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

Archive for the ‘Songs of 1942’ Category


This article is written by Arunkumar Deshmukh, a fellow enthusaist of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4347 Post No. : 15657 Movie Count :

4312

Today’s song is from the film “Uljhan” (1942). This was the first of the three same title films. The second came in 1975 and the third was in year 2000. This was the second film by Acharya Art Productions, floated by director N R Acharya. This was after he left Bombay Talkies, to chart out his own path, without either following the splinter group led by S Mukherjee or remaining with the rest of Bombay Talkies staff.

Probably, he thought that with Gyan Mukherjee in Filmistan and Amiya Chakrawarty and Najam Naqvi in Bombay Talkies, he had dim chances of progressing further. Like the splinter group, Acharya too had his own followers, like Anjali Devi and Ramchandra Pal, who stayed with Acharya. In later years, Anjali Devi became Mrs. Acharya too. Obviously, she had her own private agenda in following Acharya.

This film was directed by Acharya himself and the music for the 10 songs written by Lyricist Kailash Matwala, was composed by Ramchandra Pal. The cast of the film was Sardar Akhtar, Mazhar Khan, Krishnakant, Anjali Devi, Amrutlal, Rajkumari Shukla and others.

You find a name Amritlal/Amrutlal in the cast. He was an old time actor, from the beginning of Talkie films. Sometimes he was cast even as Master Amrutlal, because he sang songs too. He was basically a comedian and was known as Chaman in the film line. There is hardly any information-practically Nil- about him available anywhere, like many of the old time artistes. What we know about him is from HFGK alone. He acted in some 20 Talkie films, starting with Vikram Charitra-1932 to film Roop Nagar-1947. There are 23 songs in 10 films on his name also. He stopped singing from the film Pagli Duniya-44. Looks like his old style singing was no more appreciated.

Here too, we find that the Same Name Confusion has played a game. There was an All India famous literature giant Amrutlal Nagar. In spite of his colossal writing work, he spent 7 years of his illustrious career, from 1940 to 1947, in film line. During this period, he wrote 33 songs in 4 films…Sangam-41,Kisi se na kehna-42, Kunwara Baap-42 and Raja-43. Amritlal Nagar ( 17-8-1916 to 23-2-1990) was an extraordinary person. He handled almost every department of Literature-except perhaps Poetry and Autobiography. Short stories, Novels, dramas,travelogues and Lyrics etc etc were written by him During 1940 to 1947 period, he was in the film industry. He wrote stories, s/p, dialogues of as many as 20 films in Bombay , Kolhapur and Madras. He dubbed M.S.Subbulakshmi’s Tamil film ‘ Meerabai’ 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 the film industry for such a sustained period.

Unfortunately, there is the usual mix up in the filmography of these two wholly different personalities. Added to this confusion, there was also the singer Amrutlal Oza. Novelist Amrutlal Nagar never acted and never sang a song. Amrutlal Oza began his singing career with Film Pujari-1946. Actor singer Amrutlal had stopped singing from 1944 itself. Still, many sites and Blogs and writers get confused and mix up every Amrutlal’s filmography for acting and singing.

In one of my recent posts, I had mentioned that in the early era of Talkie films, the low caste and Tawaif girls joined films so that they could get married to some rich, successful person and lead a respectful life of a housewife. Amongst such girls, few were really capable and helped their partners in conducting their business – like Gauhar Mamajiwala of Ranjit or Mehtab of Minerva. Sardar Akhtar, who was the Heroine of today’s film-Uljhan-42 was also one such capable woman, who married Mehboob Khan and shared his work. How they got married was quite Cinematic too….

The life story of Sardar Akhtar is very interesting. Sardar Akhtar was a Punjabi Muslim born in Lahore in 1915. Her mother was a famous singer on the infamous Hira Mandi Road of Lahore. Akhtar learned singing from her mother and also other ustads. Her younger sister Bahar Akhtar was beautiful and a good singer. These sisters were famous as Daaro and Baharo in Lahore. Bahar was hired by United Players Corpn. of Lahore , as a Heroine in their film ” Qatil Katar “. Producer A R Kardar was also its Hero. They fell in love. Bahar was under strict surveillance by her mother, but with the help of a friend, Kardar abducted her and they were married. When this news reached her mother, Akhtar and her mother made a Police complaint against kardar. Kardar and his unit members were arrested and kept in a lock up for a few days for abducting a Minor girl. They were released when Bahar herself gave a statement in their favour. Kardar destroyed the negatives of his film to prevent Bahar from further acting in films.

After this episode Akhtar started working in dramas. She went to Calcutta and did a small role in the film Dhoop Chhaon-35. From there she came to Bombay and joined Saroj Movietone. She did films like Eid ka chaand,Roop Basant and Naqsh e Sulemani and earned a good name. She acted in films of Minerva and Wadia-mostly stunt action films. Mehboob needed two Heroines for his film Alibaba.. He selected Waheedan Bai and Sardar Akhtar. Akhtar was the younger sister of Bahar-wife of A.R.Kardar. In an article in Filmfare dated 16-8-1957,Mehboob wrote ” the moment I saw Sardar Akhtar, I fell for her and knew that one day she will be my wife.” Sure enough, he married her later.

Mehboob khan gave her a big role in the film Aurat-40 and her image changed. She also did Mehboob’s film Roti, during which they got married on 25-4-1942.. It was during the shooting of film Aurat, Mehboob was attracted towards Jyoti- sister of Waheedan Bai and one of the cast of Aurat- and he started spending time with her, having Tea together, Lunch together etc. Sardar Akhtar noticed this and played her cards well. She encouraged Jyoti to accept outside film offers lest she would be out of circulation. Then she poisoned Mehboob by telling him that Jyoti was not a good girl and that she was more interested in outside film roles. Consequently, Jyoti’s role in the film Aurat was reduced. By the time the film Aurat was completed, Akhtar had fully influenced Mehboob and then insisted on getting married. He too wanted it and they got married just before the film was released.
They did not have any issues but they adopted Saajid khan, child star of film Son of India-62. After Mehboob’s death in 1964 May, Akhtar lived alone, occasionally visiting Sajid khan, who had settled in the USA.

Sardar Akhtar did 44 films. Her last film was Raahat-45. However, she did small roles in films Hulchal-71 and Bandhe Haath-74. Sardar Akhtar sang 92 songs in 27 films. Considering that she was not a regular or playback singer, her 92 songs were highly creditable. Not even 50% of her songs came on gramophone records. During one of her US visits, Sardar Akhtar died there on 2-10-1984. She was a devotee of sufi saint Ashraf khan, her co-star of many films including Roti-42.

Film Historian and author Shri Rajnikumar Pandya ji had interviewed N R Acharya (Nrusinh Prasad Acharya). According to him the film Uljhan-42 was totally based on a Gujarati novel- MALELA JEEV (Souls of oneness), written by Pannalal Patel.

Today’s song is sung by an unidentified female with chorus. It is a good song. With this song, film Uljhan-42 makes it’s Debut on the Blog.

(information used in this post is culled, with thanks,from various sources like ‘Sapnon ke Saudagar’ by Vithal Pandya, Kamlakar P.’s Blog, wiki, Filmdom-1946, ‘Mehboob Khan’ by S.Kinikar and my notes).


Song – Arrey samdhi to darjin ka yaar lagan ke kapde bane (Uljhan)(1942) Singers- Chorus song, Lyricist- Kailash Matwala, MD- Ramchandra Pal

Lyrics

Arrey samdhi to darjin ka yaar
lagan ke kapde bane
Arrey samdhi to darjin ka yaar
lagan ke kapde bane
arre samdhin ne paaala sunaar
arre samdhin ne paaala sunaar
naye naye gahne bane
aha naye naye gahne bane
Arrey samdhi to darjin ka yaar
lagan ke kapde bane
Arrey samdhi to darjin ka yaar
lagan ke kapde bane

kahaan bhaage ye ?? sawaar
kahaan bhaage ye ?? sawaar
bade tum chhaila bane
bade tum chhaila bane
Rupa maaregi jhaadu ki maar
haan haan
Rupa maaregi jhaadu ki maar
haan haan khasam ka yoonhi(??) bane
haan haan khasam ka yoonhi(??) bane
Arrey samdhi to darjin ka yaar
lagan ke kapde bane
Arrey samdhi to darjin ka yaar
lagan ke kapde bane

ek dikhaawan ?? jaan
apni maa ke phhodo kaan
ek dikhaawan ?? jaan
apni maa ke phhodo kaan
Rupa jab bhi gaali dewe
budhiya teri sun na lewe
Rupa jab bhi gaali dewe
budhiya teri sun na lewe

arre sun to sahi o ganwaar
arre sun to sahi o ganwaar
kahaan yoon chalte bane
kahaan yoon chalte bane
bhauji se kahe ??
bhauji se kahe ??
bhaiyya tera jaaye sad
bhaiyya tera jaaye sad
bahan bhare teri kuyen se paani
bahan bhare teri kuyen se paani
Rupa meri ban patraani
Rupa meri ban patraani
maare gin gin ke hunter hazaar
maare gin gin ke hunter hazaar
na unse rote bane
haan haan
na unse rote bane
Arrey samdhi to darjin ka yaar
lagan ke kapde bane
Arrey samdhi to darjin ka yaar
lagan ke kapde bane


This article is written by Arunkumar Deshmukh, a fellow enthusaist of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4312 Post No. : 15591 Movie Count :

4292

Today’s song is from an obscure film Suhagan-1942. The film was produced by Sunrise pictures, Bombay. It was directed by a veteran, foreign educated director, J P Advani aka Jagatrai Pesumal Advani and the music was composed by Shanti Kumar Desai, for songs written by M R Kapoor. The cast of the film was Jahan ara Kajjan, Kumar, Radha Rani, Jilloo, Majid, Kesharbai, Bhudo Advani, Mirza Musharraf, Kalyani etc etc.

It is a well known fact that in the beginning of the Talkie film era, most actresses came from singing families or Kalawanteens(as called in Maharashtra and Goa) or Devdasis (Karnataka). Their entry in films was easier than other girls, because they knew Hindi/Urdu and had a singing skill too. Better looking girls became Heroines. Most such girls joined film line for mainly two reasons. One – they could earn much more in films than on the Kothas and with total independence and glamour too. And two – most girls harboured an unspoken wish to catch hold of a Seth ji or a rich person, marry him and then lead a more respectable life. On the Kothas, marriage was a no-no, by tradition. To achieve this, they did not mind being the second wife. However a marriage was a must to provide a legitimacy to their relationship.

There are umpteen number of examples of such marriages, which took place in film line, but I will not repeat their list here. majority of such marriages were long lasting. In these marriages too there were two types. one, where the girl became a highly respected member of the society, with specific contribution to husband’s business and the other type was , where the marriage failed or ended due to various reasons and the girls faced miseries and their end came in very pathetic conditions.

When I think of the second type, many examples come to my mind. The case of the beautiful singer actress Vatsala Kumthekar is the worst. After her husband Ibrahim Sheth died, she was thrown on the road. She lived on footpath as a beggar. Later, she became mad and one day she died on the footpath. Someone from the onlooking crowd recognised her and next day her news came in papers. She was cremated by the Municipality as “an unclaimed body”.

Similarly, the life of singer actress ( with knee length hair) Rattanbai also ended as a beggar, near Haji Ali Darga, after husband Hafiz ji died. Sridevi, the second ‘wife’ of Khemchand Prakash, lived for 40 years on the footpath as a mad woman, after his death in the hospital (MP Javed Akhtar stated this in the Rajya Sabha also, once).

Of course, not all marriages went sour. There were some really couragious and capable girls, who contributed not only to husband’s success, but also created their own images in the society. One such wife was Gohar Mamajiwala, who stood by Chandulal Shah in his hard times as well as shared all responsibilities of running Ranjit studios. She was highly respected in film industry. Another such lady was Sardar Akhtar, Mehboob’s wife. Then there was Indurani, wife of Ramniklal Shah, who brought up her sons and daughters with high grade education and settled with them in the USA. The first Heroine of Hindi films, Zubeida who married Raja Dhanrajgir of Hyderabad (a Jagirdar), led a very respectable high end life after marriage. Jaddanbai also created her special image in the industry.( recently I have written about her in details.)

Today, I will talk about a girl from Tawayaf family, who did not marry anyone, but led a condensed life of 50 years in just 30 years, lived like a Fashion Icon of her times, a heart throb of many a rich and handsome (& some not so handsome, but ‘stinking’ rich) persons, a very successful singing actress, famous all over India and one who remained a beautiful maiden till she died.

Yes, I am talking about Jahan Ara Kajjan. She, along with handsome Master Nissar, mesmerised the audiences with beauty and songs, in the beginning of Talkie era. She contributed substantially in helping the Talkie films to have a strong foothold in the first 3 years of the era itself. She also helped to bury the Silent films by 1934, without being a strong contender to Talkie films. Remember, Silent films did not die because it lost audience, but it died because there were no theatres left without a Talkie film sound system ! Every theatre wanted to run Kajjan’s films. She was one actress of the early era, who never worked in any silent film. She jumped from stage dramas onto the Talkie films as a leading lady !

Her first film was Madon Theatre, Calcutta’s “Shirin Farhad”-1931. A little more luck to Madon’s and their Talkie “Shirin Farhad” would have been India’s First Talkie film. It was technically superior, having a solid content, good cast, good songs, costumes etc., it had started shooting earlier, but they missed the boat by few weeks and film “Älam Ara”- much inferior in quality and songs etc, took the honours !!

JAHAN ARA BEGUM KAJJAN was born in Patna, Bihar, on 15-2-1915, to mother Suggan bai and Nawab of Bhagalpur. Her mother was a famous singer from Lucknow. Kajjan belonged to a family of professional artistes, who carried the tag of tawaifs or courtesans. They were also invited by the princely courts and aristocracy to perform at their private mehfils. With their refined manners, they provided stimulating company to the male elite. An established code of conduct ruled out marriage in their profession but they were allowed to have a liaison with a chosen patron. Kajjan’s mother Suggan apparently had one such relationship with her father.

She grew up in Patna. She got lot of attention for her education. She was taught Urdu at home and her maternal grandfather Syed Hussain taught her English. She being very clever, soon became proficient in both languages. At the same time she learnt household chores also. She learnt music under the guidance of Ustad Husnu Khan of Patna. Singing was in her blood anyway. She was very beautiful. Her interest and expertise in languages developed her to become a Poetess and her poems in Urdu were published in Magazines, under her pen name ” Adaa”.

Because of her beauty and singing skills,she was invited to work on Urdu stage. Master Fida Hussain,who was a well known actor, singer, composer and director on Urdu stage had joined ‘Alfred Theatre co.’. It was owned by the Madons of Calcutta. Kajjan was taken in it and the troupe toured U.P. and M.P. During this period, Kajjan was romantically involved in Master Fida Hussain.

She used to appear on stage at the rate of Rs.250 per show per day. once when she was performing in Patna,one of the owners of Madon Theatres,Calcutta saw her and offered her roles in films. She immediately accepted it and went to Calcutta.

Silent film era was dominated by Parsee, Anglo-Indian and Jew girls,due to their white skin and open attitudes. Once the Talkie films started, they became useless as they did not know speaking in Hindi or singing. In such circumstances actresses like Kajjan got the opportunities. Her first film was ‘ Shirin Farhad’-1931. Paired with Master Nissar she sang 17 songs in this film. This pair became very popular. Her next film was ‘Indrasabha’ 1932,having a world record 71 songs in the film. Kajjan sang 29 songs in it. The film was based on the drama by Agha Hasan Amaanat.

In Calcutta Kajjan became very famous. She lived a rich and lavish life, mixing among the elite of Calcutta like Princes, Nawabs, High authorities, the mega rich etc. Her dresses and jewellery were talk of the women of the rich and the famous. She had instructed her designer to make only such sarees, which no one in India will ever wear! She was a regular invitee to even Viceroy’s parties.

She worked only with Madon Theatres. Brijlal Verma was the composer of Madon Theatres. It was a favourite quartet of Madon films, Brijlal’s music, Kajjan and Master Nissar. Together they ruled the early phase of Talkie films. Films like Shirin farhad-31,Laila Majnu-31, Shakuntala-31, Bilwamangal-32, Aankh ka nasha-33, Dhruva charitra-33, Turki sher-33, Zahreela saanp-33 had Kajjan songs by Brijlal Verma. During this period, she was the highest paid actress in India. Kajjan had a romantic affair with Brijlal Verma too. Kajjan also sang in Roopkumari-34, Sakhi lutera-34, Apradhi abla-35, and Mera Pyara-35 which had her songs.

Kajjan was a good dancer. She learnt Western dancing from Miss Ruqayya khatoon. She was among the regular dancers in Calcutta Clubs, along with actress Mahazabeen. Kajjan was friendly with westerners. She was fond of pets. For some time she had 2 tiger cubs as her pets and this became the talk of the town in Calcutta.

After Brijlal Verma, it was a rich financer, Seth Karnani,( he smelt horribly) who, just to impress Kajjan, bought the entire Madon Theatres for a sum of Rs. 24 lakhs in those days ! A very handsome actor of that era Najmul Hassan had a torrid affair with Kajjan. He is the same Najmul Hassan,who had eloped with Devika Rani – wife of Himanshu Rai, owner of Bombay Talkies, from Bombay to Calcutta. Devika Rani returned to her husband shortly, but he had to remain in Calcutta-for safety.

Kajjan worked in Gulru zarina, Swami bhakti, Alibaba aur chaalis chor and Jahan Ara also. By end of the 30’s, Madon Theatres closed down and Kajjan also stopped work for few years. No new films were coming and her money was depleting, so Kajjan shifted her base to Bombay.

In the early 40s, Kajjan worked in Abla shakti and Ghar sansar-42,Prarthana and Prithvi Vallabh-43 and her last film Bharthari-1944. The songs of Bharthari, composed by Khemchand Praksah also became very popular. Due to her sweet voice she was called ” The Lark of Indian Cinema”.

Jahan ara Kajjan died on 15-12-1945,at the age of only 30 years. 2 films,Jadui Putli-46 and Tiger Man-47 were released after her death.

During her lifetime she lived like a queen She became a Legend. She acted and sang in almost 40 films and sang about 80 songs, in her small career. During the period 1931 to 1937 there was a ” Kajjan Mania ” in India.Her styles and fashions were copied by the elite ladies.

(Credits and references- with thanks-
1.Stages of life:Indian Theatre Biographies-By Kathryn Hansen, 2. Kamalp.blogspot.in, 3.Dhunon ki yatra-Pankaj Raag, 4.The Big Indian picture.com
5. Fida Hussain’s autobiography 6. Encyclopedia of Indian Cinema, by Ashish Rajadhyaksha, 7. Asli Nakli chehere by Vithal Pandya and My own notes from diaries.)

For film Suhagan-42, MD Shanti Kumar Desai gave the music. Like actors, very few MDs survived from the early era to the modern era of the 80s and later. Except probably Anil Biswas, not many MDs from the 30s gave music in the period after 60s. Naushad and C Ramchandra were from early 40s. While CR ended in 70s, films of Naushad kept coming till 2005 (he died in 2006). But frankly, after few songlets of Pakiza-72, his music in later films was not even a shadow of his earlier charm. Shanti Kumar Desai was also from the 30s (Nav Bharat-34) but practically ended his music in 58 ( one delayed film released in 64).

He was born in Amreli, Saurashtra, Gujarat state on 3-3-1908. His family was in service as Royal Musicians, so he was exposed to music from childhood.He was an expert Harmonium player. To start his career, he came to Bombay and worked in H.M.V. as a Broadcaster. Here he came into contact with many composers and learnt how they operated and made tunes etc.

He was already giving music to Dramas, but wanted to join Film line as M.D. He got his first film Navbharat ( Jawanmard0-1934. In those days Gujarati producers and directors used to prefer Gujarati MDs. Thus out of his 36 films, 18 were done with Gujarati Directors like Sohrab Modi, Nanubhai Vakil, V.M.Vyas(4 films), Kanjibhai Rathod, Dhirubhai Desai etc. He also gave music to Gujarati films.

He gave music along with Madholal Master, Rafiq Ghaznavi, Pannalal Ghosh, Shyambabu Pthak etc. Famous singers like Rafi, Manna Dey, Zohrabai, Amirbai etc sang in his films during their early careers. Even Kishore Kumar’s early film Sati Vijay-48 had music by Shanti Kumar Desai. He gave music to films of early era actors like Prem Adib, Mehtab, Sitara Devi, Leela Chitnis, Jal Merchant, Ashraf Khan, Rajkumari, Mazhar khan, Shanta Hublikar, Jairaj, E Billimoria, Kumar, Sardar Akhtar, Chandramohan, Shobhana Samarth, Durga Khote, Shahu Modak and Sulochana.

From 1934 to 1948, he gave music to 38 films. In 1964 his one film (Tere dwar khada Bhagwan) was released. He composed 333 songs. He never got films from top banners like Bombay Talkies,Prabhat, Sagar or Minerva, otherwise his career would have been different.

He died on 6-1-1986. Some of his better known films were Bholi bhikaran-36, Punarjanma-38, Anjaam-40, Suhaagan-42, Naukar-43, Ek din ka sultan-45 and Lav Kush-51.

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.
Her 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.

So, here is a song by Kajjan. Compared to her songs of the 30’s, this song of Suhagan-42 is nothing much to write home about. May be she was at the end of her career. After 2 more films, she sang her last song in film Bhartruhari-44, which became quite popular.

With this song, film Suhagan-42 makes its Debut on this Blog.


Song- Sewa dharm hamaara (Suhaagan)(1942) Singer- Jahanara Kajjan, Lyricist- M R Kapoor, MD- Shanti kumar Desai
Chorus

Lyrics

Sewa dharm hamaara
Sewa dharm hamaara
janm se sewak karm se sewak
janm se sewak karm se sewak
yahi hai karm hamaara aa aa
yahi hai karm hamaara aa aa
Sewa dharm hamaara
Sewa dharm hamaara

sabse oonchi pooja hai ye
sabse oonchi pooja hai ye
sabse oonchi bhakti
sabse oonchi bhakti
nirdhan ka sabse badhiya dhan
nirdhan ka sabse badhiya dhan
nirbal ki hai shakti ee ee
nirbal ki hai shakti ee ee
jeena to auron ki khaatir
jeena to auron ki khaatir
marna to auron ki khaatir
marna to auron ki khaatir
neki kar au(?) daal kuyen mein
neki kar au(?) daal kuyen mein
yahi moksh ka dwaara aa aa
yahi moksh ka dwaara aa aa
Sewa dharm hamaara
Sewa dharm hamaara

vrikshon par jo phal aate hain
auron hi ke kaam aate hain
khet jo kheti upjaate hain
gair hi usko kha jaate hain
ganga doodh na khud peeti hai
par sewa ka rann jeeti hai
baadal barsa laad ke laate
dharti ki wo pyaas bujhaate
sewa dharm hai nyaaraa aa aa
sewa dharm hai nyaaraa aa aa
Sewa dharm hamaara
Sewa dharm hamaara


This article is written by Arunkumar Deshmukh, a fellow enthusaist of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4299 Post No. : 15558

Today’s song is from film Bharat Milap-1942. It is sung by G M Durani and the music is by Shankar Rao Vyas, for lyrics written by Pt.Indra.

Few years back, I remember, Dr. Surjit Singh ji had published a list of 7000 names of actors, who had acted in films from the beginning till up to the year 2000. He had found this list on a site which was no more existing. I had meticulously copied that list on my Laptop, in the year 2010. Since then, I have changed my Laptop 3 times and now I do not find this list with me anymore. God knows when it got deleted or was left out uncopied, sometime.

Of course, that is not the point at all. I wonder how so many people joined an industry which did not provide any security, nor did it assure continuous earnings. Leave aside the stigma of working in” films” in olden times, but this industry neither had permanent jobs nor a fixed income. Take a look at any film-Silent or Talkie-only a handful people were credited. Later in the Talkie films, this list became larger. One can see this in any volume of HFGK of 30s or 40s. But then, if you exclude the names which got repeated in films, the total list of actors may not cross 2-3 thousand,perhaps.

Barring the main and known actors, most other actors are not even identifiable for the general public. Names without faces! Such actors constitute the bulk of numbers in the industry. If you take a look at the cast of a film, more than half of names are unknown or known by only repeat value in many films. These names have no faces. Information about them is not available in any books. They remain only names, replaced by other names after few years. The extras or junior artistes who are seen on screens in many scenes, throughout the film are also members of the industry.

There are some groups on Fb, who have experts among them. These people keep on identifying obscure faces on screen scenes and name them. One glaring crusader in these specialists is M N SARDANA ji, who writes short notes about almost unknown actors seen on the screen as judges,lawyers, police inspectors, beggars, villain cronies and people in such insignificant roles. Hats off to him and people like SANDEEP PAHAWA ji, whose comments are lapped up by readers. I may be one of the dedicated readers of their notes and comments on Fb.

Like any other language, there are writers and authors in Marathi too, who write on old films and old actors etc from the vintage Hindi films. One such author calls himself ” Babu Moshoi “. His articles are published regularly in newspapers, magazines etc. He has written several books. His real name is Hemant Desai. Another such writer in Hindi and Gujarati is Vithal Pandya. I have many such books in my library. Through these books I get to know old actors and their information, sometimes. I get surprised at many names as I read about some names about whom I had never known. For example, do you know who did King Dashrath’s role in films Bharat Milap-42 and Ramrajya-43, or the role of Kanva Muni in film Shakuntala-43 ? Who was the actress in Kaushalya’s role in Ramrajya-43 or Ram Vivah-49 ?

This actor was I.T.Nimbalkar and this actress was Shanta Kothari (nee Shanta Kumari). These were artistes from Silent film era, spilled over the Talkie films. They started as Hero and Heroine, but shifted to character roles, as the time went by. In our film industry, such cases are not new. In fact such type of actors who remained practically unknown to later generations of audiences, were highly respected by film people during shootings. Their seniority and work was respected.

This is a very good practice in the industry, by directors and other actors to give respect to old timers. Raj Kapoor used to send his car to fetch Bhudo Advani for shootings of film Boot Polish scenes. Hrishikesh Mukherjee kept special chair for Master Shiraz, during the shooting of film Guddi. He also ensured to feature Shiraz in the film credits. These are only samples to stress what I have said. Not every such matter is published but it is a special feature of the industry.

I try to gather information on such unknown and forgotten artistes and write on them. Not everytime I am successful, but I have written about many such actors, directors, MDs etc. Some of them are Omkar Devaskar, Zunzar rao pawar, Ganapat rao Bakare, Shankar rao Vazare, Naseem Junior, Shamim Jr, Altaf, Urmila, Ranjana, kusum Deshpande, Vasant rao Thengadi, Jamshed ji etc etc. Today, we will know more about one such old time actor who was prolific and worked in films of Bombay and Calcutta.

I.T.Nimbalkar aka Indurao T. Nimbalkar ( he was always credited as only ‘ Nimbalkar ‘ in all films) was born on 6-12-1893, in Kolhapur state. This was the time Kolhapur was slowly developing as Kalapur (hub of arts) and the seeds of film making were being planted there. Baburao Painter, one of the original film makers had started his ” Maharashtra Film Company” on 1-12 1917.

Baburao, Damle, Fattelal etc were taught painting By Anandrao painter, who was an extraordinary painter of those times. All these people, along with V Shantaram, Keshavrao Dhaiber and few more also joined Baburao painter’s Maharashtra Film company. True that, film making had started even earlier in Maharashtra, but Baburao painter is credited with making films a form of art and spreading it on a larger canvas of India.

Indurao Nimbalkar grew up in this atmosphere in Kolhapur. He passed his Matriculation exam and also did a diploma in Printing. Nimbalkar was six feet tall and had a good physique. He was expert in riding, swimming and wrestling. He did 1000 sit-ups every day. Shahu maharaj, the king of Kolhapur encouraged all arts as well as development of lower castes. Arya Samaj had a ‘ Gurukul’ in Kolhapur. Impressed with Nimbalkar’s education and body, Shahu ji appointed him as Editor of the weekly ‘ Arya’ and secretary of Gurukul.

One day Baburao Painter, along with assistant V Shantaram visited his press and offered Nimbalkar a role in his proposed film Sairandhri. Shahu maharaj also permitted and encouraged him ,so Nimbalkar joined the film line. He was already famous due to his fiery editorials and now people came to see his shootings too. However, due to money shortage, the film did not complete. ( It was later made in 1919, but with different cast. V Shantaram made coloured Sairandhri in 1933 with Nimbalkar again).

Nimbalkar acted in many silent films like Baji Deshpande, Khazanchi (directed by Moti gidwani- England returned), Lanka, Kismet (directed by Baburao Patel) etc etc. After the closure of Maharashtra F. Co., Nimbalkar was invited by V Shantaram to do Vishvamitra’s role in its first Talkie film ” Ayodhya ka Raja” -1932, in Hindi and Marathi. After this, he did Jalti Nishani-32, Sairandhri-33, Maya Machhindra, Sinhagadh etc.

After this, Nimbalkar went to Calcutta on invitation and worked in films made by Radha Films, Laxmi Studios, Devdatta films and New Theatres. From 1934 to 1938, he acted in 12 Hindi films. He was provided a Bungalow, car with driver, servants etc. His son studied in local school there. Returning to Bombay he worked as an assistant director to Keshavrao Dhaiber for film ‘Nandkumar’, made by his Jayashree Films. Next 2 years he shuttled between Calcutta and Bombay. He did King Dashrath’s role in Prakash films’ Bharat Milap-42 and Ramrajya-43 in this period.

He was invited by V Shantaram for acting in his first film under banner of Rajkamal- Shakuntala-43. Nimbalkar did the role of Kanva Muni in it. He later also acted in Jeevan yatra, Subah ka tara, Parchhain, Teen batti char rasta, Toofan aur Diya, Z Z Payal baje. Earlier he did Aapki sewa mein, prarthana,Nal Damayanti, Seedha Rasta, Gokul, Apna Ghar, Maharathi karna, Seeta Swayamvar. He worked in pyasa, Mera Naam Joker, Amar prem etc etc. From 1928 to 1970 he acted in over 250 films.

His wife Sushila was also educated and looked after his home and children. She never visited any sets in her life time. Nimbalkar died on 17-1-1973 at Kolhapur. (Thanks to an article in book Chandraat-चांदरात by Babu moshoi)

Film Bharat Milap-42 was directed by Vijay Bhatt (12-5-1907 to 17-10-1993). The film was made under their own banner Prakash Films. Prakash Studios was built in 1934 at Andheri. The first film to be made there was ‘Actress’ (Bambai ki Mohini), written and produced by Vijay Bhatt. The famed torch of Prakash Pictures continued to shine over decades and in all, 64 films were produced in various genres, in black and white as well as colour.

Vijay Bhatt played an important role in the careers of some major stars. He was the person who gave Mehzabeen (Meena Kumari),the name Baby Meena.

He also gave her the first major heroine’s role in Baiju Bawra-52.Till then she did roles in B and C grade films. O K Dar Kashmiri was given the name ” JEEWAN “, when he did Narad’s role in Bharat Milap. Later he did Narad’s role in over 100 films. Suraiyya got her big singing role in Station Master-42. Manoj Kumar was made hero in Himalaya ki God mein-65.

Today’s song is from film Bharat Milap-42. This was a Bilingual film in Hindi and Marathi(as Bharat-Bhet). Main characters were Prem Adeeb as Ram, Shobhana Samarth as Seeta and Shahu Modak as Bharat. Durga khote was Kaikeyi, Vimla Vashishta was Manthara and Nimbalkar as King Dashrath.

The story of Bharat Milap is too well known and it is to the credit of Bhatt brothers that they kept the story line true to original,supported by several books and curators as well as scholars. This was the first major mythological film of Prakash and they did not spare efforts or money to raise spectacular sets, costumes and war scenes ( when Bharat is attacked by Nishad raja’s army).

It was a delight to see this film. There were no scenes of Miracles. I saw this film in its second run, sometime in the end of 40s, but the memories are still fresh. In fact this film became a benchmark for all subsequent mythological films, in my mind. Shahu Modak, who was Bharat in this film, was popular as Krishna in such films.

Editor’s note:-This song is the 200th song of Pt Indra chandra as a lyricist in the blog.


Song-Raam chale Raam chale ban chale Raam Raghuveer (Bharat Milaap)(1942) Singer-G M Durrani, Lyrics-Pt Indra Chandra, MD-Shankar Rao Vyas

Lyrics

Ram Chale
Ram Chale ae ae ae ae ae
ban chale Ram Raghuveer
ban chale Ram Raghuveer
ban chale Ram Raghuveer
kahaan Janaki Janak dulaari
kahaan Janaki Janak dulaari
kahaan laadla Lakshman re
kahaan laadla Lakshman re
jhoole thhe jo phool hindole
jhoole thhe jo phool hindole
aaj chale kantak ban re
aaj chale kantak ban re

ho gayi sooni
aaj Ayodhya aa aa
soona Saryu teer
soona aa aa Saryu teer
ban chale Ram Raghuveer
ban chale Ram Raghuveer
ban chale Ram Raghuveer

roko o o
koi roko o
rathh roko hey purwaasi
jaate hai punya pravaasi
hote hain kyun banwaasi
hote hain kyun banwaasi

gayi khushi ee ee
aur rahi udaasi

Ram ka rathh kya chalta hai
sab ko ye chakr kuchalta hai
Shree Ram ka rathh kya chalta hai
sab ko ye chakr kuchalta hai
Raghukul ka bhaagya badalta hai
Raghukul ka bhaagya badalta hai
ugta sa suraj dhhalta hai
ugta sa suraj dhhalta hai ae ae
praan chale hain sang Raam ke ae
soona pada shareer
soona pada aa aa shareer

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

राम चले
राम चले ए ए ए ए
बन चले राम रघुवीर
बन चले राम रघुवीर
बन चले राम रघुवीर
कहाँ जानकी जनक दुलारी
कहाँ जानकी जनक दुलारी
कहाँ लाडला लक्ष्मण रे
कहाँ लाडला लक्ष्मण रे
झूले थे जो फूल हिंडोले
झूले थे जो फूल हिंडोले
आज चले कंटक बन रे
आज चले कंटक बन रे

हो गई सूनी
आज अयोध्या॰॰आ॰॰आ
सूना सरयू तीर
सूना॰॰आ॰॰आ सरयू तीर
बन चले राम रघुवीर
बन चले राम रघुवीर
बन चले राम रघुवीर

रोको ओ ओ
कोई रोको ओ
रथ रोको हे पुरवासी
जाते हैं पुण्य प्रवासी
होते हैं क्यों बनवासी’
होते हैं क्यों बनवासी’

गई खुशी॰॰ई॰॰ई
और रही उदासी

राम का रथ क्या चलता है
सबको ये चक्र कुचलता है
श्री राम का रथ क्या चलता है
सबको ये चक्र कुचलता है
रघुकुल का भाग्य बदलता है
रघुकुल का भाग्य बदलता है
उगता सा सूरज ढलता है
प्राण चले हैं संग राम के
सूना पड़ा शरीर
सूना पड़ा॰॰आ॰॰आ शरीर


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4271 Post No. : 15502 Movie Count :

4272

Today, 28th March, is the remembrance day of another famous creator of musical melodies who has given us some of the most charming songs rooted in the classical music of our country. Shrinath Tripathi or SN Tripathi, passed away, this day in 1988 in Bombay, at the age of 75.

Regulars will remember the film ‘Achhoot Kanya’ (1936), and the iconic song “Main Ban Ki Chidiya Ban Ke Ban Ban Boloon Re”, so wonderfully composed by Saraswati Devi, and rendered by Ashok Kumar and Devika Rani, In an interview once, Ashok Kumar had described how this song was prepared. He was a novice at that time, and not a trained singer. He says that this song was rehearsed for almost a month before Saraswati Devi was satisfied enough to proceed to the recording room. The main stumbling notes for Ashok Kumar and for Devika Rani were the enhanced emphasis on “. . .Boloon Re” and “. . .Doloon Re”. Ashok Kumar narrates that it took him and Devika Rani one full month to render this emphasis to the satisfaction of the music director. A lesser known trivia attached to this anecdote is that SN Tripathi was the assistant music director for this film, and he conducted these rehearsals with the singers for the said one month.

Born in Benaras on 14th March, 1913, young Shrinath got associated quite early with Badriprasad, who was also from Benaras. [Note: Yes, the same Badriprasad whom we are more familiar as a character actor / music director / dance director / story and dialogue writer in Hindi films.] Badriprasad was already associated with the theatre scene in Benaras. Shrinath started to assist him with composing music for the stage plays, according to the scene and action on stage. In the company of Badriprasad, he also got wonderful opportunities to meet and listen to many other artists of classical music, vocal and instrumental, as part of the active cultural environment in the city.

Later, Badriprasad made his way to Calcutta and joined the theatre activities there, and eventually moved to films, and thence migrated to Bomabay (now Mumbai). Shrinath came to Lucknow and joined the Morris College of Music. That is where he met with Himanshu Rai and Devika Rani, who had come scouting for music talent for their production house – Bombay Talkies. They invited Shrinath to Bombay, and he joined them as a violinist and and assistant in the music department. The year would have been 1933 or 34, as his first credits are as the assistant music director for the 1934 film ‘Jeevan Naiya’.

He remained with Bombay Talkies till the release of film ‘Bhabhi’ in 1938. The he struck out, seeking assignments as an independent music director. His first break was with the film ‘Chandan’, which was apparently delayed and got released in 1941. There started a career that continued till the mid 1980s. His last film was ‘Mahasati Tulsi’ (1985). From the mid 1960s to mid 1980s, his assignments dwindled quiet a bit. The musical tastes were changing more towards orchestral and western style tunes. He got confined to religious films and regional films. Coming into the 1980s, he did only 3 films from 1981 to 1985.

As happens usually, the industry stopped paying any attention and his last years were spent in financial difficulties. He left this world after a brief illness, in 1988.

The film ‘Choodiyaan’ was released in 1942. The film was produced under the banner of Prakash Pictures and was directed by KJ Parmar and LJ Bhatt. The cast of actors included Prem Adeeb, Maya Bannerji, Jeevan, Shakir, Gulab, Bholaram, Meher Sultana, Baby Tara, Ranibala, Sitaram, Chiman Seth, Lakshmi, Vasant Kanse, Athawale, OP Sharma amongst others.

The film had eleven songs written by five lyricists – Pt Indra, prem Adib, Ramesh Gupta, Sharma and Tiwari. This song is written by Tiwari. My intuition says that the full name of this song writer is Neelkanth Tiwari. The time period is the same. His career also begins from 1941.

The song is rendered by Rajkumari (Rajkumari Dubey). The song presents a generic ode to the jewllery item ‘choodi’ (bangle). The song presents a  brief description about its construction, and its importance. The beauty of the song is that it is presented as a first person i,.e. the bangle itself is presenting this song. Given that the name of the film is ‘Choodiyaan’, this song might well have been the theme song of the film, and quite possibly may have been played at the time of credits. I request more knowledgeable readers to please add more information about this song and it picturization.

With this song, the film ‘Choodiyaan’ makes its debut on our blog. 🙂

[Note: There is one word in the lyrics that I seek help from readers to decipher. It is in the second antaraa. I request other readers and friends with keener ears to please help.]

Song – Choodi Hoon Main, Ek Kahaani Hoon Main (Choodiyaan) (1942) Singer – Rajkumari, Lyrics – Tiwari, MD – SN Tripathi

Lyrics

choodi hoon main
ek kahaani hoon main
choodi hoon main
ek kahaani hoon main
naari ke
naari ke sukh ki nishaani hoon main
naari ke
naari ke sukh ki nishaani hoon main
choodi hoon main
ek kahaani hoon main

bana kaanch ka hai kada mera tan
bana kaanch ka hai kada mera tan
darpan sa nirmal hai par mera mann
darpan sa nirmal hai par mera mann
zara thhes pahunchi tadakti hoon main
zara thhes pahunchi tadakti hoon main
aisa hai naari ka komal ye mann
aisa hai naari ka komal ye mann
naari ke sapnon ki rani hoon main
naari ke sapnon ki rani hoon main
choodi hoon main
choodi hoon main
ek kahaani hoon main
naari ke
naari ke sukh ki nishaani hoon main
naari ke
naari ke sukh ki nishaani hoon main
choodi hoon main
ek kahaani hoon main

patli kalaai hai phoolon ki daal
patli kalaai hai phoolon ki daal
chidiya si us par chehakti hoon main
patli kalaai hai phoolon ki daal
chidiya si us par chehakti hoon main
pyaari ke yauwan ka main hoon basant
pyaari ke yauwan ka main hoon basant
preetam ke mann mein thhirakti hoon main
preetam ke mann mein thhirakti hoon main
laakhon baras ki jawaani hoon main
laakhon baras ki jawaani hoon main
choodi hoon main
choodi hoon main
ek kahaani hoon main
naari ke
naari ke sukh ki nishaani hoon main
naari ke
naari ke sukh ki nishaani hoon main
choodi hoon main
ek kahaani hoon main

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

चूड़ी हूँ मैं
एक कहानी हूँ मैं
चूड़ी हूँ मैं
एक कहानी हूँ मैं
नारी के
नारी के सुख की निशानी हूँ मैं
नारी के
नारी के सुख की निशानी हूँ मैं
चूड़ी हूँ मैं
एक कहानी हूँ मैं

बना काँच का है कड़ा मेरा तन
बना काँच का है कड़ा मेरा तन
दर्पण सा निर्मल है पर मेरा मन
दर्पण सा निर्मल है पर मेरा मन
ज़रा ठेस पहुंची तड़कती हूँ मैं
ज़रा ठेस पहुंची तड़कती हूँ मैं
ऐसा नारी का कोमल ये मन
ऐसा नारी का कोमल ये मन
नारी के सपनों की रानी हूँ मैं
नारी के सपनों की रानी हूँ मैं
चूड़ी हूँ मैं
चूड़ी हूँ मैं
एक कहानी हूँ मैं
नारी के
नारी के सुख की निशानी हूँ मैं
नारी के
नारी के सुख की निशानी हूँ मैं
चूड़ी हूँ मैं
एक कहानी हूँ मैं

पतली कलाई है फूलों की डाल
पतली कलाई है फूलों की डाल
चिड़िया सी उस पर चहकती हूँ मैं
पतली कलाई है फूलों की डाल
चिड़िया सी उस पर चहकती हूँ मैं
प्यारी के यौवन का मैं हूँ बसंत
प्यारी के यौवन का मैं हूँ बसंत
प्रीतम के मन में थिरकती हूँ मैं
प्रीतम के मन में थिरकती हूँ मैं
लाखों बरस की जवानी हूँ मैं
लाखों बरस की जवानी हूँ मैं
चूड़ी हूँ मैं
चूड़ी हूँ मैं
एक कहानी हूँ मैं
नारी के
नारी के सुख की निशानी हूँ मैं
नारी के
नारी के सुख की निशानी हूँ मैं
चूड़ी हूँ मैं
एक कहानी हूँ मैं


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 : 4255 Post No. : 15475

“Sewa”(1942), an obscure “social” movie, was directed by Dhirubhai B Desai for Ashok Pictures, Bombay. The movie had Zahoor Raja, A K Kabuli, Hadi, Prabha Shankar, Shyam Sundar, Bulbul, Shanta, Radha Rani, Anwari, Alice etc. in it.

The movie had 13 songs in it. One song has been covered in the past.

Here is the second song from “Sewa”(1942) to appear in the blog. The song is sung by Kamla. J C Kaur is the lyricist. music is composed by S N Tripathi.

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

With this song, we now have 200 S N Tripathi compositions in the blog.


Song-Mohan tum Mohan (Sewa)(1942) Singer-Kamla, Lyrics-J C Kapur, MD-S N Tripathi

Lyrics

Mohan tum Mohan
Mohan tum Mohan
mere Mohan
naina sohan
mere Mohan
naina sohan

Mohan Raadhe
Raadhe Mohan
Mohan Raadhe
Raadhe Mohan
Raadha sajni
Mohan Saajan
Raadha sajni
Mohan Saajan

Naina
naina mere Gokul Mathura
naina mere Gokul Mathura
aur man hai Vrindaawan
aa aa
aur man hai Vrindaawan
aa
Vrindaawan ki kunj galin mein
Vrindaawan ki kunj galin mein
murli bajaayenge manmohan
haan murli bajaayenge manmohan
Mohan
tum Mohan
haan
Mohan
tum Mohan
mere Mohan
naina sohan

pee pee papeeha bolega
pee pee
pee pee
pee pee papeeha bolega
kaanon mein amrit gholega
kaanon mein amrit gholega
rimjhim jab meha barsega
rimjhim jab meha barsega
Raadhe ka jiyara dolega
Raadhe ka jiyara dolega aa
Raadha pukaaregi
Mohan
Mohan
Raadha pukaaregi
Mohan
Mohan

Hanste aayenge nand nandan
Hanste aayenge nand nandan
wo paas bulaayenge
aur galey lagaayenge
preet ki reet sikhaayenge Mohan
preet ki reet sikhaayenge Mohan
naina sohan
mere Mohan
Mohan


This article is written by Arunkumar Deshmukh, a fellow enthusaist of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4243 Post No. : 15461 Movie Count :

4260

Today’s song is from a Stunt film- Black Out-1942. This was produced by Standard Pictures, Bombay, The film was directed by a veteran- Nari Ghadiyali. Music was by Ninu Mujumdar and Behram Irani. Songs were written by Wahid Qureshi. The film cast consisted of Benjamin, Shobha, Mukhtar, Bibi, Nazira, Sardar Mansoor, Ali, Habib, Bachhu Saoji, Sadiq Ali and many others.

When I read the film’s title, I thought it was based on some war story, because in 1942, there used to be Black Outs in major cities of India, due to fear of bombing by the enemies. In 1942, the second world war was in full force. However, later I found that this film had nothing to do with war and that it was a simple stunt film.

All stunt films had almost the same pattern of story. The only distinguishing factor was the variety of the stunts performed in the films. It depended upon the actors. The director and the cast of film Black out indicated loudly that the team of actors was that of a stunt film. This was clear, because the stunt films had a set of actors and actresses, as well as directors who were specialised in this Genre of films.

In this world, crime takes place only for 4 things. 1. Power, 2. Money, 3. Sex, and 4. Revenge. Stunt films from the 30s to the end of 60s were based only on Money and Revenge. It is only when the complexion of the Indian society changed, then the stunt/action films were made on Sex and Power. Not till then. And nowadays, the word ” Stunt films” is gone for ever. Now such films are called ‘ Super Action Films’ – where the ‘ action ‘ is not by the actors, but managed by the SFX Team (special effects team) !

I have not seen this film myself, but after reading its story synopsis from the film booklet, I find that actually, it was a social film – action and stunts coming only occasionally and they seemed to be incorporated as an afterthought.

Here is the film story:-

Ramesh (Sadiq) has designs on his brother, Dhirjlal’s (Ali) vast wealth which, according to his will, the old man is leaving half to his son Vasant (Sardar Mansoor).
Vasant and his sister Bimla (Shobha), have both been raised in luxury, but while Bimla was a worthy child, Vasant was spoiled and, unknown to his father, a drunkard and a gambler. Ramesh devises a scheme to make his brother realize what kind of a son Vasant really is, in an effort to get Dhirajlal to disown him.

But Vasant has fallen in love with Radha (Mukhtar), the divine daughter of an old employee of Dhirjlal’s. Radha tried to persuade Vasant to end his wicked ways, and because their love was so strong, Vasant became a changed man. Ramesh realizes he needs to up his game, and he hires a group of accomplices, led by a beautiful girl (Bibi), to trick Vasant into appearing in a suggestive photograph to show that he is of loose moral character. Surendra (Benjamin) and his pal Bagla Bhagat (Mehndi Raza) come across this scenario in which Vasant is to be framed, and they attempt to help him out of it, but not before the incriminating photo has been snapped.

Vasant pleads with Surendra to help him get the photo back, and Surendra puts on a disguise, reaches the den on a motorcycle, and succeeds in retrieving the photo, but not without a fight which also involves Bagla Bhagat and Vasant.

Seeing Vasant in jail due to the fight, Dhirjlal prepares a new will, excluding his son. Vasant learns that this was all the work of his greedy uncle and he makes this accusation in the face of his father, who angrily throws Vasant out of the house.

According to the new will, Ramesh becomes the recipient of half of Dhirajlal’s wealth, but Dhirajlal intends to change this after two years time and put Vasant back in the will.

Ramesh makes a plot to stop the will’s revision and Surendra and Bagla Bhagat help Vasant to frustrate the uncle’s plans. All is well at the end.

Shobha has done the role of a side heroine- Bimla in this film. Shobha, unfortunately remains an actress about whom no information is available. On going through the HFGK, I find her name in at least 20+ films. Sometimes she is listed as Shobha Devi. Another bit of information about Shobha was that the actress Lata Sinha, who started as a child star (as Baby Lata) in Riyasat-55 and Nau Do Gyarah-57 etc. was her daughter. Lata did a good role in Bees saal baad-62. She mainly acted in action/stunt, costume and other B and C grade films only. She was also in film Bhoot Bungla-65.

Another interesting actor is Sadiq Ali, who became a regular in stunt films in the 40s, but prior to this, he was with Minerva Movietone. Sadiq Ali, was born on 6-10-1911 at Jullundhar, Punjab. His 2 cousins- Wazir Ali and Nazir Ali were famous Indian cricketers. Sadiq Ali completed his Engineering degree and worked in M.E.S. at Kanpur (Military Engg. Services). Due to strong desire to work in films and dramas, he resigned from his job after 5 years and joined Agha Hashr’s Drama company. When the company was closed, he joined The Burma Imperial film company at Rangoon. After few small roles, he came down to Bombay.

After working in some smaller companies, he joined Minerva Movietone. Starting with khan Bahadur-37, he worked in Minerva’s Pukar-39, Sikandar-41, Phir Milenge-42, Prithwiraj Sanyogita-43, Parakh-44 (only directed by Modi) and Ek din ka sultan-45, also in Sandesa-39,Black out, Duniya tumhari hai, Phir milenge, Ulti Ganga, Patharon ke saudagar,Jagbeeti,Nishana, Do Naina, Manjhdar, Mitti etc. In all he acted in 23 films. His last film was Ever Ready-46. After partition, he migrated to Pakistan.

First film in Pakistan Judai-1950, Shaheena-50, Nazar and Zeenat-51. Other film Shola (1952).

Sadiq Ali was a very successful and famous actor before partition and got the title of Prince of Minerva. He acted in many films in India, but in Pakistan, Sadiq Ali could not be successful as he was in India.

He was paralyzed in 60’s and could be seen sitting with Pan shop in Capitol Cinema lane, Karachi. He died on 12-7-1977 in Karachi. In his last days, he was seen begging on road.

Today’s song is a fun song, sung by film’s Music Director Ninu Mujumdar. The duet also has Rehmat Bai as a lady singer. Rehmat bai aka Rehmat bano was a professional singer from Lahore. Not much is known about this singer.

Ninu Mujumdar was a talented composer, but his career graph did not go up noticeably.

Ninu (Niranjan) Majumdar was born on 9-9-1915 in a Gujarati Nagar Brahmin family of Baroda (Vadodara). Ninu was a pet name that he became famous by. His real name was Niranjan, which he later used as a pen name in his Gazals. His father, Nagendra Mazumdar made silent films. He was also a Music Director and Lyricist in his times. Ninu Majumdar’s name is variously written as Mujumdar, Muzumdar, Majumdar and Mazumdar.

After the early influence of Faiyaz Khan, Mazumdar’s search took him to various routes and he studied different kinds of music before he came into his own to become one of the first Gujarati Sugam Sangeet (light music) singer. He soon graduated to composing his own music and writing songs. Apart from classical music, the earlier influence was also of Ravindra Sangeet. This was at the time when Bengali language enjoyed prestige among Gujaratis of a kind that was comparable to the status of French among the English speaking nations. He grew out of it in a few years.

The more lasting influence on his music was that of folk songs and semi-classical music of Uttar Pradesh (U.P.) like the Hori, Chaiti, Barkha Biraha as well asThumri and Dadra. He learned these during his stint in U.P. where he did farming for some years and also kept in touch through association with people like Satyendra Trivedi, a connoisseur of music and the “Thumri Queen”, Siddheshwari Devi, a family friend and his wife Kaumudi’s Guru.

Ninu’s ambition, even when he started his schooling in music at Baroda, was to become a music director in films. From 1937 onwards he participated in light Gujarati musical programmes. He also produced several features for All India Radio. From 1954, Mazumdar worked with all India Radio in Mumbai for over 20 years as Light Music Producer. He would have liked to take part in Hindi programmes too but the shortage of Gujarati artists forced him to concentrate on programmes in that language.

When in charge of music for the newly launched Vividh Bharati, that had to compete with Radio Ceylon without using any film music (film music was not played on AIR for several years due to conflicts over contracts and royalties), he successfully produced programmes inviting Salil Chaudhary, Kanu Ghosh and others from Bombay Youth Choir or IPTA and using voices of Manna Dey and other well known artists. Later when the issue of royalties was settled between the film producers and AIR, Mazumdar was the first to produce the popular Jaymala Programme by interviewing eminent persons from the film industry.

A career in films was also cut out for Ninu Mazumdar, as his father, Nagendra Mazumdar, was a dramatist and film producer. Nagendra was not much of a musician but he imparted his son training in music from the very early days.

Ninu found the field restricted, in a way in films, because of the need of working at a very fast pace and with view to pleasing the majority among the public. Ninu tried to introduce a new trend in film music, that of, adding a classical touch by borrowing from the old masters like Surdas. These attempts met with considerable success in Gopinath, a picture in which Ninu had interest as a producer as well.

It was in films made in the forties that a young Ninu Mazumdar’s voice could be heard. He sang with Sardar Akhtar in “Uljhan”, with Amirbai Karnataki in “Paristan” and Meena Kapoor in “Gopinath”.

He provided music for Jail Yatra-47 and Gopinath-48, two of the earliest Raj Kapoor films. It is well documented by now that the Yashomati Maiyase Poochhe Nandlala song in RK movie Satyam Shivam Sundaram is a direct lift from Mazumdar’s Aai Gori Radhika in Gopinath.

He also composed music for several Gujarati Films like “Jeevano Jugari”, “Okha Haran”, “Sharad Poonam” etc.

He sang and penned quite a few of his songs. Amongst others who sang for him were Meena Kapoor, Shamshad Begum, Geeta Dutt, Suraiya, Hameedabanu, Pradeepji, C.H.Atma, Ameerbai Karnataki, Raj Kapoor, Shankar Dasgupta, S.D.Batish, Lakshmi Shankar, Talat Mehmood, Siddheshwari Devi, Rajkumar, Nalini Mulgaonkar, Dilip Dholakia, Ajeet Merchant, Shobha Gurtu, Sarla Bhide, Lata Mangeshkar, Asha Bhosale, Manna Dey, Kishori Amonkar, Usha Mangeshkar, Leela Mehta, Premlata Naik, Kishori Ghia, Suman Kalyanpur, Kaumudi Munshi,etc.

Vetern composer Ninu Mazumdar passed away on March 3 2000. Some of his songs have become so popular that people often do not even remember who wrote or composed them.

He gave music to 19 Hindi films – Black out-1942,Amanat, Masterjee, School Master, Kiran, Paristan, Rangila Dost, Main kya karun, Gudiya, Jail yatra, Gopinath, Kuch naya, Aflatoon, Pul, Raj ratan, Ram Shastri, Teen Tasweeren, Bhai Saheb-54 and Punam ka chaand-67.

He sang 28 songs in 13 films and directed 1 film-Kuchh naya-48

His son Uday gave music to TV serial ” Buniyaad ” in the 80s.

With today’s song, film Black out-42 makes its debut on the Blog.


Song-Haay haay haay haay dil ko le gaya chor (Black Out)(1942) Singers- Ninu Mujumdar, Rehmat Bai, Lyricist- Wahid Qureshi, MD- Ninu Mujumdar
Both

Lyrics

Haay haay haay haay
haay haay haay haay
dil ko le gaya chor
Haay haay haay haay
haay haay haay haay
dil ko le gaya chor
ab jaun main kis oar
ab jaun main kis oar
Haay haay haay haay
haay haay haay haay
dil ko le gaya chor
raat ko hamne kheer pakaayi
khaa gayi usko billi
raat ko hamne kheer pakaayi
khaa gayi usko billi
billi ko jab dhoondhne nikle
billi ko jab dhoondhne nikle
jaa pahunche ham Dilli
jaa pahunche ham Dilli
Haay haay haay haay
haay haay haay haay
dil ko le gaya chor
Haay haay haay haay
haay haay haay haay
dil ko le gaya chor

Dilli mein jab khaana khaaya
jaage bhaag jawaan ke
Dilli mein jab khaana khaaya
jaage bhaag jawaan ke
saalan mein thhi mirchi itni
khul gaye dil ke taanke
saalan mein thhi mirchi itni
khul gaye dil ke taanke

Haay haay haay haay
haay haay haay haay
dil ko le gaya chor
Haay haay haay haay
haay haay haay haay
dil ko le gaya chor

Dilli ki jab sair ko nikle
mili hamen ek bandan(?)
Dilli ki jab sair ko nikle
mili hamen ek bandan (??)
aankh matkaa kar boli le do
mujhe sone ke kangan
aankh matkaa kar boli le do
mujhe sone ke kangan
Haay haay haay haay
haay haay haay haay
dil ko le gaya chor
Haay haay haay haay
haay haay haay haay
dil ko le gaya chor


This article is written by Arunkumar Deshmukh, a fellow enthusaist of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4238 Post No. : 15450 Movie Count :

4256

Today’s song is from the film Jhankar-42. The song is sung by Rajkumari and chorus. It is a traditional song written by Amir Khusro.

This film was a special film for many people. The Music Director of this film was Bashir Dehlavi who started his career as a Music Director with this film. The film was the first film made by the banner-Silver films, Bombay. The director was S. Khalil making his debut with this film. The cast of the film was Chandra Mohan, Pramila, M.Kumar, Azuri, Shehzadi, Gope, Altaf, Ghulam Mohammed, Chandra kumar and many others.

The cast of the film displays names of artistes who had almost passed their best years. Most actors were from the 1930s and now they tended to do side roles since lead roles were not coming that frequently. Due to excess alcohol, the handsome fine actor Chandramohan was on his way to self destruction. By 1949, his condition was worsoned irreversibly and he died of Liver Cirrhosis. Ghulam Mohammed, once a Hero, was reduced to character roles and after Partition he migrated to Pakistan.

Pramila did only one more film Beqasur-50 and retired from films. In 1942, she did 4 films. The last 1942 film she did was her husband’s film Jhankar-42. Kumar shifted his focus to producing and directing films and finally he too migrated to Pakistan. He continued acting in Pakistan films. Altaf was the husband of actress Khurshid jr. (elder sister of Meena kumari), who was getting edged out slowly as an actress. Actress Shehzadi Jr. also migrated to Pakistan after failing as a Producer (Utho Jaago-47). Gope’s and her last film as a leading pair was Hanso hanso aye duniyawalon, also in 1942. After this film, Gope became a Comedian for full time.

With such cast and debutante director and music director, the new company tried to make a Comedy film. I have not seen this film and I could not find its story or review anywhere on internet or in Film India magazine. However, from the film’s advertisements in the magazine and the news bits in it, I find that the film was not very successful, but must have given enough boost for the producers to go ahead and make 6 more films in next 8 years.

One of the owners of this banner- Silver Films – was actor M. Kumar, who was a successful artiste in the 30s and 40s, having worked with many prestigious banners. KUMAR was born in the prestigious family of Syed s of Lucknow-UP in India, on 23-9-1906. His real name was SYED HASSAN ALI ZAIDI. His family used to call him MIJJAN Miyan.

He was a handsome and tall person. He was keen on joining cinema, so he came to Calcutta and joined New Theatres. After doing side roles in Subah ka Sitara-32 and Zinda Lash-32, he was hero in PURAN BHAGAT in 1933. Even Saigal was also in the film.The film was about to be released and suddenly communal riots broke out in Calcutta.The new Theatre management found it difficult to announce a Muslim name of the hero of PURAN BHAGAT, in the tense atmosphere of Calcutta.The director of the film was Kumar Debaki Bose,a person from a Royal family. He took a decision and told Mijjan,” from today, I am giving you a part of my name. You will become KUMAR now.” This solved the film release problem and thus his name became KUMAR, then onwards. Truly enough, Debki Bose, thereafter never used his name Kumar again in his life !

After doing Yahudi ki Larki, Kumar came to Bombay. First he worked in Sagar ( 3 films) , Imperial (2 films)and then joined Ranjit Studios.

He married another actress PRAMILA , who was actually a Jew, Esther Williams. Pramila was later India’s FIRST Miss India in 1947. They got a son and a daughter Naqi Jehan (who too became a Miss India in 1967, exactly 20 tears after her mother.) Naqi acted opposite Rajesh Khanna in Akhari Khat, as a Heroine. Later she married into the business family of Kamdar of Bombay and became Mrs.Nandini Kamdar. Kumar had 3 sons from his earlier marriage. His first wife and children shifted to Pakistan after the Partition.

Kumar did many films in Ranjit, but in 1942, he was removed from Ranjit. At the same time, his friend, CHANDRAMOHAN also left Minerva Movietone (reason-despite PUKAR-39 being a blockbuster, his salary was not increased inspite of a promise by Sohrab Modi).They both decided to launch own company and on 16-3-1942, SILVER FILM CO. was launched. Its first film was Jhankaar-42. They produced Bhalai-43, Bade Nawab Saab-44, Devar-46, Naseeb-45, Dhun-53 and Bahana-60. Kumar acted in these films. He also directed Dhun and Bahana.

He produced and directed Aap-Beeti-1948 under his own company, Kumar Studios.Then under Shama Productions, he made Nahle pe dehla, Dhoom Dham and Dilbar. Later in life he made Badal aur Bijlee and Jungle King under Artists United films. Kumar worked in 73 films as an actor from 1932 to 1963.

From Najma in 1943, Kumar did only character roles in films like Bhishm Pratigya, Dayara, Mahal, Shri 420, Khiladi, Maalik, Baiju Bawra, Yahudi ki Ladki. His memorable role was in Mughal e Azam, that of the sculptor and a famous song-‘Aye mohabbat zindabad’ was shot on him. His last film was Raat aur Din (released in 1967)

In 1963, Kumar migrated to Pakistan, and started to work in Pakistani films without any delay. His son, S. A. Hafiz, who made Tauba, later became one of the best and well known directors of the country. Later he settled in USA. Kamal and Zeba played the lead in Tauba, which became a grand success. Kumar worked in 22 Pakistani films, including Head Constable, Azad, Shabnam, Naela, Saiqa, Sajda (his own film), Hum Dono, Nadya Ke Paar, Ik Musaflr Ik Hasina, Baalam etc. He gave one Superhit and three Hit films in Pakistan. Interestingly, he continued to act in the name of Kumar only, without using his original Muslim name there. Kumar died on 4-6-1982.

Film Jhankar-42 director S.Khalil directed only 7 films – jhankar-42, Nai Zindagi-43, Bhai Jaan-45, Shahkar-47, Sartaj-50, Gunehgar-53 and Benazir-64.

There is one more name ” Chandra Kumar” in the cast. Hardly, anyone will know who this actor was. He was none other than actor Anil Kumar (real name- Sardar Gul), who actually started his career with Minerva Movietone with its first film ” Said-E-Havas”-36, with the name Chandrakumar. After that he took the name Anil Kumar, but in this film he acted with this name, surprisingly. May be in few other films too he used this name.

Actor Anil Kumar (Sardar Gul) was born in 1915 at Calcutta. His father had a fruit business. They were from Peshawar (just like Dilip Kumar). He was not much educated but could speak Hindi, Urdu and English fluently. Once he went to Bombay to meet a friend. There he met an old acquaintance, who took him to Sohrab Modi.

The good looking Sardar Gul was liked by Modi and he offered him the lead role in his film ‘ Saed E Havas’-36. Sardar Gul was given a screen name of Chandra Kumar. The film was based on a translation of William Shakespeare’s drama- King John, by Agha Hashra Kashmiri in 1907. Sardar Gul was to get Rs. 200 for this work. The film was a flop and Sohrab Modi refused to pay him more than Rs 50. Annoyed, he left Bombay and returned to Calcutta.

However he came back in 1938 and did his first film with a new screen name Anil Kumar. The film was Talwar ka Dhani-38. Soon he was well known and acted in 10 films in next 3 years. As the decade of the 40s saw many new actors, producers and directors, he was reduced to Character roles and side roles. By 1950, he was almost like an extra. He did work in many films, but only few films credited him, as his roles were negligible. We find his name in just 30 films, where he was credited, the last such film being Tarzan and Deliailah-64.

Today’s song is sung by Rajkumari and chorus. The MD Bashir Dehlavi started his career with this film and gave music to 6 more films. His last film was Hawai Khatola-46. The song is a traditional one, written by Amir Khusro (1253 – 1325). This song is used in many films. some films are Heer Ranjha-48, Suhag Raast-48, Nadir Shah-68, Maang bharo Sajna-80 and Umrao Jaan-81 etc. Amir Khusro’s some other songs in films are Chhap tilak sab chhini re in Main Tulsi tere aangan ki- 78 and Rain suhag ki jaagi in Junoon-78.

Let us now enjoy this traditional song. With this song, Film Jhankar-42 makes its Debut here.


Song-Kaahe ko byaahi bidesh re lakhi baabul morey (Jhankaar)(1942) Singer-Rajkumari Dubey, lyrics-Amir Khusro, MD-Basheer Dehalvi

Lyrics

Kaahe ko byaahi bides re lakhi baabul morey
Kaahe ko byaahi bides re lakhi baabul morey
Kaahe ko byaahi bides re lakhi baabul morey

gudiya khilaune maine taak mein chhode
gudiya khilaune maine taak mein chhode
chhoda saheliyon ka saath re
lakhi Baabul more
chhoda saheliyon ka saath re
lakhi Baabul more

Kaahe ko byaahi bides re lakhi baabul morey

sona bhi deenha baabul rupa bhi deenha
sona bhi deenha aa aa aa aa aa aa
sona bhi deenha baabul rupa bhi deenha
deenha ratan jadaau re
lakhi baabul more
deenha ratan jadaau re
lakhi baabul more
Kaahe ko byaahi bides re lakhi baabul morey

itna dihin baabul ???
itna dihin baabul ???
saas nanand bole bol re lakhi baabul morey
saas nanand bole bol re lakhi baabul morey
Kaahe ko byaahi bides re lakhi baabul morey

aam tale se dola jo niksa
aam tale se ae ae ae
aam tale se dola jo niksa
koyal sabad sunaaye re lakhi baabul morey
koyal sabad sunaaye re lakhi baabul morey
Kaahe ko byaahi bides re lakhi baabul morey

tu kya boley meri kaali koyaliya
tu kya boley meri kaali koyaliya
chhoda baabul ka des re lakhi baabul morey
chhoda baabul ka des re lakhi baabul morey
Kaahe ko byaahi bides re lakhi baabul morey
Kaahe ko byaahi bides


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 :

4125 Post No. : 15280 Movie Count :

4205

Today’s song is from film Baraat-42. There was a film in 1960 with the same title and another one in 1954 titled Baraati.

The film was made by Kirti Pictures. The director was Dada aka V M Gunjal. The Lyricist was Gujarat’s famous poet Raskavi Raghunath Bramhabhatt. The music was by Ratanlal and Khemraj ( it was a pseudo name of Khemchand Prakash). The cast of the film was Shobhana Samarth, Harish Manmohan, Kaushalya, Mirza Musharraf, Rampyari, Nayampalli, Vatsala Kumthekar, Putlibai, Prakash, Sankata Prasad etc etc.

From the cast one will find few uncommon names like, Rampyari, Nayapalli, Vatsala Kumthekar, Putlibai and Prakash. The first four artistes were major actors in early era films of the Silent and the Talkie films of the 30s. The decade of 40s was a time when their careers were downhill and coming to an end. The last days of Rampyari and Vatsala Kumthekar were very sad and pathetic. Sankatha Prasad was actually a regular actor at Sagar films, but after the eclipse of Sagar, National and Amar, he became a Free Lancer. His younger brother was Kanhaiyalal Chaturvedi, who had joined film line as a writer and Lyricist, but settled with little fame as comic villain and character roles.

If you take a look at, say, 100 artistes who were active in Silent films and switched over to Talkie films, I feel a major chunk of them had a very bad period at the end of their life. Well known artistes like Rattanbai and Wasti-a one time Hero of successful films, became beggars on the street. Vatsala Kumthekar-a well known singer of repute and a Heroine, roamed the streets of Bombay as a Mad woman and died one day as an unclaimed unknown body ! Same was the case with actor singer Parshuram who became a beggar and died on road in Bandra. There are so many cases like this.

Why did this happen to these people ? Thinking about it, I found that many or rather most of the artistes of early era were from poor families and had joined films to survive. When they got money, they enjoyed life fully, without thinking about future. As such in those days actors did not earn so much as today. Further, there were no investment opportunities like today to secure the future. Film artistes did not enjoy respect in the society, so they enjoyed in wine, dine and women, thus spending what they earned. In few cases, the near and dear ones deserted or cheated them, leaving them penny less. All in all, it was a tough life, no doubt.

The case of Master Nisar, who was at one time the only actor in Bombay to own a car and for whom the Governor of Bombay had to make way due to his fan crowd, is very touching. This one time Prince of acting, having 2 Cars, 2 Bungalows, 4 wives and millions of fans, died a pauper in a slum of Kamathipura in Bombay. His last rites were done by the Actors’ Association.

One of the actresses of the film Baraat-42 was Rampyari. Rampyari hailed from a Telugu family of highly skilled professional dancers and singers. She lived in Nagulchinta area of old Hyderabad city.

She was born in 1908 December, the year Hyderabad witnessed devastating floods. She was taught Urdu and English. Apart from her mother tongue Telugu, she was also proficient in Marathi and Kannada. She was trained in Dancing and singing. In 1918, at the age of 10 years, she was taken to Madras by her aunt, who trained her in Bharat Natyam. After 4 years of rigorous training, she became the best dancer of Madras.

In 1926, a film producer from Kohinoor Film company, Bombay, visiting Madras, saw her dancing and invited her to Bombay. It was the era of Silent movies. Her first film was Gunsundari, with Miss Gauhar and Raja Sandow. It was directed by Chandulal Shah and was released in 1927. Her supporting role as a dancer in the film was lauded by the audience. Next film Vile woman was also successful. She acted in more than 20 Silent films as a Heroine and dancer and established her name as a seasoned actress of the 30s.

With the advent of Talkies, she easily switched over. She had no difficulty in delivering Urdu dialogues. In 1931, she acted in Paak Daman, Laila Majnu and Ghar ki laxmi, Gunsundari in 1934 and Azad Abla, Meethi Nazar and Hamlet in 1935.

Famous director Debki Bose from New Theatres, Calcutta invited her and signed up for ” Sunehra Sansar”-36 and Vidyapati-37, which was a mega hit. She had a big dispute with New Theatres and there was mud slinging through legal letters between her and the company, which called her ‘ a street singer ‘ who was helped by the company. She refuted their charges successfully.

She toured the entire south India and gave dance performances in major cities. She became so famous that the Ceylon Labour Union invited her to Ceylon and presented her with Gold Mementos. She was greatly inspired by the acting of Sulochana aka Ruby Meyers and Miss Gauhar of Ranjit, with whom she acted in many films.

She shifted to Bombay permanently in the 30s. Her family also moved out of Hyderabad and came to Bombay. She had a large fan following in Hyderabad. She had a great fan mail too, which she replied in fluent Urdu and English. Later she got married and retired from films.

She acted in 30 films. Her last film was Dak Bungla-47. She sang 14 songs in 8 films.

The other uncommon name in the cast is that of Nayampalli. S.B. Nayampally (or Nayampalli) was working at the firm of Killick, Nixon and Company when he was discovered by film director P.Y. Altekar at a gym where Nayampally regularly exercised. Altekar felt that Nayampally very much resembled the famous French boxer Georges Carpenter and would be perfect for the stunt films that had become popular at the time. At Altekar’s urging, Nayampally joined Imperial Studios and was quickly cast in his first film, Wedding Night(1929), opposite the popular actress Jilloo.

When he arrived at Imperial to begin his first day of filming he was amused to find that the building now used for the studio had formerly housed the school he’d attended as a child.“Wedding Night was a stunt film of the Robin Hood type,” Nayampally explained in a 1964 interview. “It had a little more of a plot to it than many films of the same class. My next film, Hell’s Paradise (1929), I remember for three reasons. One, it was based on a real-life episode involving an Indian prince and a foreign girl, described as an adventuress. Two, Mama Warerekar, the noted writer, did the story. Three, the film had a kissing scene, probably the first ever in an Indian film.”

Nayampalli was cast in Imperial’s Noorjehan (1931), which was initially to be a silent picture, but because of the success of their film Alam Ara (1931), which was India’s first talkie, the studio decided to make Noorjehan partly with sound. Nayampally was not originally cast in Noorjehan, but a chance meeting with the film’s director, Ezra Mir, got him the role of Prince Salim in the film.Nayampally then played Karna in Imperial’s next sound film, the mythological Draupadi (1931), but the actor considered his best mythological role to be that of the wily Shakuni in Mahatma Vidur (1943), a part that was appreciated by critics and the public, alike.

As sound films came in, silent actors were being discarded in favor of those with stage backgrounds and could not sing, so Nayampalli joined the Grant Anderson Theatrical Company which specialized in Shakespearean plays. After gaining some experience he tried to rejoin films, but without much luck. His previous roles had been leads, so he decided if he wanted to work regularly, maybe he should take a different approach and he offered himself up for character parts.His break came in the role of a hunchback in love with the heroine in Ezra Mir’s Zarina which starred Jal Merchant and Zubeida. The dentures he wore for the role were created specially by a dentist named Jimmy Gheista who had trained abroad with the dentist who had made similar dentures for Lon Chaney.

Nayampally had learned early on how to apply make-up for his roles and, in fact, he became so good at it he eventually came to specialize in horror make-up, which earned him the nickname “The Indian Lon Chaney.” Indeed, Chaney, Erich von Stroheim, Emil Jannings, and John Barrymore were the actors that Nayampally most tried to emulate. Boris Karloff was another of his role models. He was able to put his make-up expertise to good use for the film Sair-e-Paristan (1934), where he was a vampire-like devil, and in Zingaro(1935), in which he played a monster created by a mad scientist, and then as a the hairy “missing link” in Zambo (1937) and its sequel Zambo Ka Beta (1938). For Kalkoot (1935) he created a make-up to resemble the wrinkled effect that Karloff had used in The Mummy(1932).

Nayampally continued working in films throughout the 1940s and 50s, particularly in mythologicals and costume pictures including Raj Nartaki (1941), Nagad Narayan (1943), Vishwas 1943), Taramati(1945), Urvashi (1946), Jhansi-Ki-Rani (1953), Durgesh Nandini (1956), Basant Bahar (1956) and Shiv Parvati (1962) His last credited film appearance was in 1970’s Priya.

After the career in films ended, he started making Documentaries. He made about 35 documentaries. He won ‘ Silver Dolphin’ award for his documentary in the International Film Festival at Teheran in 1970. He died on 7-5-1994, in Mumbai.

The story of the film Baraat-42 was that of a Love pair who get separated and in the end get united, when the Lover Boy brings a Baraat to the Girl’s house. It is also a story of 2 friends who get distanced due to wealth. The story is….Jwala Prasad and Kabirchand are 2 friends staying as neighbours. Jwala has a son Savan and a daughter Lalima. Kabir has 2 daughters- Nayna and Kiran.

Savan and Nayna are betrothed in childhood. By the time they grow up, Jwala Prasad becomes very rich and Kabir remains poor. This creates a distance between the two families and also the marriage of their children is also in jeopardy. The lovers are banned to see each others.

The film is full of emotional scenes and improbable situations. Dada Gunjal’s direction is unable to fill in the gaps in the storyline. The story brings changes in the mindset of Jwala Prasad and finally, he agrees to the marriage.

Today’s song is sung by Suhas and Hashmat. I am not aware who is Suhas, but Hashmat is the real name of actor Prakash, who is in this film. In all probabilities, he is the same person who sang this duet. Hashmat (Prakash) had worked on A.I.R.Delhi as a singer for 2 years, 1938 to 1940, before he came back to Bombay to restart his acting career with Rani Sahiba-1940.

With this song, film Baraat-42 and Suhas and Hashmat make their debut on this Blog.

(Thanks to book ‘ The Lost Treasure ‘ by Kamlakar P. for some information used herein along with my notes.)


Song-Hans le hans le hans le (Baaraat)(1942) Singers – Hashmat, Suhas, Lyrics- Raskavi Raghunath Bramhabhatt, MD – Ratanlal- Khemchand Prakash

Lyrics

Hans le
Hans le
Hans le
Hans le
Hans le
Hans le
hansi se jeevan bhar le ae
Hans le
Hans le
Hans le

tera jaag uthha sansaar
gulshan mein aayi bahaa aar
Hans le
Hans le
Hans le
kali kali upwan mein hansti
haan panchhi hanste lataayen hanstin
panchhi hanste lataayen hanstin
hanste gaate kisaan jaayen
hanste gaate kisaan jaayen
Hans le
Hans le
Hans le

jhaanjhaniyaa jhankaati jaatin
panghat pe purnaar
jhaanjhaniyaa jhankaati jaatin
panghat pe purnaar
tera jaag uthha sansaar
tera jaag uthha sansaar
Hans le
Hans le
Hans le

murli waale
hans khushi se
royen un ko rone do
beh chali nainon ki dhaara
beh chali nainon ki dhaara
man dhoye unko dhone do
tum gaao megh malhaar
tum gaao megh malhaar
waise to mera ujad gaya hai
hara bhara gulzaar

aasha ko mat kar le niraasha
aasha hai sansaa aar
aasha ko mat kar le niraasha
aasha hai sansaar
sun le pyaari
aasha ki jhankaa aar
sun le pyaari
aasha ki jhankaar
tera jaag uthha sansaar
tera jaag uthha sansaar
Hans le
Hans le
Hans le
Hans le
Hans le
Hans le


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 : 4115 Post No. : 15267

Today’s song is from an obscure film Yaad-42, the first directorial adventure of actor – director Mazhar khan. He also acted as a Hero in this film, opposite Veena. Others in the film were Satish, Azuri, Indira Devi, Shehzadi, Haadi, Haroon, Ram Avtar, Devraj etc.etc. Lyricist for its 9 songs was Munshi Arzoo Lucknowi and the music was by K.Datta aka Datta Korgaonkar. Two songs of this film are already discussed, first one in 2014 and the second in 2016.

Neither have I seen this film, nor I could get any information on this film on internet or any book. Obviously, it seems to be just one of those films which come and go without leaving its mark on the way. In those days, like any other year, such non-descript films were made in plenty. Only few films were noticeable and discussed by critics in the Media, i.e. in Newspapers, because this was the only media available in those days.

As said in the beginning, Yaad -42 was not only the first directorial venture for Mazhar Khan, but it was also the first Debut Hindi film for its Heroine Veena. How Veena joined films and how she came to Bombay is a very interesting story. In one of the interviews she gave in November 1981, to Urdu film magazine ‘ Shama ‘, she herself has described all this. Let us also read it once again…

Veena was born as Tajwar Sultana, on 4-7-1926, at Quetta in Baluchistan (now in Pakistan). Her father was in Railways, so he was transferred many times and her education was done at various places, including Delhi. After her Matriculation, she was sent to a women’s college, with Hostel, in Amritsar. In those days, her brother Shehzada Iftekhar was an assistant Cameraman at Northern India Studios, Lahore. This studio advertised for a Heroine, for their new Punjabi film ” Gawandi “. (This brother Iftekhar is many times mistaken for actor Iftekhar- who was totally different. The story of love for Suraiya is of this brother and not that actor Iftekhar.)

A Bangali lecturer from Veena’s college had applied. A few days later, a team (including her brother) from Lahore came to interview her, but she was rejected as she did not know Punjabi well enough. Veena was very keen to apply, but her brother warned her about the family resistance. She prodded him to give her photo to the visitors. Seeing her photo, she was called to Lahore for screen Test. All this was without letting the family know.

One Saturday, Veena left for Lahore. Next day she gave the screen test, mouthing dialogues written by Wali Saheb. She was selected and offered the role. One of the producers- Sheth Kishorilal, suggested to change her name for the screen as Veena ( it was his daughter’s name) and she became Veena.

She completed film ‘Gawandi-42’, opposite Hero Shyam, in just one month and in the next one month, she did another film ‘ Ravi Paar-42′, opposite Hero S.D.Narang. All this was without family’s knowledge, but she was aware of the impending storm. She returned to college. News about her film work had already reached the college. She was thrown out of the college and the hostel for this.

When she returned home, as expected there was a great scene. She was scolded and locked in a room. Her family wanted to get her married, which she vehemently opposed. Her family went to the producers and demanded that the films be destroyed. Of course, this was was not accepted. Meanwhile, Veena had received film offers from Mazhar Khan, Mehboob, Bombay Talkies and Rajneet. She left her house with brother and reached Bombay. Mazhar khan paid her Rs.2000 per month with a Bungalow and a Car. She did her first Hindi film ” Yaad “-42. Then came Najma-43 from Mehboob, Rajputani-44 from Ranjit etc etc. She earned One lakh rupees per film.

Veena did about 100 Hindi films in her career, till she retired in 1983. Even after her husband, Al Nasir’s death in 1957, she continued to stay and work in India with her children. Veena died on 14-11-2004. ( adapted from her interview in Shama, November 1981. Thanks to book ” ye un dinon ki baat hai” by Yasir Abbasi).

In Hindi cinema world, some artistes are known for some specialty. They may not be great artistes, but certain aspect of their career is so famous that they are remembered. For example, ” Dattu Theka” of composer Dattaram was and is very famous in film music. He was a small time composer but became famous for this. Similarly another such person was Datta Korgaonkar alias K.Datta as he was popularly known. He was famous for his passion and intense attachment to Nurjehan’s singing. Though he composed her songs in only 2 films, after she left india, Datta almost felt like a paralytic person and virtually lost interest in his music.

K.Datta or Datta Korgaonkar alias Anna saheb, was born in Sawantwadi in Konkan area on 4-6-1908. He grew up learning to sing. His mother was a Bhajan singer. He started singing on stage during Ganesh utsav melas. He was called to Kolhapur in 1937 to give music to a Marathi film, Chandrarao Morey’-38. His first break in Hindi came in 1939 with Mera Haq,followed by Alakh Niranjan-40, Geeta-40 ( in Hindi and Marathi) and Yaad-42.

He first came face to face with Noorjehan in Naadaan-43. He was simply mesmerised with her voice and singing style. He composed 7 songs for Noorjehan. After doing Zameen-43 and Maharathi Karna-44, he again composed 4 songs for Noorjehan in film Badi Maa-45. His songs ‘ Diya jalakar aap bujhaya’ and ‘ aa intezar hai tera’ are evergreen songs of Nurjehan. He also gave a break to Lata and Asha to sing in a chorus with Noorjehan. It is very sad that initially, K.Datta’s name was not mentioned on the 78 RPM records of Badi Maa. Only on the ‘re-issue’ records his name came up.

His other films were Yateem-45,Shaahkaar-47,Rangmahal-48,meri kahani-48,Daaman-51,Gumaasta-51,Rishta-54,Harihar Bhakti-56 and Ajanabi-66. In film Daman-51, he gave the First duet of Lata and Asha. In all K.Datta gave independently music to just 17 films,plus one film Badmash-44,with Khan Mastana. His Marathi films were 12 from 1938 to 1965. After retirement in 1965,he spent his time in Bhakti, Pooja and Asrology. He used to have special Pooja on every Thursday,when Bhajans were sung. Many composers and other film industry people used to be his visitors. Naushad, C.Ramchandra, Madan Mohan, Sajjad Hussain etc were the regular visitors to Annasaheb. He died on 23-12-1978.

He was a Noorjehan believer to the core. To date K Datta remains the only top composer from Maharashtra to whom Noorjehan came first, Lata later. No one regretted Partition more than K Datta. Indeed, his creativity seemed to come to an end once Noorjehan left him high and dry by moving, with a song on her lips, to Pakistan. He once said, “Noor Jehan left for Pakistan and took my creativity with her”. The four Noorjehan numbers, as fashioned by K. Datta, are historically most important. Because it was hearing and absorbing these four nuggets of Noorjehan, while acting with her in `Badi Maa’, that Lata Mangeshkar learnt to shape her vocal technique. If Lata came to sound a Noorjehan replica for so long, the tonal base for this was laid, just imagine, by a robustly tall Maharashtrian from the ghats called K Datta in `Badi Maa’.The last number of Noorjehan fetched him the ultimate tribute from no less a movie stalwart than Mehboob Khan, who said: “Bhai Datta, yeh gaana to aap ne Khuda ke darbar mein baithe hue banaya lag raha hai” (“It sounds as if you created this song sitting in Allah’s abode”). K Datta used to play Ek anokha gham ek anokhi musibat ho gayi on a harmonium presented to him by O.P. Nayyar. How grimly significant that the one music director, O.P. Nayyar, who never in his life commissioned Lata, should have gifted that harmonium to the one Maharashtrian composer who believed only in Noorjehan!

There is one odd name in the cast of this film- Hadi. His full name was Mohammed 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. His acting in saubhagya Sundari-33 and Sulochana -33 was much appreciated. He is estimated to have acted in about 30 films till 1947.

The other interesting name that appears in the cast is of Shehzadi. The original actress Shehzadi was the sister of Alam Ara-31 heroine Zubeida and Sultana. All 3 sisters retired from films in or around 1936.

This Shehzadi was different. She was born in Bombay and was well conversant with Hindi, Marathi, Urdu, Gujarati, Bangla and English. She joined Bombay Talkies and made her debut in film Jhoola-41. She was in the famous Dance-song ” Main to Dilli se dulhan laya re” along with Mumtaz Ali. She worked in films of Chitra productions,Saubhagya Pictures, Star Productions and Asiatic productions. She was Heroine of Gope in film ” Haso Haso aye duniya walon”-47.

Her acting in Saheli-42 and Yaad-42 was much appreciated. She did 26 films from 41 to 47 period. She started her own Ratnakar Productions in 1947 and made film ” Utho Jaago”-47, with actor Ashiq Hussain as a Hero. Soon after Partition, she married Ashiq Hussain and they migrated to Pakistan.

Yet one more name is Indira Devi. She was an Anglo-Indian from Calcutta with original name-Eugenia Peterson. She started with Silent films in 1927 ,like Jaidev, jana,Punarjanma, Kapal Kundala, Ganesh janma, Rajsinha, Waman Avtar etc etc. She got married in 1930 and stopped working in films till 1935, to raise a family. She changed her name to Effie Hippolite, but for films she took name of Indira Devi. She started with film Wamaq Azra-35. She went on to do 21 films till 1947, after which there is no information about her. Probably, she migrated to Britain.

Today’s song is sung by Saraswati Rane. This is the 3rd song from this film to be posted here.


Song-Haay Raama tirchhi najariya ne maara (Yaad)(1942) Singer- Saraswati Rane, Lyrics- Munshi Arzoo Lucknowi, MD- K Datta

Lyrics

Haay Raama
haay raama
haay raama
tirchhi najariya ne
tirchhi najariya ne maara
haay raama
tirchhi najariya ne
tirchhi najariya ne maara

?? joban ??
nainan par
?? maara
aa aa
aa aa
haa aa aa aa
haay raama
tirchhi najariya ne
tirchhi najariya ne maara

aa aa aa aa
aa aa aa aa aa
haa aa aa aa aa
haa aa aa aa aa
?? nahin jaani
?? nahin jaani
baali umariya ne maara
aa aa
aa aa aa
aa aa aa
aa aa aa
haa aa aa aa
haay raama
tirchhi najariya ne
tirchhi najariya ne maara
haa aa aa
haa
haa aa aa
haa
haa aa aa
haa
haay raama
tirchhi najariya ne
tirchhi najariya ne maara

sagri raina mohe tadpat beeti
sooni sajariya ne maara
aa aa
aa aa aa
sooni sajariya ne maara
aa aa aa aa
aa aa aa aa
aa aa aa
aa aa aa
haa aa aa aa
haay raama
tirchhi najariya ne
tirchhi najariya ne maara


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 :

4091 Post No. : 15233 Movie Count :

4186

Today’s song is from the film Vijay-42 – a very obscure film. The film was made by National studios. It was directed by Mohan Sinha. Lyrics of all the 10 songs of the film were by Dr. Safdar Aah Sitapuri, which were composed by Anil Biswas.

Due to heavy losses and the general effects of the second world war, Sagar Movietone was in the red and it joined hands with Yusuf Fazal Bhoy (of RCA)’s company General Films to start a new venture ” National Studios “, in which even Tatas invested some money. National studios made a total of 16 films, before it was wound up. Chimanlal Desai of Sagar left after the first 3 films,namely Aurat, Pooja and Sanskar – all in 1940, and started his own Amar pictures.

The cast of film Vijay was Durga Khote, Harish, Husn Bano, Sankatha Prasad, Vaskar, Maya Devi, Ansari, Agha etc etc.

In our life, there are times when we think of ” Lucky and Unlucky”. Human nature, in general is such that it tends to consider certain things as Lucky for him. It can be people, place or even inanimate things. I have noticed that mostly those people whose livelihood revolves round their physical performance, say like Sports, Acting or other artists believe in Lucky-Unlucky most. There was that famous Cricketer who always entered the playing field with his right foot first. Another one put on his left shoe first. Everybody’s method of wooing the Luck factor is different.

A performance industry like Film Industry is not immune from this Lucky-Unlucky factor. Individual actors or MDs, Lead Pairs, Film Titles, Film stories etc have been labelled Unlucky unabashedly, by the industry. Let us see some examples…

Composer Daan Singh had 6 films in hand, but 4 remained incomplete and only 2 got released. Even his 2 Rajasthani films remained unfinished. He was promptly labelled Unlucky and had to go back to his native place. Kamal Rajasthani had the same story. Out of 9 films on hand, 7 were unfinished and only 2 C grade films were released. He too was called Unlucky.

Rajendra Kumar- Waheeda Rahman was an unlucky pair. Dalsukh Pancholi gave them lead roles in his film ‘Nirmala’. He died and the film was shelved half way. Film ‘Palki’-67 was under making, when its director S U Sunny died. The film was somehow competed but it flopped miserably. Then S S Vasan brought them together in film Shatranj-69. He died during the shootings and it was left incomplete. In film Dharti-70, this pair was in lead, but the director’s mother died on the sets and the film was left stranded. Is it a wonder, if the pair was called ‘Unlucky’ ?

Another Unlucky pair was Dev Anand- Meena Kumari. In film Sanam-51, Meena Kumatri was a side Heroine. From this film Dev-Suraiya pair separated for ever. Its director Nandlal Jaswantlal started his downfall and subsequently died later. The pair came again in films Tamasha and Baadbaan , made by the employees of Bombay Talkies. Both films flopped and Bombay Talkies closed down for ever. Another of their film “Kinare Kinare” was delayed for almost 10 years, finally releasing in 1963, but flopped to such an extent that its producer Nyay Sharma got heart attack due to high debts. No one dared to bring this pair again in any film !

Finally, the curious case of unlucky actor Gajanan Jagirdar. In 1941, Jagirdar worked in Prabhat’s film ” Padosi”. After this film , V. Shantaram and Jayashree left Prabhat. In 1944, Jagirdar directed and acted in and as “Ramshastri” for Prabhat. During the film shooting, Prabhat’s partner Vishnupant Damle expired and Prabhat became rudderless. Third time when Jagirdar went to Prabhat to act as and in ” Lokmanya Tilak”, Prabhat not only closed down but was also auctioned ! Jagirdar acted in film “Mahatma” in English, Hindi and Marathi in 1953 for Alhad Chitra’s Datta Dharmadhikari. Due to high debts, the company not only closed down, but the wife of Dharmadhikari had to cook and make Tiffins to survive ! Finally, when he acted in film ” Shahir Parshuram”-61, made by Mangal pictures, the company closed down and was sold out ! No wonder, in film circles, Jagirdar was typedcast as ” Unlucky ” !!

Why I remembered this Lucky-Unlucky matter was the title of today’s film – Vijay. The name Vijay has a special significance in film industry. When Amitabh Bachhan was going through a real bad patch in his career, he got the film “Zanjeer”-73, by chance and this film changed his life for ever and he never looked back. This hit film had Amitabh as Vijay in it as his name. Amitabh was so much enamoured with the name Vijay, that he started insisting that in every film his name should be Vijay – for luck. And sure enough, in films like Deewar, Hera Pheri, Trishul, Shahenshah, Agneepath (My name is Vijay Deenanath Chavan), Shaan, Shakti, Don, Dostana etc he was named Vijay and the films succeeded. Even in film Sholey, his name was Jay – a short form of Vijay, to pair with name Veeru !

According to one film site, Amitabh was named Vijay in as many as 20+ films from 1973 to 2000. Since finding name Vijay successful, many other actors too wanted this name and consequently, Jeetendra was Vijay in 18 films, Mithun Chakrawarty was Vijay in 16 films. Additionally Shashi Kapoor in 7, Shatrughna Sinha in 6, Raj Babbar in 6, Jacky Shroff in 5, Sunil Dutt in 4 films. Further Govinda, Rajesh khanna, Vinod Khanna etc also had Vijay name by choice in their films.

So much for the concept of Lucky – Unlucky !

Film Vijay-42 was directed by Mohan Sinha. Mohan Sinha was born on 2-12-1903 at Indore. He studied upto Matriculation in Indore. His uncle was General Bhavnani Singh, who was in the Indore state army. With his help, Mohan got in state army as a Lieutenant. However, he did not continue for long and left the army. In 1933, he started a film company at Indore-Navyug films. But due to lack of opportunities in Indore, it was closed soon.

Mohan came to Bombay, floated Krishna Films and made and directed a film ” Fashionable India”-35. It was a hit film and he got offers from Rajputana films,General Pictures, Circo and National. He worked with all of them. Sinha went to Calcutta and started Murli pictures. He made ” Swaraj ke sipahi”-37, which was a flop. He came back to Bombay and directed Industrial India-38, for General films. Then came Swastik-39, Laxmi-40,Anuradha-40 and Vanmala-41. He floated Murari Pictures in 1942 and made Badlati Duniya-43 and Krishnarjuna yudha-45 ( This film was appreciated by Dr. Rajendra prasad, Dr. Shamaprasad Mukherji, Veer Savarkar and Acharya kriplani also)

In 1946, Mohan Sinha directed K L Saigal in Omar Khayyam, Surendra in 1857, Raj Kapoor in Dil ki Rani-47 and Dev Anand in Jeet-49. Mohan Sinha directed in all 32 films. He wrote lyrics for 62 songs in 7 films. His last film was Shaan E Hind-60. He died in 1984. Mohan Sinha’s granddaughter Vidya Sinha was an actress. Vidya’s mother was Mohan’s daughter and she died while giving birth to Vidya. From what I had read somewhere, Vidya’s father PRATAP RANA was so grief stricken that he refused to see his new born daughter and it was Mohan who brought her up and even named the little one after her Late mother VIDYA and gave her his own surname.

All the songs of film Vijay-42 were written by Dr.Safdar Aah Sitapuri. It was director Mehboob, who brought Safdar as a Lyricist for his film Aurat-40, made by National Studios. The composer was Anil Biswas. The pair of Anil Biswas and Safdar lasted for many films. In fact, Dr. Safdar wrote his last song for film Maan-54 for which Anil Biswas composed the music.

Dr. Safdar gave songs to many films of National Studios like, Asra, behan,Roshni, Roti, Vijay etc. His best known song was was the famous Mukesh song ‘ Dil jalta hai to jalne de” from Pehli Nazar-45. He wrote 197 songs for 28 films. He also tried his hand at directing 2 films, namely Bhookh-47 and Maan-54.

Today’s song is a very rare song. According to the uploader, our own Sadanand Kamath ji, it is probably the only song which used the word ” Dilchasp’ in the lyrics.

The song is very melodious and is a duet of Anil Biswas and Amar- an occasional singer. The real name of Amar was Nasir. He was from Punjab. He was born in 1920. After doing bit roles in some films,he got a major break in film Sanyasi-45,in which he sang 5 duets and 1 solo. His solo song,’ Tooti hui kashti’ became very popular.

In 1946,he was the Hero of film Bindiya, where Ragini ( who later migrated to Pakistan) was his Heroine. MD was Kamal Dasgupta, who gave him 3 songs.

Then he was Hero of Suraiya in Natak-47. He sang 1 duet with her and 2 solos. Later he did films like Maang, Lalaji, Vijay, Shukriya, Keemat etc. After 1950 he was doing character roles till 1970. He acted in total 89 films and sang 18 songs in 8 films. He died in 1980.

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


Song- Haay dil haay dil (Vijay)(1942) Singers- Anil Biswas, Amar, Lyrics- Dr. Safdar Aah Sitapuri, MD- Anil Biswas
chorus

Lyrics

haay dil
haay dil
haay dil
haay dil

kaash khoya hua mera mil jaaye dil
kaash khoya hua mera mil jaaye dil
haay dil
haay dil
haay dil
haay dil

ye haseenon ka dilchasp baazaar hai
jisko dekho wo dil ka khareedaar hai
ye haseenon ka dilchasp baazaar hai
jisko dekho wo dil ka khareedaar hai
kaise bach kar yahaan se bhalaa jaaye dil
kaise bach kar yahaan se bhalaa jaaye dil
haay dil
haay dil
haay dil
haay dil

koi kahta hai dilwaale aana idhar
koi kahta hai dilwaale aana idhar
koi zaalim chalaata hai teer e nazar
koi zaalim chalaata hai teer e nazar

sa yahi chaahte hain ki mit jaaye dil
sab yahi chaahte hain ki mit jaaye dil
haay dil
haay dil
haay dil
haay dil

kaash khoya hua mera mil jaaye dil
kaash khoya hua mera mil jaaye dil
haay dil
haay dil
haay dil
haay dil


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 ELEVEN years. This blog has over 15700 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

Important Announcement

(© 2008 - 2020) 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.

Total number of songs posts discussed

15701

Number of movies covered in the blog

Movies with all their songs covered =1211
Total Number of movies covered =4323

Total visits so far

  • 13,595,257 hits

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Historical dates

Blog Start date: 19 july 2008

Active for more than 4000 days.

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