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

Archive for the ‘Songs of 1941’ Category


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 :

5262 Post No. : 17268

Today’s song is a female-female duet from the film Swami-1941.

1941 was the beginning of a new decade. After the Talkie film’s entry, this was the second decade. There were many changes taking place continuously in the film making and so it was interesting to know how the year 1941 fared. 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 1940s, one more major change in the film industry took place due to Partition. More about it in the coming times. Let us see some important films which were worth a second look in 1941….

JBH Wadia produced the First Sindhi film ‘Ekta’ in 1940 and released it in 1941. His film Court Dancer-1941 (Raj Nartaki in Hindi and Bangla) was also in English.

Asra- Debut of actor director N A Ansari.

Behan- Mehboob directed this film having an incest suggestive story.

Chandan- Debut of S N Tripathi as an MD

Chitralekha- First big success of Kidar Sharma. Mehtab’s bath scene caused a ripple.

Dhandhora- Actor comedian Charlie directed the only film.

Doctor- Pankaj Mullick gave excellent songs. First popular song with Hoof beats-‘ Chale pawan ki chaal ‘.

Jhoola- One of the most successful films like Kangan and Bandhan, starring Ashok kunmar and Leela Chitnis.

Kanchan- First composed song of Naushad-” Bata do koi”

Khazanchi- A milestone in musical revolution with Punjabi Theka, by Ghulam Haider. Debut of Shamshad Begum in Hindi films.

Lagan- Saigal, as usual, gives good songs.

Mala- was remade as ‘ Amar-55’ with music again by Naushad only.

Naya Sansar- Story of Newspaper world. A novelty. Ashok Kumar’s famous cigarette smoking in films started from this film, solving his problem of ‘ what to do with the hands during acting’ !

Nirdosh- Mukesh sings his first film song.

Padosi- Last film of V Shantaram before leaving Prabhat. A Landmark film. ” Kaisa chhaya hai ujala” is a popular chorus song.

Pardesi- Debut of actress Anjali Devi (not the southwali) with real name ‘Durgesh’.

Radhika- Debut of Nalini Jaywant.

Raj Nartaki- Ambitious Wadia film in English , Bangla and Hindi. Released in the USA by Columbia Pictures of Hollywood.

Sangam- Amritlal Nagar’s first film as a writer. He did 18 films as writer and Lyricist.

Sikandar- A Magnum-Opus from Minerva. Chorus song- ” Zindagi hai pyar se” is very popular.

Taj mahal- Debut of Baby Suraiya as an actress.

Sasural and Ummeed were 2 films in which Noorjehan senior acted and sang. However these films are usually wrongly included in the filmography of Malika E Tarannum Noor jehan. She entered Hindi films only with the film Khandan-1942 at Lahore.

With a backdrop of such films and music in 1941, no wonder film Swami-41 was not shining. It was an average film There was neither anything special in its story nor its music. This resulted in an average response at the Box office. As such the music director and most of the cast was in the fading phase. This affected the producer of the film Chimanlal Trivedi – owner of the banner CIRCO Productions. Soon he closed it down and started his new company ‘ Laxmi Productions’. Trivedi was an interesting person.

Chiman Lal Trivedi, was one of the major filmmakers of the 30s and the 40s decade. He was more a Producer businessman than a Director. While he directed hardly 7 films, he produced close to 50 films- all having A grade actors, directors and composers !

Born on 19-3-1909 at a village near Anand in Gujarat he was from a Brahmin family. He did his schooling in Ahmedabad and technical graduation from Baroda. Being an expert in weaving, he took up a job as a weaving Master in Calcutta. Fond of writing, he started writing Dramas, which were staged in Bengal and Gujarat. He was attracted towards Cinema and tried some work in New Theatres. Knowing that the real playing field is Bombay he reached there. He wrote stories for the film Chevrolet-36 and Danger Signal-37 for Mohan pictures.

He established his own production company CIRCO (Cine Industries Recording Company) in 1937. By 1943, he had made 12 films. He preferred not to direct his films, but appointed directors like Mohan Sinha for Laxmi-40, Anuradha-40 and Vanmala-41, Balwant Bhatt for Suhag-40 and Madhusudan-41, A R Kardar for Swami-41 and Nai Duniya-42 and Debki Bose for Apna Ghar-42.

He had the art of getting the most popular stars for his films like, Prithviraj kapoor, Chandramohan, Durga Khote,Mazhar khan, Bibbo,Surendra, Jairaj, Sitara, Jeevan, Yaqub, Shobhana Samarth, Prem Adeeb, Vishnupant Pagnis,Leela Desai, Pahadi Sanyal, Shanta Apte and many others. Even big directors like Debki Bose,Nitin Bose, Kardar,Mohan Sinha, Sarvottam Badami, Nandlal Jaswantlal,Profull Roy, Sudhir Sen, R S Chaudhary, Phani mujumdar, Balwant Bhatt etc. worked for him. From Prabhat he brought Shanta Apte for Rs.1000 pm, and also Chandramohan, Pagnis and Mazhar khan. His friend Chandulal Shah followed his way and brought K L Saigal from New Theatres !

C L Trivedi was an expert in gathering funds for his films. After CIRCO at Parel, he started Laxmi Productions at Andheri, in 1942. He made mera Gaon,Sharafat,Bhagya Laxmi,Kadambari,Tamanna,Inkaar,Mohabbat, Miss Devi etc. In 1951, it was Supreme Pictures, Trivedi Productions was in 1952, Kala Kendra in 1953 and with Chitra Bharati in 1954, he made 13 films upto 1961. Top Composers like Timir Baran,Ashok Ghosh,Rafiq Gaznavi,K C Dey,Saraswati Devi,Husnlal-Bhagatram and Naushad gave music to his films.

In the end, he turned to Stage and started Abhinay Bharati. He staged many dramas in Bombay and Gujarat. Chimanlal always went for big names. He had close relations with Nehru, Menon, Morarji Desai, and other National leaders. His wife Kantaben was a Leader herself. Chimanlal Trivedi died on 25-11-1973. His wife, 3 sons and a daughter settled in the USA.

It may be a coincidence, but Gujarati businessmen like Chimanlal Trivedi, Chimanlal Desai,Chimanlal Luhar, Chaturbhuj Doshi, Chimankant Desai, Chunibhai Desai and Chandulal Shah made sizable contribution to Hindi cinema in the first 20 years of the Talkie era. All names started with CH ( ? ) !

(Thanks to Harish Raghuwanshi ji for his book ” बॉलिवूडमा गुजरातीयो ” in Gujarati.)

The cast of the film Swami-41 was Sitara, Jairaj, Jeevan, Yaqub, Majid, Badri Prasad, Rajkumari, Radha Rani, S.Nazir, Ram Avtar and others. The lesser known names were Majid and Ram Avtar.

Majid’s name was Abdul Majid Syed. He was born at Farrukhabad in U.P. in 1915. His father was an Overseer. After matric in 1929, he started his business of Leather in Akola, Maharashtra. in 1935, actor, director and producer Nazeer of Hind pictures, introduced him to S.K.Daryani and he got a small role in Sher ka Panja-36 and Sangdil samaj-36. However, from film Bulldog-37, he got side roles and lead roles in films like Gentleman daku-37, insaaf-37, Rajkumari-38, Masterman-38, Zamana-38, Mud-40, Saubhagya-40, Swami-41, Swaminath-42, he also acted in more films like Najma-43, Babar-44 and Zeenat-45.

In all he did over 100 films till 1947. After Partition, he migrated to Pakistan with Nazeer and Swarnalata. In Pakistan he did just 7 films. He died on 24-9-1959.

Now about Ram Avtar- my favourite comedian. Ram Avtar Pandey was born on 11-11-1911, at Rampur-UP,. He started his filmi career in 1938 with character roles. In the early 50s, he switched to comedy, when he gained weight and a pot belly.

Ram Avtar was a fixture in many Nasir Hussain films. His roles in Badi Behan-49, Nagin-54, Hum sub chor hain-56, Tumsa nahin dekha-57, jab pyar kisi se hota hai-61, Phir vohi dil laya hoon-63, Teesri Manzil-67, Yaadon ki Baraat etc are memorable. I like his role in film Teesri Manzil-1967. His last film was Prem Geet-1981. His last released film, however, was Love and God-1986. He acted in 133 Hindi films. He died on 23-12-2011 at Mumbai.

Today’s female duet is sung by Rajkumari and Sitara. In this films they sang 2 such duets. Before or after this, they never sang together again. Rafiq Ghaznavi’s music still followed the 30’s music pattern only, which had already been discarded by people in the 40’s.


Song-Man mein samaaye piya man mein samaaye (Swaami)(1941) Singers- Rajkumari, Sitara, Lyricist- Shatir Ghaznavi, MD- Rafiq Ghaznavi

Lyrics

hoy
hoy
man mein samaaye piya
man mein samaaye piya
man mein samaaye
hoy
man mein samaaye piya
man mein samaaye

nainan mein aaye gori
nainan mein aaye gori
jeewan mein chhaaye
nainan mein aaye gori
jeewan mein chhaaye
man mein samaaye piya
man mein samaaye piya
man mein samaaye
hoy
man mein samaaye piya
man mein samaaye

oonchi aatariya pe kaagarwa bole
haaye
oonchi aatariya pe kaagarwa bole
man ki talaiyya mein aa ?? dole
man ki talaiyya mein aa ?? dole
nainan mein jhoole balam
nainan mein jhoole balam
??
nainan mein jhoole balam
??
man mein samaaye piya
man mein samaaye piya
man mein samaaye
hoy
man mein samaaye piya
man mein samaaye

hoy
hoy
man mein samaaye piya
man mein samaaye piya
man mein samaaye
ho
man mein samaaye piya
man mein samaaye

sainyya ke aangna mein balam ke dere
ho
sainyya ke aangna mein balam ke dere
sau sau bahaane se panghat pe chhede
sau sau bahaane se panghat pe chhede
baanke sipahiya tohe raste mein ghere
baanke sipahiya tohe raste mein ghere
naina churaaye gori
naina churaaye gori
man mein lajaaye
naina churaaye gori
man mein lajaaye

man mein samaaye piya
man mein samaaye piya
man mein samaaye
ho
man mein samaye piya
man mein saamaye
nainan mein aaye gori
nainan mein aaye gori
jeewan pe chhaaye
nainan mein aaye gori
jeewan pe chhaaye
man mein samaaye piya
man mein samaaye piya
man mein samaaye
ho
man mein samaaye piya
man mein samaaye


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 :

5258 Post No. : 17264

Today’s song is from the film Circus ki sundari aka Circus Queen-1941.

This was the first ever Talkie film having a story with a background of a Circus atmosphere. On checking the film list of silent films, I did not find any film title connected with Circus. From 1941 to 2007, I found 6 film titles in which the word Circus is there. They are….

Name of movie Year of release Heroine of the movie
Circus ki sundari 1941 Miss Moti
Circus Girl 1943 Miss Brijrani
Circus king 1946 Miss Brijrani
Circus wale 1950 Fearless Nadia
Circus Queen 1959 Fearless Nadia
Cirkus 2007 Jacqueline Fernandes

The last film, Cirkus-2007 had nothing to do with Circus. I have seen its trailer.

Fearless Nadia working in a film having a Circus backdrop is understandable. She had actually worked in a circus before joining the film line. However, about the other Heroines, I have absolutely no information about the actress Miss Moti ( 13 films from 1934 to 1943) and Miss Brij Rani’s biodata is with me, but she was never connected with any circus in her life.

The film was released on 28-11-1941. As per Film India magazine review, the entire film was shot inside a circus. I wonder how Miss Moti must have managed, when she had no experience of being in the company of wild animals like lions, tigers or elephants ! The story of the film was a typical stunt film story. I will not repeat the story because our Sadanand Kamath ji has already given it in his post in 2018, on one of the songs of this film. The film was produced by Kikubhai Desai – father of the potboiler maker Manmohan Desai. Unfortunately Kikubhai died just 2 days before this film was released.

The film was made by Paramount Movietone, famous for making Stunt films, before Wadia Movieone surpassed it ! Perhaps this was their last film too. The film was directed by Balwant Bhatt – the elder brother of Nanubhai Bhatt, another director of stunt films. Balwant directed only B or C grade films in his career. Balwant Bhatt (13-1-1909 to 7-2-19650 directed 33 films. He also directed many Gujarati films. He was famous in Gujarat for his film Divadandi-1952 in which Dilip Dholakia sang the iconic song ” Taari aankhni affini”. Balwant also helped MD Narayan Dutt by giving him the Debut opportunity for film Mordhwaj-1952.

The cast of the film was Miss Moti, Jal Merchant, Gulab, Agha, Puri, Rekha, A. Kareem and many others. The dialogues and songs were written by P.L.Santoshi and A. Kareem. There were few artistes in the Film Industry who were ‘all- rounders’. These artistes achieved excellence in many departments of film making. A. Kareem was one such artiste. He was brother of Music Director Ghulam Mohammed. He was an Actor, Producer, Director, Composer, Lyricist, writer, s/play and dialogue writer and a Costume designer ! In my opinion, he can be compared with only Badri Prashad, who was Actor, Producer, Director, Composer, Singer, Character artiste and a Choreographer too !..

In the early era, there were many such artistes who did many things-sometimes out of necessity or compulsion or to sustain jobs. But they were known for ONE main activity. Similarly A. Kareem was known as a Lyricist. He started his career with Aaj ki Duniya-40 as an actor. He also acted in Jagat mohini-40, Meri Khwaish-041, and Circus ki Sundari-41. He wrote s/p and dialogues, with P L Santoshi for films Circus ki sundari-41 and Bombay Calling-42. He composed music for 5 stunt films like Kashmir ki kali-46, Toofani Teerandaz-47,Atom Bomb-47,Dhoomketu-49 and Maya Mahal-49. He had composed 35 songs.

He directed 13 films like Kalakar-42,Talash-43,Badmash-44,Jeewan swapna-46,Parbat ki Rani-48,Rangeele Musafir-50,Josh-50,Gazab-51,Char chand-53. Maharani-57,Mehfil-57,Tilasmi Duniya-62 and Mehbooba-65.

As a Costume designer he worked for Naya Daur-57, Dil apna aur Preet Parayee-60, Mere Mehboob-63,Kaajal-65, Main vohi hoon-66 and Dastak-70. As a Lyricist his most famous song was Talat’s “Hai ye vohi aasman, aur vohi zameen, par meri Taqdeer ka ab vo zamana nahin “. He wrote 146 songs in 20 films.

Nowadays, it is impossible to find such All rounders in the film industry. Among the cast members, Jal Merchant was from the Parsee Community. In the 30’s and the 40’s there were many Parsee actors in Hindi films. Initially they rolled over to Talkie films from the silent era, when the silent films stopped being made from 1934. Later on many parsees joing films willinglky too. Some parsee artistes were Sohrab Modi, Billimoria brothers, Shammi etc.

Jal Merchant was a typical Parsi born on 15-1-1920 and brought up in the Parsi Colony area in Bombay. Though his family had a business, he did not join it as he was keen to make a career in films. Bombay being the centre of filmmaking he had plenty of chances. He did not have a masculine, wide chested body, but he compensated with his superb acting skills. He could also sing in his soft voice.

It was a colorful stellar team that Jal Merchant formed with Zubaida in the early talkies. But it was in mythological roles, and not romantic parts, that they first won the hearts of cinegoers. The first picture that made them a rage everywhere was Sagar’s “Veer Abhimanyu,” in which Jal played Abhimanyu to Zubaida’s Uttara. In the next one- Subhadra Haran-32, Jal was Arjun, Abhimanyu’s father, while Zubaida played Subhadra.

Like Zubaida, Jal Merchant joined films in the “silent days”. It was a change of medium for him, for he had been playing female roles on the Gujarati stage! His performance as the heroine of “Shankit Hriday,” a Gujarati play, proved a hit, and Nagendra Majumdar, who directed the play, induced him to switch over to screen acting. Jal joined the Imperial Film Company, and among his early films the most notable was “Vasant Bengali,” a social picture directed by R.S. Chowdhury. In those days, the screen hero generally had more brawn than brains, but the lead player of “Vasant Bengali” was called upon to show more intelligence than physical prowess. Jal did just that – and won instant fame.

After the advent of sound, Jal’s first four films for Sagar were mythologicals – “Veer Abhimanyu-1931,” Subhadra Haran-1932,” “Pandav Kaurav-1933” and “Mahabharat-1933”. For close-ups of these pictures, Jal used to wear trousers and only the upper part of his body was made up for his role. But in one close-up his pants were also visible! The shot was cut on the first day of screening in Bombay.

Gifted with a fine voice, he also delighted cinegoers with his singing. He sang 33 songs in 7 films-Meerabai-32, Pandav Kaurav-33, Mahabharat-33, Grihalaxmi-34, Aaj kal-34, Sone ka Shahar-35 and Toofan Express-1938.

In “Zarina,” written and directed by Ezra Mir, he was the tongawallah who falls in love with a dancing girl at a carnival. This poignant romantic tragedy won plaudits for both Jal and Zubaida. It was their last picture together for Sagar. Zubaida left Sagar and Sabita Devi took her place. Sabita and Kumar were the first stars imported from Calcutta. Sabita co-starred with Jal in “Phantom of the Hills,” directed by Ezra Mir, in which he played a dashing Pathan riding a white charger. In “Educated Wife” (Grihalaxmi), directed by Sarvottam Badami, he played a modern educated youth. In this role the versatile Jal revealed a genial personality. Sabita was again his co-star.

Jal and Zubaida played stellar roles together once again in “Aaj Kal,” directed by R.S. Chowdhury. This was the last important picture for both stars. Jal acted in about n15 Silent films and 29 Talkie films. His first Talkie film was Veer Abhimanyu-1931 and his last Talkie film was Armaan 1953.

Jal Merchant, who already had a family flourishing business, retired from the screen. Later, he started to live a quiet life in Bandra. Jal was an excellent shikari in his younger days. His screen associates also remember his soft voice, gentle manners and sensitive, handsome face. His pairing with Zubeida and Sabita Devi was very popular. He had all the gentle Parsee manners and was a popular co-star for the heroines.

I have read somewhere that Jal Merchant died in 1963 in Bombay. He was unmarried till the end, like many Parsis. ( information from an article by V.P.Sathe in Screen, ‘Screenplay’ by Isak Mujawar, Harish Raghuwanshi ji, HFGK, muVyz and my notes have been used in this post, with thanks.)

Today’s song is sung by Khan Mastana, Miss Kamal and chorus. I do not know who this Miss Kamal was. The music was by Khan Mastana. It is a good song.


Song-Ye khel tamasha do din ka (Circus Queen)(1941) Singers- Khan Mastana, Miss Kamal, Lyricist- P.L.Santoshi and A.Kareem, MD- Khan Mastana
Khan Mastana + Miss Kamal
All chorus
Male chorus
Female horus

Lyrics

Ye khel
Ye khel tamaasha do din ka
bhai khel tamasha do din ka
ye khel
Ye khel tamaasha do din ka
bhai khel tamaasha do din ka

ye taana baana do din ka
ye hansna gaana do din kaa
ye taana baana do din ka
ye hansna gaana do din kaa
ye raunaq pyaari do din ki
ye mehlen ataari do din ki
ye raunaq pyaari do din ki
ye mehlen ataari do din ki

kya thhaur thhikaana hai in ka
kya thhaur thhikaana hai in ka
ye khel
Ye khel tamasha do din ka
bhai khel tamasha do din ka
ye khel
Ye khel tamasha do din ka
bhai khel tamasha do din ka

chalte phirte saudaagar hum
chalte phirte saudaagar
chalte phirte saudaagar hum
chalte phirte saudaagar
jahaan daal den apna dera
wahin basaa den ek nagar
jahaan daal den apna dera
wahin basaa den ek nagar

hum panchhi ee ee
hum panchhi hain parde par(??) khelen
jaate hain chun chun kar ke

hum panchhi hain parde par(??) khelen
jaate hain chun chun kar ke

apna apna tinka tinka
apna apna tinka tinka
ye khel tamaasha do din ka
ye khel tamaasha do din ka
ye khel
ye khel tamaasha do din ka
bhai khel tamaasha do din ka
ye khel
ye khel
ye khel



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 :

5211 Post No. : 17196

———————————————–—————————————
Blog 10-Year Challenge (2012-2022) – Song No. 117
————————————————————————————–

Ten years back on this date viz on 24th October 2012, eight songs from eight different movies were covered on the blog. Here are the details:-

Blog post number Song Movie (Year) Remarks
6885 Birah ki aag lagi morey mann mein Deccan Queen(1936) 2 songs out of 10 covered so far
6886 Tore kajra lagaaun mori raani Bahen (1941) 3 songs covered out of 12 by now
6887 Ham pe dil aaya to bolo kya karoge Do Ustaad (1959) Movie YIPPEED by now
6888 Meri bhi daastaan kya daastaan hai Taatar Ka Chor(1955) 5 songs out of 6 by now
6889 Gussa fuzool hai hamen qubool hai Reporter Raju (1962) Movie YIPPEED by now
6890 Haaye re naa maaro Garam Masaala (1972) 2 songs out of 5 by now
6891 Jai Ambe Jagdambe Maa Heera (1973) 5 songs out of 6 by now
6892 Hey Ambike Jagdambike Hey Maa Baawri(1982) One song out of 6 by now

We can observe that two movies (out of eight) whose songs were discussed on this date ten years ago (on 24 october 2012) have since been YIPPEED. That leaves us with six movies that are eligible for Blog Ten Year Challenge today (24 october 2022).

“Bahen”(1941) is one such movie.

“Bahen”(1941) was produced and directed by Mehboob for Mehboob Productions, Bombay. The movie had Sheikh Mukhtar, Nalini Jaywant, Harish(Bharadwaj), Kanahiyalal, Husn Banu, Swaroop Rani, Shahzadi, R.Choube, Baby Meena( aka Meena Kumari), Advani, Dr.Aghashe, Miss.Iqbal, Mahshar Shirazi etc in it.

“Bahen”(1941) had 12 songs in it. Three songs have been covered in the blog so far.

Here is the fourth song from the movie to appear in the blog. The song is sung by Anil Biswas. Safdar Aah Sitapuri is the lyricist. Music is composed by Anil Biswas.

The record version of the song is not as clear as the video version but it is longer. Moreover, one word “Saanjh” is movie version is replaced with “shaam” in the record version.

Lyrics of the song and other details were sent to me by Prakashchandra.

audio link(record version)

video link:

Song-Kiye jaa sabka bhala (Bahen)(1941) Singer-Anil Biswas, Lyrics-Safdar Aah Sitapuri, MD-Anil Biswas

Lyrics(Provided by Prakashchandra)

kiye jaa sabka bhalaa aa
kiye jaa sabkaa bhalaa aaa aa
kiye jaa sabka bhalaa aa
kiye jaa sabkaa bhalaa aaa aa aaa
kiye jaa sabka bhalaa aa

tu musaafir hai
ye duniyaa hai musaafirkhaanaa
tu musaafir hai
ye duniyaa hai musaafirkhanaa
yahaan din raat lagaa rehtaa hai aanaa jaanaa
yahaan din raat lagaa rehtaa hai aanaa jaanaa
ek ne aake baseraa liyaa
aur ek chalaa aa aaa
ek ne aake baseraa liyaa
aur ek chalaa aa aaa aa
kiye jaa sabka bhalaa aa
kiye jaa sabkaa bhalaa aaa aa
kiye jaa sabka bhalaa aa

(In the video link it is “saanjh”)(In the audio it is “shaam”)

*Saanjh/shaam dum bhar mein ye jeevan ka saveraa hogaa aa aa
*Saanjh/shaam dum bhar mein ye jeevan ka saveraa hogaa aa aa
yehee kehtaa hai ujaalaa ki andhera hogaa aa
yehee kehtaa hai ujaalaa ki andhera hogaa aa aa
bas dhalaa dekh
koyi aan mein sooraj ye dhalaa aa aa
bas dhalaa dekh
koyi aan mein sooraj ye dhalaa aa
kiye jaa sabka bhalaa aa
kiye jaa sabkaa bhalaa aaa aa
kiye jaa sabka bhalaa aa
kiye jaa sabkaa bhalaa aaa aa aa
kiye jaa sabka bhalaa 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 :

5170 Post No. : 17140

———————————————–—————————————
Blog 10-Year Challenge (2012-2022) – Song No. 90
————————————————————————————–

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

———————————————–—————————————
Blog 10-Year Challenge (2012-2022) – Song No. 77
————————————————————————————–

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

———————————————–—————————————
Blog 10-Year Challenge (2012-2022) – Song No. 74
————————————————————————————–

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


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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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