Advertisements

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

Archive for the ‘Songs of 1942’ Category


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3742 Post No. : 14697

“Raja Rani” (1942) was directed by Najmul Hasan Naqvi for Atre Pictures, Bombay. The movie had Vanmala, Sunalini Devi, Maya Devi, Trilok Kapoor, Baby Vimal, Mazhar Khan, Navin Yagnik, David, Bal Govind etc in it.

The movie had fourteen songs in it. One song has been covered in the past.

Here is the second song from “Raja Rani” (1942) to appear in the blog. This song is sung by Baby Vimal. Seeing that Baby Vimal figures in the cast of the movie, we can guess that the song was picturised on her as well.

Pandit Anand Kumar is the lyricist. Music is composed by Khan Mastana.


Song-Main ek niraali gudiya (Raja Rani)(1942) Singer-Baby Vimal, Lyrics-Pt Anand Kumar, MD-Khan Mastana

Lyrics

main ek niraali gudiya
main ek niraali gudiya
main ek niraali gudiya
main ek niraali gudiya
mere nanhe nanhe paanv
mere nanhe nanhe paanv
pair mein jhaanjar jhanjhana baaje
pair mein jhaanjar jhanjhana baaje
mere chhote chhote kaan
mere chhote chhote kaan
kaanon mein baali cham cham chamke
kaanon mein baali cham cham chamke
jaise gagan ke taare
haan haan jaise gagan ke taare
main ek niraali
ek niraali
ek niraali
haan haan haan
main ek niraali gudiya
main ek niraali gudiya
main ek niraali gudiya

chhamchham chhamchham paayal baaje
chaacha ke ghar jaaun
chhamchham chhamchham paayal baaje
chaaha ke ghar jaaun
meethhe meethhe geet sunaakar
chaachi ko bahlaaun
meethhe meethhe geet sunaakar
chaachi ko bahlaaun
main ek niraali
ek niraali
ek niraali
haan haan haan
mai ek niraali
ek niraali
ek niraali
haan haan haan
main ek niraali gudiya
main ek niraali gudiya
main ek niraali gudiya

kunj kunj mein chhup chhup jaaun
kheloon aankh michauli
boondaniyon ke taal pe naachoon
boloon prem ki boli

main ek niraali
ek niraali
ek niraali
haan haan haan
main ek niraali
ek niraali
ek niraali
haan haan haan
main ek niraali gudiya
main ek niraali gudiya
main ek niraali gudiya

Advertisements

This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3741 Post No. : 14695

“Garib”(1942) was directed by Ramchandra Thakur for National Studios, Bombay. This movie had Surendra, Rose, Baby Meena, Veena Kumari, Santaka, N A Ansari, Agha, Pesi Patel etc in it.

The movie had twelve songs in it. Six songs from this movie have been discussed in the past. Here is the seventh song song from “Garib”(1942) to appear in the blog. This song is sung by Surendra. Safdar Aah Sitapuri is the lyricist. Music is composed by Anil Biswas.

Only the audio of this song is available. It is clear that this song was picturised on Surendra himself.

I have not been able to get a few words right in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.


Song-Mohabbat ki duniya hai sabse niraali (Garib)(1942) Singer-Surendra, Lyrics-Safdar Aah Sitapuri, MD-Anil Biswas

Lyrics

mohabbat ki duniya hai sabse niraali
mohabbat ki duniya hai sabse niraali
tasawwur hai sab kuchh har pehlu hai khaali
tasawwur hai sab kuchh har pehlu hai khaali
mohabbat ki duniya hai sabse niraali
mohabbat ki duniya hai sabse niraali

tu hi tu nigaahon mein apni basa hai ae ae
tu hi tu nigaahon mein apni basa hai
jahaan chaaha tasveer teri bana li
jahaan chaaha tasveer teri bana li
mohabbat ki duniya hai sabse niraali
mohabbat ki duniya hai sabse niraali

shikaayat hai shiqwe ?? tu hai
shikaayat hai shiqwe ?? tu hai
bade lutf ki hai ye bazm e khayaali
bade lutf ki hai ye bazm e khayaali
mohabbat ki duniya hai sabse niraali
tasawwur mein sab kuchh pehlu hai khaali
mohabbat ki duniya hai sabse niraali


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3732 Post No. : 14677

“Garib”(1942) was directed by Ramchandra Thakur for National Studios, Bombay. This movie had Surendra, Rose, Baby Meena, Veena Kumari, Santaka, N A Ansari, Agha, Pesi Patel etc in it.

The movie had twelve songs in it. Five songs from this movie have been discussed in the past. Here is the sixth song song from “Garib”(1942) to appear in the blog. This song is sung by Surendra. Pt Indra Chandra is the lyricist. Music is composed by Anil Biswas.

Only the audio of this song is available but it is clear that this “expression of love” song was picturised on Surendra himself.


Song-Haseenon ko karlo salaam (Garib)(1942) Singer-Surendra, Lyrics-Pt Indra, MD-Anil Biswas

Lyrics

o haseenon ko kar lo salaam
salaam more raaja
haseenon ko kar lo salaam
salaam
salaam more raaja
haseenon ko kar lo salaam
aankh lag jaaye to bas jaao wahin
dil machal jaaye to mit jaao wahin
aankh lag jaaye to bas jaao wahin
dil machal jaaye to mit jaao wahin
zara kar lo shaheedon mein naam
zara kar lo shaheedon mein naam
naam
naam more raaja
haseenon ko kar lo salaam
salaam more raaja
haseenon ko kar lo salaam

husn waale salaamat hain apne yahaan
husn waale salaamat hain apne yahaan
wo hamen chhod kar aur jaayen kahaan
wo hamen chhod kar aur jaayen kahaan
roz khali hai apna mukaam
roz khaali hai apna mukaam
mukaam
mukaam more raaja
haseenon ko kar lo salaam
salaam more raaja
haseenon ko kar lo salaam
salaam
salaam


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3718 Post No. : 14651 Movie Count :

4003

Today’s song is from the film “Das Baje” aka “Ten O’ Clock”-1942. It was a Prabhat film, directed by Raja Nene. The lyrics and the story was by Pt. Mukhram Sharma ‘Ashant’. The music director was Keshavrao Bhole. The cast included Paresh Banerji, Urmila, Vasant Thengdi, Baby Shakuntala ( Debut film) and many others. This was a bilingual film in Hindi and Marathi (Daha Vajta).

When Silent film making was in full swing in the 20s and 30s, there were as many as 217 film making companies, spread over different centres like Bombay, Poona, Kolhapur, Nashik, Calcutta, Madras, Bangalore and Lahore mainly. Not all were very active, but few big companies like Madon, Prabhat, Maharashtra, British Dominion, Imperial,Kohinoor, krishna, Sagar, National, Sharda, Laxmi, Surya and United were some of the leading companies, based on their number of films produced. Not all the film makers had their own studios, they used to get the films made in others’ studios.

After the advent of the Talkie and end of making silent films, most of these 217 film companies closed down. However big companies like Imperial, Prabhat, Maharashtra, Kohinoor, krishna, Ranjit etc had their own studios and they started making Talkie films regularly. As the film industry grew bigger some more studios like Bombay Talkies, New Theatres, Pancholi etc came up and flourished. newer studios kept on coming. Some outside film makers like Ramnik lal Shah and Haribhai Desai from Bangalore came to Bombay and started their studios for making Talkie films. All of them flourished in the growing market.

Each studio had its own culture, rules and a battery of actors, directors, MDs etc on monthly pay rolls. Some big studios like Ranjit had, at one time, more than 700 people on its rolls. The Indian Government had even opened a Ration shop, inside their compound for the benefit of employee families. New Theatres, Bombay Talkies and Prabhat too had a sizable number of staff on its rolls. The studios had their own shooting facilities, about 3 to 6 shooting floors, props etc. in all these studios, there always was a Father figure, who controlled all the matters of the studio. For example, Baburao painter for Maharashtra film co., V Shantaram for Prabhat, Chandulal Shah for Ranjit, Sohrab Modi for Minerva, Himanshu Rai for Bombay Talkies, Chimanlal Desai for Sagar, B N Sircar for new Theatres, Dalsukh Pancholi for Pancholi, Lahore etc etc.

As the years passed by, the studio system became weak. There were many reasons. Two of the main reasons were..1. during the war period lot of Black money flowed into film production. producers, Financiers and the Distributors became dictators in star selection story, music…everything. They lured big stars from other studios by offering much more money. Thus studio system slowly became a freelance contract system. 2. more important reason was that due to the short sightedness, autocratic behaviours, use and throw attitudes, bad decisions/habits of the owners, many well known studios were deserted by its stars. Due to gambling of the owners, Sagar and Ranjit studios crumbled and due to Ego clashes of Titans, New Theatres was destroyed. Some stars felt that that prabhat and Minerva took undue advantage of them and new actors did not want to get tied up with one studio.

Reportedly, some studio owners were infamous for cheating their stars while signing contracts. Names that are involved in this are that of Sohrab modi (Meena Shorey, Jyoti), W.Z.Ahmed of Shalimar studios (Sitara Kanpuri ), V.Shantaram (Shanta Apte, B.Nandrekar and S.Purushottam).

When the studios broke up, they gave way to new establishments. Sagar gave way to National and mehboob studios, Bombay Talkies fragmented into Filmistan, N R Achaya films and later filmalaya, New Theatre directors started their own companies like Bimal Roy, Barua, Nitin Bose etc., Prabhat made way for Rajkamal, Nene production, Alhad Chitra of Dharmadhikari etc.

Today’s film Das Baje -42 was a film made at the time when Prabhat’s disintegration had started. Shantaram had already walked out to start Rajkamal. After film Das Baje-42, during 1943, another batch of Raja nene, Shantaram Atavale, Datta Dharmadhikari and Keshavrao Bhole left Prabhat, while film Ramshastri was in the making. K.Bhole however, completed the music composition of film Ramshastri before leaving Prabhat.

In the cast of Das baje-42, you will find a name Urmila- in some films she is named as Urmila Devi also. She was not a very good looking actress, but she compensated for it with her good acting. Urmila Talwar was born in 1921 at Panja Sahib, Rawalpindi district of United Punjab. her father, who was a Civil Contractor, died when she was only 5 year old. She did not get much education but could read and write as well as talk fluently, Urdu, Hindi and English.

She started her career with a small uncredited role in film Mirza Sahiban-33. She was the younger sister of Mirza in this film. After some more small roles, she got her major role in film Aasuon ki Duniya-36. After this, she did not look back and did Punjab Lancers-37, kahan hai manzil Teri-39, Hurricane special-39, Flying Ranee-39, Desh Bhakt-40, Sasural-41, Sajjan-41, Mere Sajan-41, Naari-42, Das Baje-42, Call of youth-42, Badal -42, Apna Paraya-42, Tamash-42, Kirti-42, Salma-43 and last film Bansari-43. After this Urmila got married and stopped working in films, for some time, may be for raising a family. She resumed working in films and acted in another 20 odd films till 1952. Sometimes she was mentioned as Urmila Gupta also. She had sung 12 songs.

Das Baje was the film from where Pt. Mukhram Sharma came to Hindi films prominently. He left Prabhat after writing songs and story of Ramshastri-44.
Pt. Mukhram Sharma was born in Poothi village of Uttar Pradesh, India on 29 May 1909. He studied Sanskrit and was brought up in Meerat. He worked as a Hindi and Sanskrit language teacher while continuing writing poetry and short stories for local magazine.

Sharma narrated one of his stories to one of his friends in Meerut who was associated with Hindi film industry. On his friend’s request, who was impressed with Sharma’s stories, Sharma to visited Mumbai (then Bombay) in 1939. But, he did not get any work in Mumbai so Sharma moved to Poona, Maharashtra with his family. He joined Prabhat Films owned by filmmaker V. Shantaram as a Marathi language tutor to new comers at the salary of Rs 40 per month.

From 1940 to 1942 he was there and wrote songs for Sant Dnyaneshwar-40, Sant Sakhu-41 and Das Baje-42. During this period Sharma got involved with a Marathi actress Shanta Mujumdar and married her. In 1942, Sharma got his break by penning lyrics and dialogue of the Hindi-Marathi bilingual film Das Baje. The film was directed by Raja Nene, starring Urmila and Paresh Banerji. He worked with Nene on more films like Taramati, based on mythological love story of King Harishchandra and Taramati where actress Shobhana Samarth played the title role. He worked on more mythological films like Vishnu Bhagwan and Nal Damyanti. Sharma’s next film was Marathi Film Stree Janma Hee Tujhi Kahani (1952) which was with director Datta Dharmadhikari. The film was based on Sharma’s earlier short story Aaj Ka Sawaal, later recreated in Hindi as Aurat teri yehi kahani (1954) by Chaturbhuj Doshi.

Meeting initial success, Sharma moved to Mumbai where his first film released in 1954 was Aulad. He won the first Filmfare award in the Best story (1955) category He continued writing for films like Vachan (1955), Ek hi rasta (1956), Dushman, Sadhana (1958), Santaan, Do Behneh, Talaq (1958), Dhool ka Phool (1959), Samadhi, Pyar kiya to darna kya(1963), and Humjoli (1970). Sharma’s films often dealt with prevailing social issues. For Sadhana (1958) which described the life of a prostitute, Sharma had initially approached director Bimal Roy who requested to change the ending. Sharma refused for any alternation to the story and approached B R Chopra who made the film . Sharma also worked with filmmaker L V Prasad for his Hindi film, Daadi Maa (1966), Raja aur Rank (1968), Jeene ki raah (1969), and Main sundar hoon (1971), with AVM Prodn for Do kaliyan (1968) and with Gemini Studios for Gharana (1961), Grahasti (1963).

Sharma took retirement from film writing after the release of Naukar (1979) and Sau din saas ke (1980) and moved to Meerut.

He got 3 FF awards for Best story, Sangeet natak Academi award in 1961 and many other awards too.

Sharma died on 25 April 2000 at the age of 92 at his residence in Meerut.

Film India of Baburao Patel, famous and popular from 30s to the 50s, reviewed about 50 films every year. he was so critical that his praise would come only for 10% films. In his opinion, 60% films were poor, 30% were so-so and only 10 % were watchable. In the january 1943 issue of Fil India, he has reviewed film Das Baje-42, in which he criticised every aspect of the film. he had only good words for the Debutante child artiste baby Shakuntala 6 years old, as the only redeeming point in the film. However, as was usually the case, despite his criticism, the film was a grand success commercially and it was appreciated also. Here is the story of the film…

Asha (Urmila) and Dilip (Paresh Bannerji) study together in college and are in love with each other. While Urmila comes from a wealthy family, Dilip is poor but academically brilliant. His family consists of a young eight-year-old sister (Baby Shakuntala), whom he takes care of. Trouble arises when Urmila’s father wants her to marry Dr. Ramesh (Vasnt Thengdi), who comes from an equally wealthy family, and has just returned from abroad after completing his medical studies. Asha agrees to sacrifice her love at her father’s insistence and frail condition. During the wedding ceremony, Asha faints and the marriage is postponed. Dr. Ramesh tends to her and she informs him of her love for Dilip. She then tells her father that she will only marry Dilip and he agrees. Dilip meets with an accident when he is struck by a car. He comes under Dr. Ramesh’s care who has to operate on him. For some moments, Dr. Ramesh is faced with either having the woman he loves or saving Dilip. In the end he goes with his conscience and operates successfully on Dilip.

Let us now listen to the song from this film. It is sung by Urmila and Paresh Banerjee. With this song, the film and singer Urmila make Debuts on the Blog.

(credits- Filmography by Dr. Verma,Encyclopedia of Indian Cinema, Manto’s book ‘ Dastavez’-vol 5, Film Directory, wiki, Hindi filmon ke geetkar,MuVyz, HFGK, Cinerang by Isak Mujawar and my notes.)


Song-Aaj ki duniya kal se nyaari (Das Baje)(1942) Singers- Paresh Bannerji, Urmila, Lyricist- Pt. Mukhram Sharma, MD-Keshavrao Bhole
Both

Lyrics

aaj ki duniya
kal se nyaari
aaj ki duniya
kal se nyaari

ped niraale
paat niraale
ped niraale
paat niraale
bel niraali
phool niraale
bel niraali
phool niraale

rang niraala
gandh niraali
rang niraala
gandh niraali
goonje bhanwra
mahke kyaari

goonje bhanwra
mahke kyaari
aaj ki duniya
kal se nyaari
aaj ki duniya
kal se nyaari

khule gagan mein panchhi doley
khule gagan mein panchhi doley
meethhi meethhi boli bolen
meethhi meethhi boli bolen

gaan niraala
taan niraali
aaj sunaaye koyal kaari
gaan niraala
taan niraali

aaaj sunaaye koyal kaari
aaj ki duniya
kal se nyaari
aaj ki duniya
kal se nyaari

dukh ka parwat
chadhke hans kar
kaanten pathh ke
kuchal kuchal kar

dukh ka parwat
chadhke hans kar
kaanten pathh ke
kuchal kuchal kar

aaj niraala jeewan paaya
aaj niraala jeewan paaya
poori saari
saadh hamaari
poori saari
saadh hamaari
aaj ki duniya
kal se nyaari
aaj ki duniya
kal se nyaari
aaj ki duniya
kal se nyaari


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3700 Post No. : 14619

‘Ujaala’ (1942) was produced under the banner of Taj Mahal Pictures and was directed by K M Multani. The film was based on a story by M A Mughani whose name also appears as the ‘producer’ of the film. The screen play and dialogues were written by Kamal Amrohi. The star cast included Prithviraj Kapoor, Naseem Bano, Mubarak, Ratan Bai, Mirza Musharaf, Baby Vinod Kumari, Jhilani etc.

The film was the maiden venture of Taj Mahal Pictures which was set up by M. Ehsan. However, the film’s publicity materials mentioned M A Mughani, the story writer as the ‘producer’ of the film with M. Ehsan as Associate Producer. My guess is that after completing the college, Ehsan set up this film production company without having any experience in film production. So he may have given a greater role to M A Mughani in the film production who had earlier worked in Minerva Movietone. It was said that Ehsan was a childhood friend of Naseem Bano and she may have partly financed his film production company.

For Naseem Bano, it was her first film after she was released from her contract with Minerva Movietone by Sahorab Modi on her request in 1940. Till that time, she had acted in Minerva’s Movietone’s films like ‘Hamlet’ aka ‘Khoon Kaa Khoon’ (1935), ‘Khan Bahadur’ (1937), ‘Vasanti’ (1938), ‘Meetha Zahar’ (1938), ‘Divorce’ aka ‘Talaaq’ (1938), ‘Pukar’ (1939) and ‘Defeat’ aka ‘Main Haari’ (1940).

After Naseem Bano’s last released film in 1940, there was a gap of nearly 2 years before ‘Ujaala’ (1942) was released in February 1942. It is said that sometime during this interregnum, she accompanied her mother, Shamshad Begum, (a classical singer who was known as Chhamia in the music circle) to be the guest of the son of the Nizam of Hyderabad. There seems to be more to it than being merely the guest in Hyderabad. It was rumoured that Nizam’s prince was interested in marrying Naseem Bano. However, after spending sometime in Hyderabad, both mother and daughter did not like the environment in Hyderabad. So both returned to Bombay (Mumbai). ‘Ujaala’ (1942) was the first film Naseem Bano signed after returning to Bombay.

During the making of the film, a couple of things happened which could have affected the film’s publicity. First, some unscrupulous persons carried out propaganda against Naseem Bano by printing slanderous posters about her. People in the know felt that it was the handiwork of the supporters of the son of Nizam of Hyderbad who were in his payrolls, to tarnish the image of Naseem Bano. But soon, it died down. Probably the fans of Naseem Bano put more faith in her than in the slanderous propaganda.

Second, there were some creative differences between film’s dialogue writer, Kamal Amrohi and the film’s de-facto producer and story writer, M A Mughani. Both had become ‘heavy-weights’ in the film industry after the success of ‘Pukar’ (1939) in which Kamal Amrohi wrote dialogues and lyrics and Mughani was the Publicity Manager. The issues were amicably sorted out and the film was released on February 21 1942 at Lamington Theatre, Bombay (Mumbai).

I have attempted below, a gist of the film’s story based on the film’s review which appeared in April 1942 issue of ‘Filmindia’ magazine.

The story revolves around a theatre which is owned by Shyam (Prithviraj Kapoor). He is idealistic man, a learned musician and also a strict disciplinarian. Maya (Ratan Bai) is the star artist of the theatre who falls to the flattery showered by Tiwari (Mubarak), a wealthy man who is the frequent visitor to the theatre. Maya responds to Tiwari’s flirtations which results in her late hours for the theatre activities. Shyam admonishes her for breaking the theatre discipline resulting in frequent quarrels. One day, Maya, believing the numerous promises of Tiwari, walks out of the Theatre.

Shyam is on a look out for a new girl in place of Maya and find Saroj (Naseem Bano), a dancer. First, she refuses to see him. After listening to his sitar recital over the radio, she falls for him as a musician but refuses to work for him on the stage. Each of them becomes more obstinate than before whenever they meet.

To break down her obstinacy, Shyam takes a flat just below the flat occupied by Saroj. One day, he plays sitar non-stop. At first, Saroj ignores the music but the urge of music in her makes her to dance to the tune of Shyam’s sitar. She admits her defeat and agrees to join his stage show. But this time, Shyam refuses to accept her.

In the meanwhile, Shyam’s theatre has been running into losses. One day, he decides to hand over the theatre to his Manager, Mirza (Mirza Musharaf) and devote his attention to music. Mirza manages a surprise and recruit a new girl, Sarojini for the stage show. Mirza convinces Shyam to attend the opening show. To his surprise, Shyam finds Sarojini is none other than Saroj.

With Saroj, all shows of the theatre become success. Shyam falls in love with Saroj which she reciprocates. Once again, Tiwari comes in to scene to lure Saroj for his personal pleasure. On the marriage day, Saroj is kidnapped by Tiwari and kept in his house. Shyam is distraught. Saroj jumps out of the window of the house where she was kept as prisoner and becomes permanently disabled. Tiwari gets reformed after seeing her pathetic conditions. After some more emotional drama, Shyam and Saroj are united.

Despite a favourable review by ‘Filmindia’, the film failed at the box office. Ehsan incurred heavy losses. He closed down Taj Mahal Pictures in March 1942. The only gain out of producing the film for Ehsan was that Naseem Bano married him and shifted to Delhi after the film’s release. She left the film industry when she was still ‘pari chehra’ (fairy face) for her fans.

But there are twists in the stories of Naseem Bano and the Taj Mahal Pictures. Before that, I need to mention about the system of license for a film production company which was introduced during World War-II. Without this license issued by the Government, the film production company could not import raw films for shooting.

A question was raised in the Central Legislative Assembly (akin to Lok Sabha now) by a legislator “on what grounds Taj Mahal Pictures of Bombay was given licence when the said concern had already closed its business in March 1942”. The Minister of Industry & Civil Supplies replied that “Taj Mahal Pictures did not stop their business. The Government was satisfied that in the absence of the licence, the company could not produce the film and a considerable hardship would be caused if a licence is not granted to them” (as verbatim reported in April 1945 issue of ‘Filmindia’ magazine).

I can now relate this piece of information as to why a dormant film production company like Taj Mahal Pictures got revived. This has also got a connection with the return of Naseem Bano to Bombay film industry in 1944.

Sometime in 1943, Shashdhar Mukherjee along with Rai Bahadur Chunnilal, Gyan Mukherjee, Ashok Kumar, Savak Vacha, Kavi Pradeep and others left Bombay Talkies due to differences with Devika Rani who had taken the reign of Bombay Talkies after the death of her husband, Himansu Roy. This group formed Filmistan Studio. Shashdhar Mukherjee wanted to produce a film on a scale of his box office success film ‘Kismet (1943) which would be his fitting reply to Devika Rani for her ill-treatment of his team.

Shashdhar Mukherjee hit upon an idea of casting Naseem Akhtar in his film ‘Chal Chal Re Naujawaan’ (1944). Since she had already left the film industry in March 1942, it was a difficult proposition to woo her to accept the role in his film. He travelled to Delhi and met M Ehsan, Naseem’s husband with his plan to cast his wife. After much persuasion and a visit by Rai Bahadur Chunnilal, Ehsan agreed on certain conditions. One of the important conditions in the contract was that Shashdhar Mukherjee would oversee the production of one more film under the banner of Taj Mahal Pictures.

It took a long time for ‘Chal Chal Re Naujawaan’ (1944) to be completed. Contrary to the general expectation, the film did not fare well on the box office front. However, as per the contract, Shashdhar Mukherjee was to oversee the production of another film for Ehsan. So the film ‘Begum’ (1945) was stared with most of the infrastructure and resources of Filmistan Studios. The film starred with Ashok Kumar and Naseem Bano in lead roles. With this film, Ehsan’s production company was revived which later produced films like ‘Mulaaqat’ (1947), ‘Chaandni Raat’ (1949), and ‘Ajeeb Ladki’ (1952). Ehsan migrated to Pakistan taking with him all the films he produced in India.

What an irony in Ehsan’s filmy career! When he lost money in ‘Ujaala’ (1942), he gained Naseem Bano. But when he earned a lot of money in Pakistan after releasing these films, he had lost Naseem Bano who was legally separated from him due to his migration to Pakistan.

Now let me present the first song from Ehsan’s first film ‘Ujaala’ (1942). The song is ‘main dekh rahi hoon duniya ke nazaare’ sung by Ratan Bai. The film had six songs, all set to music by Bashir Dehlvi. The lyricist of all the six songs in the film is unattributed. Going by the convention of most of the 1930s and early 1940s films when song writing was a part of dialogue writers, I guess that the song was written by Kamal Amrohi who was the dialogue writer for the film. Incidentally, Kamal Amrohi had written songs for the films ‘Jailor’ (1938), ‘Pukar’ (1939) and ‘Main Hari’ (1940) where he was also the dialogue writer.

With this song, ‘Ujaala’ (1942) makes its debut in the Blog.

Note: This article is based on some of the information gathered from the various issues of ‘Filmindia’ magazines and from the book, ‘Stars From Another Sky’ (2010) by Sadat Hasan Manto.

Audio Clip:

Song-Main dekh rahi hoon duniya ke nazaare (Ujaala)(1942) Singer-Ratan Bai, MD-Bashir Dehalvi

Lyrics

main dekh rahi hoon
oon oon oon
duniya ke nazaare
duniya ke nazaare
main dekh rahi hoon
oon oon oon
duniya ke nazaare
duniya ke nazaare

khilti huyi kaliyaan
jharnon ke kinaare
khilti huyi kaliyaan
jharnon ke kinaare
jharnon ke kinaare
main dekh rahi hoon
oon oon oon
duniya ke nazaare
duniya ke nazaare

bhanwre kaa machalna
daali kaa lachakna
bhanwre kaa machalna
daali kaa lachakna
gulshan kaa tamaasha
phoolon kaa mahakna
gulshan kaa tamaasha
phoolon kaa mahakna
rangeen ishaare
haan rangeen ishaare
main dekh rahi hoon
oon oon oon
duniya ke nazaare
duniya ke nazaare

ab jaise ye duniya
kuchh baaten karegi
ab jaise ye duniya
kuchh baaten karegi
chup reh na sakegi
chup reh na sakegi
hamse hi kahegi
afsaane hamaare
hamse hi kahegi
afsaane hamaare
afsaane hamaare
main dekh rahi hoon
oon oon oon
duniya ke nazaare
duniya ke nazaare


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3697 Post No. : 14614

In the early 1930s, New Theatres (NT) of Calcutta (Kolkata) had become the ‘sanctuary’ for Hindi film artists from Bombay (Mumbai), Lahore and for upcoming artists for better prospects. Some of the prominent Hindi film artists who had joined NT were K L Saigal, Prithviraj Kapoor, Durga Khote, Mazhar Khan, M Kumar, Jagdish Sethi, Kidar Sharma, Aarzoo Lucknowi, K N Singh, Bikram Kapoor Hiralal, Sitara Devi among many others.

Between the end of the 1930s and the beginning of 1940s, almost all of the above mentioned artists left NT to join the Bombay film industry. At the outset, it would appear that they had shifted to Mumbai for better opportunity and prospects in their filmy careers as the number of Hindi films produced in Mumbai far exceeded that from Kolkata. However, there was one more reason for the artists leaving NT and it had something to do with the way the system of film making in NT worked.

Most of the films produced in NT were simultaneously made in Bengali and Hindi based mostly on the Bengali stories. So the film was shot scene by scene first in Bengali with actors for Hindi version being asked to copy the way the Bengali actors acted and delivered dialogues. There was not much of creative freedom for Hindi actors. The same was true for the screen-play and dialogue writers for Hindi version as they only had to provide verbatim translation from the Bengali version.

Kidar Sharma who worked with NT as screen-play and dialogue writer in addition to writing lyrics for the Hindi versions, left NT sometime in 1939 due to creative differences with director Debaki Bose. Also he had an ambition to become a director which was not possible in NT as they preferred directors well versed in Bengali literature for the reason that most of their films were based on Bengali stories. After directing films ‘Aulad’ (1939) and ‘Chitralekha’ (1941) for Film Corporation of India, Kolkata, Kidar Sharma joined Ranjit Movietone on 3/10/1941.

‘Armaan’ (1942) was first film of Kidar Sharma for Ranjit Movietone. Apart from directing the film, Kidar Sharma also wrote the story, screen-play, dialogues and lyrics. The star cast included Motilal and Shamim Bano in the lead roles supported by Nagendra Majumdar, Meera, Bhagwandas, A Shah Shikarpuri, Nazir Bedi, Reva Shankar, Rajendra Singh etc.

There are a couple of interesting trivia while selecting the lead actors for the film. Kidar Sharma wanted to cast Motilal as the lead actor who was not attached to any studios. But he used to work in Ranjit Movietone’s films with an understanding that he would choose the director. Motilal agreed to work with Kidar Sharma on three conditions. First, he would work with a fixed schedule from 9.00 A.M. to 6.00 PM. Second, he would not work on Sundays. And lastly, he would not attend rehearsals. Since Kidar Sharma had fixation about Motilal for his natural acting, he agreed with all his three conditions. However, during the shooting of the film, Motilal himself broke two of his three conditions, rehearsing the scenes and working beyond 6.00 p.m.

When Kidar Sharma selected Shamim Bano (niece of Khurshid Bano, the top actress of Ranjit Movietone) as the lead actress for the film, Chandulal Shah, the boss of Ranjit Movietone had warned him that Khursheed Bano would never work with him as she was jealous of her niece. However, Kidar Sharma not only went ahead with his choice of heroine for the film, he also directed Khursheed Bano in one of his Ranjit Movietone’s films ‘Mumtaz Mahal’ (1944). These are anecdotes which have been mentioned in Kidar Sharma’s autobiography ‘The One and Lonely Kidar Sharma’ (2002).

The gist of the story of ‘Armaan’ (1942) based on the review of the film appeared in October 1942 issue of ‘Filmindia’ is as under:

Prince Kanwal (Motilal) the son of a big zamindar of Ballabhgadh travels to a nearby village to commission the renovation of old paintings to village artist Vyas (Nagendra Mazumdar) who lives with his only daughter, Meera (Shamim). Meera who has seen the Prince in the village with his big car, falls in love with him but Prince is not aware of it. The prince has also given Vyas the task of decorating his palace hall with murals.

Prince has a scientific bend of mind and is doing research in his laboratory of a magical ray that registers the feelings of pains and pleasure. One day during his experimentation of rays, Prince becomes blind. In the meanwhile, Vyas, the artist and his daughter, Meera visit Ballabhgadh for commencing the work of decorating palace with murals. Meera accidentally meets Prince in his palace garden and enters into conversation with him without realising that the Prince has become blind. When she come to know about his blindness, she becomes romantically close to him which Prince reciprocate.

The romance progresses to the dislike of Prince’s uncle (Bhagwandas) who is also the Diwan of Ballabhgadh. He pressurises the King to separate the two by sending Prince out of Ballabhgadh on some pretext. Meera is heart-broken. Meera’s conditions make Vyas worrisome and one day in the fit of depression, he commits suicide. Meera is now orphan. She decides to devote her entire life to the service of God.

One day, Meera meets a Sadhu whose asceticism is shattered after seeing Meera. Very soon, Sadhu starts making some indecent advances. Hearing the story of the blindness of Prince, Sadhu promises Meera that his medicine would restore the eye sight of Prince. But Meera has to pay the cost (in terms of her submission to him). She agrees provided the eye-sight is restored. When the medicine is ready, Meera kills Sadhu and runs away with the medicine to the palace only to find that Prince has become the King after the death of his father.

Meera is not allowed to enter the palace. However, she is compelled to hand over the medicine to one of the dancing girl so that if successful in restoring the eye sight of Prince, Diwan can claim credit for the same. Prince’s eye sight is restored only to see Meera being brought to the palace as a killer of Sadhu. All evidences are against Meera. However, when Meera reveals to the King all the background, Prince recognises the voice and the lovers are united.

The film was released on 22nd August 1942 at Royal Opera House but had to be withdrawn within one day due to communal disturbances. It was once again released after a few weeks at Royal Opera House. The film was regarded as a box office success bringing Shamim Bano into the mainstream cinema.

‘Armaan’ (1942) had 9 songs, all written by Kidar Sharma and set to music by Gyan Dutt. I am presenting the first song ‘Laao To Zara Dil Ko Isey Dil Mein Chhupaaun’ sung by Shamim Bano who was paired with Motilal in the lead role.

From the wordings of the lyrics, it appears that this song was picturised in the palace garden where Shamim meets Motilal without realising that he had become blind. When Shamim comes to know about his blindness, she says ‘Let your heart be with my heart. Let my eyes become your eyes to see the whole world’.


Song – Laao To Zara Dil Ko Isey Dil Mein Chhupa Loon (Armaan) (1942) Singer – Shamim Bano, Lyrics – Kidar Sharma, MD – Gyan Dutt

Lyrics

laao to jara dil ko
isey dil mein chhupaaun
isey dil mein chhupaaun
laao to jara dil ko
isey dil mein chhupaaun
isey dil mein chhupaaun
baitho meri aankhon mein
baitho meri aankhon mein
tumhen duniya dikhhaaun
tumhen duniya dikhhaaun
baitho meri aankhon mein
tumhen duniya dikhhaaun
tumhen duniya dikhhaaun
 
kasturi hai in mein
jinhen khud soongh rahen hain
kasturi hai in mein
jinhen khud soongh rahen hain
un jhopdon mein dekho
diye oongh rahe hain
diye oongh rahe hain
un jhopdon mein dekho
diye oongh rahe hain
diye oongh rahe hain

seedhe hain ke sadhe se lagey
door khade hain
seedhe hain ke sadhe se lagey
door khade hain

aur jugnu hari jhaadion mein heere jade hain
aur jugnu hari jhaadion mein heere jade hain

aakash ke kuchch taaren hain
wo  jhaank rahe hain
aakash ke kuchch taaren hain
wo  jhaank rahe hain

aur jal mein bechaare hain jo wo
jal mein bechaare hain jo wo
kaanp rahe hain

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

लाओ तो ज़रा दिल को
इसे दिल में छुपाऊँ
इसे दिल में छुपाऊँ
लाओ तो ज़रा दिल को
इसे दिल में छुपाऊँ
इसे दिल में छुपाऊँ
बैठो मेरी आँखों में
तुम्हें दुनिया दिखाऊँ
तुम्हें दुनिया दिखाऊँ
बैठो मेरी आँखों में
तुम्हें दुनिया दिखाऊँ
तुम्हें दुनिया दिखाऊँ

कस्तूरी है इन में
जिन्हें कुछ सूंघ रहे हैं
कस्तूरी है इन में
जिन्हें कुछ सूंघ रहे हैं
उन झोपड़ों में देखो
दिये ऊंघ रहे हैं
दिये ऊंघ रहे हैं
उन झोपड़ों में देखो
दिये ऊंघ रहे हैं
दिये ऊंघ रहे हैं

सीधे हैं के सधे से लगे
दूर खड़े हैं
सीधे हैं के सधे से लगे
दूर खड़े हैं

और जुगनू हरी झाड़िओं में हीरे जड़े हैं
और जुगनू हरी झाड़िओं में हीरे जड़े हैं

आकाश से कुछ तारे हैं
वो झांक रहे हैं
आकाश से कुछ तारे हैं
वो झांक रहे हैं

और जल में बेचारे हैं जो वो
जल में बेचारे हैं जो वो
काँप रहे हैं


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3684 Post No. : 14586

“Lajwanti”(1942), alias “Radio Singer” was directed y Hiralal R Doctor for Shree Ganesh Pictures, Bombay. This “social” movie had Ratanbai, Anuradha, Wazir Mohammad Khan, Ashiq Hussain, Fakir Mohammad, Ratan Modi etc in it.

The movie had ten songs in it. Singers and lyricists of these songs are not known.

Here is the first song from “Lajwanti”(1942) to appear in the blog. This song is a bhajan which is sung by an unknown female voice which sounds somewhat familiar. Lyricist is not known. Music is composed by Shyam Babu, who I assume is same as Shyam Babu Pathak.

I have an intuition that this female voice may be that of Ratanbai, the leading actor of this movie who was an actor singer. This blog has seven songs sung by her. On comparing the voice of this song with that of the seven Ratan Bai songs, I feel that the voice is same. So I have assumed this song to be sung by Ratan Bai.

I request our knowledgeable readers to throw light on the movie as well as on the identity of this voice.

With this rare song, “Lajwanti”(1942) makes its debut in the blog.


Song-Teri mahima aprampaar tu hai jag ka paalanhaar(Lajwanti)(1942) Singer-Ratan Bai, MD-Shyam Babu Pathak

Lyrics

Teri mahima aprampaar
tu hai jag ka paalanhaar
teri mahima aprampaar
tu hai jag ka paalanhaar
sooraj chandr jo raushni dete
saagar sarita bahte bahte
saare jag ko mahima kahte
sooraj chandr jo raushni dete
saagar sarita bahte bahte
saare jag ko mahima kahte
saare jag ko mahima kahte
tu hai jag ka khewanhaar
tero koi na paawe paar
tu hai jag ka khewanhaar
tero koi na paawe paar

phal phool main kya chadhaaun
deepak ko main kyun jalaaun
phal phool main kya chadhaaun
deepak ko main kyun jalaaun
teri bhakti kaise dhyaaun
teri bhakti kaise dhyaaun
tu hai jag ka paalanhaar
tero sabhi to hai sansaar
tu hai jag ka paalanhaar
tero sabhi to hai sansaar
teri mahima aprampaar
tu hai jag ka paalanhaar
teri mahima aprampaar
tu hai jag ka paalanhaar


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3683 Post No. : 14582

“Kalaakaar”(1942) was directed by Karim for Durga pictures, Bombay. This “social” movie had Jal Merchant, Maya Devi, M Sultana, Fakeer Mohammad, Abdul, Anant, Ali, Rani Bala, Sayyad Ahmad, Fazlu, Nazeera etc in it.

This by now obscure movie had nine songs in it and they are all obscure songs.

Here is the first song from “Kalaakaar”(1942) to appear in the blog. This song is sung by Faqir Mohammad and Rehmat Bai. Karim is the lyricist. Music is composed by Bashir Dehalwi.

Only the audio of the song is available. Since Faqir Mohammad appears in the cast, so it is clear that he sang for himself, but one cannot be sure which female artist lip synced the song on screen in the voice of Rahmat Bai.

I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song.

With this song, “Kalaakaar”(1942) makes its debut in the blog.


Song-Tu shama bane main parwaana (Kalaakaar)(1942) Singers-Faqir Mohammad, Rehmat Bai, Lyrics-Karim, MD-Bashir Dehalwi

Lyrics

Tu shama baney main parwaana
tu shama baney main parwaana
shama baney main parwaana
tu shama bane
main husn banoon tu deewaana
main husn banoon tu deewaana

main parwaana
Tu shama baney

main mast banaaun
sudh bisraaun
apna roop dikhaaun
main mast banaaun
sudh bisraaun
apna roop dikhaaun

main tan man kho kar
besudh ho kar
tan man kho kar
besudh ho kar
do naina ban jaaun
do naina ban jaaun
main bijli ban kar chamkoon
main taara ban kar dekhoon
main bijli ban kar chamkoon
main taara ban kar dekhoon
dil ko kar ke najraana aa aa aa
main parwaana
tu shama baney main

main jag mein
main jag mein bhor suhaani ban kar
ujiyaala phailaaun
main jag mein
main jag mein bhor suhaani ban kar
ujiyaala phailaaun

main shabnam ka moti ban kar
nainon se neer bahaaun
main shabnam ka moti ban kar
nainon se neer bahaaun
main tez badhaaun
dhoop lage kumhlaaun
rahe na mera fasaana aa aa aa
main parwaana
tu shama baney


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3653 Post No. : 14508

ASAD 10th Anniversary Celebrations – 14
———————————————————————

This Blog is completing 10 years on 19th July 2018.

HAPPY BIRTHDAY to the Blog and CONGRATULATIONS for ATUL ji.

I have yet to come across a similar blog which is running smoothly for 10 years, earning readers’ love and participation to an unbelievable level. The blog has created its own world of ATULITES, consisting of contributors of articles, lyrics, data supply, silent workers behind the limelight, who keep the blog’s non working videos replaced, untiringly and well wishers. The ATULITES run a WA group, meet at different locations in India (Mumbai, Bengaluru, Delhi, Lucknow) from time to time and otherwise keep connected with emails and phone calls. This is an exceptional example, how people of diverse interests-vocations-locations and different age groups stick together with the central magnet of what is called as ‘atulsongaday,’.

It is something beyond mere love of music. It is the result of Atul ji’s leadership that has kept this flock together for such a long period. To assist him, help him and lending a hand is dear Sudhir ji, whose role in keeping in touch with all members is unparalleled.

I came across this blog somewhere in the end of 2010, ending my newly learnt surfing journey here only. I had found a one spot treasure of old songs and information on old films – the people, the times and the stories thereof. My first article came up on 1-10-2012, because of Atul ji’s encouragement and it still continues. The blog has really taught me “It is never too late to turn a new page in the book of life”. It gave me a new identity and a name in the like minded groups, sites and blogs on the Internet. It also gave me new friends.

I take this opportunity to wish the blog many many happy returns of the day (19th July ) and many more milestones. I also wish Atul ji all the best in this enterprise.

BOMBAY (today’s Mumbai) has always been an attraction for people in India. It is considered a ‘mayanagari‘, a ‘swapnanagari‘, where the dreams of hard working talented people can come true. Not every person is a success story but maximum success stories in India have taken place here, in almost every field. When the film industry started blooming and job opportunities opened up in this new field, there was a new destination for people with ambitions and dreams.

There was a trend that aspirants from every corner of India would run away from their town to Bombay, in search and hope of better life. In fact, for all lost children, the search would start from Bombay first. Khalid Hasan, the famous journalist from Pakistan had written in The Friday Times, Lahore, “I love the Qaid e Azam, but what sort of a country he has given us ! There is nowhere for young boys and girls to run to now !!”

This is sufficient to endorse that Bombay was the most desired destination. Today’s song is selected, because in it the singer expresses his desire to go to Bombay. He says, “Bambai ko chalo Bambai ko”. This song is from film ‘Kirti’ from 1942. It was written by Pt. Phani. The music was by Harischandra Bali and it was sung by a most unexpected actor Mithu Miyan. No information about this actor is available. This may not be his real name also. As per records, he seems to have acted in 32 films, from ‘Lutaru Lalna’ (1932) to ‘Alibaba And 40 Thieves’ (1966).

The cast of the film is listed as Lalita Pawar, Jairaj, Sunalini Devi, Jagdish Sethi, Mithu Miyan etc. The film was directed by VM aka Dada Gunjal and the MD was Harishchandra Bali aka HC Bali.

HC Bali was born on 10-3-1906 at Jalandhar, Punjab. He received early training in music from Pt Tola Ram and Ustad Maula Baksh of Talwandi Gharana. He was also a desciple of Bhaskerbua Bakhle and Pt Dilip Chandra Vedi. He adopted their styles. Bali came to Bombay. He entered film by acting as a Hero in film ‘Naksh e Sulemani’ (1933). In later life also he acted in few more films. As an MD, his first film was ‘Aurat Ka Dil’ (1933) and last film was ‘Janata’ (1947). He gave music to 26 films. Among these were first films of Prof Pt Ramanand Sharma, ‘Watan Parast’ (1934), first film of actress Pramila, ‘Bhikharin’ (1935), first film of Debaki Bose in Bombay, ‘Jeewan Natak’ (1935). In film ‘Pati Patni’ (1939), Naushad was his assistant and composed few songs also. In 1942, Bali gave music to ‘Aple Ghar’ (1942), the Marathi verion of ‘Apna Ghar’ (1941). He was the MD for the last film of Vishnupant Pagnis, ‘Mahatma Vidur’ (1943) and in film ‘Janata’ (1947), he gave opportunity to lyricist Rajendra Krishna for the first time.

Bali also gets the credit for bringing KL Saigal to limelight. Both he and Saigal were from Jalandhar. When Saigal was in Calcutta for his job as a typewriter salesman, Bali was living with RC Boral. Bali told Boral about Saigal’s singing and the rest is history. Bali came into news in the late 1950s, when he said that Lata had sung 4 songs for his film ‘Seedha Rasta’ (1941) and thus claimed introducing her to the film singing. However, Lata clarified that till her father Dinanath’s death in 1942, she was in Kolhapur and there was no question of her singing in films in 1941. Thus Bali’s claim got scuttled.

After 1947, Bali retired from films and returned to Jalandhar. He started his own Music School,’Sangeet Vihar’. He became famous as a Music Guru to many singers in later years. Bali also sang on radio and was an A grade artist of All India Radio. He also wrote few books on Music. ‘Sangeet Vigyan’ in 4 volumes and ‘Sangeet Prakash’ in Punjabi language. These books were published by Punjab State University Text Book Board in Chandigarh. Harishchandra Bali died on 24-6-1976 at Jalandhar.

Now let us know something about Sunalini Devi, the actress. She was born on 1-1-1896 in Hyderabad Deccan. Her father, Aghornath Chatopadhyay, a Bengali settled in Hyderabad, was a Sanjskrit scholar. He was proficient in 27 languages and was the first Indian to get the D.Sc. honour. Sunalini was the elder sister of Sarojini, who became Sarojini Naidu after her marriage.

Sunalini learnt music and dance from the age of three itself. Due to her sweet voice, she was called ‘Kokila’. It is to be noted that her younger sister Saojini Naidu was called ‘Nightingale of India’ ! It is unfortunate that the film industry did not use Sunalini’s music skill in her films and she sang just one song in her career in film ‘Raja Rani’ (1942).

Sunalini started acting in stage dramas from 1918. Her first movie was ‘Light of Asia’ which was released initially in Germany and Poland in 1925. Its restored version was released on 5th July 2001, in India. This film was made by Himanshu Rai. The film was shot in Lahore. It was a silent film on Gautama Buddh. Her first talkie film was ‘Veer Kunal’ (1932). She acted in 56 films. Mostly she was known for motherly roles only. She had, like her more eminent sister, married a south Indian Mr AS Rajan, a writer from Madras.

Some of her well known films are, ‘Aurat’ (1940), ‘Lalaji’ (1942), ‘Inkaar (1943)’, ‘Nai Roshni’ (1941), ‘Talaash’ (1952), ‘Bairam Khan’ (1946), ‘Tamasha’ (1952), ‘Dilruba’ (1950), ‘Malhar’ (1951) etc. She retired from films in 1956.

The film ‘Kirti had 12 songs. The singer Mithu Miyan and the film make their debut here on this 10th anniversary day of the blog

[Author’s Note: Credits- Film Directory, Wiki, HFGK, MuVyz, Dhunon Ki Yatra, Tradition of Hindi Music by Manorama Sharma, Marathi Chitrapat Sangeetkar Kosh, and my notes.]

 


Song – Bambai Ko Chalo Bambai Ko (Kirti) (1942) Singer – Mithu Miyan, Lyrics – Pt Phani, Music – Harishchandra Bali
Chorus

Lyrics (Provided by Sudhir)

haiii haiii
bambai ko chalo bambai ko
bambai ko chalo bambai ko
bhai bada shehar bambai
bhai bada shehar bambai
yahaan khel tamaashe kai
yahaan khel tamaashe kai
haiii haiii
bambai ko chalo bambai ko
bambai ko chalo bambai ko

bambai shehar albela
albela
bambai shehar albela
sunder har (??) ka khela
sunder har (??) ka khela
haiii haiii
bambai ko chalo bambai ko
bambai ko chalo bambai ko

bada staashun bori bunder
bada staashun bori bunder
ghoomen chal ke us ke andar
ghoomen chal ke us ke andar
?? waali gaadi dekhen
uuu eee eee eee
?? waali gaadi dekhen
gali mohalle baadi dekhen
?? waali gaadi dekhen
gali mohalle baadi dekhen
haiii haiii
bambai ko chalo bambai ko
bambai ko chalo bambai ko

bambai ki sethani dekhen
bambai ki sethani dekhen..en..en
maarwaad ki rani dekhen
maarwaad ki rani dekhen
haiii haiii
haiii haiii
bambai ko chalo bambai ko
bambai ko chalo bambai ko

kalkatte ka baabu dekhen
kalkatte ka baabu dekhen
kaashi ji ka sadhu dekhen
kaashi ji ka sadhu dekhen
haiii haiii
haiii haiii
bambai ko chalo bambai ko
bambai ko chalo bambai ko

bhai bada shehar bambai
bhai bada shehar bambai
yahaan khel tamaashe kai
yahaan khel tamaashe kai
haiii haiii
bambai ko chalo bambai ko
bambai ko chalo bambai ko
bambai ko chalo bambai ko
bambai ko chalo bambai ko
bambai ko chalo bambai ko
bambai ko chalo bambai ko
bambai ko chalo bambai ko
bambai ko chalo bambai ko

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

हई॰॰ई हई॰॰ई
बंबई को चलो बंबई को
बंबई को चलो बंबई को
भई बड़ा शहर बंबई
भई बड़ा शहर बंबई
यहाँ खेल तमाशे कई
यहाँ खेल तमाशे कई
हई॰॰ई हई॰॰ई
बंबई को चलो बंबई को
बंबई को चलो बंबई को

बंबई शहर अलबेला
अलबेला
बंबई शहर अलबेला
सुंदर हर (??) का खेला
सुंदर हर (??) का खेला
हई॰॰ई हई॰॰ई
बंबई को चलो बंबई को
बंबई को चलो बंबई को

बड़ा सटेशन बोरी बंदर
बड़ा सटेशन बोरी बंदर
घूमें छलके उस के अंदर
घूमें छलके उस के अंदर
?? वाली गाड़ी देखेँ
ऊ॰॰ऊई॰॰ई॰॰ई
?? वाली गाड़ी देखेँ
गली मोहल्ले बाड़ी देखें
?? वाली गाड़ी देखेँ
गली मोहल्ले बाड़ी देखें
हई॰॰ई हई॰॰ई
बंबई को चलो बंबई को
बंबई को चलो बंबई को

बंबई की सेठानी देखें
बंबई की सेठानी देखें॰॰एं॰॰एं
मारवाड़ की रानी देखें
मारवाड़ की रानी देखें
हई॰॰ई हई॰॰ई
हई॰॰ई हई॰॰ई
बंबई को चलो बंबई को
बंबई को चलो बंबई को

कलकत्ते का बाबू देखें
कलकत्ते का बाबू देखें
काशी जी का साधू देखें
काशी जी का साधू देखें
हई॰॰ई हई॰॰ई
हई॰॰ई हई॰॰ई
बंबई को चलो बंबई को
बंबई को चलो बंबई को
भई बड़ा शहर बंबई
भई बड़ा शहर बंबई
यहाँ खेल तमाशे कई
यहाँ खेल तमाशे कई
हई॰॰ई हई॰॰ई
बंबई को चलो बंबई को
बंबई को चलो बंबई को
बंबई को चलो बंबई को
बंबई को चलो बंबई को
बंबई को चलो बंबई को
बंबई को चलो बंबई को
बंबई को चलो बंबई को
बंबई को चलो बंबई को


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3630 Post No. : 14456

Today’s song is from film ‘Kunwara Baap’ (1942).

Hindi film industry is a funny place. Great stories of the world fail when made into films and some ‘made to order’ stories become so successful films that the subsequent film makers copy the films, with slight alterations. Sometimes identical titles have nothing in common and sometimes remakes are made with different titles – not matching the original one in any way.

There was a film ‘Kunwaara Baap’ in 1974 also, made by the comedian Mehmood. There was absolutely no similarity in the story of these films. Mehmood’s film was essentially based on Polio Protection, while the 1942 film was a total comedy. In this case only the title is same, everything else is different. There is interesting information on ‘Kunwara Baap’ of 1942.

‘Bachelor Mother’ (1939) was a popular Hollywood film directed by Garson Kanim, with Ginger Rogers and David Niven in the lead. It was a story of a single girl, who finds an abandoned child and raises it. She is stamped as unwed mother and many hilarious situations are created with her lover.

This film was copied by Kishore Sahu, who produced and directed it under the banner of Acharya Art Prodns. He was the hero and the heroine was Pratima Dasgupta. The film was ‘Kunwara Baap’ (1942). The theme was reversed here and the rich bachelor boy finds a child left in his car. Not finding its parents he decides to keep the child, which causes misunderstandings with his lady friend etc.

The noted Hindi novelist Amritlal Nagar (famous for his novels – ‘Boond aur Sagar’ and ‘Shatranj ke Mohre’ etc.) wrote the dialogues and lyrics of this film. He also acted in the film. Nagar had earlier written for films ‘Sangam’ (1941) and ‘Kisi Se Na Kehna’ (1942). Later he also wrote for ‘Raja’ (1943).

This film became very popular. Later on many films in many languages were made on this theme. Even Hollywood made a remake called ‘Bundle of Joy’ in 1956 with Debbie Reynolds and Eddie Murphy in the lead.

In Madras the AVM supremo saw these two films and decided to make a Tamil film ‘Vazhkai’, on this story. He got his cast ready except the heroine. He wanted a fresh face, preferably a debutante. Anyway, a young Telugu actress Pandhari Bai was selected, but it was found that she could not speak Tamil fluently.  MV Raman, AVM’s Director suggested a name of a young dancer Vijayantimala, who was the daughter of actress Vasundhara Devi and MD Ramaswami. She was called and a contract for 3 years was signed .

When ‘Vazhkai’ was being made, AVM supremo saw the Hindi film ‘Khidki’ (1942) with C Ramchandra’s music. This he liked so much that as many as 3 songs from ‘Khidki’ were copied and used in ‘Vazhkai’ by the MD – Sudarshanam. ‘Vazhkai’ was released in 1949 and it was a super duper hit. AVM made a Telugu remake – Jeevitham (1950). This too was a hit.  Then AVM decided it was time to invade the Hindi films and a film called ‘Bahaar’ was made in 1951 with Vijayantimala and Karan Dewan. Karan Dewan was considered a lucky star in those days. This film also became a hit. ‘Bahar’ also had a  similar story as ‘Kunwara Baap’.

The cast of this film was Kishore Sahu, Pratima Dasgupta, Anjali Devi, Master Dhulia, Moni Chatterjee, Nana Palshikar etc. The film was made by Acharya Art Productions, owned by NR Acharya (ex Bombay Talkies). The film was directed by Kishore Sahu. The music was composed by Ramchandra Pal, for the lyrics by Amritlal Nagar, Balam, Satyakam and Sharma. However, in HFGK, none of the songs of the film are specifically credited to any one lyricist.

The story, dialogues, screenplay and some lyrics were by Amritlal Nagar (17-8-1916 to 23-2-1990). He was an extraordinary person. He handled almost every department of literature – except perhaps poetry and autobiography. Short stories, novels, dramas, travelogues etc. were written by him. During 1940 to 1947 he was associated with the film industry. He wrote stories, screenplays, dialogues of as many as 20 films in Bombay, Kolhapur and Madras. He dubbed MS Subbulaxmi’s Tamil film ‘Meerabai’ (1947) into Hindi. He also worked to translate Russian films like ‘Zoya’ and ‘Bukhara’ into Hindi. He won innumerable awards, including Padma Bhushan and Sahitya Academy award. He was one of the very rare Hindi literature stalwarts to work in film industry for such a sustained period.

Music Director Ramchandra Pal, born in 1909 was actually a medical Doctor, who entered this profession in various capacities. As an actor he did 3 films – ‘Manmohan’ (1936), ‘Deccan Queen’ (1936) and ‘Aazad’ (1940). He produced and directed a film ‘Raj Nandini’ (1962), made under his own banner – Pal Films. However, this film was never released.

He started his music career with  Tamil films, ‘Bilwamangal’ (1932) and ‘Sarangdhara’ (1935). He shifted to Calcutta and gave music to Bangla films, ‘Rajani’ (1936) and ‘Indira’ (1936). His first Hindi film was ‘Prem Sagar’ (1939), a film made in south by a Bombay film company. This he confirmed in the interview given to Harmandir ji (LB-69).

He was connected as MD with Bombay Talkies films ‘Kangan’ (1939), ‘Punarmilan’ (1940), ‘Bandhan’ (1940), ‘Aazad’ (1940) and ‘Naya Sansar’ (1941). His last film as MD was ‘Raj Nandini’ of 1962. In all he gave music to 20 films. He also sang 15 songs in 7 films. Incidentally, today’s song was his last song as a singer. After 1942 he left singing and after 62 he left film industry and started his private medical clinic in Shivaji Park, Dadar, Bombay. He practiced till his death.

The name Anjali Devi, which appears in the cast is not of the famous south actress Anjali Devi (8-12-1927 to 13-1-2014), who acted in films like ‘Ek Tha Raja’ (1951) (dubbed film), ‘Shuk Rambha’ (1953), ‘Ladki’ (1953), ‘Devta’ (1956), ‘Suvarn Sundari’ (1957) etc. This Anjali Devi of the 40s was different. As usual, I find that the filmography of south Anjali Devi includes films done by Anjali Devi of the 40s. This is what I call Same Name Confusion.

Miss Anjali Devi’s real name was Durgesh Kumari. She was born at Benaras in 1926 in a respectable Brahmin family. Her education was not much but she was fluent in Hindi, Urdu, English and Sanskrit. At the age of 14 years, she came to Bombay, to fulfil her desire of becoming an actress. She joined Ranjit Films and worked in film ‘Pardesi’ (1940). The film was released in 1941. She was credited as Durgesh in this film. She was called to Bombay Talkies to work in film ‘Punarmilan’ (1940), directed by Najam Naqvi. When a section of artistes, led by S Mukherjee, left Bombay Talkies to start Filmistan in 42, one of the BT directors NR Acharya also left and started his own company Acharya Art Productions. Anjali Devi also left to join Acharya. She acted in 3 films of Acharya, ‘Kunwara Baap’, ‘Uljhan’ (1942) and ‘Aage Kadam’ (1943). She later on acted in ‘Paristan’ (1944), and ‘Parivartan’ (1949). She then got married to NR Acharya and settled as a housewife.

Film’s heroine was the dashing Pratima Dasgupta.  She was an actress, producer and a director. She was born on 5-9-1921 into a wealthy family of Bhavnagar. Though many sources mention name of the place of Bhavnagar, which is in Gujarat, I doubt it very much. There are no mentions or references that she was in anyway connected to Gujarat in her lifetime. I believe she was born in Bhanagar – a town just 31 kms. from Calcutta city. This unknown Bhanagar must have become well known Bhavnagar. Her family was related to Ravindranath Tagore. So, after the initial education in England, she came to Shantiniketan and completed her studies. She was a favourite and a favoured student throughout.

Looking at her acting skills,it was Tagore himself who recommended her to act in the Bangla film ‘Gora’ (1938), based on his own novel. Her role of Latika – daughter of Paresh Babu in the film – who falls in love with Bijoy and marries him – was liked by Tagore. She did one more film ‘Na Honewali Baat’ (1938) in Hindi,followed by the Hindi version of ‘Rukmini’ in 1939. After doing 4 Bangla films, she did the Trilingual film (Bangla, Hindi and English)- ‘Raj Nartaki’ (1941). This was made by Wadia Movietone in Bombay and was directed by Modhu Bose, husband of the heroine Sadhona Bose – the international dancer. During her Bombay visit, she got married to an aspiring actor Madsrurul Haq, son of a rich Zamindar Ehsanul Haq of Jallundhar. Madsrurul Haq’s younger sister, Begum Para was a sizzling actress of the 1940s and 1950s

Her other Hindi films were ‘Kunwaara Baap’ (1942), ‘Raja’ (1943) and ‘Shararat’ (1944), all directed by Kishore Sahu. She also did ‘Namaste’ in 1943. After this she turned to direction and did her first film ‘Chhamiya’ in 1945, with Begum Para and David as a Lead pair. She repeated this team again in ‘Pagle’ (1950) also. However her second film ‘Jharna’ (1948) was banned by Morarji Desai, the then Chief Minister of Bombay Province, on the plea that the film had explicit sexual scenes in it. No wonder, as her sister in law – the sizzling Begum Para, had given some uninhibited scenes in this film. This film was a financial disaster for Pratima and she decided to quit films.

In all, Pratima Dasgupta did 10 Hindi films and 8 Bangla films.

Out of the 9 songs of film Kunwara Baap, I have heard 6 songs. Some of them are quite interesting like “Chai Piyogi Rani” and “O Meri Rani, Meri Rani ”, but I felt we must have at least one song of Ramchandra Pal on our blog. This is the only song listed for the film, for which HFGK mentions the singer’s name . Other songs are without names of singers or lyricists. The song’s tune is not very catchy or lilting but the song has a historical value.

The singer and the film both make a debut on the blog.

 

[Author’s Note: Credits – Khalid Hasan from TFT, Pakistan; Isak Mujawar; A.I. Film directory; HFGK; MuVyz; LB-69; Harish Raghuwanshi ji; Wikipedia; and my notes.]

 


Song – Kaahe Paap Se Paap Chhipaaye (Kunwaara Baap) (1942) Singer – Ramchandra Pal, Lyrics – [Unattributed], Music – Ramchandra Pal

Lyrics (Provided by Sudhir)

kaahe. . .
kaahe. . .

paap se paap chhipaaye
re paapi mann..nn
paap se paap chhipaaye
re paapi mann..nn
paap se paap chhipaaye

bigdi baat banaane ko tu
bigdi baat banaane ko tu
hari se aankh churaaye
bigdi baat banaane ko tu
hari se aankh churaaye
karni karta ?? ?? ??
phir paachhe pachhtaaye
re paapi mann..nn
paap se paap chhipaaye

phool ki ?? hovey phir bhi
phool ki ?? hovey phir bhi
bhog doosra paaye
ye kaisa nayay jagat ka
ye kaisa nayay jagat ka
ye kaisa nayay
re paapi mann..nn
paap se paap chhipaaye
paap se paap chhipaaye

paap se paap chhipaa..aaye. . .

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

काहे॰ ॰ ॰
काहे॰ ॰ ॰

पाप से पाप छिपाए
रे पापी मन
पाप से पाप छिपाए
रे पापी मन
पाप से पाप छिपाए

बिगड़ी बात बनाने को तू
बिगड़ी बात बनाने को तू
हरी से आँख चुराये
बिगड़ी बात बनाने को तू
हरी से आँख चुराये
करनी करता ?? ?? ??
फिर पाछे पछताए
रे पापी मन॰॰न्न
पाप से पाप छिपाए

फूल की ?? होवे फिर भी
फूल की ?? होवे फिर भी
भोग दूसरा पाये
ये कैसा न्याय जगत का
ये कैसा न्याय जगत का
ये कैसा न्याय
रे पापी मन॰॰न्न
पाप से पाप छिपाए
पाप से पाप छिपाए

पाप से पाप छिपा॰॰आए॰ ॰ ॰


Advertisements

Important Announcement

(© 2008 - 2018) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over TEN years. This blog has over 14700 song posts by now.

This blog is active and online for over 3700 days since its beginning on 19 july 2008.

Total number of songs posts discussed

14707

Number of movies covered in the blog

Movies with all their songs covered =1147
Total Number of movies covered =4018

Total visits so far

  • 10,898,379 hits

Enter your email address to subscribe to this blog and receive notifications of new posts by email.

Join 1,622 other followers

Bookmark

Bookmark and Share

Category of songs

Current Visitors

Archives

Stumble

visitors whereabouts

blogcatalog

Music Blogs - BlogCatalog Blog Directory

blogadda

Historical dates

Blog Start date: 19 july 2008

Active for more than 4000 days.

Advertisements
%d bloggers like this: