song.

Video Clip:

Audio Clip:

Song-Aayi jawaani jiya lahraaye (Bahan)(1941) Singer-Nalini Jaiwant, Lyrics-Safdar Aah Sitapuri, MD-Anil Biswas

Lyrics (Based on Video Clip)

jiya lehraaye
aayi jawaani
jiya lehraaye
aayi jawaani
jiya lehraaye
piya ghar jaana
sajan ghar jaana
piya ghar jaana
sajan ghar jaana
naihar ki galiyon mein kachhu na suhaaye
naihar ki galiyon mein kachhu na suhaaye
aayi jawaani
jiya lehraaye
aayi jawaani
jiya lehraaye

sakhiyaan saheliyaan hoy gayin suhaagin
sakhiyaan saheliyaan hoy gayin suhaagin
hoy hoy mora jiya lalchaaye
hoy hoy mora jiya lalchaaye
pee ke kunwar bin sooni sooni laagoon
pee ke kunwar bin sooni sooni laagoon
sundar gahanwa more man bhaaye
sundar gahanwa more man bhaaye
aayi jawaani
jiya lehraaye
aayi jawaani
jiya lehraaye
piya ghar jaana
sajan ghar jaana
piya ghar jaana
sajan ghar jaana
naihar ki galiyon mein kachhu na suhaaye
naihar ki galiyon mein kachhu na suhaaye
aayi jawaani
jiya lehraaye
aayi jawaani
jiya lehraaye


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 :

4496 Post No. : 16027

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

In India, most people want a Son and not a daughter, but the thinking of film makers seems to be different. From 1931 to 2012 period, only one film titled BETA was made in 1992, whereas there were 3 films titled BETI, made in 1941, 1957 and 1969. there was also one film called BETI NO. 1 made in 2000. Interestingly, while there was a film called BETA HO TO AISA in 1994, there was also a film called BETI TUMHARE JAISI in 1969. As if a compromise was done, there was a film BETI-BETE in 1964 (here also BETI came first). I am happy about this because, hopefully, it indicates where the Indian society is heading to !

1941 was the first year in the second decade of the Talkie Era and it was the beginning of the emergence of a New film industry. When Talkie started in 1931, for many years after that, the films were made by the people who had done work in the Silent films. These films had a spill over for the silent era artistes. Once the films started talking,most silent artistes who could not speak Hindi or Urdu automatically disappeared. Thus started the influx of new actors who could speak Hindi and sing songs, in whatever way they could. Intelligent directors like V Shantaram,Bhavnani, Sohrab Modi, Chandulal Shah, Himanshu Rai, B N Sircar, L V Prasad and a host of Gujarati directors understood that the Talkie needs a different treatment than silent films. Music directors from stage dramas tried their hand in composing film music.

In the next 8-9 years, there was a perceptible change in the film making, acting, singing, and composing music in the films that were made. Quality artistes from the silent era continued for some more years – finally giving way to the new artistes. The 30s and the 40s mostly differed in film music and story contents. The new blood composers like Anil Biswas, C Ramchandra, Naushad, Ghulam Haider, K Datta, Hansraj Behl, Bulo C Rani, Gyan Dutt and many more replaced the Parsi, Marathi and Gujarati drama music to more acceptable lilting songs. Many musical films were made and some everlasting songs were composed by these people. At the end of the 40’s decade one more major change in the film industry took place due to Partition. More about it when we discuss a song from 1951 in coming times.

Today’s film is an excellent example in which the cast indicated artistes, none of whom lasted till 1951. Most retired, some died and a few migrated to Pakistan. The film was directed by Jayant Desai, music was by Gyan Dutt, lyricists were D N Madhok and B R Sharma. The actors were Khurshid, Arun, Vasanti, Ghori, Bilimorea, kesari, Nagendra, Rewashankar and Khatun etc.etc.

In my last post I had written about the multifaceted S N Tripathi, who was an actor, singer, music director and director. Some readers were surprised to read about his multiple activities. But in the Hindi cinema field, there were some really talented, multi activity artistes, both in films and outside films. Offhand I can mention at least 3 such artistes. The first is Dewan Sharar, who was from a Royal clan. He was editor of an Urdu cine-magazine, worked in New York with League of Nations, editor of a London weekly, Wrote many books in English, wrote story of film KARMA-33 an English film, wrote many Radio plays on BBC, Producer and actor in the Hindi version of film Karma-33, worked for A.I.R. Delhi, acted in 8 Hindi films, wrote stories of 10 films and 62 songs in 12 films.

Second example is of Pandit Badri Prasad, who was a Hero, character actor, director, producer, Singer, Music Director, Lyricist and Choreographer in addition to being a Sanskrit scholar. Third example is Sailesh Mukherji – actor, singer, Music Director and Interior Designer (Mala Sinha’s bungalow), Radio compere on A.I.R. Calcutta.

In today’s film also there is one such multi activity artiste. The name is Nagendra Majumdar. He was the father of Ninu majumdar, the music director. Nagendra was born in a happy family in the year 1894 in Bombay. After his father died, “Pearl Dairy’ established by his father ran very well doing good business. Suddenly, Nagendra’s wife fell seriously ill and despite taking her full care, she expired. Due to neglect of the Dairy in this period, Dairy also closed down.

He shifted to Baroda and worked as a State Police Inspector. Later he worked as a Watch and Ward Inspector in Baroda Railways. He left the job and started working as a hero in dramas of famous dramatist R.V.Desai. Heeralal, the owner of Laxmi Film Company, Bombay was impressed with his personality and took him to Bombay in 1926 to act in his silent films. Thus started his film career. In those days Silent films used to be completed within a month. He worked as a Hero in films of Laxmi, Jagdish and Imperial film companies.

In the same year, he directed a film ‘Paani mein aag’-1926, made by Royal Arts. Then came two more films made by Kaiser E Hind films. He also directed films for other companies. In all, he directed 15 Silent films by 1932. By then the Talkie had arrived. In the next 14 years he directed 12 Talkie films like – Ras Vilas-32, Sassi Punnu-32, Patit Pawan-33, mirza Sahibaan-33, Mera Imaan-34, Kala Wagh-34, Rangila nawab-35, Kimiyagar-36, Aaj ka Alladin aka Alladin II-36, Lehri lutera-37, Talwarwala-46 and Swadesh Sewa-46.

When offers for direction became few, he started acting in films. He acted in 12 films. When K L Saigal came to Bombay, Nagendra wanted to work with him. In the film Tansen-43, he did the role of Tansen’s (Saigal’s) father and he was very happy. Other films that he acted in were Kanchan-41,Beti-41, Khilauna-42, Bhakt Surdas-42, Armaan-42, Tansen-43, Gauri-43, Adab Arz-43, Bharthari-44, Prabhu ka Ghar-45, Ghazal-45 and Dhanna Bhagat-45.

His last 2 films came in 1946, but his health was not cooperating for quite a few years. He gave up work and took a rest. However, he suffered from paralysis and died on 22-8-1951. His son Ninu Majumdar worked in Bombay A.I.R. as head of Gujarati programmes, since 1937. By the time Nagendra died, Ninu had already started working as a Music Director.

As a Director, Nagendra had worked with the best of his times like, Master Vithal, Zubeida, Jillo, Billimorea brothers, Madhuri, Navinchandra, Durga Khote, Jairaj, Sultana, Noorjehan sr and such luminaries of those days. He had worked for Ranjit, Imperial, Sharda, Lakshmi, Jayant Desai films, Yagnik films etc etc.

There is a name Revashankar in the cast. Some of Ranjit Movietone’s earliest talkie films had music by Jhande Khan. Next came the trio of Banne Khan, Ganga Prasad Pathak and Rewa Shankar Marwari. None of that music was ever released on 78 rpm records. From 1938-39, the great duo of Jnan Dutt and Khemchand Prakash took over the charge of Ranjit’s music, later to be joined by Bulo C Rani. It was only around 1938 that RANJIT started releasing its film music on 78-rpm records.

Rewa Shankar Marwari’s association with Ranjit Films and films produced or directed by ex-Ranjit hand Jayant Desai continued in the 1940s. He acted in 27 films, till 1955, sang 12 songs in 9 films and gave music to 21 films from Veer Babruwahan-34 to Matrubhoomi-49.

Rewa Shankar sang a beautiful classical composition ‘jay jay shankar’ in Shankar Parvati (1943) for composer Jnan Dutt. It is available with several collectors, and is a rare instance of film music using Raag Shree.

Lastly about actress Khatun. 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.

Today’s song is the 7th song of this film to be presented. In one of the song posts, our Sadanand Kamath ji has given the film story already. For me too, this is my second song from Beti-41 to be discussed here.

( Credits – Information for this, is collated from various sources like Listener’s Bulletins No. 40 of Feb-80 and No.145 of July 2010, HFGK, muVyz, Sapnon ke Saudagar by Vithal Pandya, Silent films by Dr.Verma, Lost Treasures by kamlakar P. and my notes.)


Song-Jo pahne ban jaaye dulhan (Beti)(1941) Singer- Vasanti, Lyricist- D N Madhok, MD- Gyan Dutt
Chorus
Male Chorus

Lyrics

Jo pahne ban jaaye dulhan
Jo pahne ban jaaye dulhan
thhan thhan nikle baala joban
thhan thhan nikle baala joban
dekh dekh lalchaaye saajan
sautan ka jo jiya jalaaye
aisi saadi kaun banaaye
Shankar mill
Shankar mill
Shankar mill

Jo pahne ban jaye dulhan
Jo pahne ban jaye dulhan
thhan thhan nikle baala joban
chhan chhan nikle baala joban
dekh dekh lalchaaye saajan
sautan ka jo jiya jalaaye
aisi saadi kaun banaaye
Shankar mill
Shankar mill
Shankar mill

laala jee jab baahar jaayen
dhoti patlidaar banaayen
laala jee jab baahar jaayen
dhoti patlidaar banaayen
laali jee ka joban bhaaye
aisi dhoti kaun banaaye
Shankar mill
Shankar mill
Shankar mill

laali jee ka joban bhaaye
aisi dhoti kaun banaaye
Shankar mill
Shankar mill
Shankar mill

patli patli pyaari malmal
patli patli pyaari malmal
sabse sundar sabse komal
tan ko laage jaise makhmal
saajan ko de josh ramaaye
aisi makhmal kaun banaaye
Shankar mill
Shankar mill
Shankar mill

saajan ko ?? ramaaye
aisi makhmal kaun banaaye
Shankar mill
Shankar mill
Shankar mill
Shankar mill
Shankar mill
Shankar mill


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 :

4471 Post No. : 15971

We in this blog remember the personalities of HFM during their anniversaries. But in case of Ashok Kumar’s birth anniversary, we are constrained to defer it to next day because this day unfortunately turned out to be the death anniversary of Kishore Kumar, his younger brother.

Ashok Kumar (13 October 1911 – 10 December 2001) was easily the first superstar of HFM. He achieved his stardom in early 1940s, at a time when many actors now regarded as superstars had not even made their debuts. For instance, people like Dilip Kumar, Dev Anand, Raj Kapoor had not even made their debuts by that time. Rajesh Khanna and Amitabh Bachchan, future superstars were mere toddlers at that time.

Ashok Kumar began his film career as a lab technician. His rise to superstardom from that position was quite meteoric. Unlike meteors, he stayed on top throughout his career. He was not just a top actor, he was also a film maker. He never had to look for work. He was himself an employer of film actors. Unlike many film personalities who fell on hard times and survived in penury in old age, Ashok Kumar managed his finances well and he was always financially well secured. This is one quality of his that most film personalities needed to learn from.

Ashok Kumar was well connected to lots and lots of other well known film personalities through blood relations as well as marriage alliances. In his own household he had Anup Kumar and Kishore Kumar as his brothers. His sister Sati Rani Devi was married to film producer Shashdhar Mukherjee (founder of Filmalaya), whose brother Subodh Mukherjee was a director. Shashdhar Mukherjee’s sons were Rono Mukherjee, Joy Mukherjee, Deb Mukherjee, Shomu Mukherjee and Shubir Mukherjee, all into films. Shomu Mukherjee’s wife is Tanuja. Their daughter is Kajol.

If one looks at the filmy connections of Ashok Kumar, thanks to Kishore Kumar’s various marriages, it will turn out that Ashok Kumar was related to almost every major star in HFM and beyond. Ashok Kumar is related to Kapoors, Bachchans, Rabindranath Tagore, Mithun Chakraborty etc. Exploring all these connections can be used as an exercise in timepass by those interested. 🙂

Ashok Kumar was an actor-singer during the early parts of his career. Some of his songs have gone on to become immortal songs. Who can forget the immortal “Achhot Kanya”(1937) duet Main ban ki chidiya ban ban doloon re with Devika Rani.

Here is another Ashok Kumar-Devika Rani duet. This song is from “Anjaan”(1941). It is penned by Kavi Pradeep. Music is composed by Pannalal Ghosh.

A very nice retro style romantic song. One would love watching the picturisation.

Lyrics of this song were sent to me by Avinash Scrapwala.


Song-Mere jeewan ke pathh par chhaayi ye kaun (Anjaan)(1941) Singers-Ashok Kumar, Devika Rani , Lyrics-Kavi Pradeep, MD-Pannalal Ghosh

Lyrics(Provided by Avinash Scrapwala)

Hmm hmm hmm hmm hmm
aa Haa ha haa haa aa
Hmm hmm hmm hmm hmm
Hmm hmm hmm hmm hmm

Mere jeewan ke path par chhaayi ye kaun
Poonam ki chaandni
Kaun
Poonam ki chaandni ee ee
Mere jeewan ke path par chhaayi ye kaun
Poonam ki chaandni
Badi madhur madhur man bhaayi
Madhur madhur man bhaayi
Ye kaun
Badi madhur madhur man bhaayi
Poonam ki chaandni

Mere jeewan ka path par chhaayi ye kaun
Poonam ki chaandni

Dheeme dheeme meri kuti mein
Dheeme dheeme meri kuti mein ae
Ithlaati huyi
Bal khaati huyi
Ithlaati huyi
Bal khaati huyi
Chup chaap kahin se aayi ee ee
Chup chaap kahin se aayi ee ee
Ye kaun
Chup chaap kahin se aayi
Poonam ki chaandni ee ee

Mere jeewan ka path par chhaayi ye kaun
Poonam ki chaandni

Kaun pari ye swarg se utri
Kaun pari ye swarg se utri
Badi laaj bhari mere aas paas
Khelan laagi ras rang raas
Khelan laagi ras rang raas
Pal pal lekar angdaayi
Pal pal lekar angdaayi
Ye kaun
Pal pal lekar angdaayi
Poonam ki chaandni ee ee

Mere jeewan ka path par chhaayi ye kaun
Poonam ki chaandni
Tum kaun
Poonam ki chaandni


This article is written by Arunkumar Deshmukh, a fellow enthusaist 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 :

4350 Post No. : 15663 Movie Count :

4314

Today’s song is from film Masoom-41, the first among the three same title films made later in 1960 and 1996. I was tempted but I am not counting the funny title ” Masoom Chudail” made in 2000 !

Masoom-41 was a Muslim Social film made by Fazli Brothers in Calcutta. Like many other myths in Hindi film industry, one myth is that Mehboob Khan was the pioneer in making Muslim social films in India. This probably originated because the first film of Mehboob’s own company Mehboob Productions was ” Najma”-43, a Muslim social film starring Ashok kumar, Veena, Stara, Kumar, Yaqub etc. But the fact is different.

Although historical and costume films with Muslim backgrounds were commonly made from the beginning of films, films depicting the social life of Muslims were not being made frequently. The first Muslim social film was ” Rashida”-35, made by Madon Theatres, Calcutta, featuring Kajjan, Effendi and others. It was directed by a Jew-Izra Mir. The name of the film indicated that it was about a Muslim girl. Somehow, I find a lot of Muslim social films made had titles of girl’s names, Like Zeenat, Ameena, Najma, Shama, Heena, Zubeida, Salma, Ismat etc etc.

The beginning of serious Muslim social films was done by Fazli Brothers- Hasnain and Sibtain Fazli. They first made a Muslim social film Qaidi-1940, featuring Ramola,Mehtab, B.Nandrekar, Wasti etc. This was a period of struggle for Indian Independence. The fundamentalists in Muslims were active and due to the fear of their reaction, film makers were wary of producing such films. Even Fazli brothers were also afraid that there would be obstruction from these people to their film, so they decided to make the film in Calcutta. Their first Muslim Social film Qaidi-40 was very successful. Encouraged, they made two more such films (Masoom-41 and Chauranghee-42) in Calcutta. For film Chauranghee-42, the Fazli Brothers roped in famous Bangla poet (who later on became the National Poet of Bangladesh) Kazi Nazrul Islam- the creator of Nazrul geeti, as a Lyricist and MD for the film.

After 1942, Fazli Brothers shifted their activities to Bombay and made many Muslim social films like Fashion-43,Ismat-44, Dil-46 and Mehendi 47. So, in true sense, it is the Fazli Brothers who were the pioneers of Muslim Social films in India.

Film Masoom was directed by the elder brother-Hasnain Fazli. The music was by one time Music Director Munshi Mubarak Hussain. Actually, ” Munshi” is a prefix solely used for writers. How this Munshi gave music, is a wonder to me. Out of the 9 songs, only 2 songs are credited with the lyricist’s name. Otherwise the film has no Lyricist name in HFGK. Also none of the singer’s names are mentioned. The cast of the film was Ramola, Amjad, Mazhar khan, Mehtab, Anis, Nazir Kashmiri etc etc. In their first film Qaidi-40 also Ramola was the heroine. Here she was repeated. Hero Amjad in this film was repeated in the next film but these two artistes did not feature in any Fazli films later on. Though Ramola was very active, Amjad disappeared totally. Ramola had already become famous and popular in India due to her role in Pancholi’s film at Lahore- ” Khazanchi”-41.

Actress Ramola (real name- Rachel Cohen) was born in a Jew family on 5-7-1917, at Bombay. Her father Hayam Cohem was a school Teacher. Her initial education was done in Bombay. Later they shifted to Calcutta where she completed her matriculation and joined films. Her first film was ‘ Graher fer’-38,a Bangla film. She did a few small roles and then came ‘Khazanchi’-41 from Pancholi of Lahore. This changed her career and she became a popular actress. She did films like Masoom,Khamoshi manchali.etc etc.

Initially,Ramola was a small actress. First she acted on stage along with her two sisters. Then she got a Bangla film. It was Jagdish Sethi who introduced her to director/lyricist/dialogue writer Kidar Sharma. According to Kidar Sharma,
“She was smart and a charming young lady. Her only drawback was her height. She was not tall, just about 5 feet, but she had lofty ambitions. One day she came to see me and I promised I would personally take her to the director of her choice. She said, “I would like to be introduced to Mr. Nitin Bose, and no one else.” I took her to Mr. Bose, and was sure that her charm and talent would impress him.

Mr. Bose scanned her, from top to toe, while I praised her talent and her choice of a director, like Nitin Bose. After a long silence, Mr. Bose addressed me and said, “When you brought her to me, why did you forget to bring some bricks for her to stand on?” Poor Romola was hurt and heart-broken by this great director’s caustic remark. She quietly said, “Goodbye” and walked away from his office.

I followed her and found that she was in tears. ‘I was moved by the plight of a struggling youngster having high hopes, being ridiculed for something which nature was responsible for. I knew what it felt like to be ridiculed. I had experienced it often enough. I escorted her to the tram junction and there she bid me goodbye. To encourage her, I said, “Please, Romola, don’t be heart-broken. One day, when I become a director, you will be my first heroine, and we will prove to Mr. Bose and the world, what a great star you are.” Romola laughed and said,- “Poor Mr. Kidarnath, the dialogue-writer will never be a director and I will never be a heroine.” So saying, she jumped into the tram.”

However, Kidar Sharma kept his promise and cast her in his first film as director Aulad / Dil Hi To Hai (1939). Aulad/Dil Hi To hai was a down-to-earth story of a middle-class father, who had sacrificed all his life to educate his son and his darling daughter, hoping that they would be worthy children to the society and to the family. Little did the old man know that the generation gap would present a different, horrifying reality, which would destroy him completely. The modern college Miss, who destroys the dreams of her old father, the aged struggling middle class man, was played by Ramola.

After the success of the film, Ramola got romantically involved with R.C. Talwar, Kidar Sharma’s assistant who later became a director in his own right. According to Kidar Sharma, “R.C. Talwar was a classmate and friend so I ignored his relationship with Ramola.”

Later Ramola appeared in many films including Qaidi, Khazanchi, Khamoshi, Swan Aya Re, Rim Jhim etc. When she acted in Pancholi’s famous film Khazanchi-41, she became famous all over India and film offers started pouring on her. She looked so cute in her Punjabi dress- Salwar and Kurta- in that film, that this dress became famous and popular as Khazanchi dress amongst the women in India.

She acted in 23 films in Hindi and 5 films in Bangla. She even sang 14 songs in 4 Hindi films. After the arrival of new heroines including Madhubala, Nargis, Meena Kumari etc, Ramola’s career got eclipsed and she bid farewell to her film career. Her last 3 films Actor, Jawani Ki Aag and Stage were released in 1951. However her actual last film was the Bangla film, Anurag-51

Ramola was married twice. Her second husband, Leslie Rondeau, was a Captain in the British Air Force, who helped to train Indian pilots in the IAF post Indian Independence. Her son, Sam, from her first husband, migrated to Israel in the 1950s. She had two daughters, Dena and Linda, from her second marriage. Dena, based in London today, even acted in a film, GP Sippy’s Ahsaas (1979), and works in the fashion industry while Linda, a resident of Bombay, was an air-hostess with Air India. With her generous and large hearted spirit, Ramola also ‘adopted’ and looked after another 14 families, helping them move ahead in life. Ramola passed away in Bombay on 10-12-1988.

Here is some information on Fazli Brothers. The producers Fazli brothers, were the sons of Khan Bahadur S M Fazal Rabb of Beharaich- about 125 kms from Lucknow in U.P. The elder brother was Hasnain and the younger brother was Sibtain ( born on 9-7-1916). Hasnain Fazli was born on 12-1-1912 in the United Province (today’s U.P.). Their family belonged to the noble Sayyads of Allahabad. Hasnain was a graduate of Allahabad University. Though his father was a Khan Bahadur, a Government Jahagirdar and lifetime Magistrate, Hasnain refused to do any service and did not complete his I.C.S. studies, as expected by the family.

He had a creative mind. He joined the film line. He was very keen on making a film on Muslim Society. In those days it was considered outrageous to produce a film on Muslim society for fear of the ire of the fundamentalists. However Hasnain broke the barrier and the first Muslim Social film Qaidi-40 was produced and directed by him under the banner of Film Corporation of India, Calcutta. Very cleverly, the film was made at Calcutta, ( though the film depicted life in Lucknow ), and not at Bombay to avoid any disruption in the making of the film. The film was made so well that it was received very well by all strata of the population, including the Muslims and became a hit film. After this Hasnain made more Muslim social films like Masoom-41, Chowranghee-42, Fashion-43 and Ismat-44. These films discussed Muslim family life and problems etc.

His first directorial film was at his 23rd year- Triya Charitra-35. Then came Sajiv Murti-35, in which the Handsome Vijay Kumar from Himachal Pradesh was the Hero. Fazli brothers also made Dil-46, Mehendi-47, Duniya-49 and Khoobsurat-52. Hasnain was so talented that he himself wrote the film stories, screenplays and dialogues usually. Sibtain Fazli directed 3 films-Chowranghee-42, Ismat-44 and Mehendi-47.

After the Partition, Fazli brothers migrated to Pakistan. Sibtain remained in Pakistan and Hasnain returned to India to make 2 more films. Later Hasnain too relocated to Lahore and died there on 16-7-1957. His brother Sibtain ( 9-7-1916 to 25-7-1985) who had directed 3 films in India, made 4 films in Pakistan, including the most popular Urdu film of Madam Noor Jehan – Dupatta-52.

Film Masoom-41 was released on 30-5-1942, at Imperial Theatre, Bombay. The story of the film is…..Noor Ali (Mazhar khan) becomes a widower. He has a small child-Masoom. So he remarries a widow(Mehtab), with a child Jameel. Both Jameel and Masoom grow up together. Masoom falls in love with his childhood friend Rehana (Ramola) and Jameel loves a modern, educated girl-Shahida (Anis). After many twists and turns, all becomes well and they get married happily.

Today’s song is a typical Bangla type song. I mean a Hindi song sung in Bangla tune and style. Though the singer is not mentioned, Sadanand Kamath ji, who uploaded this song, on my request promptly, feels that the singer is Jagmohan Sursagar. I tend to agree with him. Since the film was made completely in Calcutta, it is very much possible. With this song, film Masoom-41 makes it’s Debut on the Blog.

(Ack: information used herein is culled from books “Forgottem movies on Muslim Culture” by Kamlakar P. and ” Muslim Cinema” by Isak Mujawar, Film India magazine, my thanks to them and Film Directory-46 also)


Song-Maasoom nazar ka bholaapan lalcha ke lubhaana kya jaane (Maasoom)(1941) Singer- Unknown Male, Lyricist – Arzoo Lucknowi, MD- Munshi Mubarak Hussain

Lyrics

Maasoom nazar ka bholaapan
lalcha ke lubhaana kya jaane
Masoom nazar ka bholaapan
lalcha ke lubhaana kya jaane
dil aap nishaana banta hai
wo teer chalaana kya jaane
dil aap nishaana banta hai
wo teer chalaana kya jaane

chatki jo kali koyal kooki
ulfat ki kahaani khatm huyi
ulfat ki kahaani khatm huyi
kya kisne kahi aur kisne suni
ye baat zamaana kya jaane
kya kisne kahi aur kisne suni
ye baat zamaana kya jaane

hum aarzoo aaye baithhe hain
aur wo sharmaaye baithhe hain
aur wo sharmaaye baithhe hain
mushtaaq nazar gustaakh nahin
parda sarkaana kya jaane
mushtaaq nazar gustaakh nahin
parda sarkaana kya jaane
Maasoom nazar ka bholaapan
lalcha ke lubhaana kya jaane
dil aap nishaana banta hai
wo teer chalaana kya jaane


This article is written by Sudhir, 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 :

4314 Post No. : 15596

The days were when gramophone instruments and radios used to be a luxury. People could (and would) listen to music and songs either at family functions and weddings where a gramophone player was part of the arrangements, or in cinema halls, or maybe at restaurants and corner shops. But then still, the awareness and popularity of the songs and the artists was evidently widespread. The gramophone records of popular songs would sell out briskly, and there are many cases of a 2nd, and a 3rd edition of records being released by the companies. Word of mouth was a strong method of spreading awareness, and people used to hum and lightly sing the popular songs as they went about their work. One reads about this phenomena in anecdotal references in newspapers and magazines – like such and such song being on the lips of ‘everybody’, or such and such song being played in every street and lane – ‘गली गली में बजता था’.

Just put on the imagination cap and visualize – the songs being hummed by the common people as they go about their work, in streets and market place, singing – “Piya Milan Ko Jaana”, or “Ye Kaun Aaj Aaya Savere Savere”, or “Chale Pawan Ki Chaal”, or “Tere Mandir Ka Hoon Deepak Jal Raha”, and other such wonderful creations – in the voice of one of the very first group of singers in this country that started being recognized and loved across the length and breadth of our land.

Remembering Pankaj Babu today, on the 116th anniversary of birth – 10 May, 1905.

A voice that is so uniquely impressive, a voice that appears to be emanating from the depths of a sublime creativity, the deep resonating bass that defies measure and replication. A voice that is so enmeshed with an equally deep understanding and awareness of what music is, and how it becomes a delight for the listeners.
A voice and creativity that was so genuine, so sincere; a voice that expressed itself with a perceivable authority, understanding and proficiency – so much so that Gurudev Rabindranath Tagore was so verily impressed by the composition and expression of this young artist that he immediately granted the requested permission to use Gurudev’s poetry and compositions for commercial cinema. In that accomplishment, Pankaj Babu is eminently instrumental in giving a unique personification to Rabindra Sangeet, and to take it beyond the borders of Bengal and make it a recognized genre across the entire country.

A career that is not defined by numbers, but more by the quality of his creative genius. Working with RC Boral at New Theatres, Calcutta he was instrumental in introducing to the world of cinema, such delightful sounds of singing – KL Saigal, Kanan Devi, Uma Shashi, Pahadi Sanyal, Suprova Sarkar, and more. Defining and establishing the methodology of off-line recording of music and songs, thus becoming the pioneer of playback singing. He was a music director, a singer, an actor, and a teacher – all rolled into one.

Yes, a career that is not defined by numbers. In that, a couple of days ago, I was almost at the verge of despair, being unable to locate a song by him to post today. Most of his songs in films, including the version songs of the film ‘My Sister’ (1944), and many of his non-film Hindi songs are already showcased here. But yes, I am able to locate another very beautiful non-film Hindi song to present today.

Lyrics of this song are from the pen of Pandit Bhushan. The music composition is by Pankaj Babu himself. Anecdotal information available tells that the orchestration arrangement was done by a musician named Francisco Casanova, who used to lead the band at the Grand Hotel in Calcutta. Here is a brief information about this gentleman, which I am able to locate from an article on Pankaj Babu, written by Shri N Venkatraman on the blog ‘Songs of Yore’. Regulars will know this as AK ji’s blog.

Francisco Casanova was a Spanish musician, conductor and composer. He could play the saxophone, flute and clarinet with equal deftness. He was a well-known performer, and on the occasion of the Olympic Games in 1924, he performed with his orchestra at the Champs-Elysées Theatre in Paris. In 1930 he came to India with his orchestra and performed in many cities. He chose to stay at Calcutta and was appointed the Principal of the Calcutta School of Music. He stayed in India till 1956. He was closely associated with Mehli Mehta, father of Zubin Mehta. In 1952, Casonova and Mehta assisted Yehudi Menuhin, when he came to India to perform. He was also a leading conductor of Calcutta Symphony Orchestra and the conductor of a Spanish band at one of Calcutta’s foremost hotels. Manohari Singh learnt the nuances of playing the key flute from him. It is also said that the orchestration to our National Anthem was by him!

Listen and enjoy this vintage voice, in a recording that surely is 70+ years young. 🙂

 

Song – Yaad Aaye Ke Na Aaye Tunhaari  (NFS – Pankaj Mullick) (1940s) Singer – Pankaj Mullick, Lyrics – Pandit Bhushan, MD – Pankaj Mullick

Lyrics

yaad aaye ke na aaye tumhaari
main tum ko bhool na jaaun
yaad aaye ke na aaye tumhaari
chhin chhin aawat waar tumhare
bin kaaran gaane gaaun
yaad aaye ke na aaye tumhaari

din jaaye chale jab tak jeeta hoon
raah chalte kabhi main aaj to aa pahunchun
din jaaye chale jab tak jeeta hoon
raah chalte kabhi main aaj to aa pahunchun
mukh pe tumhaare sukh ki pyaari
meethi hansi hi paaun
main isi liye bin kaaran gaane gaaun
yaad aaye ke na aaye tumhaari

jhadte hain phool phagun ke
phagun ke mahine mein
main tum se bida hota hoon
ik dard liye seene mein
jhadte hain phool phagun ke
phagun ke mahine mein
main tum se bida hota hoon
ik dard liye seene mein
din beetega aur hoga andhera
geet nahin goonjega
tham jaayegi beena
din beetega aur hoga andhera
geet nahin goonjega
tham jaayegi beena
jab tak tum raho aankhon mein
jam jam jee behlaaun
main isiliye bin kaaran gaane gaaun
yaad aaye ke na aaye tumhaari

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

याद आए के ना आए तुम्हारी
मैं तुमको भूल ना जाऊँ
याद आए के ना आए तुम्हारी
छिन छिन आवत वार तुम्हारी
बिन कारण गाने गाउँ
याद आए के ना आए तुम्हारी

दिन जाये चले जब तक जीता हूँ
राह चलते कभी मैं आज तो आ पहुंचूँ
दिन जाये चले जब तक जीता हूँ
राह चलते कभी मैं आज तो आ पहुंचूँ
मुख पे तुम्हारे सुख की प्यारी
मीठी हंसी ही पाऊँ
मैं इसी लिए बिन कारण गाने गाउँ
याद आए के ना आए तुम्हारी

झड़ते हैं फूल फागुन के
फागुन के महीने में
मैं तुमसे बिदा होता हूँ
इक दर्द लिए सीने में
झड़ते हैं फूल फागुन के
फागुन के महीने में
मैं तुमसे बिदा होता हूँ
इक दर्द लिए सीने में
दिन बीतेगा और होगा अंधेरा
गीत नहीं गूंजेगा
थम जाएगी बीना
दिन बीतेगा और होगा अंधेरा
गीत नहीं गूंजेगा
थम जाएगी बीना
जब तक तुम रहो आँखों में
जम जम जी बहलाऊँ
मैं इसी लिए बिन कारण गाने गाउँ
याद आए के ना आए तुम्हारी


This article is written by Sudhir, 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 :

4293 Post No. : 15547

Another of those “aa ha” moments, as I was searching for a song to celebrate an anniversary. Sitting on my hard disk for a long time, I just pulled it up and listened to it, as I searched for a song by Khusheed Bano, And wow, what a wonderful creation this one turns out to be. And with a surprise bonus that saved me some extra effort.

Well actually, this post should have come on board yesterday (18 Apr). Having missed the birth anniversary of Khursheed Bano on 14th April, as I checked the anniversaries page, I found that I was still in time for her anniversary of passing away on 18th April. So I started the search and prep for a song sung by her. As luck would have it, I narrowed down to this wonderful song which is such a pleasing listen.

The twist comes in like this. As I checked from the Geet Kosh in my search, and identified this song from the 1941 film ‘Pardesi’, I noted that the GK lists the singer for this song as Khursheed and chorus. But when I played this song, I was taken by surprise to discover that this song is actually a duet, and that too, a delightful romantic duet. To check on the identity of the male voice, I turned to our dear friend, Girdhari Lal ji (of Jodhpur), and requested him for identification. His response was immediate – the male voice is that of Kantilal.

And then another part clicked into place. I immediately went back to the anniversaries list to confirm, and yes my memory was right. 18th April also is the birth anniversary of singer actor Kantilal. And so the celebrations connected and coalesced together into this one song.

Interesting to note that today’s song is one of those rare combinations wherein we have two actor-singers singing together. Yes, there are other pairs that we can list – Surendra – Noorjehaan, Suraiya – Surendra, KL Saigal – Suraiya, KL Saigal – Khursheed etc. Kantilal is also a singer of certain repute, active during the early years Hindi cinema. He has appeared as an actor, and has sung songs that he has performed himself on screen. He has also given playback to other artists. About today’s song, my take is that this song is not performed by Kantilal himself on screen although he himself is also listed as one of the actors in the film. In all probability he has given playback for Motilal. Motilal used to sing off and on. In some films, we find his name listed as singer, and in some films we see him lip syncing other playback singers. In ‘Pardesi’, he is the lead actor, but his name does not appear in the list of singers. And since, in this film, he is paired opposite to Khursheed, and that she is the other singer in this song, it would follow logically that Motilal is lip syncing Kantilal voice in this song.

Now, for the details. We already have a good set of posts giving details about this film and the artists, I will not attempt to re-present that information. However, I will give the links to where these details can be perused.

About the film – ‘Pardesi’, the film synopsis has been posted by our dear Arun ji, in his post for the song “Ab Kahaan Basera Apna”. In the same post, we also can read a brief biosketch about Khursheed Bano.

Our dear Sadanand ji has also presented another brief about Khursheed in his post for the song “Pehle Jo Mohabbat Se Inkaar Kiya Hotaaa”, also from the same film.

Regarding actor-singer Kantilal, I refer to another post by Arun ji, for the song “Dhanwaalon Ki Duniya Hai Ye, Nirdhan Ke Bhagwaan” from the film ‘Holi’ from 1940.

The film ‘Pardesi’ is from the house of Ranjit Movietone, and is directed by Chaturbhuj Doshi. The list of actors, as per Geet Kosh, is – Motilal, Khurshid, Snehprabha, E Billimoria, Durgesh, Keshari, Kantilal, and Bhagwan Das amongst others. The film has 15 songs listed. The songwriters listed for this film are DN Madhok and PL Santoshi. However, specific songwriter for individual songs, is not identified for all songs. As such also for this song – the specific songwriter is not identified. Music for this film is by Khemchand Prakash.

So with this song, we pay our tributes to Khursheed Bano and Kantilal on their anniversaries today. So many things to cherish for, in memory. 🙂

[Author’s Note: The available recording is certainly not the best. I have not been able to decipher one word in the 3rd antraa. I request other readers with keener ears to please help make the correction. Thanks.]

Song – Morey Angna Mein Ambuwa, Ambuwa Ki Daali  (Pardesi) (1941) Singers – Khursheed, Kantilal, Lyrics – [Unattributed], MD – Khemchand Prakash
Khursheed + Kantilal

Lyrics

more angana mein ambuwaa..aa

more angana mein ambuwaa
ambuwa ki daali
daali pe koel bol gayi re. . .
bol gayi re
more angana mein ambuwaa
ambuwa ki daali
daali pe koel bol gayi re. . .
bol gayi re

dol gayi re
dol gayi re
dol gayi re
dol gayi re
duniya dilon ki dol gayi re
duniya dilon ki dol gayi re
more angana mein ambuwaa
ambuwa ki daali
daali pe koel bol gayi re. . .
bol gayi re

dekh sajanwa kaliyan khil gayi. . .
dekh sajanwa kaliyan khil gayi
kaliyon ko bhanwara
bhanwre ko kaliyan
kaliyon ko bhanwara
bhanwre ko kaliyan
mil gayi re
mil gayi re
mil gayi re
mil gayi re
more angana mein ambuwaa
ambuwa ki daali
daali pe koel bol gayi re. . .
bol gayi re

phoolon ki ot sajanwa lag gayi. . .
phoolon ki ot sajanwa lag gayi
kaanton ki meethi kor
kaanton ki meethi kor
?? ras mein ras ghol gayi re
haan haan bol gayi re
ras ghol gayi re
ras ghol gayi re
more angana mein ambuwaa
ambuwa ki daali
daali pe koel bol gayi re. . .
bol gayi re

more angana mein ambuwaa. . .

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

मोरे अंगना में अंबुवा॰॰आ

मोरे अंगना में अंबुवा
अंबुवा की डाली
डाली पे कोयल ॰ ॰ ॰
बोल गई रे
मोरे अंगना में अंबुवा
अंबुवा की डाली
डाली पे कोयल बोल गई रे॰ ॰ ॰
बोल गई रे

डोल गई रे
डोल गई रे
डोल गई रे
डोल गई रे
दुनिया दिलों की डोल गई रे
दुनिया दिलों की डोल गई रे
मोरे अंगना में अंबुवा
अंबुवा की डाली
डाली पे कोयल बोल गई रे॰ ॰ ॰
बोल गई रे

देख सजनवा कलियाँ खिल गईं॰ ॰ ॰
देख सजनवा कलियाँ खिल गईं
कलियों को भँवरा
भँवरे को कलियाँ
कलियों को भँवरा
भँवरे को कलियाँ
मिल गईं रे
मिल गईं रे
मिल गईं रे
मिल गईं रे
मोरे अंगना में अंबुवा
अंबुवा की डाली
डाली पे कोयल बोल गई रे॰ ॰ ॰
बोल गई रे

फूलों की ओट सजनवा लग गई॰ ॰ ॰
फूलों की ओट सजनवा लग गई
काँटों की मीठी कोर
काँटों की मीठी कोर
?? रस में रस घोल गई रे
हाँ हाँ बोल गई रे
रस घोल गई रे
रस घोल गई रे
मोरे अंगना में अंबुवा
अंबुवा की डाली
डाली पे कोयल बोल गई रे॰ ॰ ॰
बोल गई रे

मोरे अंगना में अंबुवा॰ ॰ ॰


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 :

4118 Post No. : 15271 Movie Count :

4198

Today’s song is from film Kasauti-41. This was a film made by National Studios, after Sagar Movietone withdrew from it. The film was directed by a protege of Sagar- Ramchandra Thakur. The music was by Ashok Ghosh and the songs were written by Kanhaiyalal Chaturvedi (brother of actor Sankatha Prasad-a regular fixture of Sagar. Later on Kanhaiyalal himself became a famous character actor and a comic villain.) and Neelkanth Tiwari. The cast of the film was, Miss Rose, Prahlad, Veena, Sunalini Devi, Satish, Marutirao Pehelwan, Baby Meena, Ansari and many others.

In the early phase of the cinema, there were very few artistes hailing from respected families or who were educated, but as the time went by, slowly and steadily, educated people also started joining films.Most Marathi actresses from the beginning, like Durga Khote, Leela Chitnis,Nalini Tarkhad,Shanta Apte, Snehprabha Pradhan, Vanmala were graduates. Among men, Mohan Bhavnani, Nanubhai vakil, Surendra, Motilal, Dev Anand, Ashok kumar etc were graduates. Surendra was B.A;LL.B and in initial his degrees were flaunted prominently in film credits and advertisements. By the turn of the 30’s decade, majority of artistes were educated.

Ramchandra Thakur – the director of this film was one such scholarly person who was a Postgraduate and a prolific writer on films in English, Hindi and Gujarati, before joining films. Ramchandra Thakur was born in Suver of Sabarkantha district in Gujarat, on 17-12-1908. He moved to Bombay when he was just 9 year old. He pursued his higher education in Bombay and emerged as a scholar of Pali language. When he gave his M.A. final exam, he wanted to become a teacher in a college, if he got First class. If not, he would join film industry as a director. During his college years he had written many articles on films. He had translated Sound Recordist Minu Katrak’s English works in Hindi and Gujarati.

When he did not get First class, he joined Sagar Movietone, in its Marketing department. After few months, Baburao Patel took over from him and he became an assistant director to Chimanlal Luhar for film Dynamite-38. Next, along with Virendra Desai ( Nalini Jaywant’s first husband), he became a co-director of film The Gramophone Singer-38. His first film, as an independent Director was the Debut film of Snehprabha Pradhan – Civil marriage-40.

Then he joined Ranjit Movietone. He directed mythological, Social and Comedy films. Art Director Kanu Desai’s film Geet Govind was directed by him. Thakur directed 20 films. He also wrote script for the popular film Baiju Bawra-52. He produced 5 films. He directed 2 Gujarati films and wrote stories and screenplays for several Gujarati films.

He was an accomplished writer. He wrote 4 novels – Amrapali, Budhidhan Birbal, Prem Diwani and Urmila. He wrote several satirical commentaries too. He wrote a detailed article on Sagar Movietone and Chimanlal Desai in Gujarati magazine ” Jee”. His last Hindi film as a director was Nawab Sirajuddaula-67, which he had produced also. He died on 31-10-1992.

In the early era of silent films, many Anglo-Indian, European and Jew girls joined the films. They were free in behaviour and not averse to intimate scenes or kissing on the screen, hence film makers also preferred them. However they did not/could not speak Hindi or Urdu, but for silent films, this was not a hindrance. For Talkie films, this became a problem for these girls and their number went down considerably.

Among these actresses,there were mostly Baghdadi Jewish women and the rest were from the Bene Israel community, not the Cochini community. That community was small, did not speak Hindi or Urdu, and lived far from the film making cities of Bombay and Calcutta. A single Baghdadi family contributed greatly to Indian films, by giving us the actress-producer Pramila (Esther Victoria Abraham), her sister the actress Romila (Sophie Abraham), and her cousin the starlet Rose (Rose Musleah). Pramila’s son Haider Ali is an actor, who is best known as the co-writer of the blockbuster film Jodhaa Akbar.

Miss Rose Musleah was the heroine of film Kasauti-41 Sometime back our Sadanand kamath ji has provided the life story of Rose on this Blog, so I am not repeating it. Instead of that, let us know something about a ” Cloak and Dagger” personality from Hindi films. His name is N A Ansari.

Nisar Ahmed Ansari was the son of the late Dr. Ameer Ahmed Ansari. He was born on 29-8-1917 at Jhansi. His father had been serving in Military for 11 years and he expired in 1938. He was well known in Jhansi as he practiced there for 40 years.

Ansari matriculated from Allahabad University in 1933. In 1935, he passed his Inter from Aligadh. By 1939 he was a graduate of the Bombay University. He was keen to join films and in this, Mehboob khan helped him by recommending him for film Aasra-40, made by National Studios. It was directed by Mehboob’s assistant Chimanlal Gandhi.

By watching him, no one can ever visualise that a suave and respectable man like him can be a scheming villain . Competition for him was tough,initially when he joined the film industry ,as there were many character actors already there ,who were specialist of negative roles . But young and energetic Nisar Ahmad Ansari had faith in his potentials .

He believed that it is not necessary that villain should have thick eye brows with roving eyes and have a permanent frown on his face. A person having negative traits may have a smiling face also ,to conceal his evil designs . Therefore in most of his movies , he was a well dressed person ,always beaming and had friendly smile on his face . In his films , he use to be boss of a criminal syndicate and have an army of foot soldiers who carried out dirty work on his behalf . To keep a distance between master and servant , instead of calling them by their name he use to call his cronies by their allotted numbers like Number Ten Or Number Five .

With a hit movie ‘Mangu’, he became a director and later directed many successful movies like Black Cat ,Tower House ,Mr Lamboo ,Zara Bach Ke, Wanted etc for various producers and after he established his own banner Bundel Khand Films ,he made many memorable movies . Although, he had to look after his own company and permanent staff ,but he did not disappoint other film makers ,who wanted to have him in their movies in the role of villain. It is a fact, that it was his Black Cat which helped G P Sippy to be a part of the league of big producer ,but it is also true ,Mr Sippy forgot him later and never acknowledged Mr Ansari’s contribution .

Mr N A Ansari ,was essentially a dedicated film maker and had no false illusions about his own capabilities . His movies were never lavishly made and had average production value ,but it did not deter his fans and sizable majority of film viewers ,who adored him and his pictures to patronise his movies . Those who love the movies of golden age ,fondly remember his movies which used to have him in the role of villain ,beside good music, suspense, comedy, ,dance with a plausible story and a strong message for society ,that “Crime Never Pays”.

With producer/actor Sheikh Mukhtar, Nisar Ahmad Ansari had earlier worked as an actor in Dada, Dara & Ustad Pedro. Sheikh Mukhtar, aware of Ansari’s capability ,in 1954,offered him Mangu, to direct. The big success of Mangu was a game changer for Ansari & O P Nayyar. They both were immensely benefited with the favourable outcome of the movie & it’s music. Mangu had predictable Jodi of Sheikh Mukhtar & Mukri ,with Nigar Sultana ,Sheila Ramani & Ansari himself, as a suave villain. Mangu had breath taking, thrilling climax, involving the speeding train. Some real shots, few stock shots & rest studio shoot with back projections (Aadhi Haqeeqat ,Aadha Fasaana ),made the climax awe-inspiring. Unfortunately, the movie could not be preserved & the the present generation has been deprived of witnessing Ansari’s first effort as director. Mangu is one of the most searched movie at youtube.

He again directed Mr Lambu, a big success, for Sheikh Mukhtar. This time with the classic beauty Suraiyya with music by O P Nayyar, but similar tragedy happened, again. No print of the movie is available. In almost all his films N.A.Ansari played the role of an urbane & sophisticated Don. He always appeared, well dressed in impeccably tailored suits, fedora, trade mark pipe between his teeth & walking stick, in his hand.

Besides Sheikh Mukhtar, he directed movies, like Black Cat, Tower House, Jara Bach Ke, Wanted for other producers and playing the main villain. He had no qualms working in movies directed by other film makers & in this category, movies like Private Secretary, Fareb ,Do Thug ,Khota Paisa, Gunda,Ustad 420,Gunahon Ke Raaste can be named. Under his own banner Bundel khand Films he made Wahan Ke Log,Mulzim,Zindagi Aur Maut,Mr Murder, Jurm Aur Sazaa and Noor E Ilahi. The last one being his last production in 1976 & then he decided to hang his boots.It was a big journey for Ansari,who was discovered by Mehboob & given a role in Aasra ,released in 1941.

He could not say “No” to film maker Sultan Ahmad ,when he insisted him to appear in Dharam Kanta (1982 ) & later in Jai Vikranta. N.A.Ansari closed his eyes for ever on 11 Jan 1993, in Canada, thousands of kilometres away from his beloved city Jhansi ,much before the release of his last movie Jai Vikranta in 1995.

Film Kasauti-41 had 13 songs – effectively only 12, as one song was deleted from the film later, for reason not known to us. The Music Director Ashok Ghosh is the ” Mystery Man” of Hindi cinema. That is because, there is absolutely no information about his life story, available anywhere on internet or in any of the several music related books I have with me. All that we know about him is that he assisted MD Pransukh Nayak, while serving in Sagar and that he started independentl composing with film Manmohan-36, in which Anil Biswas was his assistant. The very next year Anil Biswas took over from him as MD for film Jagirdar-37 and spent a long association with Sagar and National studios.

Ashok Ghosh did only 12 films as an MD – Manmohan-36, Sanskar-40, Radhika-41, Nirdosh-41, Kasauti-41, Garibi-42, Sharafat-43, Inkaar-43, Miss Devi-44, Angoothi-44, Aarti-45 and last film Gunjan-48. After this , there is a total black out of information on Ashok Ghosh. Strange !

According to the November 41 issue of Film India magazine, film Kasauti-41 was released on 11-10-41 at Pathe Cinema in Bombay. In its review of the film, Baburao Patel had hardly anything good about it. He only appreciated the acting of Sunalini Devi, as the mother of the hero. He says that the film was a tear jerker story. Raju (Prahlad) tries to prevent the suicide of a woman, who anyway dies. This is witnessed by the victim’s sister Meena (Veena), who is a vamp. She starts blackmailing him . She, calling herself now as Manjula announces her love for Raju. Raju is slated to marry Madhuri (Miss Rose). After some time, she tries to force Raju for her marriage with him. Raju’s mother comes to know all this. As a true mother she goes to Manjula’s house, gives her poison and kills her. Thus a dutiful mother saves the life of her son.

Today’s song is sung by Marutirao pehelwan. A Pehelwan and a song ? Matter for laughing or serious thinking ?
Marutirao Pehelwan also acted in this movie. He was originally from Kolhapur. In the early era of talkie films, many wrestlers joined film companies. They worked mostly in action films. Some such actors were Baburao Pehelwan (he was the hero of Master Bhagwan’s stunt films; later on worked as a stuntman with fight master Azim Bhai), Vasantrao Pehelwan (he was the one who brought Indurani from Poona to Bombay; was a popular villain in stunt films), Nandram Pehelwan (very popular in silent films but fell on bad days in the talkie era), Sadiq Pehelwan, Maane Pehelwan, Amir Khan Pehelwan etc

Marutirao Pehelwan was different. He was handsome, tall, well built, could act and sing well. He was selected for the hero’s role in first Gujarati talkie film ‘Narsi Mehata’ (1932), made by Sagar Movietone. He acted as hero and other roles in about 40 films and sang 56 songs in 17 films. His first Hindi film was ‘Lanka Dahan’ (1933) and last his film was ‘Apna Ghar’ (1942)

He married his co-star of many films – Tara (sister of Sitara Devi and Alaknanda). They left films and settled in Dhule, Maharashtra. Marutirao started a dairy business there. Famous dancer Gopi Krishna was their son. After Marutirao’s demise Tara had a terrible time. She stayed in Bombay slums and did any extra role in films.

From 1946, there was another comedian actor named Maruti (Marutirao Parab), active in Hindi films. Initially, he too was billed as Marutirao, creating confusion. He was the father of comedienne Guddi Maruti.

So, here is the philosophical song.

( I thank Biren kothari ji for his book ” Sagar movietone” and shri M N Sardana ji for some information about N A Ansari, used in this post)

With this song, “Kasauti”(1941) makes its debut in the blog.


Song-Kho kar bhi sab kuchh izzat na khona (Kasauti)(1941) Singer-Maruti rao Pehelwan, Lyrics- Kanhaiyalal Chaturvedi, MD-Ashok Ghosh

Lyrics

Kho kar bhi sab kuchh a a
izzat na khona aa
zuroori hai ae ae ae ae
jeewan mein ae ae
izzat ka hona
Kho kar bhi sab kuchh
izzat na khona
Kho kar bhi sab kuchh
izzat na khona
zuroori hai
jeewan mein
izzat ka hona
zuroori hai
jeewan mein
izzat ka hona
Kho kar bhi sab kuchh
izzat na khona
Kho kar bhi sab kuchh
izzat na khona

pareeksha ho jis dam
hansna na rona
pareeksha ho jis dam m m
aa aa aa aa
aa aa aa aa
aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
pareeksha ho jis dam
hansna na rona
kasauti pe utre jo sachcha
wo sona
kasauti pe utre jo sachcha
wo sona
kasauti pe utre jo sachcha
wo sona
kasauti pe utre jo sachcha
wo sona
Kho kar bhi sab kuchh
izzat na khona
Kho kar bhi sab kuchh
izzat na khona aa


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 :

4087 Post No. : 15228

———————————————–——————————————
Blog 10-Year Challenge (2009-19) – Song No. 47
——————————————————————————————

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

————————————-
Devnagri Script lyrics (Provided by Avinash Scrapwala)
————————————
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.

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


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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.

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