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 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 :

5171 Post No. : 17141

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Blog 10-Year Challenge (2012-2022) – Song No. 91
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This date ten years ago (viz 14 September 2012) saw seven songs from seven different movies getting covered in the blog.

Here are the details:-

Blog post number Song Movie (Year) Remarks
6634 Ae dil e beqaraar bol Fariyaad (1942) 3 songs out of 9 covered so far
6635 Kaanta laago re sajanwa mose raah chali na jaaye Basant (1942) Movie YIPPEED by now
6636 Zulm ki nagri mein kisi ka kaun sahaara hai Aas(1953) Movie YIPPEED by now
6637 Mere jaisa nahin milega ulfat ka deewaana Fifty Fifty (1956) Movie YIPPEED by now
6638 Bachke kahaan jaaoge khinche huye chale aaoge Kahaani Ham Sab Ki (1973) Movie YIPPEED by now
6639 Matlab jo samjhe mere sandes ka Baarood(1976) Movie YIPPEED by now
6640 Din ba din wo mere dil se Trishna (1978) Movie YIPPEED by now

One can notice that six movies (out of seven) 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 (14 September 2022).

The sole movie eligible for Blog Ten Year Challenge today is “Fariyaad”(1942).

“Fariyaad”(1942) was directed by Jayant Desai for Ranjit Movietone, Bombay. The movie had Mubarak, Noorjahaan, Shamim, Rama Shukul, Ishwar Lal, Alaknanda, Rajkumari Shukla, Faatak, Baby Kamla etc in it.

“Fariyaad”(1942) had nine songs in it. Three songs have been covered in the blog.

Here is the fourth song from “Fariyaad”(1942). This song is sung by Ishwarlal. D N Madhok is the lyricist. Music is composed by Khemchand Prakash.

Only audio of the song is available. Ishwarlal had acted in the movie so it is clear that the song was picturised on himself.

Lyrics and other details were sent to me by Prakashchandra.


Song-Yaad kisi ki aayi (Fariyaad)(1942) Singer-Ishwarlal, Lyrics-D N Madhok, MD-Khemchand Prakash

Lyrics(Provided by Prakashchandra)

yaad kisee kee aayee ee ee
yaad kisee kee aayee ee

yaad kisee kee aayee ee ee
yaad kisee kee aayee ee
yaad kisee kee aayee ee ee
yaad kisee kee aayee ee
dil ko de dee dard-e-nishaani
dil ko de dee dard e nishaani
aankh mein aansoo laayee
aankh mein aansoo laayee
yaad kisee kee aayee ee ee
yaad kisee kee aayee ee

ro mere armaa..aan
ro meri aashaaa..aa..aaa
ro mere armaa..aaan
ro meri aashaa..aaaa
main bhee to dekhoon tamaashaa
main bhi to dekhoon tamaashaa
jin ke liye ghar phoonk diyaa hai
jin ke liye ghar phoonk diyaa hai
woh nikley harjaayee
woh nikley harjaayee
dil ko de dee dard nishaanee..eee
dil ko de dee dard nishaani
aankh mein aansoo laayee
aankh mein aansoo laayee
yaad kisee kee aayee ee ee
yaad kisee kee aayee ee

beet gayee ab ab yaad na aayein
lab pe mere fariyaad na aayein…aen..aen
beet gaayee ab yaad na aayein
lab pe mere fariyaad na aayein…aen…aen
na main kisee kaa na koyi meraa
na main kisee kaa na koyi meraa
main hoon meri tanhaayee ee ee ee
yaad kisee kee aayee ee ee
main hoon meri tanhaayee ee ee
yaad kisee kee aayee ee
yaad kisee kee aayee ee ee
yaad kisee kee aayee ee
yaad kisee kee aayee ee ee
yaad kisee ki aayee 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 :

5160 Post No. : 17123 Movie Count :

4619

Today’s song is from an obscure film of 1942 – ‘Nari’. It was made by Venus Pictures, Bombay and was directed by Raja Yadnik. I have no information about this director, except that he had directed 13 films – from ‘Magic Horse’ (1935) to ‘Anarbala’ (1961), averaging 1 film every 2 years ! From his list I find that none of his films were popular or a hit film. The music for the film ‘Nari’ was given by H.C. aka Harishchandra Bali.

Harishchandra Bali aka 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 disciple of Bhaskarbuwa Bakhale and Pt Dilip Chandra Vedi. He adopted their styles. Bali came to Bombay. He entered film by acting as a Hero in the film ‘Naqsh-e-Sulemani'(1933). In later life also he acted in a few more films. As an MD, his first film was ‘Aurat Ka Dil’ (1933) and last film was ‘Janta’ (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, ‘Bhikarin’ (1935), first film of Debaki Bose in Bombay, ‘Jeewan Natak’ (1935). In the film ‘Pati Patni'(1939), Naushad was his assistant and composed a few songs also. In 1942, Bali gave music to ‘Aple Ghar’ the Marathi version of ‘Apna Ghar’ (1941). He was the MD for the last film of Vishnupant Pagnis, ‘Mahatma Vidur’ (1943) and in film ‘Janta’ (1947), he gave the 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 50s, when he said that Lata had sung 4 songs for his film ‘Seedha Rasta’ (1941) and thus claimed to introduce 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 artiste of All India Radio. He also wrote a 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.

The cast of the film was Trilok Kapoor, Urmila, Kamla Warerkar, Lalita Pawar, Jilloo Bai, Majid, Anant Marathe and others. The lyricists were Pt Phani and Bashir Jamali. I always had a curiosity about Pt Phani. I tried all books, net sites, blogs and other documents like newspaper and magazine articles, but nowhere I could find his real and full name. Anyway, this is the case with many lyricists. Barring a few ones who remained in limelight due to their non-poetic activities – like Sahir, Majrooh, Shakeel and the likes of them, lyricists have always been in the last part of priorities of authors and blogs. Even in books on lyricists, not much information can be found except their filmography, thanks to HFGK. Blogs which writers on singers and MDs rarely write on lyricists.

Pt Phani started with the film ‘Yangrila’ (1938) and ended his career with the film ‘Bansari Bala’ (1957). He wrote for 32 films and his songs numbered 219. He was also a dialogue writer for a few films. His films were divided between social and B/C grade films – like mythologicals, almost equally. This is all I know about Pt Phani.

The story of film ‘Nari’ was written by MG Dave and dialogues were by Pt Phani. The story of the film was,

Saroj Mehta lived with her mother Harganga in the chawl of Seth Hiralal. She earned by singing on radio and studied for a Montessori course. Mahesh – son of Seth Shivlal came to her school one day to meet his cousin whose name was also Saroj. Due to the same name confusion, he met Saroj Mehta. They liked each other, love bloomed and they decided to get married. His father also agreed.

But the chawl owner Hiralal wanted Mahesh to marry his daughter Manjula, who was uneducated and a vagabond. To break the proposed marriage many untrue stories were spread around about Saroj’s mother. Due to this Shivlal breaks the marriage and Mahesh gets married to Manjula.

Saroj shifts to another city. She loses her mother. She starts a school for children. Mahesh begets a son. After 4-5 years Mahesh gets transferred to the same city and his son starts going to the school of Saroj. She trains all children nicely and Shivlal and Mahesh are very happy with their son’s behavior and progress. One day Mahesh meets Saroj and the old love blooms again.

Knowing this development, Hiralal and Manjula plan to kill Saroj and finish the problem. However, in the commotion created at time of murder, Hiralal by mistake kills Manjula. He is arrested and jailed. Mahesh and Saroj get married at last.

The heroine of the film was Urmila. She is one of the Same Name Confusion pairs, as there was another Urmila (Bhatt) in Hindi films. However, more about Urmila Bhatt some other time. Now we will know about this Urmila first. You will find the name Urmila – in some films she is named as Urmila Devi, and Urmila Gupta also. She was not a very good looking actress, but she compensated for it with her good acting. Urmila Gupta was born on 31-3- 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 in Urdu, Hindi and English.

She started her career with a small un-credited role in the film ‘Mirza Sahiban’ (1933). She was the younger sister of Mirza in this film. After some more small roles, she got her major role in the film ‘Aansuon Ki Duniya’ (1936). After this, she did not look back and did ‘Punjab Lancers’ (1937), ‘Talwar Ka Dhani’ (1938), ‘Kahan Hai Manzil Teri’ (1939), ‘Hurricane Special’ (1939), ‘Flying Ranee’ (1939), ‘Desh Bhakt’ (1940), ‘Sasural’ (1941), ‘Sajjan’ (1941), ‘Mere Sajan’ (1941), ‘Naari’ (1942), ‘Das Baje’ (1942), ‘Call Of Youth’ (1942), ‘Badal’ (1942), ‘Apna Paraya’ (1942), ‘Tamasha’ (1942), ‘Kirti’ (1942), ‘Salma’ (1943), ‘Bansari’ (1943), ‘Refugee’ (1948) etc. Urmila got married to Vinod Talwar, a businessman and stopped working in films, for some time, maybe for raising a family. She resumed working in films and acted in another 20 odd films till 1952. She had sung 12 songs. In all, she worked in about 55 films.

There is another actor Majid in this film. Majid’s name was Abdul Majid Syed. He was born at Farrukhabad in UP in 1915. His father was an overseer. After completing his 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 SK Daryani and he got a small role in ‘Sher Ka Panja’ (1936) and ‘Sangdil Samaj’ (1936). However, from film ‘Bulldog’ (1937), he got side roles and lead roles in films like ‘Gentleman Daku’ (1937), ‘Insaaf’ (1937), ‘Rajkumari’ (1938), ‘Masterman’ (1938), ‘Zamana’ (1938), ‘Apni Nagariya’ aka ‘Mud’ (1940), ‘Saubhagya’ (1940), ‘Swami’ (1941), ‘Swaminath’ (1942). He also acted in more films like ‘Najma’ (1943), ‘Babar’ (1944) and ‘Zeenat’ (1945).

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.

Today’s song is sung by Lalita Parulkar. There was Lalita Pawar also. Luckily Lalita Pawar had stopped singing long back, otherwise there would have been another pair of Same Name Confusion. By the way Lalita Pawar had sung 10 songs in 3 films in her early career. Lalita Parulkar was actually a Marathi singer. She sang 19 songs in 6 films. ‘Nari’ was her debut film as a singer in Hindi films. She last sang in the film Kul Kalank-1945.

With this song, film ‘Nari’ (1942) makes its debut on this blog.


Song- Kaun hai wo wo kaun hai (Naari)(1942) Singer- Lalita Parulkar, Lyrics-Pt Phani, MD-Harishchandra Bali

Lyrics

kaun hai wo
wo kaun hai
koi bataaye
kaun hai
aankhon se jo dil mein aaye
aankhon se jo dil mein aaye
dil mein aa kar jo bas jaaye
dil mein aa kar jo bas jaaye
bas ke dil mein jo muskaaye
bas ke dil mein jo muskaaye
jo muskaa ke baanchhe(?) laaye(?)
jo muskaa ke baanchhe(?) laaye(?)
kaun hai

jiske aate aayi jawaani
jiske rahte rahe rawaani
kaliyon par hai jiske saaye
phoolon par jo par phailaaye
kaun hai

preet kahen ise preet ke maare
preet kahen ise preet ke maare
prem kahen ise premi pyaare
prem kahen ise premi pyaare
sneh kahen ise saajan saare
kaun hai

kaun hai wo
wo kaun hai
koi bataaye
kaun hai

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Hindi script lyrics (Provided by Sudhir Kapur)
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कौन है वो
वो कौन है
कोई बताए
कौन है
आँखों से जो दिल में आए
आँखों से जो दिल में आए
दिल में आ कर जो बस जाये
दिल में आ कर जो बस जाये
बस के दिल में जो मुस्काए
बस के दिल में जो मुस्काए
जो मुस्का कर बाँछें(?) लाये(?)
जो मुस्का कर बाँछें(?) लाये(?)
कौन है

जिसके आते आए जवानी
जिसके रहते रहे रवानी
कलियों पर हैं जिसके साये
फूलों पर जो पर फैलाये
कौन है

प्रीत कहें इसे प्रीत के मारे
प्रीत कहें इसे प्रीत के मारे
प्रेम कहें इसे प्रेमी प्यारे
प्रेम कहें इसे प्रेमी प्यारे
स्नेह कहें इसे साजन सारे
कौन है

कौन है वो
वो कौन है
कोई बताए
कौन है


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 :

5152 Post No. : 17115

Today’s song is from the film ‘Charanghee’ (1942). It is a very special film in the Indian Film Industry because this was the only film in which the National Poet of Bangladesh – Kazi Najrul Islam wrote some songs and also gave music.

This is a special flm also because it was a debut film not only for Kazi Najrul Islam but also for music director Pt. Hanuman Prasad and for the director of the film – Sibtain Fazli (of the Fazli Bros.- pioneers of Muslim social films in India).

It was also a special film because it had the poetic works (gazhals) of 3 great and prominent shayars namely, Kazi Nazrul Islam, Ghalib and Jigar Moradabadi, along with the 2 comparatively lesser poets – Arzoo Lucknowi and Partav Lucknowi.

The word ‘Chauranghee’ evokes a lot of loving memories of Calcutta for me. During my professional marketing career of over 40 years, I visited Bengal and Calcutta in particular more than 100 odd times. The hotel I stayed at was next to the AC market, adjacent to the Chauranghee Road.

Many times in the evenings, I used to take a walk on Chauranghee and enjoy the crowd of the elites. Whenever I had to stay in Calcutta on Sundays, I always took a stroll on the Chauranghee Road from the Grand Hotel to beyond Park Hotel and the famous petrol pump of Park Road. On every Sunday, the footpaths of Chauranghee were full of second hand books arrayed on the footpaths on both sides and in the nearby lanes. Bengali people are mad about reading books and on Sundays, one must see their crowds on the roadside book shops. Bengali people are so fond of reading books that many roads in Calcutta are named after famous Indian authors including a road called ‘Shakespeare Road’. I have seen most of the world. I consider Bengali people next only to the British in their love of reading books. One must visit the ‘BOOK FAIR’ held annually on ‘The Maidan‘- a part of the Chauranghee area to understand the Bengali people’s love for reading and buying books. Hats off to Bengal for this !

Chauranghee, today a Hi-Fi business area, was once known for kothas, tawaifs and singing families. Actually, it seems, in ancient times a society of any state was divided in 4 classes. 1) The King and the Royalty 2) The Knights, Ministers, Generals etc. 3) The common people including ‘Bhadra Lok‘ and 4) The entertainers (read the class of people whose job was to please the customers). The last one was the ‘Chaturang’ or the Fourth Estate or the Chauranghee !

Film ‘Chauranghee’ was a Muslim social, which depicted the storm that hit a tawaif family on Chauranghee and its aftermaths on that family. The film was made by Fazli Brothers, who were the first to make a series of Muslim social films in the 1940’s decade. The first such film was ‘Qaidi’ (1940), then came ‘Masoom’ (1941), ‘Chauranghee’ (1942), ‘Fashion’ (1943), ‘Ismat’ (1944) and ‘Mehndi’ (1947). The Fazli brothers were two. The senior one was Hasnain Fazli and the younger one was Sibtain Fazli. After partition they migrated to Pakistan. Sibtain remained in Pakistan. He directed and produced 4 films, including the most popular film of Madame Noorjahan in Pakistan, namely film ‘Dupatta’ (1952). Hasnain returned to India, directed two more films and went back to Pakistan.

The star attraction of this film was Kazi Nazrul’s poems and his music. Kazi Nazrul Islam is to Bangladesh, what Rabindranath Tagore is to West Bengal. While, to my knowledge, Tagore never wrote any Naat or a Muslim religious verse, Kazi wrote hundreds of Bhajans and Geets on Lord Rama and Krishna. Though many films – Bangla and Hindi – are based on the stories or novels of Tagore, Kazi has not contributed anything directly to any Hindi film (I do not know about Bangla films). On the other hand he has written the story of film ‘Sapera’ (1939) and provided lyrics and music to film ‘Chauranghee’ directly. Like Tagore’s Rabindra Sangeet, it was Nazrul Geeti in Bengal. I am not comparing them. Both were great souls.

The life story of Kazi is full of ups and downs. His last few years were spent in glory but in very bad health. There were several deaths in his family. His wife became paralytic and he spent time in a Mental Hospital in Ranchi. After the formation of Bangladesh in 1971, the new country invited him, bestowed honors on him, declaring him ‘The National Poet’. The Bangladesh government also took good care of him in his last 4 years, but he was medically unfit to enjoy his glory.

Kazi Nazrul Islam (24 May 1899 – 29 August 1976) composer and songwriter was born in Burdwan District, Bengal. With Tagore he was the major influence on popular Bengali music in the 20th century. Known as the Bidrohi Kavi or the ‘Rebel Poet’ and directly associated with radical nationalist movements (e.g. through the journal Dhoomketu which he edited in 1922, leading to his imprisonment on a charge of sedition), his poetry constitutes the first radical intervention into Hindu and Muslim devotional music, e.g. his famous addresses to the goddess Kali, his ghazal compilations (Chokher Chatak, 1929) and Islamic devotional ssongs (Zulfikar, 1932). Much of his music, continued by the IPTA’s Bengali song repertoire, was polemically seen as a radical-romantic use of the ‘tradition’ (e.g. Salil Choudhury, 1955). One of the first composer-writers to sign contracts with major record companies in Bengal (for Megaphone and Senola and later HMV) and with the Indian Broadcasting Corp., opening up new employment opportunities to a generation of younger composers such as Anil Biswas, SD Burman, Kamal Dasgupta and even Kishore Kumar (whose song “Ai Ek Dui Tran Char Gili Gili, Bam Chick Boob Chick Badhke Bol” in ‘Kehte Hain Mujhko Raja’ (1975), adapts Islam’s famous “Cham Chiki Ude Gelo”). Created an urban variation of tribal jhumur music for Sailajananda Mukherjee’s ‘Pataal Puri’ and wrote the songs for ‘Nandini’ (1941) and ‘Dikshul’ (1943). Some sources credit him as director for ‘Dhruva’, in which he played the Hindu sage ‘Narada’. Started Bengal Tiger Pics with Abbasuddin Ahmed. Their film of Islam’s novel ‘Madina’ remained unfinished.

A significant impact of Nazrul’s work in Bengal was that it made Bengali Muslims more comfortable with the Bengali arts, which used to be dominated by Bengali Hindus. His Islamic songs are popular during Ramadan in Bangladesh. He also wrote devotional songs on the Hindu Goddess Kali. Nazrul also composed a number of notable Shyama Sangeet, Bhajan and Kirtan, combining Hindu devotional music.

Bengali polymath, poet, writer, musician, revolutionary and philosopher. Popularly known as Nazrul, his poetry and music espoused Indo-Islamic renaissance and intense spiritual rebellion against fascism and oppression. Nazrul’s impassioned activism for political and social justice earned him the title Bidrohi Kobi (The Rebel Poet). His musical compositions form the avant-garde genre of Nazrul geeti (music of Nazrul). Accomplishing a large body of acclaimed works through his life, Nazrul is officially recognized as the National Poet of Bangladesh and highly commemorated in India and the Muslim world.

Born into a Bengali Muslim Quazi (Kazi) family, Nazrul received religious education and worked as a muezzin at a local mosque. He learned of poetry, drama, and literature while working with theatrical groups. After serving in the British Indian Army, Nazrul established himself as a journalist in Calcutta. He assailed the British Raj in India and preached revolution through his poetic works, such as Bidrohi (The Rebel) and Bhangar Gaan (The Song of Destruction), as well as his publication Dhumketu (The Comet). His nationalist activism in the Indian independence movement often led to his imprisonment by British authorities. While in prison, Nazrul wrote the Rajbandir Jabanbandi (‘Deposition of a Political Prisoner’). Exploring the life and conditions of the downtrodden masses of the Indian subcontinent, Nazrul worked for their emancipation. His poetry and music fiercely inspired Bengalis during the Bangladesh Liberation War.

During his visit to Comilla in 1921, Nazrul met a young Bengali Hindu woman, Pramila Devi, with whom he fell in love, and they married on 25 April 1924. Brahmo Samaj criticised Pramila, a member of the Brahmo Samaj, for marrying a Muslim. Muslim religious leaders criticized Nazrul for his marriage to a Hindu woman.

Nazrul’s writings explore themes such as love, freedom, and revolution; he opposed all bigotry, including religion and gender. Throughout his career, Nazrul wrote short stories, novels, and essays but is best known for his poems, in which he pioneered new forms such as Bengali ghazals. Nazrul wrote and composed music for his nearly 4,000 songs (including gramophone records), collectively known as Nazrul geeti (Songs of Nazrul), which are widely popular even today. In 1942 at the age of 43 Nazrul himself fell ill and gradually began losing his power of speech. His behavior became erratic, he started spending recklessly and fell into financial difficulties. In spite of her own illness, his wife constantly cared for her husband. However, Nazrul’s health had seriously deteriorated and he grew increasingly depressed. He underwent medical treatment under homeopathy as well as ayurveda, but little progress was achieved before mental dysfunction intensified and he was admitted to a mental asylum in 1942.

Spending four months there without making progress, Nazrul and his family began living a quiet life in India. In 1952, he was transferred to a psychiatric hospital in Ranchi. Through the efforts of a large group of admirers who called themselves the “Nazrul Treatment Society”, Nazrul and Promila were sent to London, then to Vienna for treatment. The examining doctors said he had received poor care, and Dr. Hans Hoff, a leading neurosurgeon in Vienna, diagnosed that Nazrul was suffering from Pick’s disease. It was rumoured that this was because of slow poisoning by the British Government. His condition was judged to be incurable, Nazrul returned to Calcutta on 15 December 1953. On 30 June 1962 his wife Pramila died, and Nazrul remained in intensive medical care. He stopped working due to his deteriorating health.

On 24 May 1972, the newly independent nation of Bangladesh brought Nazrul to live in Dhaka with the consent of the Government of India. In January 1976, he was accorded the citizenship of Bangladesh. Despite receiving treatment and attention, Nazrul’s physical and mental health did not improve. In 1974 his youngest son, Kazi Aniruddha, a guitarist, died, and Nazrul soon succumbed to his long-standing ailments on 29 August 1976.

His Filmography – ‘Bidyapati’ (1937) (writer), ‘Gora’ (1938), ‘Sapurey’ (1939) (writer), ‘Sapurey’/’Sapera’ (writer), ‘Chauranghee’, ‘Chauranghee’ (1942), ‘Chattagram Astragar Lunthan’ (1949), 1972: ‘Padi Pishir Barmi Baksha’ (1972) (Lyricist).
[Information adapted from Encyclopedia of Indian Cinema, en.banglapedia.org and my notes].

Today’s song is sung by Miss Anis Khatun and chorus. Some readers might remember her role and song from Shantaram’s famous film ‘Padosi’ (1941). Actually there were two actresses/singers named Khatun, operating at almost the same time. One was Anis Khatun – who acted in 9 films, from ‘Prithvi Putra’ (1938) to ‘Dil’ (1946) and sang 14 songs in 5 films. The other one was Zarina Khatun who worked in 59 films, from ‘Abul Hasan’ (1931) to ‘Ibrat’ (1954) and sang 25 songs in 12 films from ‘Premi Pagal’ (1933) to ‘Chingari’ (1940). To further complicate matters and torture the film historians, there were other small time actresses like Ameena Khatoon, Zohra Khatun, Khatun Bai etc. It is a difficult task to separate the various same-name artistes and credit them with their genuine films.

I thank Abhay Jain ji from the US for giving me this song and our own Sadanand Kamath ji for uploading it for me.


Song- Saara din chhat peeti (Chauranghee)(1942) Singers- Anis Khatun, Lyricist- Kazi Nazrul Islam, MD- Kazi Nazrul Islam
Chorus
Unknown female voice

Lyrics

saara din chhat peeti
haath hoon dukhaai re
saara din chhat peeti
haath hoon dukhaai re
tabhoon to pet bhar ke
khaaye khaana paai re
tabhoon to pet bhar ke
khaaye khaana paai re
saara din chhat peeti
haath hoon dukhaai re
saara din chhatpeeti

bol bahin aaj gharhe
kya kya pakaai hai
bol bahin aaj gharhe
kya kya pakaai hai
chulho tak baaro nahin
bachcha bhukhaaye hai
chulho tak baaro nahin
bachcha bhukhaaye hai

ham hon kuchh khaao nahin
bhaato banaao nahin
ham hon kuchh khaao nahin
bhaato banaao nahin
saas meri julmi badi
bahut oo sataaye hai
saas meri julmi badi
bahut oo sataaye hai
bairan nanad mori bahute harjaai re
bairan nanad mori bahute harjaai re
saara din chhat peeti
haath hoon dukhaai re
saara din sar peeti
haath hoon dukhaai re
tabhoon to pet bhar ke
khaaye khaana paai re
tabhoon to pet bhar ke
khaaye khaana paai re
saara din chhat peeti
haath hoon dukhaai re
saara din chhar peeti

inki mehraaroo dekho
jaise sookhi paati
inki mehraaroo dekho
jaise sookhi paati
(??) lakwa hai do man ka
?? jaise haathi
(??) lakwa hai do man ka
?? jaise haathi
kohu paawe na dhoop
kohu dekhe na chaand
kohu paawe na dhoop
kohu dekhe na chaand
gharka bheetar band rahe
gharka bheetar band rahe
kaahe na murjhaai re
saara din chhat peeti
haath hoon dukhaai re
saara din chhat peeti
haath hoon dukhaai re
tabhoon to pet bhar ke
khaaye khaana paai re
tabhoon to pet bhar ke
khaaye khaana paai re
saara din chhat peeti
haath hoon dukhaai re
saara din chhat peeti
haath hoon dukhaai re

 


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 :

5129 Post No. : 17081

Today’s song is from the film ‘Tamanna’ (1942).

This was a film made by Laxmi Productions, Bombay. It was directed by Phani Mujumdar and for songs written by SK Kalla, the music was provided by India’s first blind music director KC Dey. In later years there were two more blind MDs. One was Manoharlal Sonik – of the Sonik-Omi duo of MDs and the other was Ravindra Jain. This film was released on 20-6-1942 at the Royal Opera House theater in Bombay.

Film ‘Tamanna’ was an ordinary film, but it became famous afterwards, when it became known that the famous singer Manna Dey had made his debut as a Playback singer in Hindi through this film. However, besides this point, there were few more matters which made this film a special film. In addition to being the debut film for Manna Dey, it was also the debut film for the Banner-Laxmi Productions. Further, it was the first film of its heroine Leela Desai, in the Bombay film world.

People who write on old songs and old films generally write about actors, actresses, directors, lyricists, MDs, singers and also occasionally on the arrangers and the cinematographers. But very rarely, something is written about a producer. Actually it is the producer who conceives the idea of the film, who arranges the finances for the film, who selects a team of director, MD and the cast of the film, still he is not paid much attention. It is because of the producer, an artiste can make debut or an MD gets praise for his music etc, but the producer remains unsung.

Today, we will talk about an enterprising producer of film ‘Tamanna’ who had made several well known films, gave opportunities to many actors, directors and MDs. His name is Chimanlal Trivedi.

Chimanlal Trivedi, was one of the major filmmakers of the 30s and the 40s decades. 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 Theaters. Knowing that the real playing field is Bombay he reached there. He wrote stories for the film ‘Chevrolet’ (1936) and ‘Danger Signal’ (1937) 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’ (1940), ‘Anuradha’ (1940) and ‘Vanmala’ (1941), Balwant Bhatt for ‘Suhag’ (1940) and ‘Madhusudan’ (1941), AR Kardar for ‘Swami’ (1941) and ‘Nai Duniya’ (1942) and Debaki Bose for ‘Apna Ghar’ (1942).

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, RS Chaudhary, Phani Majumdar, Balwant Bhatt etc. worked for him. From Prabhat he brought Shanta Apte for Rs. 1,000 pm, and also Chandramohan, Pagnis and Mazhar Khan. His friend Chandulal Shah followed his way and brought KL Saigal from New Theaters !

CL 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, then Trivedi Productions 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, KC 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’ ( ? ) !

[Author’s Note: Thanks to Harish Raghuwanshi ji for his book “बॉलिवूडमा गुजरातीयो” in Gujarati, Encyclopedia of Indian Cinema, muVyz and my notes.]

This was also the first film in Bombay for the film’s heroine Leela Desai, a famous and well known name in Bengal made films, till then. She was especially invited by Chimanlal Trivedi for this film. Later she did many of his and others’ films in Bombay. Trivedi had also called 7 different technicians from Calcutta for this film, according to Baburao Patel – editor of Film India in its June 1942 issue. This was to make the film technically superior quality. These technicians did it, but the film had a very weak story. Actually, in those days it was the first film on ‘Village Uplift and Cottage Industry’ – a favorite topic for speeches of Gandhi ji. The story was built around ‘a typically Bengali idea of Platonic Love’, seen in many earlier New Theaters films from Calcutta.

Leela Desai was cast opposite Jairaj. They fall in love. She is very rich, but will get her wealth only after marriage. Jairaj works in a company on a high post. He spends half his salary on research and half on village development. Due to a misunderstanding, on her offering money for Jairaj’s work, they separate. Leela marries Karan Dewan to get the money. She anonymously gives that money to Jairaj for his project. Karan Dewan comes to know the entire story and magnanimously divorces Leela. Jairaj and Leela get married.

Leela Desai was the daughter of Dr. Umedbhai Lalbhai Desai-a Gujarati and his wife Satyabala Devi – a Bengali from Bihar, who was a famous and prominent singer of the 1930s. Leela Desai was born on 1-1-1909 in Newark, New Jersey, America, where her parents had gone for a 3 year work trip. She grew up in India. She learnt dancing from Amla Devi (who married Uday shanker), as well as from Lachhu Maharaj and Sohan lal. She also learnt music at Morris College, Lucknow.

Leela Desai was the 4th of the 5 children born to Dr Umedram Desai from Gujarat and Satybala Devi, daughter of a Bengali landlord settled in Bihar. It was a second marriage for both of them as Satyabala Devi lost her husband during childhood while Dr Umedram Desai got married to his first wife in his childhood through whom he had two sons. Later, Dr Umedram Desai married Gunobati Mitter, a Bengali Christian, for the third time with whom he had 6 children. Before her marriage, Gunobati Mitter worked as a tutor for the children of Dr Umedram Desai and Satyabala Devi in Rampur. So apart from her own 4 siblings, Leela Desai had 8 step brothers/sisters.

Leela Desai was trained in the Bhatkhande Music Institute established in Lucknow in 1926. It has played a vital role in training generations of performing artistes, dedicated gurus and gifted composers. Lucknow has contributed music directors, (like Naushad, Madan Mohan, Roshan), actors and actresses (like Kumar, Iftekhar, Akhtari Bai, Bina Rai, Yashodhara Katju, Swaranlata), singers (Talat Mahmud, Anup Jalota, Dilraj Kaur, Krishna Kalle), writers (like Amritlal Nagar, Bhagawati Sharan Verma, Achala Nagar), lyricists and dancers. Lachhu Maharaj was a very successful choreographer for many films. Pahadi Sanyal, Leela Desai and Kamlesh Kumari of New Theaters at Calcutta were all trained here.

In one of her stage performances in Lucknow, NT’s Director Hem Chander saw her and invited her to Calcutta for work in films. She worked in the film ‘President’ (1937) as the sister of Kamlesh Kumari, opposite Saigal. It was followed by ‘Vidyapati’ (1937), ‘Dushman’ (1938), ‘Kapaal Kundala’ (1939) and ‘Nartaki’ (1940). She also did ‘Adarsh Mahila’ (1937) with Ideal Film company.

Leela Desai had been invited by the students of the Intermediate College in 1941. Bangalore had the distinction of holding festivals of films made by New Theaters and Prabhat Film Co.

BN Sircar’s empire introduced personalities of the stature of PC Barua, Bimal Roy, Debaki Bose, Leela Desai, Phani Majumdar, Timir Baran, Uma Shashi, Nitin Bose, KL Saigal, Pankaj Mullick, Nemo, Sisir Kumar Bhaduri and Jamuna, all of whom later earned all India fame, under the banner of New Theaters. Among his technical achievements were the bringing of sound to Calcutta for Bengali films, and the introduction of the playback system. The elephant logo of New Theaters acted as a magnet to draw crowds throughout the country.

Chimanlal Trivedi brought her to Bombay to act opposite Jairaj in the film ‘Tamanna’. She acted in 5 films of Chimanlal Trivedi. After ‘Tamanna’, Leela Desai acted in films like ‘Sharafat’, ‘Paraya Dhan’, ‘Nagad Narayan’, ‘Inkaar’, ‘Mujrim’, ‘Miss Devi’, ‘Kaliyan’, ‘Meghdoot’, ‘Maharani Minal Devi’, ‘Magadhraj’, ‘Kamla’, ‘Dev Kanya’, ‘Soorat’ and last film ‘Geet Govind’ (1947).

She acted opposite leading actors like KL Saigal, Najmul Hasan, Jairaj, Pahadi Sanyal, Surendra, Chandra Mohan, Khalil, Baburao Pendharkar etc. She worked under top directors like Debaki Bose, Nitin Bose, Kedar Sharma, Phani Majumdar and others. Her sister Monica Desai (who married Phani Majumdar) was also in films. In 1944, Leela also acted in the movie ‘Kaliyan’ with Ramola. Ramola also acted in the film ‘Lalkar’ in the same year. In a span of just 10 years, Leela Desai acted in 21 films and then left films.

She settled in Darjeeling with her mother. Leela Desai owned a house in Darjeeling called ‘Lily Cottage’. Her mother Satyabala Devi lived there until her death. It is possible that Leela knew Manjula or Sumitra Sanyal in Darjeeling. Leela Desai is mentioned in Bollywood actress Sumitra Sanyal’s site.

Today’s song is sung by an unknown male, female and a chorus. I feel it must have been sung by some street singers or in the background in the film. Anyway, enjoy the song….


Song – Hai Kaun des tumhaara musaafir (Tamanna)(1942) Singers- Unknown Female voice, Lyricist – SK Kalla, MD – KC Dey
Male voice + Female voice
Chorus

Lyrics

hai kaun des tumhaara musaafir
kaun des tumhaara musaafir
kahaan ke
haan haan haan
kahaan ke
rahnewaale ae
tum kahaan ke rahnewaale
tere bolon ne praan jagaaye
teri baani se hum yahaan aaye
tere bolon ne praan jagaaye
teri baani se hum yahaan aaye

aa ha ha ha
hum bane kisaan dulaare
maata dharti ke pyaare
hum bane kisaan dulaare
maata dharti ke pyaare
haath bane hathhiyaar hamaare
hum mazdoor hain saare
haath bane hathhiyaar hamaare
hum mazdoor hain saare

hum hain lohaar
hum hain kumhaar
hum hain kapda bun’ne waale
hum hain lohaar
hum hain kumhaar
hum hain kapda bun’ne waale

haath bane hathhiyaar hamaare
hum mazdoor hain saare
haath bane hathhiyaar hamaare
hum mazdoor hain saare

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

है कौन देस तुम्हारा मुसाफिर
कौन देस तुम्हारा मुसाफिर
कहाँ के
हाँ हाँ हाँ
कहाँ के
रहनेवाले
तुम कहाँ के रहनेवाले
तेरे बोलों ने प्राण जगाए
तेरी बातों से हम यहाँ आए
तेरे बोलों ने प्राण जगाए
तेरी बातों से हम यहाँ आए

आ हा हा हा
हम बने किसान दुलारे
माता धरती के प्यारे
हम बने किसान दुलारे
माता धरती के प्यारे
हाथ बने हथियार हमारे
हम मज़दूर हैं सारे
हाथ बने हथियार हमारे
हम मज़दूर हैं सारे

हम हैं लुहार
हम हैं कुम्हार
हम हैं कपड़ा बुनने वाले
हम हैं लुहार
हम हैं कुम्हार
हम हैं कपड़ा बुनने वाले

हाथ बने हथियार हमारे
हम मज़दूर हैं सारे
हाथ बने हथियार हमारे
हम मज़दूर हैं सारे


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 :

4972 Post No. : 16845

Today’s song is from the film Phir Milenge-1942.

The film was made by Minerva Movietone. In 1942, WWII was on its peak. Till that time, the Germans were on the attack, but from 1942 onwards, their decline had started and by 1945 end, both Japan and Germany had lost the war and surrendered to the Allies. However, the damage caused by the war situation continued for a few more years and like all other industries the film industry too took time to normalise its set up.

The war affected the film industry mainly in 3 ways. Firstly, the essential commodities like Petrol, Sugar etc went into shortage and the Government put several items under ” Rationing”. The list also included a shortage of Raw Film, the main requirement for making movies. Many restrictions like the length of the film etc were implemented. To rationalise and to take advantage of the powerful media like films, the Government gave additional raw film to producers on ‘ controlled rates ‘, provided they made a film with a story of helping the government war efforts. It was called a “propaganda” film.

Major film producers make a film or two such films to take advantage of the concession and allotment. During this period many such ‘ War effort’ films were made. Some examples are, Master Vinayak made ” Badi Maa”-1945 with Nurjahan and others ( including Lata and Asha). Acharya Atre’s Navyug films made the film ” Panna”-1944 with Jairaj and Geeta Nizami and film ” Phir Milenge”-1942 was made by Minerva Movietone.

The second impact of War, on the Indian Film Industry was that considerable clandestine Black Money entered the film making and many new, so called ‘Producers’, with bags of money were seen making films. Although more money became available to make more films, the directors had to entertain the whims of the producers about selection of actors or changes in the story. Many such producers started to ‘Direct’ the films. This lowered the quality of films, but brought in many new artistes and provided work to more people.

The third effect of the War was the most damaging. Since the new producers and directors did not have their own studios, they started alluring the studio employed artistes by giving more money per film. They hired studios for shooting films. This devastated the ” Studio Culture”, because artistes started “Freelancing”, without getting attached to a studio. This crumbled the studios on one hand and on the other hand the cost of engaging artistes escalated many folds. Before the war, films could be made in 75000 to 1 lakh rupees, now films needed 1 to 2 lakhs to make one film. It went on increasing and today, making a film in the 2020’s decade one needs atleast 40 to 50 crores per film.

Film Phir Milenge-42 had Sardar Akhtar, Sadiq Ali (later on called The Prince of Minerva), Meena, K N Singh, Menaka and a host of others. The film was directed by Sohrab Modi.

Sohrab Modi’s rise from a Stage Actor to a very popular and successful studio owner, actor-famous for his Dialogue Delivery of very long sentences, producer and director is very interesting. With small successes and big failures, he learned the art of giving what the audience liked in those days. However, one drawback of such people is that they can not and do not change as per the need of the times and become obsolete, ending their careers pathetically.

Famous for making large scale films, powerful dialogues and films with a lot of dramatics, Modi could not cope up with the changing tastes of the audience from the 30’s to the 60’s. The audience changed with 2 generations, but Sohrab Modi’s Minerva Movietone could not change their success formula which was not working now unlike earlier times ! May be he never wanted to change-due to self admiration or king size Ego !!

Minerva was the last big studio and film maker in the list of eminent studios established in the 30’s. When Minerva Movietone was established in 1936, there were already studios like Madon Theatres (est.1919), Imperial (1926), Ranjit Studio (1929), Prabhat (1929), Sagar Movietone (1929), New Theatres (1931), Wadia movietone (1931) and Bombay Talkies(1933). Therefore Minerva was the youngest studio. It is to its credit that it survived with dignity for a longer time-and actively too- than its predecessors and competitors, who perished, some tragically, from 1938 (Madon) to Ranjit (1963).

Sohrab Modi was a colossal personality. leela Chitnis,actress who had the experience in working for films made in different centers like Bombay, Poona, Kolhapur, madras, Calcutta,and Lahore writes in her Marathi autobiography ” चंदेरी दुनियेत “, about all major studios. About Minerva, she writes -“The atmosphere in Minerva was very playful, but once Sohrab Modi entered the premises, everyone used to be quiet and only did his work. He was a taskmaster and a great disciplinarian. he did not like people laughing or whiling their work time. it felt like a Jailor taking rounds in the jail. The atmosphere became suffocating sometimes. ”

I liked him and his films. However I always felt that Sohrab Modi was a polished, educated and a white collared version of Dara Singh. I liked his dialogue delivery style. Later I shifted my liking to Raajkumar ‘Jaani’.

In the cast we see a new name Eruch Tarapore. I was keen to know about this actor because of his strange name. It was a typical Parsee name. I searched quite a lot. Ultimately one day I accidentally came across a site about Parsee artistes. I forgot to note down the name and URL address of that site and till today I did not find it ever again. Anyway I found this information about Eruch Tarapore on this site.

Eruch Tarapore was a distant relative of Sohrab Modi and he worked only in Modi’s films. He worked in 16 films, right from Modi’s first film Hamlet-35 up to 1948. Eruch sang one song each in 3 films, Meetha zehar-38, Jailor-38 and Phir milenge-43. He died in 1948.

Today’s song is sung by Sardar Akhtar and chorus. The song was written by Pt. Sudarshan.


Song- Sipaahi toone jeet liya maidaan (Phir Milenge)(1942) Singer- Sardar Akhtar, Lyricist- Pt. Sudarshan, MD- Meer Saheb
Unknown male voice
Chorus

Lyrics

Sipaahi toone jeet liya maidaan
Sipaahi toone jeet liya maidaan
ladta chal tu
badhta chal tu
ladta chal tu
badhta chal tu
saath tere Bhagwaan
saath tere Bhagwaan
sipaahi toone
sipaahi toone
sipaahi toone

jeet liya maidaan
sipaahi toone jeet liya maidaan

?? bahaadur hai tu
?? bahaadur hai tu
ek ladaai jeet gaya
ek ladaai jeet gaya
jo kaala din aaya thha wo
jo kaala din aaya thha wo
hanste hanste beet gaya aa
hanste hanste beet gaya
dekh dekh kar himmat teri
dekh dekh kar himmat teri
duniya hai hairaan
duniya hai hairaan
sipaahi toone jeet liya maidaan
sipaahi toone jeet liya maidaan

kal wo din thha jab duniya ne
kal wo din thha jab duniya ne
dekhta thha laachaar tujhe
dekhta thha laachaar tujhe
aaj ladaai toone jeeti
aaj ladaai toone jeeti
aaj ?? hathiyaar tujhe
aaj ?? hathiyaar tujhe
kal duniya jai jai bolegi
kal duniya jai jai bolegi
hain sabhi ek zabaan
hain sabhi ek zabaan
sipaahi toone jeet liya maidaan
sipaahi toone jeet liya maidaan
sipaahi toone jeet liya maidaan



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 :

4969 Post No. : 16840

Today’s song is from the Film Sewa-1942.

The year 1942 was an year in which the Hindi film industry entered into its ‘ Teens”, from mid-year. By the time its ” Teen age” was over, it bloomed into its adulthood by beginning ” The Golden Period of Hindi film music” from the year 1949, with many musically enchanting films like Barsaat, Andaz, Badi Bahen, Bazaar, Dillagi, Ek this ladki, Dulari, Lahore and many more films.

Indian film industry has always been alive to the happenings in the country and reflects the national problems and important events in our films.1942 was an year when the II World War was on its peak and it had caused a severe food shortage in the world. Italy had made a silent film ‘Greed’ on this issue. Based on it, Mehboob Khan made a film , Roti’ in India. Mehboob was a socialist and a Nehruvian to the core and so his films like,Mother India or Son Of India were made on socialistic principles. In 1942,Ramchandra Thakur also directed one such film,’Gareeb’.

In India, the Congress had started its Quit India movement, but in our Film Industry it was a Quit studio movement. Many well known film artistes, directors, composers and other related staff moved over to new pastures. 1942, in a sense, became an overhauling of the Film industry with so much movement of people. The following activities changed the scenario to a great extent.

1. A group of disgruntled people in Bombay Talkies, comprising of Rai Bahadur Chunilal, Shashadhar Mukherjee, Ashok Kumar, Sawak Vachha and few of their followers left Bombay Talkies, after disagreements with Devika Rani and formed their own outfit – Filmistan.

2. Mehboob Khan separated from National studios and established his own Mehboob Productions. This was also the time when Mehboob and Anil Biswas separated from each other due to some differences.

3. Abdul Rasheed Kardar established his own Kardar studios.

4. V.Shantaram, along with his team left Prabhat- an institution which he established and made a famous one by his directorial contribution. He first joined Films division and then started his own Raj Kamal Kala Mandir.

5. Wadia Movietone split and the brothers separated. While JBH Wadia, the elder brother, wanted that their company should start making only Social films now, the younger Homi Wadia wanted to continue with Stunt and Action films. He started his own Basant Pictures. Wadia’s star performer Fearless Nadia went with Homi Wadia, whom she married a few years later.

6. Calcutta’s New Theatres started showing signs of disintegration and Debki Bose,P C Barua etc left the New Theatres. Debaki Bose made ‘ Apna Ghar’ in Bombay. K L Saigal left New Theatres to do films in Bombay . He did Ranjit’s’ Bhakta Surdas’ and ‘ Bhanwra’. He of course went back to Calcutta to do a few more films,before coming back to Bombay for Shahjehan and Pawana. He did not/could not go back to Calcutta,as he died after Parwana-47. Saigal, while recording the song “ Nainheen ko raah dikha” in Bhakta Surdas, did 14 retakes in recordings. His younger brother Mohan Saigal acted as Shri krishna in this film and he is heard saying” Surdas ji” in the song Nis Din barsat Nain hamare.

7. Composer Vasant Desai did his first independent film ” Shobha” as a Music Director.

8. C Ramchandra did his first Hindi film as a composer- Sukhi Jeevan.

9. Ninu Mujumdar became MD with the film Black Out.

10. Kamal Dasgupta started his Hindi film career with the film Jawab.

11. Lyricist Ramesh Gupta started with the film Awaz.

12. Lyricist Qamar Jalalabadi started with Zamindar.

13. Suraiya entered the Playback with songs in Nai Duniya and Sharda.

14. Hemant Kumar sang his first Hindi song in the film Meenakshi-42.

15. Manna Dey first sang a Hindi song in the film Tamanna.

16. Jagmohan Sursagar sang in the first Hindi film-Bhakta Kabir.

17. Nurjahan sang her first Hindi film songs in film Khandan-42, in Lahore.

18. Bharat Bhushan’s first film in a leading role was Bhakt Kabir.

19. Madhubala started as Baby Mumtaz in film Basant

From Lahore Dalsukh Pancholi repeated his magic with ‘ Khandaan’-42. This time it was Noorjehan who shook the industry with her songs under Ghulam Haider. Films like Bhakt Kabir,Bhakta Surdas, and Bharat Milap kept the Mythology/religious films in limelight. New Theatres,Prabhat,Bombay Talkies etc all brought excellent films in 1942. Barring Bhakta Surdas,Roti and Khandan,there was not much competition to Naushad’s Station Master-42 ,in music.Its music became quite popular and the film celebrated Silver Jubilee. Naushad tasted success for the first time in his career in 1942 and 2 of his 3 films in the year celebrated Silver Jubilees. The other film was Nai Duniya-42.

Let us take a look at some important films of 1942….

Film Barat had music by Ratanlal-brother of Khemchand Prakash and himself as Khemraj.

Film Basant- though it has the name of Pannalal Ghosh as MD, as per HFGK, all the songs were composed by Anil Biswas (because he was still under contract with National Studios) and Ghosh had only done Orchestration and background music.

Bhakta Kabir had music by Himangshu Dutt- the first title holder of “Sursagar”.

Bhakta Surdas- Gyan Dutt gave 15 hit songs of Saigal and Khursheed. In this film Khursheed sang equally well with Saigal.

Bharat Milap- First film in which Prem Adib and Shobhana Samarth did the roles of Shri Ram and Seeta, which made them famous all over India.

Chauranghee- the only Hindi film for which Kazi nasrul islam gave music and wrote songs too. It was his debut film. Also Debut for Hanuman prasad Sharma as Md and S.Fazli as Director.

Dus Baje- Debut of Baby Shakuntala.

Iqrar- Last film of actress Madhuri (Beryl Classen). Master Vithal-a professional singer from Sholapur sang his only song in a Hindi film.( not the actor)

Jawab- all songs popular, especially kanan devi’s ” Ye duniya Toofan mail”.

Khandan- Entry of Nur jahan, from Lahore. All her songs are popular.

Muqabala- First Talkie film with double role of Heroine- Nadia. Babhubhai Mistri’s magic in trick scenes.

Nai Duniya- Suraiy’s first song in Hindi film.

Roti- Begum Akhtar’s role and 6 songs.

Savera- First film of Arun Ahuja and Nirmala Devi.

Sharada- Naushad gives good songs.

Station Master- Hit film with songs.

Zamindar- Shanta Apte goes to Lahore all the way

All in all, the year 1942 was an eventful year for the industry. Indian audiences enjoyed a variety of Genres in film offerings and a feast of Naushad’s songs, Bhajans and New artistes.

Film Sewa-1942 was a social film made by Ashok pictures. It was directed by Dhirubhai Desai – a director from the silent era, who was famous for directing mainly B grade mythological films and occasionally a few social films The Lyricist was J C Kapur and the music was by S N Tripathi (11 songs) and Biri singh Dukha (2 songs). The film cast had Zahoor raja, Radharani, Shanta, A. Kabuli, Hadi, Shyamsundar, Anwari and few others.

Abdul Rehman Kabuli was from Afghanistan. An expert stage artiste, he had his own Drama Company-Elphinstone Theatre Company in Bombay. He sold the company, went to Calcutta and joined Madon Theatres/studios as an actor and director. He first acted in Shirin Farhad-31, Indrasabha-32,Guluru Zarina-32, Zahri saanp-33 etc etc, in all 40 films, both at Calcutta and Bombay, in the early era. Further he directed 12 films, starting with Shravan Kumar-32 up to Veer Bala-38. He wrote 55 songs in 6 films and sang 15 songs in 7 films. After Partition, he returned to his native country.

There is one odd name in the cast of this film- Hadi. His full name was S.M.Mohammad Hadi. He was also known as Master Hadi, due to his knowledge of Music and singing. In early Talkie films, he gave music to films, singly and with other composers and also sang songs. But mainly, he was an actor from the Silent era.
No wonder he was seen in some films of the First year of Talkie films of 1931, like Draupadi, in which he had played the role of Shakuni. He sang 3 songs also. He was seen in other films like Abu hasan-31, and Daulat ka Nasha-31( he was one of the MDs). His acting in saubhagya Sundari-33 and Sulochana -33 was much appreciated. He is estimated to have acted in about 40 films till 1947.

He sang 21 songs in 9 films- Draupadi-31, Daulat ka nasha-31, Anangsena-31, Madhuri-32, Aaj Kal-34, Stree Dharma-35, Karvaan-E-Husn-35, Bombshell-35 and Birbal ki Beti-35.

Here is a song sung by Zahoor Raja, unknown male and female voices and Chorus. From the lyrics of the songs it looks like that the film dealt with some labour problem. The song is provided by Abhay Jain ji from US and uploaded by Sadanand Kamath ji. Thanks to both.


Song- Mazdoor mazdoor mazdoor hain shaan is duniya ki (Sewa)(1942) Singers-Zahur Raja, Unknown male voice, Unknown female voice,
Lyricist- J.C.Kapoor, MD- S N Tripathi
Chorus

Lyrics

Mazdoor mazdoor
mazdoor hain shaan is duniya ke
Mazdoor mazdoor
mazdoor hain shaan is duniya ki

mazdoor hain aan is duniya ki
mazdoor hain aan is duniya ki
mazdoor chalaate hain duniya
mazdoor chalaate hain duniya

mazdoor hain jaan is duniya ki
mazdoor hain jaan is duniya ki

Mazdoor mazdoor
mazdoor hain shaan is duniya ki
Mazdoor mazdoor

mitti ko jab haath lagaaye
mitti bhi sona ban jaaye
mitti ko jab haath lagaaye
mitti bhi sona ban jaaye

apne tan ka tel bahaaye
apne tan ka tel bahaaye
khud dekhe duniya ko khilaaye
khud dekhe duniya ko khilaaye
Mazdoor mazdoor
mazdoor hain shaan is duniya ki
Mazdoor mazdoor

Dariya cheeren nahar bahaayen
Dariya cheeren nahar bahaayen
raaton mein
raaton mein hum mahal banaayen
raaton mein
raaton mein hum mahal banaayen

jaan ganwaayen shaan badhaayen
jaan ganwaayen shaan badhaayen
jag ki bala se hum mar jaayen
jag ki bala se hum mar jaayen
Mazdoor mazdoor
mazdoor hain shaan is duniya ki
Mazdoor mazdoor

saare jag ki laaj
saare jag ki laaj tumhi ho
Bharat ke sartaaj tumhi ho

tumko apnaayegi duniya
tumko apnaayegi duniya
sar pe bithhlaayegi duniya
sar pe bithhlaayegi duniya
Mazdoor mazdoor
mazdoor hain shaan is duniya ki
Mazdoor


This article is written by Avinash Scrapwala, 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 :

4900 Post No. : 16704

I had earlier shared a song from the movie ‘Himmat-1970’. The title of the song is ‘himmat kare insaan to kya kar nahin saktaa’. This song was posted on 03.11.2020. I had mentioned in this song-post that the song was noted by me long back i.e., in 2013.

Around the same time, I came across today’s song which is ‘agar insaan mein himmat ho to kya kar nahin saktaa’. This song is from the ‘1942’ film ‘Jungle Princess’. Today I am presenting this song.

“Jungle Princess-1942’ was directed by Homi Wadia for ‘Wadia Movietone, Bombay’.

It had Nadia, Radharani, Baby Madhuri, Shahzadi, John Kawas, Sardar Mansoor, Dalpat, Hari Shivdasani, Jal Khambata, Mitthu Miyaan, M.K. Hasan, Jiji Bhai, Gulshan Sufi and others.
As mentioned in HFGK Vol-II (1941-1950) this movie had eight songs. All these eight songs were penned by Pandit Indra. Music for this film was composed by Madhavlal D. Master.

Following is the list of songs of this movie.

S. No Song-Title Singer/s Posted On
01 Chali ri naav tu chal aage chal ri chal Gulshan Sufi, Mehdi Raza
02 Jo koyi isko peeve naam uska door hove ? (Not mentioned in HFGK) 01.03.2013
03 Musaafir kis marag se jaana Sardar Mansoor
04 Moorakh man tu kyon bharmaaya Gulshan Sufi
05 Kasam Jawaani ki ham to hai naadaan Radharani 20.04.2013
06 Lo chaand bhi jalne lagaa Sardar Mansoor 24.04.2013
07 O mainaa mastaani, o pinjre ki raani Radharani, chorus 25.04.2013
08 Agar insaan mein himmat ho to kya kar nahin saktaa Sardar Mansoor Being discussed today

We can see from the above table that four songs from this movie ‘Jungle Princess-1942’ have been posted on the blog. All these four songs were covered in ‘2013’. In other words, eight years have passed since without any further addition to the tally of songs in this movie.

Today’s song is the fifth song from this movie to be presented here.

Today’s song is sung by Sardar Mansoor. Lyrics are by Pandit Indra and music is composed by Madhavlal Damodar Master.

Let us listen to today’s song which consists of some good ‘Urdu’ poetry.


Song-Agar insaan mein himmat ho to kya kar nahin sakta (Jungle Princess)(1942) Singer-Sardar Mansoor, Lyrics-Pandit Indra, MD-Madhulal Damodar Master

Lyrics

Agar insaan mein himmat ho to kya
Kar nahin sakta
Agar insaan mein himmat ho to kya
Kar nahin sakta
Jo hai mard e zamaana
Aafaton se darr nahin sakta
Jo hai mard e zamaana
Aafaton se darr nahin sakta
Agar insaan mein himmat ho to kya
Kar nahin sakta
Agar taqdeer ki mehfil mein
Ho taqdeer ka saathi
Agar taqdeer ki mehfil mein
Ho taqdeer ka saaqi
Wo pyaala kaun sa pyaala hai ke
Jo bhar nahin sakta
Wo pyaala kaun sa pyaala hai ke
Jo bhar nahin sakta
Agar insaan mein himmat ho to kya
Kar nahin sakta

Sadaakat jiska jeena hai
Shaahaadat jiska marna hai
Sadaakat jiska jeena hai
Shaahaadat jiska marna hai
Wo mar jaata hai lekin
Naam uska mar nahin sakta
Wo mar jaata hai lekin
Naam uska mar nahin sakta
Agar insaan mein himmat ho to kya
Kar nahin sakta

Tu apni raah chalta ja
Na darr thhokar se aye bande
Khuda jiska sahaara hai
Khuda aa jiska sahaara hai
Bashar wo gir nahin sakta
Khuda jiska sahaara hai
Bashar wo gir nahin sakta
Agar insaan mein himmat ho to kya
Kar nahin sakta
Agar insaan mein himmat ho to kya
Kar nahin sakta

—————————————-
Devanagari Script lyrics (Provided by Avinash Scrapwala)
—————————————–

अगर इंसान में हिम्मत हो तो क्या
क्या कर नहीं सकता
अगर इंसान में हिम्मत हो तो क्या
क्या कर नहीं सकता
जो है मर्द ऐ ज़माना
आफतों से डर नहीं सकता
जो है मर्द ऐ ज़माना
आफतों से डर नहीं सकता
अगर इंसान में हिम्मत हो तो क्या
क्या कर नहीं सकता
अगर तकदीर की महफ़िल में
हो तकदीर का साकी
अगर तकदीर की महफ़िल में
हो तकदीर का साकी
वो प्याला कौन सा प्याला है के
जो भर नहीं सकता
वो प्याला कौन सा प्याला है के
जो भर नहीं सकता
अगर इंसान में हिम्मत हो तो क्या
क्या कर नहीं सकता

सदाकत जिसका जीना है
शहादत जिसका मरना है
सदाकत जिसका जीना है
शहादत जिसका मरना है
वो मर जाता है लेकिन
नाम उसका मर नहीं सकता
वो मर जाता है लेकिन
नाम उसका मर नहीं सकता
अगर इंसान में हिम्मत हो तो क्या
क्या कर नहीं सकता

तू अपनी राह चलता जा
न डर ठोकर से अय बन्दे आये
खुदा जिसका सहारा है
खुदा जिसका सहारा हैं
बशर वो गिर नहीं सकता
खुदा जिसका सहारा है
बशर वो गिर नहीं सकता
अगर इंसान में हिम्मत हो तो क्या
क्या कर नहीं सकता
अगर इंसान में हिम्मत हो तो क्या
क्या कर नहीं सकता


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 :

4879 Post No. : 16674

Do not dwell in the past, do not dream of the future, concentrate the mind on the present moment – Lord Buddha

Thinking about the past events in the life and planning for the future is one of the common activities of human beings most of the time. This, at times, can become a stressful activity during which negative thoughts can creep in the mind. In this process, we tend to lose focus on the current activities. We try to neatly plan for the future based on the past experiences. But not all the parameters of the future plan run on the basis of what was determined at the time of planning. The reason is that there are many uncertainties on the way to attaining the goal. I will give the example of planning my Himalayan treks to elucidate the tyranny of uncertainties.

I have always made a well-charted plan for each of my Himalayan treks. But the uncertainty starts when the train or the flight which we have booked gets delayed by a few hours jeopardizing the connecting travels to the base town/village from where the trek is to start. The second uncertainty is through natural calamities. A landslide or a flooded water stream cutting across the road can block the vehicle movements for a considerable time. The third element of the uncertainty is the weather. A rain/snow storm during the trek can force one to stay inside the tent or in a shelter on the way for a considerably long time. Lastly, the last-minute health issues of a trekker can force him the abandon the trek mid-way. Ultimately, one is not sure whether the trekker’s goal to reach his destination would be achievable or not.

Because of these perceived uncertainties, for the next trek, we plan more meticulously than what is necessary. Things work out smoothly and at the end of the trek, though we are happy to complete the trek in time without hic-cups, we feel cheated by the nature. We are left with extra days which means additional expenses. In short, there is no fixed solution in the planning for the future.

Because of the futility of the past memories and the uncertainty of the future, a philosophical thought has emerged which is known as ‘live in the moment’. This philosophy reminds us that our presence is in the present only. We cannot live in the past as that timeframe is over. We cannot plan for the future as there are many uncertainties. When we think of our past, the thought process influences our future goals. There is no guarantee that our past experiences would lead to achieving the future goals successfully.

Perhaps, it was in this context, Lord Buddha advised his followers to forget about the past, not to dream about the future and devote full time for present moment. In other words, there is no need for Mungerilal ke haseen sapne as there is no guarantee – kal ho na ho. So, enjoy the present moment on which the human beings have some control. Just go with the flow of life as beautifully visualised by Sahir Ludhianv in the song, main zindagi ka saath nibhaata chala gaya.

There may be many among us who are following ‘living for the moment’ philosophy, albeit unknowingly. After reading about this philosophy, I have realised that I have unwittingly followed this philosophy covering the important social and financial events in my life. I had flown with then current situation as needed without bothering about the future – especially in regard to my education, employment, buying a residential house, financial planning for the future etc. I had not made any financial planning for my future as at that time, I felt that my provident fund balance and the gratuity amount would take care of my future financial requirements. As I see it today, I was not completely right about this thinking as interest earned on this amount would not have taken care of a good standard of living in my post-retired life. Fortunately, when my job became pensionable in 1997, it helped me to maintain a good standard of living after retirement.

Let me add a caveat to the ‘live in the moment’ philosophy. Each one of us follow a different life style. Some will thrive with their life to flow with the needs as and when arise without planning for the future. Some may like to have a perspective plan for their future life, may be with some flexibilities. There is also the third possibility – a sort of mix of both where one partially plans and also partially swims with the flow.

I found a rare song from the film ‘Dukh Sukh’ (1942) which depicts, more or less, the ‘live in the moment’ philosophy, probably for a drunkard in a tavern. The song is ‘hai aaj kal ki fiqar hi kyaa, majhe se pee aur majhe se khaa’ which is rendered by Rajkumari Dubey. The words are of Wali Sahab which are set to music by Khemchand Prakash.

Audio Clip:

Song-Hai aaj kal ki fikar hi kya (Dukh Sukh)(1942) Singer-Rajkumari, Lyrics-Wahi Sahab, MD-Khemchand Prakash

Lyrics

hai aaj kal ki fiqar hi kyaa
maze se pee aur maze se khaa
hai aaj kal ki fiqar hi kyaa
maze se pee aur maze se khaa

ye aaj tere haath hai
ye aaj tere haath hai
kal ki kal ke saath hai
kal ki kal ke saath hai
kal kaa din jo aayega
kal kaa din jo aayega
to kal ko dekha jaayega
to kal ko dekha jaayega
hai kal ki tujhko fiqar hi kyaa
maze se pee aur maze se khaa
hai kal ki tujhko fiqar hi kyaa
maze se pee aur maze se khaa

shabaab phir na aayega
ye abr phir na chhaayega
shabaab phir na aayega
ye abr phir na chhaayega
ye chaar din hain pyaar ke ae
ye chaar din hain pyaar ke ae
maz utha tu bahaar ke
maze utha tu bahaar ke
bahaar ke tu maze uthha
maze se pee aur maze se khaa
bahaar ke tu maze uthha
maze se pee aur maze se khaa
hai aaj kal ki fiqar hi kyaa
maze se pee aur maze se khaa


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 :

4810 Post No. : 16579 Movie Count :

4516

Today’s song is from the film Dillagi-1942.

The title of the film seemed to attract the filmmakers and starting with Dillagi-1942, few more similarly titled films were made like, Dillagi-49, Dillagi-66, Dillagi-78 and Dillagi-99. Of these films, Dillagi-49 became quite successful and a film to remember because of the famous song ” Tu mera chand main teri chandni” sung by Suraiya and Shyam Kumar.

This also happened to be the first well known case of ” Same Name Confusions”, because singer Shyam Kumar had sung this song for actor Shyam and to complicate the issue, both were acting in that film. For the next 70 years, old film music lovers went on discussing vehemently whether the actor Shyam was the singer. Many authors, Internet sites and few books too credited the song to actor Shyam. Poor Shyam Kumar the singer !

Finally many film historians, genuine workers and writers dug up information details about singer Shyam Kumar and it was proved that the singer was Shyam Kumar and NOT actor Shyam. I have also discussed this case in my book published in 2018. I feel very sad that despite all this commotion about the confusion and the final clarification, many young lovers of old songs still assert and credit the song to actor Shyam !

Inspite of trying very hard, I could not get any information about this film, its story etc. However, in one of the 1942 issues of Film India Magazine, in one article, the Editor- Baburao Patel had said ” Recently I saw a picture- Dillagi. It was supposed to be a comedy, but the situations were far from being comic to evoke a laugh. Throughout the picture, I did not laugh even once, but at the end when the lights were on, I looked at Pt. Indra, writer of that comedy film ( he had invited us to see this film) and the tragedy of frustration reflected in his face excited real laughter. But then every Cinegoer can’t be lucky to have the writer sitting next to him ! ”

Film Dillagi-42 was made by Pragati Chitra, Bombay and was directed by Balwant Bhatt. The elder brother of Nanabhai Bhatt- Balwant Bhatt was born at Porbandar,Gujarat on 13-1-1909. Balwant started his career by assisting Naval Gandhi in 1930-31 and Pesi Karani at Imperial Film company and then N.B.Vakil at Sagar Studios in 1932.

A prolific director of second tier, action oriented films, Bhatt’s first film as a director was Royal Film Company’s 1932 silent thriller PASSING SHOW which featured popular stunt-film actor Navinchandra. He turned Director with the advent of Talkie films and joined Prakash Pictures with BAMBAI KI MOHINI [1934; aka: ACTRESS] starring Miss Panna and Miss Alaknanda. His last one was Nagin aur Sapera-1966. He directed 33 films, mostly stunt and C grade films.

Bhatt directed action star Fearless Nadia in DELHI EXPRESS (1949) and CIRCUSWALE (1950) as well as the comedian Bhagwan in JOKER (1949) and JODIDAR (1950), and even had opportunities to work with bigger name’s such as Bibbo in SUHAAG (1940), Maya Banerjee in MADHU SUDAN (1941), and Prithviraj Kapoor in AANKH KI SHARAM (1943). But the vast majority of Bhatt’s output were in the category of B-grade films.

He directed some Gujarati films like Sansar Leela, Seth Sagsha, Divadandi, Snehlata etc. He was the producer of Dillagi-1942, Gunehgar-53, Alif Laila-53, Sinbad the sailor-52, Son of Sinbad-58, Police Detective-60 etc. etc. Diwadandi-1950 became famous for its song-“Tari aankhni afini”, sung by Dilip Dholakia with music by Ajit Merchant. His film Mordhwaj-52 was the Debut film for MD Narayan Dutt. Balwant Bhatt died on 7-2-1965,at Bombay.

The cast of the film Dillagi-42 was Kumar, Hansa Wadkar, Anuradha, Gulab, Agha and Sushil Kumar.

The Music Director of Dillagi-42 was Pratap Mukherjee. I do not have any information about him except that he directed only 3 films, namely Dillagi-42, Tamasha-42 and Kisise na kehna-42 . Actress gulab was from kashmir. She can be called the first girl from Kashmir to work in Hindi films. Her real name was Saraswati Devi. She was born on 10-6-1908 at Jammu. She joined Krishna Film Company in 1924. Her first silent film ‘Krishna Kumar’ came in 1925. She worked in 60 silent films. Her last silent film was ‘Dagabaz Dushman’-32, made by East India Film co.Bombay.

Her first Talkie film was Suryakumari-33, made by Vishnu Cinetone. It was directed by Dhirubhai Desai. She sang one song ‘more preetam jab ghar aaye’ composed bu Kikubhai Yagnik. Then came Baburao Patel’s ‘Bala Joban’-34, Sewa Sadan-34 and Nai Duniya-34 ( Debut film of Rajkumari and Jayant). In this film Gulab sang 2 songs.

Gulab was very beautiful and quite popular in the film industry. Some of her films were Bambai ki sethani-35, Challenge-37, Bharosa-40, Pyas-41, Ek Raat-42, Station master-42, Gaali-44, Rattan-44, Mann ki jeet-44, Mirza Sahibaan-47, Lahore-49, Badi Behan-49, stage-51, Post Box 999-58, Chhabili-60 etc etc. She acted in 160 films. Her last film seems to be Haqeeqat-64. She also sang 22 songs in 11 films.

Today’s song is sung by Rafiq Ghaznavi and Anuradha. They were husband and wife. Actually Rafiq was not a known playback singer. I wonder how he came to sing a song in this film even though he was not working in it. May be due to the recommendation of his wife Anuradha, he got this song. Anuradha’s real name was Khurshid Akhtar and pet name was Sheedan. She was the younger sister of actress Zohra Jaan, who was Rafiq’s wife before her. Later, Rafiq left Anuradha also and married someone else.

Anyway, the song is nothing to write home about, because the singers were not professional singers. With this song film Dillagi-1942 makes its Debut on the Blog.


Song-Jab saamne tum aate ho (Dillagi)(1942) Singers-Rafiq Ghaznavi, Anuradha, Lyrics-Unknown, MD-Pratap Mukherjee

Lyrics

Jab saamne tum aate ho
Jab saamne tum aate ho
nainon se man mein samaate ho
nainon se man mein samaate ho
jab saamne tum aate ho
jab saamne tum aate ho
jeewan ka dukh sahna hai
jeewan ka dukh sahna hai
joban ke madhu(?) baina se
joban ke madhu (?) baina se
tumko dekha nain hanse ye
kya jaadoo kar jaate ho
tumko dekha nain hanse ye
kya jaadoo kar jaate ho
Jab saamne tum aate ho
Jab saamne tum aate ho

nainon se man mein samaate ho
nainon se man mein samaate ho
jab saamne tum aate ho
jab saamne tum aate ho

main kahna chaahoon kah na sakoon
main kahna chaahoon kah na sakoon
aur bina kahe main rah na sakoon
aur bina kahe main rah na sakoon
man ki meethhi meethhi baaten
man ki meethhi meethhi baaten

in aankhon ko sajaati ho kitnon ka ?? jagaati ho
in aankhon ko sajaati ho kitno ka ?? jagaati ho
jab saamne tum aate ho
jab saamne tum aate ho

nainon se man mein samaate ho
nainon se man mein samaate ho
jab saamne tum aate ho


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 :

4807 Post No. : 16575

Today’s song is from the film Armaan-1942.

I have found many times that film titles are given on the basis of the essence of the story – the result, the effort or even the relationship etc. It is expected that from the title itself, the movie fan should be able to guess the type of film or the story of the film. Some titles are straight forward like Baiju Bawra, Tansen, Jhansi ki Rani etc. Such films do not call for intelligence work to know about the film’s content. But when the titles like Armaan, Laalach, or Ladki are given, the fan has to scratch his head about the type of the story. Next help is from the cast of the film. Cast of a Stunt film is absolutely distinctive. The actors are fixed, not known to the general public and includes at least some actors with strange names like Chemis, Manchi Toothy or Bajarbattu etc. Initially, a Dilip kumar film used to be equated with a sad end due to Hero’s death. Nirupa Roy indicated a Religious film etc.

Even from the names of Directors one could guess about the type of films.For example, a film directed by Sohrab Modi meant extra long dialogues in pure urdu or Hindi, Historical story. Mehboob Khan meant a film on Nehruvian Socialism etc. From the names of Music Directors also one could fairly guess the type of film. Avinash Vyas or S.N.Tripathi means a Mythological film, Naushad or C.Ramchandra means musical entertainment etc.

There have hardly been any directors who handled films of different Genres. Tragedy, Comedy, Family film directors never tried historical and any Stunt film director never tried a family tear jerker. I can think of only one film director who directed films of different Genres like, Comedy, Tragedy, Family, Musical, Social evils and even a Mythological film. His name is Franz Osten- a Director from Bombay Talkies stable. And mind you, he did not know Hindi language-he had come from Germany ( he thought Bulbul means 2 Bulls !). May be that is why he could do it.

Film Armaan’s director was Kidar Sharma. He mostly did social films. I came to know about this autobiography much later than it was published posthumously – by his son in 2002. I bought the book sometime in 2015 or so. During the period 2012 to 2018, I bought books on cinema like a mad person. The result was, I ended up with 50 % useless books ! Initially I had no discretion and no knowledge as to which could be an useful book for me. Shortly ( and after spending a Ton !), I learnt the trick and became very selective. By the year 2018-2019, I became known to many writers and Historians. This resulted in getting recently published good books as gifts from various authors. This way I now have a reasonably good number of useful books. Some books I value very much like the Encyclopedia of Indian Cinema by Rajadhyaksha and a few rare books. I have a collection of 6700 songs from films of the 30s and 40s only, some of them very rare. These are also gifted to me by friends and collectors across the continents. I got some books xeroxed. Our dear friend (late) Bharatbhai Upadhyay, Harish Raghuwanshi ji, Deepak Chaudhari and few more have been very helpful in xeroxing old, rare books.

The cast of the film Armaan-42 was Motilal, Shameem, Nagendra, Meera, Rajkumari, Rewa Shankar etc . Kedar Sharma mentioned in his book that Sardar Chandulal Shah, owner of Ranjit had warned him not to take Shameem as Heroine. The reason was, Shameem was the niece of actress-singer Khursheed, who was very jealous of Shameem. He feared that Khursheed may not work with Kidar, if she is taken as Heroine. Kidar was firm and took Shameem. However, Khursheed did work in Kidar’s film later on without any complaint.

Shamim was variously billed as Shamim, Miss Shamim, Shamim Bano and Shamim Akhtar, in different films. She was born on 11th September 1926 in Lahore. Her father was a General Merchant. She used to sing and act in school dramas. She completed her matriculation from Islamia Girls school, Lahore. In 1939, she visited Bombay along with her father. They accidentally met director G.R.Sethi, who encouraged Shamim to join films. She too was keen on joining films.

She debuted in the film Imaandar-1939. Then came Baghi-39, Niraali Duniya-40, Kanyadan-40,Jadui Nagari-40, Pyas-41, Dhandhora-41, Return of Toofan Mail-42, Mehmaan-42, Fariyaad-42, Armaan-42, Gauri-43, Bansari-43, Pehle Aap-44, Jwar Bhata-44, Sanyasi-45, Laaj-46, Samrat Ashok-47, Sindoor-47, Bhanwar-47, Shikarpri-47, Ratan Manjiri-48,Toote Taare-48 and Desh sewa-48. She also sang about 30 songs in 11 films.

After partition, she migrated to Pakistan with the family. There, she acted in 8 films- 6 Urdu and 2 Punjabi. Her first film Shahida-49 was a hit film and celebrated Silver jubilee. Even Do Ansoo-50 and Ghulam-53 were hit films. Shamim married Producer/Director Anwar Kemal Pasha. Shamim died on 23-10-1982 in Lahore. Shamim was niece of actress singer Khursheed Begum. Shamim’s younger sister Naseem was also an actress in India, but she died quite young, on 17-11-1946 at Bombay, in India only. This was reported in Film India magazine also.

The other interesting name in the cast is of Nagendra Majumdar-father of Ninu Majumdar, MD. Nagendra was born in a happy family in the year 1894 in Bombay. After his father died, “Pearl Dairy’ established by his father ran very well doing good business. Suddenly, Nagendra’s wife fell seriously ill and despite taking her full care, she expired. Due to neglect of the Dairy in this period, Dairy also closed down.

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

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

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

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

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

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

Today’s song is the second song from the film Armaan-42 to feature here.


Song- Raat suhani re raat suhaani (Armaan)(1942) Singer- Shamim Bano, Lyricist- Kedar Sharma, MD- Gyan Dutt

Lyrics

raat suhaani re
Raat suhaani
raat suhaani re
Raat suhaani
aao guniyyaan aao
aao guniyyaan aao
sunaayen prem kahaani re
kahaani
aao guniyyaan aao
sunaayen prem kahaani re
prem kahaani

Chaand sittaare re
chaand
Chaand sittaare re
chaand sitaare
hum saajan se door
hum saajan se door
sajanwa paas hamaare re
hamaare
hum saajan se door
sajanwa paas hamaare re
paas hamaare

sard hawaayen re
hawaayen
sard hawaayen re
sard hawaayen
phoonk(??) rahin hain tanman
phoonk(??) rahin hain tanman
saajan
thhandi aahen re
aahen
phoonk(??) rahin hain tanman
saajan
thhandi aahen re
thhandi aahen

mast jawaani re
mast
mast jawaani re
mast jawaani
bhanwron ka paighaam suno
bhanwron ka paighaam suno
kaliyon ki zabaani re
zabaani
bhanwron ka paighaam suno
kaliyon ki zabaani re
kaliyon ki zabaani
raat suhaani re
raat
raat suhaani re
raat suhaani


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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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