Archive for the ‘Songs of 1942’ Category
Main ek niraali gudiya
Posted on: October 16, 2018
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3742 | Post No. : | 14697 |
“Raja Rani” (1942) was directed by Najmul Hasan Naqvi for Atre Pictures, Bombay. The movie had Vanmala, Sunalini Devi, Maya Devi, Trilok Kapoor, Baby Vimal, Mazhar Khan, Navin Yagnik, David, Bal Govind etc in it.
The movie had fourteen songs in it. One song has been covered in the past.
Here is the second song from “Raja Rani” (1942) to appear in the blog. This song is sung by Baby Vimal. Seeing that Baby Vimal figures in the cast of the movie, we can guess that the song was picturised on her as well.
Pandit Anand Kumar is the lyricist. Music is composed by Khan Mastana.
Song-Main ek niraali gudiya (Raja Rani)(1942) Singer-Baby Vimal, Lyrics-Pt Anand Kumar, MD-Khan Mastana
Lyrics
main ek niraali gudiya
main ek niraali gudiya
main ek niraali gudiya
main ek niraali gudiya
mere nanhe nanhe paanv
mere nanhe nanhe paanv
pair mein jhaanjar jhanjhana baaje
pair mein jhaanjar jhanjhana baaje
mere chhote chhote kaan
mere chhote chhote kaan
kaanon mein baali cham cham chamke
kaanon mein baali cham cham chamke
jaise gagan ke taare
haan haan jaise gagan ke taare
main ek niraali
ek niraali
ek niraali
haan haan haan
main ek niraali gudiya
main ek niraali gudiya
main ek niraali gudiya
chhamchham chhamchham paayal baaje
chaacha ke ghar jaaun
chhamchham chhamchham paayal baaje
chaaha ke ghar jaaun
meethhe meethhe geet sunaakar
chaachi ko bahlaaun
meethhe meethhe geet sunaakar
chaachi ko bahlaaun
main ek niraali
ek niraali
ek niraali
haan haan haan
mai ek niraali
ek niraali
ek niraali
haan haan haan
main ek niraali gudiya
main ek niraali gudiya
main ek niraali gudiya
kunj kunj mein chhup chhup jaaun
kheloon aankh michauli
boondaniyon ke taal pe naachoon
boloon prem ki boli
main ek niraali
ek niraali
ek niraali
haan haan haan
main ek niraali
ek niraali
ek niraali
haan haan haan
main ek niraali gudiya
main ek niraali gudiya
main ek niraali gudiya
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3741 | Post No. : | 14695 |
“Garib”(1942) was directed by Ramchandra Thakur for National Studios, Bombay. This movie had Surendra, Rose, Baby Meena, Veena Kumari, Santaka, N A Ansari, Agha, Pesi Patel etc in it.
The movie had twelve songs in it. Six songs from this movie have been discussed in the past. Here is the seventh song song from “Garib”(1942) to appear in the blog. This song is sung by Surendra. Safdar Aah Sitapuri is the lyricist. Music is composed by Anil Biswas.
Only the audio of this song is available. It is clear that this song was picturised on Surendra himself.
I have not been able to get a few words right in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.
Song-Mohabbat ki duniya hai sabse niraali (Garib)(1942) Singer-Surendra, Lyrics-Safdar Aah Sitapuri, MD-Anil Biswas
Lyrics
mohabbat ki duniya hai sabse niraali
mohabbat ki duniya hai sabse niraali
tasawwur hai sab kuchh har pehlu hai khaali
tasawwur hai sab kuchh har pehlu hai khaali
mohabbat ki duniya hai sabse niraali
mohabbat ki duniya hai sabse niraali
tu hi tu nigaahon mein apni basa hai ae ae
tu hi tu nigaahon mein apni basa hai
jahaan chaaha tasveer teri bana li
jahaan chaaha tasveer teri bana li
mohabbat ki duniya hai sabse niraali
mohabbat ki duniya hai sabse niraali
shikaayat hai shiqwe ?? tu hai
shikaayat hai shiqwe ?? tu hai
bade lutf ki hai ye bazm e khayaali
bade lutf ki hai ye bazm e khayaali
mohabbat ki duniya hai sabse niraali
tasawwur mein sab kuchh pehlu hai khaali
mohabbat ki duniya hai sabse niraali
Haseenon ko kar lo salaam
Posted on: October 6, 2018
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3732 | Post No. : | 14677 |
“Garib”(1942) was directed by Ramchandra Thakur for National Studios, Bombay. This movie had Surendra, Rose, Baby Meena, Veena Kumari, Santaka, N A Ansari, Agha, Pesi Patel etc in it.
The movie had twelve songs in it. Five songs from this movie have been discussed in the past. Here is the sixth song song from “Garib”(1942) to appear in the blog. This song is sung by Surendra. Pt Indra Chandra is the lyricist. Music is composed by Anil Biswas.
Only the audio of this song is available but it is clear that this “expression of love” song was picturised on Surendra himself.
Song-Haseenon ko karlo salaam (Garib)(1942) Singer-Surendra, Lyrics-Pt Indra, MD-Anil Biswas
Lyrics
o haseenon ko kar lo salaam
salaam more raaja
haseenon ko kar lo salaam
salaam
salaam more raaja
haseenon ko kar lo salaam
aankh lag jaaye to bas jaao wahin
dil machal jaaye to mit jaao wahin
aankh lag jaaye to bas jaao wahin
dil machal jaaye to mit jaao wahin
zara kar lo shaheedon mein naam
zara kar lo shaheedon mein naam
naam
naam more raaja
haseenon ko kar lo salaam
salaam more raaja
haseenon ko kar lo salaam
husn waale salaamat hain apne yahaan
husn waale salaamat hain apne yahaan
wo hamen chhod kar aur jaayen kahaan
wo hamen chhod kar aur jaayen kahaan
roz khali hai apna mukaam
roz khaali hai apna mukaam
mukaam
mukaam more raaja
haseenon ko kar lo salaam
salaam more raaja
haseenon ko kar lo salaam
salaam
salaam
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3700 | Post No. : | 14619 |
‘Ujaala’ (1942) was produced under the banner of Taj Mahal Pictures and was directed by K M Multani. The film was based on a story by M A Mughani whose name also appears as the ‘producer’ of the film. The screen play and dialogues were written by Kamal Amrohi. The star cast included Prithviraj Kapoor, Naseem Bano, Mubarak, Ratan Bai, Mirza Musharaf, Baby Vinod Kumari, Jhilani etc.
The film was the maiden venture of Taj Mahal Pictures which was set up by M. Ehsan. However, the film’s publicity materials mentioned M A Mughani, the story writer as the ‘producer’ of the film with M. Ehsan as Associate Producer. My guess is that after completing the college, Ehsan set up this film production company without having any experience in film production. So he may have given a greater role to M A Mughani in the film production who had earlier worked in Minerva Movietone. It was said that Ehsan was a childhood friend of Naseem Bano and she may have partly financed his film production company.
For Naseem Bano, it was her first film after she was released from her contract with Minerva Movietone by Sahorab Modi on her request in 1940. Till that time, she had acted in Minerva’s Movietone’s films like ‘Hamlet’ aka ‘Khoon Kaa Khoon’ (1935), ‘Khan Bahadur’ (1937), ‘Vasanti’ (1938), ‘Meetha Zahar’ (1938), ‘Divorce’ aka ‘Talaaq’ (1938), ‘Pukar’ (1939) and ‘Defeat’ aka ‘Main Haari’ (1940).
After Naseem Bano’s last released film in 1940, there was a gap of nearly 2 years before ‘Ujaala’ (1942) was released in February 1942. It is said that sometime during this interregnum, she accompanied her mother, Shamshad Begum, (a classical singer who was known as Chhamia in the music circle) to be the guest of the son of the Nizam of Hyderabad. There seems to be more to it than being merely the guest in Hyderabad. It was rumoured that Nizam’s prince was interested in marrying Naseem Bano. However, after spending sometime in Hyderabad, both mother and daughter did not like the environment in Hyderabad. So both returned to Bombay (Mumbai). ‘Ujaala’ (1942) was the first film Naseem Bano signed after returning to Bombay.
During the making of the film, a couple of things happened which could have affected the film’s publicity. First, some unscrupulous persons carried out propaganda against Naseem Bano by printing slanderous posters about her. People in the know felt that it was the handiwork of the supporters of the son of Nizam of Hyderbad who were in his payrolls, to tarnish the image of Naseem Bano. But soon, it died down. Probably the fans of Naseem Bano put more faith in her than in the slanderous propaganda.
Second, there were some creative differences between film’s dialogue writer, Kamal Amrohi and the film’s de-facto producer and story writer, M A Mughani. Both had become ‘heavy-weights’ in the film industry after the success of ‘Pukar’ (1939) in which Kamal Amrohi wrote dialogues and lyrics and Mughani was the Publicity Manager. The issues were amicably sorted out and the film was released on February 21 1942 at Lamington Theatre, Bombay (Mumbai).
I have attempted below, a gist of the film’s story based on the film’s review which appeared in April 1942 issue of ‘Filmindia’ magazine.
The story revolves around a theatre which is owned by Shyam (Prithviraj Kapoor). He is idealistic man, a learned musician and also a strict disciplinarian. Maya (Ratan Bai) is the star artist of the theatre who falls to the flattery showered by Tiwari (Mubarak), a wealthy man who is the frequent visitor to the theatre. Maya responds to Tiwari’s flirtations which results in her late hours for the theatre activities. Shyam admonishes her for breaking the theatre discipline resulting in frequent quarrels. One day, Maya, believing the numerous promises of Tiwari, walks out of the Theatre.
Shyam is on a look out for a new girl in place of Maya and find Saroj (Naseem Bano), a dancer. First, she refuses to see him. After listening to his sitar recital over the radio, she falls for him as a musician but refuses to work for him on the stage. Each of them becomes more obstinate than before whenever they meet.
To break down her obstinacy, Shyam takes a flat just below the flat occupied by Saroj. One day, he plays sitar non-stop. At first, Saroj ignores the music but the urge of music in her makes her to dance to the tune of Shyam’s sitar. She admits her defeat and agrees to join his stage show. But this time, Shyam refuses to accept her.
In the meanwhile, Shyam’s theatre has been running into losses. One day, he decides to hand over the theatre to his Manager, Mirza (Mirza Musharaf) and devote his attention to music. Mirza manages a surprise and recruit a new girl, Sarojini for the stage show. Mirza convinces Shyam to attend the opening show. To his surprise, Shyam finds Sarojini is none other than Saroj.
With Saroj, all shows of the theatre become success. Shyam falls in love with Saroj which she reciprocates. Once again, Tiwari comes in to scene to lure Saroj for his personal pleasure. On the marriage day, Saroj is kidnapped by Tiwari and kept in his house. Shyam is distraught. Saroj jumps out of the window of the house where she was kept as prisoner and becomes permanently disabled. Tiwari gets reformed after seeing her pathetic conditions. After some more emotional drama, Shyam and Saroj are united.
Despite a favourable review by ‘Filmindia’, the film failed at the box office. Ehsan incurred heavy losses. He closed down Taj Mahal Pictures in March 1942. The only gain out of producing the film for Ehsan was that Naseem Bano married him and shifted to Delhi after the film’s release. She left the film industry when she was still ‘pari chehra’ (fairy face) for her fans.
But there are twists in the stories of Naseem Bano and the Taj Mahal Pictures. Before that, I need to mention about the system of license for a film production company which was introduced during World War-II. Without this license issued by the Government, the film production company could not import raw films for shooting.
A question was raised in the Central Legislative Assembly (akin to Lok Sabha now) by a legislator “on what grounds Taj Mahal Pictures of Bombay was given licence when the said concern had already closed its business in March 1942”. The Minister of Industry & Civil Supplies replied that “Taj Mahal Pictures did not stop their business. The Government was satisfied that in the absence of the licence, the company could not produce the film and a considerable hardship would be caused if a licence is not granted to them” (as verbatim reported in April 1945 issue of ‘Filmindia’ magazine).
I can now relate this piece of information as to why a dormant film production company like Taj Mahal Pictures got revived. This has also got a connection with the return of Naseem Bano to Bombay film industry in 1944.
Sometime in 1943, Shashdhar Mukherjee along with Rai Bahadur Chunnilal, Gyan Mukherjee, Ashok Kumar, Savak Vacha, Kavi Pradeep and others left Bombay Talkies due to differences with Devika Rani who had taken the reign of Bombay Talkies after the death of her husband, Himansu Roy. This group formed Filmistan Studio. Shashdhar Mukherjee wanted to produce a film on a scale of his box office success film ‘Kismet (1943) which would be his fitting reply to Devika Rani for her ill-treatment of his team.
Shashdhar Mukherjee hit upon an idea of casting Naseem Akhtar in his film ‘Chal Chal Re Naujawaan’ (1944). Since she had already left the film industry in March 1942, it was a difficult proposition to woo her to accept the role in his film. He travelled to Delhi and met M Ehsan, Naseem’s husband with his plan to cast his wife. After much persuasion and a visit by Rai Bahadur Chunnilal, Ehsan agreed on certain conditions. One of the important conditions in the contract was that Shashdhar Mukherjee would oversee the production of one more film under the banner of Taj Mahal Pictures.
It took a long time for ‘Chal Chal Re Naujawaan’ (1944) to be completed. Contrary to the general expectation, the film did not fare well on the box office front. However, as per the contract, Shashdhar Mukherjee was to oversee the production of another film for Ehsan. So the film ‘Begum’ (1945) was stared with most of the infrastructure and resources of Filmistan Studios. The film starred with Ashok Kumar and Naseem Bano in lead roles. With this film, Ehsan’s production company was revived which later produced films like ‘Mulaaqat’ (1947), ‘Chaandni Raat’ (1949), and ‘Ajeeb Ladki’ (1952). Ehsan migrated to Pakistan taking with him all the films he produced in India.
What an irony in Ehsan’s filmy career! When he lost money in ‘Ujaala’ (1942), he gained Naseem Bano. But when he earned a lot of money in Pakistan after releasing these films, he had lost Naseem Bano who was legally separated from him due to his migration to Pakistan.
Now let me present the first song from Ehsan’s first film ‘Ujaala’ (1942). The song is ‘main dekh rahi hoon duniya ke nazaare’ sung by Ratan Bai. The film had six songs, all set to music by Bashir Dehlvi. The lyricist of all the six songs in the film is unattributed. Going by the convention of most of the 1930s and early 1940s films when song writing was a part of dialogue writers, I guess that the song was written by Kamal Amrohi who was the dialogue writer for the film. Incidentally, Kamal Amrohi had written songs for the films ‘Jailor’ (1938), ‘Pukar’ (1939) and ‘Main Hari’ (1940) where he was also the dialogue writer.
With this song, ‘Ujaala’ (1942) makes its debut in the Blog.
Note: This article is based on some of the information gathered from the various issues of ‘Filmindia’ magazines and from the book, ‘Stars From Another Sky’ (2010) by Sadat Hasan Manto.
Audio Clip:
Song-Main dekh rahi hoon duniya ke nazaare (Ujaala)(1942) Singer-Ratan Bai, MD-Bashir Dehalvi
Lyrics
main dekh rahi hoon
oon oon oon
duniya ke nazaare
duniya ke nazaare
main dekh rahi hoon
oon oon oon
duniya ke nazaare
duniya ke nazaare
khilti huyi kaliyaan
jharnon ke kinaare
khilti huyi kaliyaan
jharnon ke kinaare
jharnon ke kinaare
main dekh rahi hoon
oon oon oon
duniya ke nazaare
duniya ke nazaare
bhanwre kaa machalna
daali kaa lachakna
bhanwre kaa machalna
daali kaa lachakna
gulshan kaa tamaasha
phoolon kaa mahakna
gulshan kaa tamaasha
phoolon kaa mahakna
rangeen ishaare
haan rangeen ishaare
main dekh rahi hoon
oon oon oon
duniya ke nazaare
duniya ke nazaare
ab jaise ye duniya
kuchh baaten karegi
ab jaise ye duniya
kuchh baaten karegi
chup reh na sakegi
chup reh na sakegi
hamse hi kahegi
afsaane hamaare
hamse hi kahegi
afsaane hamaare
afsaane hamaare
main dekh rahi hoon
oon oon oon
duniya ke nazaare
duniya ke nazaare
- In: Actor-Singer song | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Lyrics contributed by readers | Post by Sadanand Kamath | Rare song | Shamim Bano solo song | Shamim Bano songs | Song about Nature | Songs of 1940s (1941 to 1950) | Songs of 1942 | Yearwise breakup of songs
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3697 | Post No. : | 14614 |
In the early 1930s, New Theatres (NT) of Calcutta (Kolkata) had become the ‘sanctuary’ for Hindi film artists from Bombay (Mumbai), Lahore and for upcoming artists for better prospects. Some of the prominent Hindi film artists who had joined NT were K L Saigal, Prithviraj Kapoor, Durga Khote, Mazhar Khan, M Kumar, Jagdish Sethi, Kidar Sharma, Aarzoo Lucknowi, K N Singh, Bikram Kapoor Hiralal, Sitara Devi among many others.
Between the end of the 1930s and the beginning of 1940s, almost all of the above mentioned artists left NT to join the Bombay film industry. At the outset, it would appear that they had shifted to Mumbai for better opportunity and prospects in their filmy careers as the number of Hindi films produced in Mumbai far exceeded that from Kolkata. However, there was one more reason for the artists leaving NT and it had something to do with the way the system of film making in NT worked.
Most of the films produced in NT were simultaneously made in Bengali and Hindi based mostly on the Bengali stories. So the film was shot scene by scene first in Bengali with actors for Hindi version being asked to copy the way the Bengali actors acted and delivered dialogues. There was not much of creative freedom for Hindi actors. The same was true for the screen-play and dialogue writers for Hindi version as they only had to provide verbatim translation from the Bengali version.
Kidar Sharma who worked with NT as screen-play and dialogue writer in addition to writing lyrics for the Hindi versions, left NT sometime in 1939 due to creative differences with director Debaki Bose. Also he had an ambition to become a director which was not possible in NT as they preferred directors well versed in Bengali literature for the reason that most of their films were based on Bengali stories. After directing films ‘Aulad’ (1939) and ‘Chitralekha’ (1941) for Film Corporation of India, Kolkata, Kidar Sharma joined Ranjit Movietone on 3/10/1941.
‘Armaan’ (1942) was first film of Kidar Sharma for Ranjit Movietone. Apart from directing the film, Kidar Sharma also wrote the story, screen-play, dialogues and lyrics. The star cast included Motilal and Shamim Bano in the lead roles supported by Nagendra Majumdar, Meera, Bhagwandas, A Shah Shikarpuri, Nazir Bedi, Reva Shankar, Rajendra Singh etc.
There are a couple of interesting trivia while selecting the lead actors for the film. Kidar Sharma wanted to cast Motilal as the lead actor who was not attached to any studios. But he used to work in Ranjit Movietone’s films with an understanding that he would choose the director. Motilal agreed to work with Kidar Sharma on three conditions. First, he would work with a fixed schedule from 9.00 A.M. to 6.00 PM. Second, he would not work on Sundays. And lastly, he would not attend rehearsals. Since Kidar Sharma had fixation about Motilal for his natural acting, he agreed with all his three conditions. However, during the shooting of the film, Motilal himself broke two of his three conditions, rehearsing the scenes and working beyond 6.00 p.m.
When Kidar Sharma selected Shamim Bano (niece of Khurshid Bano, the top actress of Ranjit Movietone) as the lead actress for the film, Chandulal Shah, the boss of Ranjit Movietone had warned him that Khursheed Bano would never work with him as she was jealous of her niece. However, Kidar Sharma not only went ahead with his choice of heroine for the film, he also directed Khursheed Bano in one of his Ranjit Movietone’s films ‘Mumtaz Mahal’ (1944). These are anecdotes which have been mentioned in Kidar Sharma’s autobiography ‘The One and Lonely Kidar Sharma’ (2002).
The gist of the story of ‘Armaan’ (1942) based on the review of the film appeared in October 1942 issue of ‘Filmindia’ is as under:
Prince Kanwal (Motilal) the son of a big zamindar of Ballabhgadh travels to a nearby village to commission the renovation of old paintings to village artist Vyas (Nagendra Mazumdar) who lives with his only daughter, Meera (Shamim). Meera who has seen the Prince in the village with his big car, falls in love with him but Prince is not aware of it. The prince has also given Vyas the task of decorating his palace hall with murals.
Prince has a scientific bend of mind and is doing research in his laboratory of a magical ray that registers the feelings of pains and pleasure. One day during his experimentation of rays, Prince becomes blind. In the meanwhile, Vyas, the artist and his daughter, Meera visit Ballabhgadh for commencing the work of decorating palace with murals. Meera accidentally meets Prince in his palace garden and enters into conversation with him without realising that the Prince has become blind. When she come to know about his blindness, she becomes romantically close to him which Prince reciprocate.
The romance progresses to the dislike of Prince’s uncle (Bhagwandas) who is also the Diwan of Ballabhgadh. He pressurises the King to separate the two by sending Prince out of Ballabhgadh on some pretext. Meera is heart-broken. Meera’s conditions make Vyas worrisome and one day in the fit of depression, he commits suicide. Meera is now orphan. She decides to devote her entire life to the service of God.
One day, Meera meets a Sadhu whose asceticism is shattered after seeing Meera. Very soon, Sadhu starts making some indecent advances. Hearing the story of the blindness of Prince, Sadhu promises Meera that his medicine would restore the eye sight of Prince. But Meera has to pay the cost (in terms of her submission to him). She agrees provided the eye-sight is restored. When the medicine is ready, Meera kills Sadhu and runs away with the medicine to the palace only to find that Prince has become the King after the death of his father.
Meera is not allowed to enter the palace. However, she is compelled to hand over the medicine to one of the dancing girl so that if successful in restoring the eye sight of Prince, Diwan can claim credit for the same. Prince’s eye sight is restored only to see Meera being brought to the palace as a killer of Sadhu. All evidences are against Meera. However, when Meera reveals to the King all the background, Prince recognises the voice and the lovers are united.
The film was released on 22nd August 1942 at Royal Opera House but had to be withdrawn within one day due to communal disturbances. It was once again released after a few weeks at Royal Opera House. The film was regarded as a box office success bringing Shamim Bano into the mainstream cinema.
‘Armaan’ (1942) had 9 songs, all written by Kidar Sharma and set to music by Gyan Dutt. I am presenting the first song ‘Laao To Zara Dil Ko Isey Dil Mein Chhupaaun’ sung by Shamim Bano who was paired with Motilal in the lead role.
From the wordings of the lyrics, it appears that this song was picturised in the palace garden where Shamim meets Motilal without realising that he had become blind. When Shamim comes to know about his blindness, she says ‘Let your heart be with my heart. Let my eyes become your eyes to see the whole world’.
Song – Laao To Zara Dil Ko Isey Dil Mein Chhupa Loon (Armaan) (1942) Singer – Shamim Bano, Lyrics – Kidar Sharma, MD – Gyan Dutt
Lyrics
laao to jara dil ko
isey dil mein chhupaaun
isey dil mein chhupaaun
laao to jara dil ko
isey dil mein chhupaaun
isey dil mein chhupaaun
baitho meri aankhon mein
baitho meri aankhon mein
tumhen duniya dikhhaaun
tumhen duniya dikhhaaun
baitho meri aankhon mein
tumhen duniya dikhhaaun
tumhen duniya dikhhaaun
kasturi hai in mein
jinhen khud soongh rahen hain
kasturi hai in mein
jinhen khud soongh rahen hain
un jhopdon mein dekho
diye oongh rahe hain
diye oongh rahe hain
un jhopdon mein dekho
diye oongh rahe hain
diye oongh rahe hain
seedhe hain ke sadhe se lagey
door khade hain
seedhe hain ke sadhe se lagey
door khade hain
aur jugnu hari jhaadion mein heere jade hain
aur jugnu hari jhaadion mein heere jade hain
aakash ke kuchch taaren hain
wo jhaank rahe hain
aakash ke kuchch taaren hain
wo jhaank rahe hain
aur jal mein bechaare hain jo wo
jal mein bechaare hain jo wo
kaanp rahe hain
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
लाओ तो ज़रा दिल को
इसे दिल में छुपाऊँ
इसे दिल में छुपाऊँ
लाओ तो ज़रा दिल को
इसे दिल में छुपाऊँ
इसे दिल में छुपाऊँ
बैठो मेरी आँखों में
तुम्हें दुनिया दिखाऊँ
तुम्हें दुनिया दिखाऊँ
बैठो मेरी आँखों में
तुम्हें दुनिया दिखाऊँ
तुम्हें दुनिया दिखाऊँ
कस्तूरी है इन में
जिन्हें कुछ सूंघ रहे हैं
कस्तूरी है इन में
जिन्हें कुछ सूंघ रहे हैं
उन झोपड़ों में देखो
दिये ऊंघ रहे हैं
दिये ऊंघ रहे हैं
उन झोपड़ों में देखो
दिये ऊंघ रहे हैं
दिये ऊंघ रहे हैं
सीधे हैं के सधे से लगे
दूर खड़े हैं
सीधे हैं के सधे से लगे
दूर खड़े हैं
और जुगनू हरी झाड़िओं में हीरे जड़े हैं
और जुगनू हरी झाड़िओं में हीरे जड़े हैं
आकाश से कुछ तारे हैं
वो झांक रहे हैं
आकाश से कुछ तारे हैं
वो झांक रहे हैं
और जल में बेचारे हैं जो वो
जल में बेचारे हैं जो वो
काँप रहे हैं
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3684 | Post No. : | 14586 |
“Lajwanti”(1942), alias “Radio Singer” was directed y Hiralal R Doctor for Shree Ganesh Pictures, Bombay. This “social” movie had Ratanbai, Anuradha, Wazir Mohammad Khan, Ashiq Hussain, Fakir Mohammad, Ratan Modi etc in it.
The movie had ten songs in it. Singers and lyricists of these songs are not known.
Here is the first song from “Lajwanti”(1942) to appear in the blog. This song is a bhajan which is sung by an unknown female voice which sounds somewhat familiar. Lyricist is not known. Music is composed by Shyam Babu, who I assume is same as Shyam Babu Pathak.
I have an intuition that this female voice may be that of Ratanbai, the leading actor of this movie who was an actor singer. This blog has seven songs sung by her. On comparing the voice of this song with that of the seven Ratan Bai songs, I feel that the voice is same. So I have assumed this song to be sung by Ratan Bai.
I request our knowledgeable readers to throw light on the movie as well as on the identity of this voice.
With this rare song, “Lajwanti”(1942) makes its debut in the blog.
Song-Teri mahima aprampaar tu hai jag ka paalanhaar(Lajwanti)(1942) Singer-Ratan Bai, MD-Shyam Babu Pathak
Lyrics
Teri mahima aprampaar
tu hai jag ka paalanhaar
teri mahima aprampaar
tu hai jag ka paalanhaar
sooraj chandr jo raushni dete
saagar sarita bahte bahte
saare jag ko mahima kahte
sooraj chandr jo raushni dete
saagar sarita bahte bahte
saare jag ko mahima kahte
saare jag ko mahima kahte
tu hai jag ka khewanhaar
tero koi na paawe paar
tu hai jag ka khewanhaar
tero koi na paawe paar
phal phool main kya chadhaaun
deepak ko main kyun jalaaun
phal phool main kya chadhaaun
deepak ko main kyun jalaaun
teri bhakti kaise dhyaaun
teri bhakti kaise dhyaaun
tu hai jag ka paalanhaar
tero sabhi to hai sansaar
tu hai jag ka paalanhaar
tero sabhi to hai sansaar
teri mahima aprampaar
tu hai jag ka paalanhaar
teri mahima aprampaar
tu hai jag ka paalanhaar
Tu shama baney main parwaana
Posted on: August 18, 2018
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3683 | Post No. : | 14582 |
“Kalaakaar”(1942) was directed by Karim for Durga pictures, Bombay. This “social” movie had Jal Merchant, Maya Devi, M Sultana, Fakeer Mohammad, Abdul, Anant, Ali, Rani Bala, Sayyad Ahmad, Fazlu, Nazeera etc in it.
This by now obscure movie had nine songs in it and they are all obscure songs.
Here is the first song from “Kalaakaar”(1942) to appear in the blog. This song is sung by Faqir Mohammad and Rehmat Bai. Karim is the lyricist. Music is composed by Bashir Dehalwi.
Only the audio of the song is available. Since Faqir Mohammad appears in the cast, so it is clear that he sang for himself, but one cannot be sure which female artist lip synced the song on screen in the voice of Rahmat Bai.
I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song.
With this song, “Kalaakaar”(1942) makes its debut in the blog.
Song-Tu shama bane main parwaana (Kalaakaar)(1942) Singers-Faqir Mohammad, Rehmat Bai, Lyrics-Karim, MD-Bashir Dehalwi
Lyrics
Tu shama baney main parwaana
tu shama baney main parwaana
shama baney main parwaana
tu shama bane
main husn banoon tu deewaana
main husn banoon tu deewaana
main parwaana
Tu shama baney
main mast banaaun
sudh bisraaun
apna roop dikhaaun
main mast banaaun
sudh bisraaun
apna roop dikhaaun
main tan man kho kar
besudh ho kar
tan man kho kar
besudh ho kar
do naina ban jaaun
do naina ban jaaun
main bijli ban kar chamkoon
main taara ban kar dekhoon
main bijli ban kar chamkoon
main taara ban kar dekhoon
dil ko kar ke najraana aa aa aa
main parwaana
tu shama baney main
main jag mein
main jag mein bhor suhaani ban kar
ujiyaala phailaaun
main jag mein
main jag mein bhor suhaani ban kar
ujiyaala phailaaun
main shabnam ka moti ban kar
nainon se neer bahaaun
main shabnam ka moti ban kar
nainon se neer bahaaun
main tez badhaaun
dhoop lage kumhlaaun
rahe na mera fasaana aa aa aa
main parwaana
tu shama baney
Bambai Ko Chalo Bambai Ko
Posted on: July 19, 2018
- In: Actor-Singer song | Devnagri script lyrics by Sudhir | Fun lyrics song | fun timepass song | Guest posts | Lyrics by Sudhir | Lyrics contributed by readers | Mithu Miyan Solo Songs | Mithu Miyan Songs | Post by Arunkumar Deshmukh | Songs about a place | Songs of 1940s (1941 to 1950) | Songs of 1942 | Yearwise breakup of songs
- 16 Comments
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3653 | Post No. : | 14508 |
ASAD 10th Anniversary Celebrations – 14
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This Blog is completing 10 years on 19th July 2018.
HAPPY BIRTHDAY to the Blog and CONGRATULATIONS for ATUL ji.
I have yet to come across a similar blog which is running smoothly for 10 years, earning readers’ love and participation to an unbelievable level. The blog has created its own world of ATULITES, consisting of contributors of articles, lyrics, data supply, silent workers behind the limelight, who keep the blog’s non working videos replaced, untiringly and well wishers. The ATULITES run a WA group, meet at different locations in India (Mumbai, Bengaluru, Delhi, Lucknow) from time to time and otherwise keep connected with emails and phone calls. This is an exceptional example, how people of diverse interests-vocations-locations and different age groups stick together with the central magnet of what is called as ‘atulsongaday,’.
It is something beyond mere love of music. It is the result of Atul ji’s leadership that has kept this flock together for such a long period. To assist him, help him and lending a hand is dear Sudhir ji, whose role in keeping in touch with all members is unparalleled.
I came across this blog somewhere in the end of 2010, ending my newly learnt surfing journey here only. I had found a one spot treasure of old songs and information on old films – the people, the times and the stories thereof. My first article came up on 1-10-2012, because of Atul ji’s encouragement and it still continues. The blog has really taught me “It is never too late to turn a new page in the book of life”. It gave me a new identity and a name in the like minded groups, sites and blogs on the Internet. It also gave me new friends.
I take this opportunity to wish the blog many many happy returns of the day (19th July ) and many more milestones. I also wish Atul ji all the best in this enterprise.
BOMBAY (today’s Mumbai) has always been an attraction for people in India. It is considered a ‘mayanagari‘, a ‘swapnanagari‘, where the dreams of hard working talented people can come true. Not every person is a success story but maximum success stories in India have taken place here, in almost every field. When the film industry started blooming and job opportunities opened up in this new field, there was a new destination for people with ambitions and dreams.
There was a trend that aspirants from every corner of India would run away from their town to Bombay, in search and hope of better life. In fact, for all lost children, the search would start from Bombay first. Khalid Hasan, the famous journalist from Pakistan had written in The Friday Times, Lahore, “I love the Qaid e Azam, but what sort of a country he has given us ! There is nowhere for young boys and girls to run to now !!”
This is sufficient to endorse that Bombay was the most desired destination. Today’s song is selected, because in it the singer expresses his desire to go to Bombay. He says, “Bambai ko chalo Bambai ko”. This song is from film ‘Kirti’ from 1942. It was written by Pt. Phani. The music was by Harischandra Bali and it was sung by a most unexpected actor Mithu Miyan. No information about this actor is available. This may not be his real name also. As per records, he seems to have acted in 32 films, from ‘Lutaru Lalna’ (1932) to ‘Alibaba And 40 Thieves’ (1966).
The cast of the film is listed as Lalita Pawar, Jairaj, Sunalini Devi, Jagdish Sethi, Mithu Miyan etc. The film was directed by VM aka Dada Gunjal and the MD was Harishchandra Bali aka HC Bali.
HC Bali was born on 10-3-1906 at Jalandhar, Punjab. He received early training in music from Pt Tola Ram and Ustad Maula Baksh of Talwandi Gharana. He was also a desciple of Bhaskerbua Bakhle and Pt Dilip Chandra Vedi. He adopted their styles. Bali came to Bombay. He entered film by acting as a Hero in film ‘Naksh e Sulemani’ (1933). In later life also he acted in few more films. As an MD, his first film was ‘Aurat Ka Dil’ (1933) and last film was ‘Janata’ (1947). He gave music to 26 films. Among these were first films of Prof Pt Ramanand Sharma, ‘Watan Parast’ (1934), first film of actress Pramila, ‘Bhikharin’ (1935), first film of Debaki Bose in Bombay, ‘Jeewan Natak’ (1935). In film ‘Pati Patni’ (1939), Naushad was his assistant and composed few songs also. In 1942, Bali gave music to ‘Aple Ghar’ (1942), the Marathi verion of ‘Apna Ghar’ (1941). He was the MD for the last film of Vishnupant Pagnis, ‘Mahatma Vidur’ (1943) and in film ‘Janata’ (1947), he gave opportunity to lyricist Rajendra Krishna for the first time.
Bali also gets the credit for bringing KL Saigal to limelight. Both he and Saigal were from Jalandhar. When Saigal was in Calcutta for his job as a typewriter salesman, Bali was living with RC Boral. Bali told Boral about Saigal’s singing and the rest is history. Bali came into news in the late 1950s, when he said that Lata had sung 4 songs for his film ‘Seedha Rasta’ (1941) and thus claimed introducing her to the film singing. However, Lata clarified that till her father Dinanath’s death in 1942, she was in Kolhapur and there was no question of her singing in films in 1941. Thus Bali’s claim got scuttled.
After 1947, Bali retired from films and returned to Jalandhar. He started his own Music School,’Sangeet Vihar’. He became famous as a Music Guru to many singers in later years. Bali also sang on radio and was an A grade artist of All India Radio. He also wrote few books on Music. ‘Sangeet Vigyan’ in 4 volumes and ‘Sangeet Prakash’ in Punjabi language. These books were published by Punjab State University Text Book Board in Chandigarh. Harishchandra Bali died on 24-6-1976 at Jalandhar.
Now let us know something about Sunalini Devi, the actress. She was born on 1-1-1896 in Hyderabad Deccan. Her father, Aghornath Chatopadhyay, a Bengali settled in Hyderabad, was a Sanjskrit scholar. He was proficient in 27 languages and was the first Indian to get the D.Sc. honour. Sunalini was the elder sister of Sarojini, who became Sarojini Naidu after her marriage.
Sunalini learnt music and dance from the age of three itself. Due to her sweet voice, she was called ‘Kokila’. It is to be noted that her younger sister Saojini Naidu was called ‘Nightingale of India’ ! It is unfortunate that the film industry did not use Sunalini’s music skill in her films and she sang just one song in her career in film ‘Raja Rani’ (1942).
Sunalini started acting in stage dramas from 1918. Her first movie was ‘Light of Asia’ which was released initially in Germany and Poland in 1925. Its restored version was released on 5th July 2001, in India. This film was made by Himanshu Rai. The film was shot in Lahore. It was a silent film on Gautama Buddh. Her first talkie film was ‘Veer Kunal’ (1932). She acted in 56 films. Mostly she was known for motherly roles only. She had, like her more eminent sister, married a south Indian Mr AS Rajan, a writer from Madras.
Some of her well known films are, ‘Aurat’ (1940), ‘Lalaji’ (1942), ‘Inkaar (1943)’, ‘Nai Roshni’ (1941), ‘Talaash’ (1952), ‘Bairam Khan’ (1946), ‘Tamasha’ (1952), ‘Dilruba’ (1950), ‘Malhar’ (1951) etc. She retired from films in 1956.
The film ‘Kirti had 12 songs. The singer Mithu Miyan and the film make their debut here on this 10th anniversary day of the blog
[Author’s Note: Credits- Film Directory, Wiki, HFGK, MuVyz, Dhunon Ki Yatra, Tradition of Hindi Music by Manorama Sharma, Marathi Chitrapat Sangeetkar Kosh, and my notes.]
Song – Bambai Ko Chalo Bambai Ko (Kirti) (1942) Singer – Mithu Miyan, Lyrics – Pt Phani, Music – Harishchandra Bali
Chorus
Lyrics (Provided by Sudhir)
haiii haiii
bambai ko chalo bambai ko
bambai ko chalo bambai ko
bhai bada shehar bambai
bhai bada shehar bambai
yahaan khel tamaashe kai
yahaan khel tamaashe kai
haiii haiii
bambai ko chalo bambai ko
bambai ko chalo bambai ko
bambai shehar albela
albela
bambai shehar albela
sunder har (??) ka khela
sunder har (??) ka khela
haiii haiii
bambai ko chalo bambai ko
bambai ko chalo bambai ko
bada staashun bori bunder
bada staashun bori bunder
ghoomen chal ke us ke andar
ghoomen chal ke us ke andar
?? waali gaadi dekhen
uuu eee eee eee
?? waali gaadi dekhen
gali mohalle baadi dekhen
?? waali gaadi dekhen
gali mohalle baadi dekhen
haiii haiii
bambai ko chalo bambai ko
bambai ko chalo bambai ko
bambai ki sethani dekhen
bambai ki sethani dekhen..en..en
maarwaad ki rani dekhen
maarwaad ki rani dekhen
haiii haiii
haiii haiii
bambai ko chalo bambai ko
bambai ko chalo bambai ko
kalkatte ka baabu dekhen
kalkatte ka baabu dekhen
kaashi ji ka sadhu dekhen
kaashi ji ka sadhu dekhen
haiii haiii
haiii haiii
bambai ko chalo bambai ko
bambai ko chalo bambai ko
bhai bada shehar bambai
bhai bada shehar bambai
yahaan khel tamaashe kai
yahaan khel tamaashe kai
haiii haiii
bambai ko chalo bambai ko
bambai ko chalo bambai ko
bambai ko chalo bambai ko
bambai ko chalo bambai ko
bambai ko chalo bambai ko
bambai ko chalo bambai ko
bambai ko chalo bambai ko
bambai ko chalo bambai ko
———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-
हई॰॰ई हई॰॰ई
बंबई को चलो बंबई को
बंबई को चलो बंबई को
भई बड़ा शहर बंबई
भई बड़ा शहर बंबई
यहाँ खेल तमाशे कई
यहाँ खेल तमाशे कई
हई॰॰ई हई॰॰ई
बंबई को चलो बंबई को
बंबई को चलो बंबई को
बंबई शहर अलबेला
अलबेला
बंबई शहर अलबेला
सुंदर हर (??) का खेला
सुंदर हर (??) का खेला
हई॰॰ई हई॰॰ई
बंबई को चलो बंबई को
बंबई को चलो बंबई को
बड़ा सटेशन बोरी बंदर
बड़ा सटेशन बोरी बंदर
घूमें छलके उस के अंदर
घूमें छलके उस के अंदर
?? वाली गाड़ी देखेँ
ऊ॰॰ऊई॰॰ई॰॰ई
?? वाली गाड़ी देखेँ
गली मोहल्ले बाड़ी देखें
?? वाली गाड़ी देखेँ
गली मोहल्ले बाड़ी देखें
हई॰॰ई हई॰॰ई
बंबई को चलो बंबई को
बंबई को चलो बंबई को
बंबई की सेठानी देखें
बंबई की सेठानी देखें॰॰एं॰॰एं
मारवाड़ की रानी देखें
मारवाड़ की रानी देखें
हई॰॰ई हई॰॰ई
हई॰॰ई हई॰॰ई
बंबई को चलो बंबई को
बंबई को चलो बंबई को
कलकत्ते का बाबू देखें
कलकत्ते का बाबू देखें
काशी जी का साधू देखें
काशी जी का साधू देखें
हई॰॰ई हई॰॰ई
हई॰॰ई हई॰॰ई
बंबई को चलो बंबई को
बंबई को चलो बंबई को
भई बड़ा शहर बंबई
भई बड़ा शहर बंबई
यहाँ खेल तमाशे कई
यहाँ खेल तमाशे कई
हई॰॰ई हई॰॰ई
बंबई को चलो बंबई को
बंबई को चलो बंबई को
बंबई को चलो बंबई को
बंबई को चलो बंबई को
बंबई को चलो बंबई को
बंबई को चलो बंबई को
बंबई को चलो बंबई को
बंबई को चलो बंबई को
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