Archive for the ‘Songs of 1942’ Category
Ulajh gaye nainwaa
Posted on: March 28, 2023
- In: "Aankh" song | Actor-Singer song | Artist century song in blog | Begum Akhtar Songs | Begum Akhtar Songs from Films | Century songs for the blog | Devnagri script lyrics by Sudhir | expression of love | Feelings of heart | Lyrics by Prakashchandra | Lyrics contributed by readers | Songs of 1940s (1941 to 1950) | Songs of 1942 | Yearwise breakup of songs
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This article marks the 100th song of Aarzoo Lucknowi in the blog as a lyricist.
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Blog Day : |
5366 | Post No. : | 17598 |
‘Roti’(1942) was directed by Mehboob Khan for Mehboob Productions, Bombay. The movie had Chandramohan, Sheikh Mukhtar, Sitaaraa Devi, Akhtari Fayzabadi, Ashraf Khan, Kayam Ali, Jamshedji, Misra,Wasker, Chobeji, Nawab, Agha Jani etc. in it.
‘Roti’ (1942) had 14 songs in it. Ten songs have been covered so far.
Here is the 11th song from movie to appear in the blog. The song is sung by Akhtari Faizabadi. Aarzoo Lucknowi is the lyricist. Music is composed by Anil Biswas.
Akhtari Faizabadi, who acted as well as sang her songs in the movie, later went on to become a legendary ghazal singer – “Malika e Ghazal” under the name Begum Akhtar. She was a recipient of Sangeet Natak Academy award in 1972. She was also a recipient of Padma Shree and Padma Bhushan.
The movie has three lyricists, namely Aarzoo Lucknavi, Dr.Safdar ‘Aah’ Sitapuri and Behzad Lucknawi. This song is penned by Aarzoo Lucknowi.
Aarzoo Lucknowi (1874 – 16 April 1951) was born as Sayyad Anwar Husain Kazmi in Lucknow. It was his guru Ustaad Jalaal Lucknowi who suggested to him to use Aazoo Lucknowi as his pen name.
Miss Jahananra Kajjan, the famous singer of those days (1920s), recommended the name of Aarzoo Lucknowi to Maadan Theatres owner. That is how Aarzoo Lucknowi came to Calcutta (now Kolkata) and began his career writing plays for Madan Theatres. In 1931, when movies began to talk and the Talkies era began, Aarzoo Lucknowi began to write lyrics for Hindi movies.
For the first decade, he was active in Calcutta. There, he wrote songs for movies like ’Manzil’ (1936), ‘Khudaai Khidmatgaar’ (1937), ‘Mukti’ (1937), ‘Abhaagin’ (1938), ‘Adhikaar’ (1938), ‘Ban Ki Chidiya’ (1938), ‘Street Singer’ (1938), ‘Dushman’ (1939), ’Jawaani Ki Reet’ (1939), ‘Kapaal Kundla’ (1939), ‘Aandhi’ (1940), ‘Haar Jeet’ (1940), ‘Nartaki’ (1940), ‘Qaidi’ (1940), ‘Doctor’ (1941), ‘Lagan’ (1941), ‘Maasoom’ (1941) etc.
Then he shifted base to Bombay. Here he penned lyrics from movies such as ‘Jawaani’ (1942), ‘Lala Ji’ (1942), ‘Roti’ (1942), ‘Yaad’ (1942), ’Fashion’ (1943), ‘Nai Zindagi’ (1943), ‘Najma’ (1943), ‘Paraaya Dhan’ (1943), ‘Parakh’ (1944), ‘Milan’ (1946), ‘Rangbhoomi’ (1946), ‘Shaahkaar’ (1947), ‘Tohfa’ (1947), ‘Laal Dupatta’ (1948), ‘Shauhar’ (1948), ‘Duniya’ (1949),’Raat Ki Raani’ (1949), ‘Saawan Aaya Re’ (1949), ‘Sipahiya’ (1949), ‘Beqasoor’ (1950), ‘Khel’ (1950), etc.
To my mind, he is arguably the first lyricist to pen a tonga song, car song and rail song in HFM. All these songs were in ‘Doctor’ (1941).
On out Blog, Aarzoo Lucknow has been in the ‘nervous ninetees’ since 17 June 2020 (day 4372 of the blog). He has spent 996 days on nineties ! Not any longer. Here is his 100th song in the blog.
Music of this song is composed by Anil Biswas. It was the first movie of Aarzoo Lucknowi with Anil Biswas. Subsequently they would collaborate in ‘Jawaani’ (1942), ‘Milan’ (1946) and ‘Beqasoor’ (1950) as well.
Let us listen to this song from ‘Roti’ (1942). Lyrics of the song were sent to me by Prakashchandra.
It may sound like just another song, but it is a song that marks the entry of yet another artist into the blog century club. Aarzoo Lucknowi becomes the 34th lyricist and 96th artist overall to complete century of songs in the blog.
Audio
Song-Ulajh gaye nainwaa (Roti)(1942) Singer- Akhtari Faizabadi (aka Begum Akhtar), Lyrics-Aarzoo Lucknowi, MD-Anil Biswas
Lyrics (Provided by Prakashchandra).
ulajh gaye nainwaa aa aa
ulajh gaye naainwaa aa aaa
chhootey nahin chhudaaye
ulajh gaye naainwaan aan aa aaa
ulajh gaye naainwaan aan aa aaa
baankaa joban tirchhee chitwaan
baan pe baan chalaaye
baankaa joban tirchhee chitwaan
baan pe baan chalaaye
baan pe baan chalaaye baalam
ghaayal kar kar jaaye
baan pe baan chalaaye baalam
ghaayal kar kar jaaye
ulajh gaye nainwaa aan aa aaa
ulajh gaye nainwaa aa aa
akhiyan ras kee boond zaraa see ee eee
akhiyan ras kee boond zaraa see
jalti aag bujhaaye
akhiyan ras kee boond zaraa see
jalti aag bujhaaye
jalti aag bujhaaye baalam
bujhee aag dehkaaye
jalti aag bujhaaye baalam
bujhee aag dehkaaye
ulajh gaye nainwaa aa
ulajh gaye naainwaa aa aaa aa
chhootey nahin chhudaaye
ulajh gaye naainwaa aa aa aa
ulajh gaye naainwaa aan aa aaa
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Hindi script lyrics (Provided by Sudhir)
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उलझ गए नैनवा..आ..आ
उलझ गए नैनवा..आ..आ
छूटे नहीं छुड़ाए
उलझ गए नैनवा..आ..आ
उलझ गए नैनवा..आ..आ
बांका जोबन तिरछी चितवन
बाण पे बाण चलाये
बांका जोबन तिरछी चितवन
बाण पे बाण चलाये
बाण पे बाण चलाये बालम
घायल कर कर जाये
बाण पे बाण चलाये बालम
घायल कर कर जाये
उलझ गए नैनवा..आ..आ
उलझ गए नैनवा..आ..आ
अखियन रस की बूंद ज़रा सी..ई..ई
अखियन रस की बूंद ज़रा सी
जलती आग बुझाये
अखियन रस की बूंद ज़रा सी
जलती आग बुझाये
जलती आग बुझाये बालम
जलती आग बुझाये
जलती आग बुझाये बालम
उलझ गए नैनवा..आ..आ
उलझ गए नैनवा..आ..आ
छूटे नहीं छुड़ाए
उलझ गए नैनवा..आ..आ
उलझ गए नैनवा..आ..आ
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.
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Blog Day : |
5339 | Post No. : | 17508 |
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Blog 10-Year Challenge (2013-2023) – Song No. 29
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On this date ten years back viz on 1 March 2013, five songs from five different movies (plus one NFS) were covered in the blog. Here are the details:-
| Blog post number | Song | Movie (Year) | Remarks |
|---|---|---|---|
| 7579 | Pitu maatu sahaayak swaami sakha | Mukesh NFS (1950) | Non Film song |
| 7580 | Naya naya chaand hai jee | Khuda Ka Banda (1957) | Movie YIPPEED by now |
| 7581 | Jawaani chaand salona | Saudaamini(1950) | 6 songs covered out of 9 by now |
| 7582 | Jo koi isko peeve | Jungle Princess (1942) | 5 songs covered out of 11 by now |
| 7583 | Na mukhda mod ke jaao | Chhoti Si Mulaaqaat(1967) | Movie YIPPEED by now |
| 7583 | Honthon pe geet jaage | Manpasand (1950) | 8 songs covered out of 9 by now |
We observe that two movies (out of five) whose songs were covered on this date ten years ago (on 1 March 2013) have since been YIPPEED in the blog. That leaves us with three movies that are unYIPPEED from that date and are therefore eligible for Blog Ten Year CHallenge today (1 march 2023).
“Jungle Princess”(1942) is one such eligible movie. This movie was directed by Homi Wadia for Wadia Movietone, Bombay. The movie had Fearless Nadia(as Mala), Radharani(as Meena), Baby Madhuri (as Leela), Shaahzadi(as dancer), John Caswas(Surendra), Sardar Mansoor(as Hameed), Dalpat(as Mohanlal), Hari Shivdasani(Harambano ka raajaa), Mitthoo Miyaan(Bahadur), M.K.Hasan(as Sir Mangaldas), Jal Khambatha(as Solicitor), Jijee Bhai(as Jahaz ka captain), Habib(as Chanuk), Gulshan Soofi(as Gawaiyya) etc in it.
“Jungle Princess”(1942) had 11 songs in it. Five songs have been covered so far.
Here is the sixth song from the movie to appear in the blog. The song is sung by Sardar Mansoor. Pt Indra Chandra is the lyricist. Music is composed by Madholal Damodar Master.
Only audio of the song is available. One can notice that Sardar Mansoor figures in the cast. So it is clear that the song was picturised on Sardar Mansoor himself.
Lyrics of the song and other details were sent to me by Prakashchandra.
audio link:
Song-Chal raha hai raat din zindagi ka kaarwaan (Jungle Princess)(1942) Singer-Sardar Mansoor, Lyrics-Pt Indra Chandra, MD-Madholal Damodar Master
Lyrics(Provided by Prakashchandra)
chal rahaa hai ae
raat din ye
zindagi kaa karwaa aa aa aan
zindagi kaa kaarwaan
chal rahaa hai ae
raat din ye
zindagi kaa karwaa aa aa aan
zindagi kaa kaarwaan
sair kar lo do ghadee phir
tum kahaan aur hum kahaan aan
tum kahaan aur hum kahaan
sair kar lo do ghadee phir
tum kahaan aur hum kahaan aan
tum kahaan aur hum kahaan
hum na maanengey ke ho o ho oo
insaan par paabandiyaan aan
hum na maanengey ke ho o ho oo
insaan par paabandiyaan aan
kisne chheenee
kisne chheenee hai hawaa kee
aaj tak aazaadiyaan aan
aaj tak aazaadiyaan
chal rahaa hai ae
raat din ye
zindagi kaa karwaa aa aan
zindagi kaa kaarwaan
nekiyon kee raah se ae
aey ae ae ae
ho naam to manzoor hai ae
yoon to hone ke liye ae ae aey ae ae
shaitaan bhee mashhoo oor hai aey ae ae
haan aan aaan
aaa aa aaan haaa aaa
milte julte hain aen sabhee se ae
phir bhi sabse door hain aen
hum hain apne baadshaah
aallaah ke mashqoor hai aen
apne paaon
apne paaon ke zameen…een
apney liye saaraa jahaan aan
apney liye saaraa jahaan
chal rahaa hai ae raat din ye
zindagi kaa karwaan..aan .aaan
zindagi kaa kaarwaan
Wo daya tujh pe karega
Posted on: February 13, 2023
This article is written by Avinash Scrapwala, 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.
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Blog Day : |
5323 | Post No. : | 17451 |
#the Decade of Fourties – 1941 – 1950 #
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The song under discussion is from the ‘1942’ movie ‘Dukh Sukh’.
It was directed by R.M. Daryani for ‘Ranjeet Movietone’.
It had Sitara, Vasanti, Rama Shukul, Pratima Devi, Khatoon, A. Shah, H.M. Shaikh, Mukesh and others.
As per details mentioned in HFGK Vol-II (1941-1950) this movie has twelve songs composed by Khemchand Prakash.
Lyrics for all the songs are written by Wali Sahab.
Vasanti, Sitara, Rama Shukul, Mukesh, Brijmala, Vitthhal, and Rajkumari had given their voices to the songs in this movie.
| SNo | Song Title | Singer/s | Posted On |
|---|---|---|---|
| 01 | Ab der na kar saajan phoolon se jo milna hai | Mukesh, Sitara Devi | 21.10.2012 |
| 02 | Mori atariya pe aa ja ho | Mukesh, Sitara Devi | 10.12.2012 |
| 03 | Hai aaj kal ki fikar hi kya | Rajkumari | 26.11.2021 |
Today’s song is the fourth song from this movie being presented on the blog. It is sung by Brijmala and Vitthhal.
As mentioned above lyrics are by Wali Sahab and music is composed by Khemchand Prakash.
The song seems to be a beggar song with a ‘philosophical’ touch and giving the message to love ‘kindness’ and ‘religiousness’. And not to run behind ‘moh’ and ‘maaya’. 🙂
Lyrics for this song were sent by Prakashchandra.
Audio
Song-Wo daya tujhpe karega (Dukh Sukh)(1942) Singers-Vitthal, Brijmala, Lyrics-Wali Sahab, MD-Khemchand Prakash
Both
Lyrics(Provided by Prakashchandra)
woh o o o o o
dayaa aa aa aa aa
tujh pe ae ae ae ae ae
karegaa
tu oo dayaa aa
duniyaa aa aa aa aa aa pe kar
teri jholi wo bharegaa
tu meri jholi ko bhar
raakho o
dayaa dharam se ae pyaar re ae
hey ae raakho o dayaa dharam se pyaar re
hey ae raakho dayaa dharam se pyaar re
hey ae ae raakho o dayaa dharam se pyaar re
hey ae bande moh maayaa ko chhod de
hey ae bande moh maayaa ko chhod de
hey ae dayaa aur hriday ko mol de
hey ae dayaa aur hriday ko mol de
chaar dinon ki dhoop jawaani
dhoop jawaani
chaar dinon o ki dhoop jawaani
dhoop jawaani
duniyaa ki har cheez hai faani ee
duniyaa ki har cheez hai faani
nis din neki kar le moorakh
nis din neki kar le moorakh
yahi jeewan ka saar re ae
hey ae ae raakho o dayaa dharam se pyaar re
hey ae raakho dayaa dharam se pyaar re
hey ae ae raakho dayaa dharam se pyaar re
hey ae bande moh maayaa ko chhod de
hey ae bande moh maayaa ko chhod de
hey ae dayaa aur hriday ko mol de
hey ae dayaa aur hriday ko mol de ae ae
Duniya ki aashaa
Posted on: January 18, 2023
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.
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Blog Day : |
5297 | Post No. : | 17345 |
“Vasantsena”(1942) was directed by Gajanan Jageerdaar for Atre Pictures, Bombay. The movie had Vanmala, Gajanan Jageerdar, Shahu Modak, Baby Devi, Eruch Tarapur, Navin Yagnik, Sunalini, Vijaya, Vimal Tripathi, Nazeer Bedi, Raj Vishwas, Sudhir Gore, Pandit Gokhle etc in it.
The movie had ten rare songs in it. One song has been covered so far.
Here is the second song from “Vasantsena”(1942) to appear in the blog. This song is sung by Shahu Modak. The movie had two lyricists in it (Neelkanth Tiwari and D N Madhok) but the distribution of songs among them is not known.
Music is composed by Master Krishnarao.
Only the audio of this song is available. It is clear that the song was picturised on Shahu Modak.
The audio is not clear and there may be errors in the lyrics. I request our readers with keener ears to help correct the errors in the lyrics if any.
Song-Duniya ki aashaa(Vasantsena)(1942) Singer-Shahu Modak, MD-Master Krishna Rao
Lyrics
Duniya ki aashaa
Duniya ki aashaa
Duniya ki aashaa
aao bichhhaaun
aao bichaaun
maarag mein naina aa aa aa aa
maarag mein naina aa aa aa aa
Duniya ki aashaa
Duniya ki aashaa
aana tum hoke ??
aana tum hoke ??
sundar matwaari
sundar matwaari
naina madmast bano
naina madmast bano
aanand lo pyaari
aanand lo pyaari
aanand lo pyaari
vasant ki sena aa aa aa aa
vasant ki sena aa aa aa aa
Duniya ki aashaa
Duniya ki aashaa
ankhiyan palchhin na jhapken
ankhiyan palchhin na jhapken
ankhiyaan
ankhiyaan
ankhiyaan
ankhiyan palchhin na jhapken
dekhan ke maare
dekhan ke maare
charan chhanan chhankaati
charan chhanan chhankaati
aao kajaari
aao akajaari
aao kajaari
aan bano mehmaaan
aan bano mehmaaan
Duniya ki aashaa
Duniya ki aashaa
Duniya ki aashaa
haan
panchhi hil mil kar
prem ki baani sunaayen
panchhi hil mil kar
prem ki baani sunaayen
prem ki baani sunaayen
aao hamri dishaa
aao hamri dishaa
aasha ki duniya aa aa aa aa
aasha ki duniya aa aa aa aa
Duniya ki aashaa
Duniya ki aashaa
haan
Duniya ki aashaa aa aa aa
Yaad kisi ki aayee
Posted on: September 14, 2022
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.
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Blog Day : |
5171 | Post No. : | 17141 |
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Blog 10-Year Challenge (2012-2022) – Song No. 91
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This date ten years ago (viz 14 September 2012) saw seven songs from seven different movies getting covered in the blog.
Here are the details:-
| Blog post number | Song | Movie (Year) | Remarks |
|---|---|---|---|
| 6634 | Ae dil e beqaraar bol | Fariyaad (1942) | 3 songs out of 9 covered so far |
| 6635 | Kaanta laago re sajanwa mose raah chali na jaaye | Basant (1942) | Movie YIPPEED by now |
| 6636 | Zulm ki nagri mein kisi ka kaun sahaara hai | Aas(1953) | Movie YIPPEED by now |
| 6637 | Mere jaisa nahin milega ulfat ka deewaana | Fifty Fifty (1956) | Movie YIPPEED by now |
| 6638 | Bachke kahaan jaaoge khinche huye chale aaoge | Kahaani Ham Sab Ki (1973) | Movie YIPPEED by now |
| 6639 | Matlab jo samjhe mere sandes ka | Baarood(1976) | Movie YIPPEED by now |
| 6640 | Din ba din wo mere dil se | Trishna (1978) | Movie YIPPEED by now |
One can notice that six movies (out of seven) whose songs were covered on this date ten years ago have since been YIPPEED. That leaves us with just one movie which is eligible for Blog Ten Year Challenge today (14 September 2022).
The sole movie eligible for Blog Ten Year Challenge today is “Fariyaad”(1942).
“Fariyaad”(1942) was directed by Jayant Desai for Ranjit Movietone, Bombay. The movie had Mubarak, Noorjahaan, Shamim, Rama Shukul, Ishwar Lal, Alaknanda, Rajkumari Shukla, Faatak, Baby Kamla etc in it.
“Fariyaad”(1942) had nine songs in it. Three songs have been covered in the blog.
Here is the fourth song from “Fariyaad”(1942). This song is sung by Ishwarlal. D N Madhok is the lyricist. Music is composed by Khemchand Prakash.
Only audio of the song is available. Ishwarlal had acted in the movie so it is clear that the song was picturised on himself.
Lyrics and other details were sent to me by Prakashchandra.
Song-Yaad kisi ki aayi (Fariyaad)(1942) Singer-Ishwarlal, Lyrics-D N Madhok, MD-Khemchand Prakash
Lyrics(Provided by Prakashchandra)
yaad kisee kee aayee ee ee
yaad kisee kee aayee ee
yaad kisee kee aayee ee ee
yaad kisee kee aayee ee
yaad kisee kee aayee ee ee
yaad kisee kee aayee ee
dil ko de dee dard-e-nishaani
dil ko de dee dard e nishaani
aankh mein aansoo laayee
aankh mein aansoo laayee
yaad kisee kee aayee ee ee
yaad kisee kee aayee ee
ro mere armaa..aan
ro meri aashaaa..aa..aaa
ro mere armaa..aaan
ro meri aashaa..aaaa
main bhee to dekhoon tamaashaa
main bhi to dekhoon tamaashaa
jin ke liye ghar phoonk diyaa hai
jin ke liye ghar phoonk diyaa hai
woh nikley harjaayee
woh nikley harjaayee
dil ko de dee dard nishaanee..eee
dil ko de dee dard nishaani
aankh mein aansoo laayee
aankh mein aansoo laayee
yaad kisee kee aayee ee ee
yaad kisee kee aayee ee
beet gayee ab ab yaad na aayein
lab pe mere fariyaad na aayein…aen..aen
beet gaayee ab yaad na aayein
lab pe mere fariyaad na aayein…aen…aen
na main kisee kaa na koyi meraa
na main kisee kaa na koyi meraa
main hoon meri tanhaayee ee ee ee
yaad kisee kee aayee ee ee
main hoon meri tanhaayee ee ee
yaad kisee kee aayee ee
yaad kisee kee aayee ee ee
yaad kisee kee aayee ee
yaad kisee kee aayee ee ee
yaad kisee ki aayee ee
Kaun hai wo wo kaun hai
Posted on: September 3, 2022
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.
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Blog Day : |
5160 | Post No. : | 17123 | Movie Count : |
4619 |
Today’s song is from an obscure film of 1942 – ‘Nari’. It was made by Venus Pictures, Bombay and was directed by Raja Yadnik. I have no information about this director, except that he had directed 13 films – from ‘Magic Horse’ (1935) to ‘Anarbala’ (1961), averaging 1 film every 2 years ! From his list I find that none of his films were popular or a hit film. The music for the film ‘Nari’ was given by H.C. aka Harishchandra Bali.
Harishchandra Bali aka HC Bali was born on 10-3-1906 at Jalandhar, Punjab. He received early training in music from Pt Tola Ram and Ustad Maula Baksh of Talwandi Gharana. He was also a disciple of Bhaskarbuwa Bakhale and Pt Dilip Chandra Vedi. He adopted their styles. Bali came to Bombay. He entered film by acting as a Hero in the film ‘Naqsh-e-Sulemani'(1933). In later life also he acted in a few more films. As an MD, his first film was ‘Aurat Ka Dil’ (1933) and last film was ‘Janta’ (1947).
He gave music to 26 films. Among these were first films of Prof Pt Ramanand Sharma, ‘Watan Parast’ (1934), first film of actress Pramila, ‘Bhikarin’ (1935), first film of Debaki Bose in Bombay, ‘Jeewan Natak’ (1935). In the film ‘Pati Patni'(1939), Naushad was his assistant and composed a few songs also. In 1942, Bali gave music to ‘Aple Ghar’ the Marathi version of ‘Apna Ghar’ (1941). He was the MD for the last film of Vishnupant Pagnis, ‘Mahatma Vidur’ (1943) and in film ‘Janta’ (1947), he gave the opportunity to lyricist Rajendra Krishna for the first time.
Bali also gets the credit for bringing KL Saigal to limelight. Both he and Saigal were from Jalandhar. When Saigal was in Calcutta for his job as a typewriter salesman, Bali was living with RC Boral. Bali told Boral about Saigal’s singing and the rest is history. Bali came into news in the late 50s, when he said that Lata had sung 4 songs for his film ‘Seedha Rasta’ (1941) and thus claimed to introduce her to the film singing. However, Lata clarified that till her father Dinanath’s death in 1942, she was in Kolhapur and there was no question of her singing in films in 1941. Thus Bali’s claim got scuttled.
After 1947, Bali retired from films and returned to Jalandhar. He started his own Music School, ‘Sangeet Vihar’. He became famous as a Music Guru to many singers in later years. Bali also sang on Radio and was an A grade artiste of All India Radio. He also wrote a few books on Music. ‘Sangeet Vigyan’ in 4 volumes and ‘Sangeet Prakash’ in Punjabi language. These books were published by Punjab State University Text Book Board in Chandigarh. Harishchandra Bali died on 24-6-1976 at Jalandhar.
The cast of the film was Trilok Kapoor, Urmila, Kamla Warerkar, Lalita Pawar, Jilloo Bai, Majid, Anant Marathe and others. The lyricists were Pt Phani and Bashir Jamali. I always had a curiosity about Pt Phani. I tried all books, net sites, blogs and other documents like newspaper and magazine articles, but nowhere I could find his real and full name. Anyway, this is the case with many lyricists. Barring a few ones who remained in limelight due to their non-poetic activities – like Sahir, Majrooh, Shakeel and the likes of them, lyricists have always been in the last part of priorities of authors and blogs. Even in books on lyricists, not much information can be found except their filmography, thanks to HFGK. Blogs which writers on singers and MDs rarely write on lyricists.
Pt Phani started with the film ‘Yangrila’ (1938) and ended his career with the film ‘Bansari Bala’ (1957). He wrote for 32 films and his songs numbered 219. He was also a dialogue writer for a few films. His films were divided between social and B/C grade films – like mythologicals, almost equally. This is all I know about Pt Phani.
The story of film ‘Nari’ was written by MG Dave and dialogues were by Pt Phani. The story of the film was,
Saroj Mehta lived with her mother Harganga in the chawl of Seth Hiralal. She earned by singing on radio and studied for a Montessori course. Mahesh – son of Seth Shivlal came to her school one day to meet his cousin whose name was also Saroj. Due to the same name confusion, he met Saroj Mehta. They liked each other, love bloomed and they decided to get married. His father also agreed.
But the chawl owner Hiralal wanted Mahesh to marry his daughter Manjula, who was uneducated and a vagabond. To break the proposed marriage many untrue stories were spread around about Saroj’s mother. Due to this Shivlal breaks the marriage and Mahesh gets married to Manjula.
Saroj shifts to another city. She loses her mother. She starts a school for children. Mahesh begets a son. After 4-5 years Mahesh gets transferred to the same city and his son starts going to the school of Saroj. She trains all children nicely and Shivlal and Mahesh are very happy with their son’s behavior and progress. One day Mahesh meets Saroj and the old love blooms again.
Knowing this development, Hiralal and Manjula plan to kill Saroj and finish the problem. However, in the commotion created at time of murder, Hiralal by mistake kills Manjula. He is arrested and jailed. Mahesh and Saroj get married at last.
The heroine of the film was Urmila. She is one of the Same Name Confusion pairs, as there was another Urmila (Bhatt) in Hindi films. However, more about Urmila Bhatt some other time. Now we will know about this Urmila first. You will find the name Urmila – in some films she is named as Urmila Devi, and Urmila Gupta also. She was not a very good looking actress, but she compensated for it with her good acting. Urmila Gupta was born on 31-3- 1921 at Panja Sahib, Rawalpindi district of United Punjab. Her father, who was a Civil Contractor, died when she was only 5 year old. She did not get much education but could read and write as well as talk fluently in Urdu, Hindi and English.
She started her career with a small un-credited role in the film ‘Mirza Sahiban’ (1933). She was the younger sister of Mirza in this film. After some more small roles, she got her major role in the film ‘Aansuon Ki Duniya’ (1936). After this, she did not look back and did ‘Punjab Lancers’ (1937), ‘Talwar Ka Dhani’ (1938), ‘Kahan Hai Manzil Teri’ (1939), ‘Hurricane Special’ (1939), ‘Flying Ranee’ (1939), ‘Desh Bhakt’ (1940), ‘Sasural’ (1941), ‘Sajjan’ (1941), ‘Mere Sajan’ (1941), ‘Naari’ (1942), ‘Das Baje’ (1942), ‘Call Of Youth’ (1942), ‘Badal’ (1942), ‘Apna Paraya’ (1942), ‘Tamasha’ (1942), ‘Kirti’ (1942), ‘Salma’ (1943), ‘Bansari’ (1943), ‘Refugee’ (1948) etc. Urmila got married to Vinod Talwar, a businessman and stopped working in films, for some time, maybe for raising a family. She resumed working in films and acted in another 20 odd films till 1952. She had sung 12 songs. In all, she worked in about 55 films.
There is another actor Majid in this film. Majid’s name was Abdul Majid Syed. He was born at Farrukhabad in UP in 1915. His father was an overseer. After completing his matric in 1929, he started his business of leather in Akola, Maharashtra. In 1935, actor, director and producer Nazeer of Hind Pictures, introduced him to SK Daryani and he got a small role in ‘Sher Ka Panja’ (1936) and ‘Sangdil Samaj’ (1936). However, from film ‘Bulldog’ (1937), he got side roles and lead roles in films like ‘Gentleman Daku’ (1937), ‘Insaaf’ (1937), ‘Rajkumari’ (1938), ‘Masterman’ (1938), ‘Zamana’ (1938), ‘Apni Nagariya’ aka ‘Mud’ (1940), ‘Saubhagya’ (1940), ‘Swami’ (1941), ‘Swaminath’ (1942). He also acted in more films like ‘Najma’ (1943), ‘Babar’ (1944) and ‘Zeenat’ (1945).
In all he did over 100 films till 1947. After partition, he migrated to Pakistan with Nazeer and Swarnalata. In Pakistan he did just 7 films. He died on 24-9-1959.
Today’s song is sung by Lalita Parulkar. There was Lalita Pawar also. Luckily Lalita Pawar had stopped singing long back, otherwise there would have been another pair of Same Name Confusion. By the way Lalita Pawar had sung 10 songs in 3 films in her early career. Lalita Parulkar was actually a Marathi singer. She sang 19 songs in 6 films. ‘Nari’ was her debut film as a singer in Hindi films. She last sang in the film Kul Kalank-1945.
With this song, film ‘Nari’ (1942) makes its debut on this blog.
Song- Kaun hai wo wo kaun hai (Naari)(1942) Singer- Lalita Parulkar, Lyrics-Pt Phani, MD-Harishchandra Bali
Lyrics
kaun hai wo
wo kaun hai
koi bataaye
kaun hai
aankhon se jo dil mein aaye
aankhon se jo dil mein aaye
dil mein aa kar jo bas jaaye
dil mein aa kar jo bas jaaye
bas ke dil mein jo muskaaye
bas ke dil mein jo muskaaye
jo muskaa ke baanchhe(?) laaye(?)
jo muskaa ke baanchhe(?) laaye(?)
kaun hai
jiske aate aayi jawaani
jiske rahte rahe rawaani
kaliyon par hai jiske saaye
phoolon par jo par phailaaye
kaun hai
preet kahen ise preet ke maare
preet kahen ise preet ke maare
prem kahen ise premi pyaare
prem kahen ise premi pyaare
sneh kahen ise saajan saare
kaun hai
kaun hai wo
wo kaun hai
koi bataaye
kaun hai
————————————————
Hindi script lyrics (Provided by Sudhir Kapur)
————————————————
कौन है वो
वो कौन है
कोई बताए
कौन है
आँखों से जो दिल में आए
आँखों से जो दिल में आए
दिल में आ कर जो बस जाये
दिल में आ कर जो बस जाये
बस के दिल में जो मुस्काए
बस के दिल में जो मुस्काए
जो मुस्का कर बाँछें(?) लाये(?)
जो मुस्का कर बाँछें(?) लाये(?)
कौन है
जिसके आते आए जवानी
जिसके रहते रहे रवानी
कलियों पर हैं जिसके साये
फूलों पर जो पर फैलाये
कौन है
प्रीत कहें इसे प्रीत के मारे
प्रीत कहें इसे प्रीत के मारे
प्रेम कहें इसे प्रेमी प्यारे
प्रेम कहें इसे प्रेमी प्यारे
स्नेह कहें इसे साजन सारे
कौन है
कौन है वो
वो कौन है
कोई बताए
कौन है
Saara din chhat peeti
Posted on: August 26, 2022
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.
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Blog Day : |
5152 | Post No. : | 17115 |
Today’s song is from the film ‘Charanghee’ (1942). It is a very special film in the Indian Film Industry because this was the only film in which the National Poet of Bangladesh – Kazi Najrul Islam wrote some songs and also gave music.
This is a special flm also because it was a debut film not only for Kazi Najrul Islam but also for music director Pt. Hanuman Prasad and for the director of the film – Sibtain Fazli (of the Fazli Bros.- pioneers of Muslim social films in India).
It was also a special film because it had the poetic works (gazhals) of 3 great and prominent shayars namely, Kazi Nazrul Islam, Ghalib and Jigar Moradabadi, along with the 2 comparatively lesser poets – Arzoo Lucknowi and Partav Lucknowi.
The word ‘Chauranghee’ evokes a lot of loving memories of Calcutta for me. During my professional marketing career of over 40 years, I visited Bengal and Calcutta in particular more than 100 odd times. The hotel I stayed at was next to the AC market, adjacent to the Chauranghee Road.
Many times in the evenings, I used to take a walk on Chauranghee and enjoy the crowd of the elites. Whenever I had to stay in Calcutta on Sundays, I always took a stroll on the Chauranghee Road from the Grand Hotel to beyond Park Hotel and the famous petrol pump of Park Road. On every Sunday, the footpaths of Chauranghee were full of second hand books arrayed on the footpaths on both sides and in the nearby lanes. Bengali people are mad about reading books and on Sundays, one must see their crowds on the roadside book shops. Bengali people are so fond of reading books that many roads in Calcutta are named after famous Indian authors including a road called ‘Shakespeare Road’. I have seen most of the world. I consider Bengali people next only to the British in their love of reading books. One must visit the ‘BOOK FAIR’ held annually on ‘The Maidan‘- a part of the Chauranghee area to understand the Bengali people’s love for reading and buying books. Hats off to Bengal for this !
Chauranghee, today a Hi-Fi business area, was once known for kothas, tawaifs and singing families. Actually, it seems, in ancient times a society of any state was divided in 4 classes. 1) The King and the Royalty 2) The Knights, Ministers, Generals etc. 3) The common people including ‘Bhadra Lok‘ and 4) The entertainers (read the class of people whose job was to please the customers). The last one was the ‘Chaturang’ or the Fourth Estate or the Chauranghee !
Film ‘Chauranghee’ was a Muslim social, which depicted the storm that hit a tawaif family on Chauranghee and its aftermaths on that family. The film was made by Fazli Brothers, who were the first to make a series of Muslim social films in the 1940’s decade. The first such film was ‘Qaidi’ (1940), then came ‘Masoom’ (1941), ‘Chauranghee’ (1942), ‘Fashion’ (1943), ‘Ismat’ (1944) and ‘Mehndi’ (1947). The Fazli brothers were two. The senior one was Hasnain Fazli and the younger one was Sibtain Fazli. After partition they migrated to Pakistan. Sibtain remained in Pakistan. He directed and produced 4 films, including the most popular film of Madame Noorjahan in Pakistan, namely film ‘Dupatta’ (1952). Hasnain returned to India, directed two more films and went back to Pakistan.
The star attraction of this film was Kazi Nazrul’s poems and his music. Kazi Nazrul Islam is to Bangladesh, what Rabindranath Tagore is to West Bengal. While, to my knowledge, Tagore never wrote any Naat or a Muslim religious verse, Kazi wrote hundreds of Bhajans and Geets on Lord Rama and Krishna. Though many films – Bangla and Hindi – are based on the stories or novels of Tagore, Kazi has not contributed anything directly to any Hindi film (I do not know about Bangla films). On the other hand he has written the story of film ‘Sapera’ (1939) and provided lyrics and music to film ‘Chauranghee’ directly. Like Tagore’s Rabindra Sangeet, it was Nazrul Geeti in Bengal. I am not comparing them. Both were great souls.
The life story of Kazi is full of ups and downs. His last few years were spent in glory but in very bad health. There were several deaths in his family. His wife became paralytic and he spent time in a Mental Hospital in Ranchi. After the formation of Bangladesh in 1971, the new country invited him, bestowed honors on him, declaring him ‘The National Poet’. The Bangladesh government also took good care of him in his last 4 years, but he was medically unfit to enjoy his glory.
Kazi Nazrul Islam (24 May 1899 – 29 August 1976) composer and songwriter was born in Burdwan District, Bengal. With Tagore he was the major influence on popular Bengali music in the 20th century. Known as the Bidrohi Kavi or the ‘Rebel Poet’ and directly associated with radical nationalist movements (e.g. through the journal Dhoomketu which he edited in 1922, leading to his imprisonment on a charge of sedition), his poetry constitutes the first radical intervention into Hindu and Muslim devotional music, e.g. his famous addresses to the goddess Kali, his ghazal compilations (Chokher Chatak, 1929) and Islamic devotional ssongs (Zulfikar, 1932). Much of his music, continued by the IPTA’s Bengali song repertoire, was polemically seen as a radical-romantic use of the ‘tradition’ (e.g. Salil Choudhury, 1955). One of the first composer-writers to sign contracts with major record companies in Bengal (for Megaphone and Senola and later HMV) and with the Indian Broadcasting Corp., opening up new employment opportunities to a generation of younger composers such as Anil Biswas, SD Burman, Kamal Dasgupta and even Kishore Kumar (whose song “Ai Ek Dui Tran Char Gili Gili, Bam Chick Boob Chick Badhke Bol” in ‘Kehte Hain Mujhko Raja’ (1975), adapts Islam’s famous “Cham Chiki Ude Gelo”). Created an urban variation of tribal jhumur music for Sailajananda Mukherjee’s ‘Pataal Puri’ and wrote the songs for ‘Nandini’ (1941) and ‘Dikshul’ (1943). Some sources credit him as director for ‘Dhruva’, in which he played the Hindu sage ‘Narada’. Started Bengal Tiger Pics with Abbasuddin Ahmed. Their film of Islam’s novel ‘Madina’ remained unfinished.
A significant impact of Nazrul’s work in Bengal was that it made Bengali Muslims more comfortable with the Bengali arts, which used to be dominated by Bengali Hindus. His Islamic songs are popular during Ramadan in Bangladesh. He also wrote devotional songs on the Hindu Goddess Kali. Nazrul also composed a number of notable Shyama Sangeet, Bhajan and Kirtan, combining Hindu devotional music.
Bengali polymath, poet, writer, musician, revolutionary and philosopher. Popularly known as Nazrul, his poetry and music espoused Indo-Islamic renaissance and intense spiritual rebellion against fascism and oppression. Nazrul’s impassioned activism for political and social justice earned him the title Bidrohi Kobi (The Rebel Poet). His musical compositions form the avant-garde genre of Nazrul geeti (music of Nazrul). Accomplishing a large body of acclaimed works through his life, Nazrul is officially recognized as the National Poet of Bangladesh and highly commemorated in India and the Muslim world.
Born into a Bengali Muslim Quazi (Kazi) family, Nazrul received religious education and worked as a muezzin at a local mosque. He learned of poetry, drama, and literature while working with theatrical groups. After serving in the British Indian Army, Nazrul established himself as a journalist in Calcutta. He assailed the British Raj in India and preached revolution through his poetic works, such as Bidrohi (The Rebel) and Bhangar Gaan (The Song of Destruction), as well as his publication Dhumketu (The Comet). His nationalist activism in the Indian independence movement often led to his imprisonment by British authorities. While in prison, Nazrul wrote the Rajbandir Jabanbandi (‘Deposition of a Political Prisoner’). Exploring the life and conditions of the downtrodden masses of the Indian subcontinent, Nazrul worked for their emancipation. His poetry and music fiercely inspired Bengalis during the Bangladesh Liberation War.
During his visit to Comilla in 1921, Nazrul met a young Bengali Hindu woman, Pramila Devi, with whom he fell in love, and they married on 25 April 1924. Brahmo Samaj criticised Pramila, a member of the Brahmo Samaj, for marrying a Muslim. Muslim religious leaders criticized Nazrul for his marriage to a Hindu woman.
Nazrul’s writings explore themes such as love, freedom, and revolution; he opposed all bigotry, including religion and gender. Throughout his career, Nazrul wrote short stories, novels, and essays but is best known for his poems, in which he pioneered new forms such as Bengali ghazals. Nazrul wrote and composed music for his nearly 4,000 songs (including gramophone records), collectively known as Nazrul geeti (Songs of Nazrul), which are widely popular even today. In 1942 at the age of 43 Nazrul himself fell ill and gradually began losing his power of speech. His behavior became erratic, he started spending recklessly and fell into financial difficulties. In spite of her own illness, his wife constantly cared for her husband. However, Nazrul’s health had seriously deteriorated and he grew increasingly depressed. He underwent medical treatment under homeopathy as well as ayurveda, but little progress was achieved before mental dysfunction intensified and he was admitted to a mental asylum in 1942.
Spending four months there without making progress, Nazrul and his family began living a quiet life in India. In 1952, he was transferred to a psychiatric hospital in Ranchi. Through the efforts of a large group of admirers who called themselves the “Nazrul Treatment Society”, Nazrul and Promila were sent to London, then to Vienna for treatment. The examining doctors said he had received poor care, and Dr. Hans Hoff, a leading neurosurgeon in Vienna, diagnosed that Nazrul was suffering from Pick’s disease. It was rumoured that this was because of slow poisoning by the British Government. His condition was judged to be incurable, Nazrul returned to Calcutta on 15 December 1953. On 30 June 1962 his wife Pramila died, and Nazrul remained in intensive medical care. He stopped working due to his deteriorating health.
On 24 May 1972, the newly independent nation of Bangladesh brought Nazrul to live in Dhaka with the consent of the Government of India. In January 1976, he was accorded the citizenship of Bangladesh. Despite receiving treatment and attention, Nazrul’s physical and mental health did not improve. In 1974 his youngest son, Kazi Aniruddha, a guitarist, died, and Nazrul soon succumbed to his long-standing ailments on 29 August 1976.
His Filmography – ‘Bidyapati’ (1937) (writer), ‘Gora’ (1938), ‘Sapurey’ (1939) (writer), ‘Sapurey’/’Sapera’ (writer), ‘Chauranghee’, ‘Chauranghee’ (1942), ‘Chattagram Astragar Lunthan’ (1949), 1972: ‘Padi Pishir Barmi Baksha’ (1972) (Lyricist).
[Information adapted from Encyclopedia of Indian Cinema, en.banglapedia.org and my notes].
Today’s song is sung by Miss Anis Khatun and chorus. Some readers might remember her role and song from Shantaram’s famous film ‘Padosi’ (1941). Actually there were two actresses/singers named Khatun, operating at almost the same time. One was Anis Khatun – who acted in 9 films, from ‘Prithvi Putra’ (1938) to ‘Dil’ (1946) and sang 14 songs in 5 films. The other one was Zarina Khatun who worked in 59 films, from ‘Abul Hasan’ (1931) to ‘Ibrat’ (1954) and sang 25 songs in 12 films from ‘Premi Pagal’ (1933) to ‘Chingari’ (1940). To further complicate matters and torture the film historians, there were other small time actresses like Ameena Khatoon, Zohra Khatun, Khatun Bai etc. It is a difficult task to separate the various same-name artistes and credit them with their genuine films.
I thank Abhay Jain ji from the US for giving me this song and our own Sadanand Kamath ji for uploading it for me.
Song- Saara din chhat peeti (Chauranghee)(1942) Singers- Anis Khatun, Lyricist- Kazi Nazrul Islam, MD- Kazi Nazrul Islam
Chorus
Unknown female voice
Lyrics
saara din chhat peeti
haath hoon dukhaai re
saara din chhat peeti
haath hoon dukhaai re
tabhoon to pet bhar ke
khaaye khaana paai re
tabhoon to pet bhar ke
khaaye khaana paai re
saara din chhat peeti
haath hoon dukhaai re
saara din chhatpeeti
bol bahin aaj gharhe
kya kya pakaai hai
bol bahin aaj gharhe
kya kya pakaai hai
chulho tak baaro nahin
bachcha bhukhaaye hai
chulho tak baaro nahin
bachcha bhukhaaye hai
ham hon kuchh khaao nahin
bhaato banaao nahin
ham hon kuchh khaao nahin
bhaato banaao nahin
saas meri julmi badi
bahut oo sataaye hai
saas meri julmi badi
bahut oo sataaye hai
bairan nanad mori bahute harjaai re
bairan nanad mori bahute harjaai re
saara din chhat peeti
haath hoon dukhaai re
saara din sar peeti
haath hoon dukhaai re
tabhoon to pet bhar ke
khaaye khaana paai re
tabhoon to pet bhar ke
khaaye khaana paai re
saara din chhat peeti
haath hoon dukhaai re
saara din chhar peeti
inki mehraaroo dekho
jaise sookhi paati
inki mehraaroo dekho
jaise sookhi paati
(??) lakwa hai do man ka
?? jaise haathi
(??) lakwa hai do man ka
?? jaise haathi
kohu paawe na dhoop
kohu dekhe na chaand
kohu paawe na dhoop
kohu dekhe na chaand
gharka bheetar band rahe
gharka bheetar band rahe
kaahe na murjhaai re
saara din chhat peeti
haath hoon dukhaai re
saara din chhat peeti
haath hoon dukhaai re
tabhoon to pet bhar ke
khaaye khaana paai re
tabhoon to pet bhar ke
khaaye khaana paai re
saara din chhat peeti
haath hoon dukhaai re
saara din chhat peeti
haath hoon dukhaai re
Hai kaun des tumhaara musaafir
Posted on: August 3, 2022
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.
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Blog Day : |
5129 | Post No. : | 17081 |
Today’s song is from the film ‘Tamanna’ (1942).
This was a film made by Laxmi Productions, Bombay. It was directed by Phani Mujumdar and for songs written by SK Kalla, the music was provided by India’s first blind music director KC Dey. In later years there were two more blind MDs. One was Manoharlal Sonik – of the Sonik-Omi duo of MDs and the other was Ravindra Jain. This film was released on 20-6-1942 at the Royal Opera House theater in Bombay.
Film ‘Tamanna’ was an ordinary film, but it became famous afterwards, when it became known that the famous singer Manna Dey had made his debut as a Playback singer in Hindi through this film. However, besides this point, there were few more matters which made this film a special film. In addition to being the debut film for Manna Dey, it was also the debut film for the Banner-Laxmi Productions. Further, it was the first film of its heroine Leela Desai, in the Bombay film world.
People who write on old songs and old films generally write about actors, actresses, directors, lyricists, MDs, singers and also occasionally on the arrangers and the cinematographers. But very rarely, something is written about a producer. Actually it is the producer who conceives the idea of the film, who arranges the finances for the film, who selects a team of director, MD and the cast of the film, still he is not paid much attention. It is because of the producer, an artiste can make debut or an MD gets praise for his music etc, but the producer remains unsung.
Today, we will talk about an enterprising producer of film ‘Tamanna’ who had made several well known films, gave opportunities to many actors, directors and MDs. His name is Chimanlal Trivedi.
Chimanlal Trivedi, was one of the major filmmakers of the 30s and the 40s decades. He was more a producer businessman than a director. While he directed hardly 7 films, he produced close to 50 films – all having A grade actors, directors and composers !
Born on 19-3-1909 at a village near Anand in Gujarat he was from a Brahmin family. He did his schooling in Ahmedabad and technical graduation from Baroda. Being an expert in weaving, he took up a job as a weaving master in Calcutta. Fond of writing, he started writing dramas, which were staged in Bengal and Gujarat. He was attracted towards cinema and tried some work in New Theaters. Knowing that the real playing field is Bombay he reached there. He wrote stories for the film ‘Chevrolet’ (1936) and ‘Danger Signal’ (1937) for Mohan Pictures.
He established his own production company CIRCO (Cine Industries Recording Company) in 1937. By 1943, he had made 12 films. He preferred not to direct his films, but appointed directors like Mohan Sinha for ‘Laxmi’ (1940), ‘Anuradha’ (1940) and ‘Vanmala’ (1941), Balwant Bhatt for ‘Suhag’ (1940) and ‘Madhusudan’ (1941), AR Kardar for ‘Swami’ (1941) and ‘Nai Duniya’ (1942) and Debaki Bose for ‘Apna Ghar’ (1942).
He had the art of getting the most popular stars for his films like, Prithviraj Kapoor, Chandramohan, Durga Khote, Mazhar khan, Bibbo, Surendra, Jairaj, Sitara, Jeevan, Yaqub, Shobhana Samarth, Prem Adeeb, Vishnupant Pagnis, Leela Desai, Pahadi Sanyal, Shanta Apte and many others. Even big directors like Debki Bose, Nitin Bose, Kardar, Mohan Sinha, Sarvottam Badami, Nandlal Jaswantlal, Profull Roy, Sudhir Sen, RS Chaudhary, Phani Majumdar, Balwant Bhatt etc. worked for him. From Prabhat he brought Shanta Apte for Rs. 1,000 pm, and also Chandramohan, Pagnis and Mazhar Khan. His friend Chandulal Shah followed his way and brought KL Saigal from New Theaters !
CL Trivedi was an expert in gathering funds for his films. After CIRCO at Parel, he started Laxmi Productions at Andheri, in 1942. He made ‘Mera Gaon’, ‘Sharafat’, ‘Bhagya Laxmi’, ‘Kadambari’, ‘Tamanna’, ‘Inkaar’, ‘Mohabbat’, ‘Miss Devi’ etc. In 1951, it was Supreme Pictures, then Trivedi Productions in 1952, Kala Kendra in 1953 and with Chitra Bharati in 1954, he made 13 films upto 1961. Top composers like Timir Baran, Ashok Ghosh, Rafiq Gaznavi, KC Dey, Saraswati Devi, Husnlal-Bhagatram and Naushad gave music to his films.
In the end, he turned to stage and started Abhinay Bharati. He staged many dramas in Bombay and Gujarat. Chimanlal always went for big names. He had close relations with Nehru, Menon, Morarji Desai, and other national leaders. His wife Kantaben was a leader herself. Chimanlal Trivedi died on 25-11-1973. His wife, 3 sons and a daughter settled in the USA.
It may be a coincidence, but Gujarati businessmen like Chimanlal Trivedi, Chimanlal Desai, Chimanlal Luhar, Chaturbhuj Doshi, Chimankant Desai, Chunibhai Desai and Chandulal Shah made sizable contribution to Hindi cinema in the first 20 years of the Talkie era. All names started with ‘CH’ ( ? ) !
[Author’s Note: Thanks to Harish Raghuwanshi ji for his book “बॉलिवूडमा गुजरातीयो” in Gujarati, Encyclopedia of Indian Cinema, muVyz and my notes.]
This was also the first film in Bombay for the film’s heroine Leela Desai, a famous and well known name in Bengal made films, till then. She was especially invited by Chimanlal Trivedi for this film. Later she did many of his and others’ films in Bombay. Trivedi had also called 7 different technicians from Calcutta for this film, according to Baburao Patel – editor of Film India in its June 1942 issue. This was to make the film technically superior quality. These technicians did it, but the film had a very weak story. Actually, in those days it was the first film on ‘Village Uplift and Cottage Industry’ – a favorite topic for speeches of Gandhi ji. The story was built around ‘a typically Bengali idea of Platonic Love’, seen in many earlier New Theaters films from Calcutta.
Leela Desai was cast opposite Jairaj. They fall in love. She is very rich, but will get her wealth only after marriage. Jairaj works in a company on a high post. He spends half his salary on research and half on village development. Due to a misunderstanding, on her offering money for Jairaj’s work, they separate. Leela marries Karan Dewan to get the money. She anonymously gives that money to Jairaj for his project. Karan Dewan comes to know the entire story and magnanimously divorces Leela. Jairaj and Leela get married.
Leela Desai was the daughter of Dr. Umedbhai Lalbhai Desai-a Gujarati and his wife Satyabala Devi – a Bengali from Bihar, who was a famous and prominent singer of the 1930s. Leela Desai was born on 1-1-1909 in Newark, New Jersey, America, where her parents had gone for a 3 year work trip. She grew up in India. She learnt dancing from Amla Devi (who married Uday shanker), as well as from Lachhu Maharaj and Sohan lal. She also learnt music at Morris College, Lucknow.
Leela Desai was the 4th of the 5 children born to Dr Umedram Desai from Gujarat and Satybala Devi, daughter of a Bengali landlord settled in Bihar. It was a second marriage for both of them as Satyabala Devi lost her husband during childhood while Dr Umedram Desai got married to his first wife in his childhood through whom he had two sons. Later, Dr Umedram Desai married Gunobati Mitter, a Bengali Christian, for the third time with whom he had 6 children. Before her marriage, Gunobati Mitter worked as a tutor for the children of Dr Umedram Desai and Satyabala Devi in Rampur. So apart from her own 4 siblings, Leela Desai had 8 step brothers/sisters.
Leela Desai was trained in the Bhatkhande Music Institute established in Lucknow in 1926. It has played a vital role in training generations of performing artistes, dedicated gurus and gifted composers. Lucknow has contributed music directors, (like Naushad, Madan Mohan, Roshan), actors and actresses (like Kumar, Iftekhar, Akhtari Bai, Bina Rai, Yashodhara Katju, Swaranlata), singers (Talat Mahmud, Anup Jalota, Dilraj Kaur, Krishna Kalle), writers (like Amritlal Nagar, Bhagawati Sharan Verma, Achala Nagar), lyricists and dancers. Lachhu Maharaj was a very successful choreographer for many films. Pahadi Sanyal, Leela Desai and Kamlesh Kumari of New Theaters at Calcutta were all trained here.
In one of her stage performances in Lucknow, NT’s Director Hem Chander saw her and invited her to Calcutta for work in films. She worked in the film ‘President’ (1937) as the sister of Kamlesh Kumari, opposite Saigal. It was followed by ‘Vidyapati’ (1937), ‘Dushman’ (1938), ‘Kapaal Kundala’ (1939) and ‘Nartaki’ (1940). She also did ‘Adarsh Mahila’ (1937) with Ideal Film company.
Leela Desai had been invited by the students of the Intermediate College in 1941. Bangalore had the distinction of holding festivals of films made by New Theaters and Prabhat Film Co.
BN Sircar’s empire introduced personalities of the stature of PC Barua, Bimal Roy, Debaki Bose, Leela Desai, Phani Majumdar, Timir Baran, Uma Shashi, Nitin Bose, KL Saigal, Pankaj Mullick, Nemo, Sisir Kumar Bhaduri and Jamuna, all of whom later earned all India fame, under the banner of New Theaters. Among his technical achievements were the bringing of sound to Calcutta for Bengali films, and the introduction of the playback system. The elephant logo of New Theaters acted as a magnet to draw crowds throughout the country.
Chimanlal Trivedi brought her to Bombay to act opposite Jairaj in the film ‘Tamanna’. She acted in 5 films of Chimanlal Trivedi. After ‘Tamanna’, Leela Desai acted in films like ‘Sharafat’, ‘Paraya Dhan’, ‘Nagad Narayan’, ‘Inkaar’, ‘Mujrim’, ‘Miss Devi’, ‘Kaliyan’, ‘Meghdoot’, ‘Maharani Minal Devi’, ‘Magadhraj’, ‘Kamla’, ‘Dev Kanya’, ‘Soorat’ and last film ‘Geet Govind’ (1947).
She acted opposite leading actors like KL Saigal, Najmul Hasan, Jairaj, Pahadi Sanyal, Surendra, Chandra Mohan, Khalil, Baburao Pendharkar etc. She worked under top directors like Debaki Bose, Nitin Bose, Kedar Sharma, Phani Majumdar and others. Her sister Monica Desai (who married Phani Majumdar) was also in films. In 1944, Leela also acted in the movie ‘Kaliyan’ with Ramola. Ramola also acted in the film ‘Lalkar’ in the same year. In a span of just 10 years, Leela Desai acted in 21 films and then left films.
She settled in Darjeeling with her mother. Leela Desai owned a house in Darjeeling called ‘Lily Cottage’. Her mother Satyabala Devi lived there until her death. It is possible that Leela knew Manjula or Sumitra Sanyal in Darjeeling. Leela Desai is mentioned in Bollywood actress Sumitra Sanyal’s site.
Today’s song is sung by an unknown male, female and a chorus. I feel it must have been sung by some street singers or in the background in the film. Anyway, enjoy the song….
Song – Hai Kaun des tumhaara musaafir (Tamanna)(1942) Singers- Unknown Female voice, Lyricist – SK Kalla, MD – KC Dey
Male voice + Female voice
Chorus
Lyrics
hai kaun des tumhaara musaafir
kaun des tumhaara musaafir
kahaan ke
haan haan haan
kahaan ke
rahnewaale ae
tum kahaan ke rahnewaale
tere bolon ne praan jagaaye
teri baani se hum yahaan aaye
tere bolon ne praan jagaaye
teri baani se hum yahaan aaye
aa ha ha ha
hum bane kisaan dulaare
maata dharti ke pyaare
hum bane kisaan dulaare
maata dharti ke pyaare
haath bane hathhiyaar hamaare
hum mazdoor hain saare
haath bane hathhiyaar hamaare
hum mazdoor hain saare
hum hain lohaar
hum hain kumhaar
hum hain kapda bun’ne waale
hum hain lohaar
hum hain kumhaar
hum hain kapda bun’ne waale
haath bane hathhiyaar hamaare
hum mazdoor hain saare
haath bane hathhiyaar hamaare
hum mazdoor hain saare
————————————————
Hindi script lyrics (Provided by Sudhir Kapur)
————————————————
है कौन देस तुम्हारा मुसाफिर
कौन देस तुम्हारा मुसाफिर
कहाँ के
हाँ हाँ हाँ
कहाँ के
रहनेवाले
तुम कहाँ के रहनेवाले
तेरे बोलों ने प्राण जगाए
तेरी बातों से हम यहाँ आए
तेरे बोलों ने प्राण जगाए
तेरी बातों से हम यहाँ आए
आ हा हा हा
हम बने किसान दुलारे
माता धरती के प्यारे
हम बने किसान दुलारे
माता धरती के प्यारे
हाथ बने हथियार हमारे
हम मज़दूर हैं सारे
हाथ बने हथियार हमारे
हम मज़दूर हैं सारे
हम हैं लुहार
हम हैं कुम्हार
हम हैं कपड़ा बुनने वाले
हम हैं लुहार
हम हैं कुम्हार
हम हैं कपड़ा बुनने वाले
हाथ बने हथियार हमारे
हम मज़दूर हैं सारे
हाथ बने हथियार हमारे
हम मज़दूर हैं सारे
Sipaahi toone jeet liya maidaan
Posted on: February 27, 2022
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.
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Today’s song is from the film Phir Milenge-1942.
The film was made by Minerva Movietone. In 1942, WWII was on its peak. Till that time, the Germans were on the attack, but from 1942 onwards, their decline had started and by 1945 end, both Japan and Germany had lost the war and surrendered to the Allies. However, the damage caused by the war situation continued for a few more years and like all other industries the film industry too took time to normalise its set up.
The war affected the film industry mainly in 3 ways. Firstly, the essential commodities like Petrol, Sugar etc went into shortage and the Government put several items under ” Rationing”. The list also included a shortage of Raw Film, the main requirement for making movies. Many restrictions like the length of the film etc were implemented. To rationalise and to take advantage of the powerful media like films, the Government gave additional raw film to producers on ‘ controlled rates ‘, provided they made a film with a story of helping the government war efforts. It was called a “propaganda” film.
Major film producers make a film or two such films to take advantage of the concession and allotment. During this period many such ‘ War effort’ films were made. Some examples are, Master Vinayak made ” Badi Maa”-1945 with Nurjahan and others ( including Lata and Asha). Acharya Atre’s Navyug films made the film ” Panna”-1944 with Jairaj and Geeta Nizami and film ” Phir Milenge”-1942 was made by Minerva Movietone.
The second impact of War, on the Indian Film Industry was that considerable clandestine Black Money entered the film making and many new, so called ‘Producers’, with bags of money were seen making films. Although more money became available to make more films, the directors had to entertain the whims of the producers about selection of actors or changes in the story. Many such producers started to ‘Direct’ the films. This lowered the quality of films, but brought in many new artistes and provided work to more people.
The third effect of the War was the most damaging. Since the new producers and directors did not have their own studios, they started alluring the studio employed artistes by giving more money per film. They hired studios for shooting films. This devastated the ” Studio Culture”, because artistes started “Freelancing”, without getting attached to a studio. This crumbled the studios on one hand and on the other hand the cost of engaging artistes escalated many folds. Before the war, films could be made in 75000 to 1 lakh rupees, now films needed 1 to 2 lakhs to make one film. It went on increasing and today, making a film in the 2020’s decade one needs atleast 40 to 50 crores per film.
Film Phir Milenge-42 had Sardar Akhtar, Sadiq Ali (later on called The Prince of Minerva), Meena, K N Singh, Menaka and a host of others. The film was directed by Sohrab Modi.
Sohrab Modi’s rise from a Stage Actor to a very popular and successful studio owner, actor-famous for his Dialogue Delivery of very long sentences, producer and director is very interesting. With small successes and big failures, he learned the art of giving what the audience liked in those days. However, one drawback of such people is that they can not and do not change as per the need of the times and become obsolete, ending their careers pathetically.
Famous for making large scale films, powerful dialogues and films with a lot of dramatics, Modi could not cope up with the changing tastes of the audience from the 30’s to the 60’s. The audience changed with 2 generations, but Sohrab Modi’s Minerva Movietone could not change their success formula which was not working now unlike earlier times ! May be he never wanted to change-due to self admiration or king size Ego !!
Minerva was the last big studio and film maker in the list of eminent studios established in the 30’s. When Minerva Movietone was established in 1936, there were already studios like Madon Theatres (est.1919), Imperial (1926), Ranjit Studio (1929), Prabhat (1929), Sagar Movietone (1929), New Theatres (1931), Wadia movietone (1931) and Bombay Talkies(1933). Therefore Minerva was the youngest studio. It is to its credit that it survived with dignity for a longer time-and actively too- than its predecessors and competitors, who perished, some tragically, from 1938 (Madon) to Ranjit (1963).
Sohrab Modi was a colossal personality. leela Chitnis,actress who had the experience in working for films made in different centers like Bombay, Poona, Kolhapur, madras, Calcutta,and Lahore writes in her Marathi autobiography ” चंदेरी दुनियेत “, about all major studios. About Minerva, she writes -“The atmosphere in Minerva was very playful, but once Sohrab Modi entered the premises, everyone used to be quiet and only did his work. He was a taskmaster and a great disciplinarian. he did not like people laughing or whiling their work time. it felt like a Jailor taking rounds in the jail. The atmosphere became suffocating sometimes. ”
I liked him and his films. However I always felt that Sohrab Modi was a polished, educated and a white collared version of Dara Singh. I liked his dialogue delivery style. Later I shifted my liking to Raajkumar ‘Jaani’.
In the cast we see a new name Eruch Tarapore. I was keen to know about this actor because of his strange name. It was a typical Parsee name. I searched quite a lot. Ultimately one day I accidentally came across a site about Parsee artistes. I forgot to note down the name and URL address of that site and till today I did not find it ever again. Anyway I found this information about Eruch Tarapore on this site.
Eruch Tarapore was a distant relative of Sohrab Modi and he worked only in Modi’s films. He worked in 16 films, right from Modi’s first film Hamlet-35 up to 1948. Eruch sang one song each in 3 films, Meetha zehar-38, Jailor-38 and Phir milenge-43. He died in 1948.
Today’s song is sung by Sardar Akhtar and chorus. The song was written by Pt. Sudarshan.
Song- Sipaahi toone jeet liya maidaan (Phir Milenge)(1942) Singer- Sardar Akhtar, Lyricist- Pt. Sudarshan, MD- Meer Saheb
Unknown male voice
Chorus
Lyrics
Sipaahi toone jeet liya maidaan
Sipaahi toone jeet liya maidaan
ladta chal tu
badhta chal tu
ladta chal tu
badhta chal tu
saath tere Bhagwaan
saath tere Bhagwaan
sipaahi toone
sipaahi toone
sipaahi toone
jeet liya maidaan
sipaahi toone jeet liya maidaan
?? bahaadur hai tu
?? bahaadur hai tu
ek ladaai jeet gaya
ek ladaai jeet gaya
jo kaala din aaya thha wo
jo kaala din aaya thha wo
hanste hanste beet gaya aa
hanste hanste beet gaya
dekh dekh kar himmat teri
dekh dekh kar himmat teri
duniya hai hairaan
duniya hai hairaan
sipaahi toone jeet liya maidaan
sipaahi toone jeet liya maidaan
kal wo din thha jab duniya ne
kal wo din thha jab duniya ne
dekhta thha laachaar tujhe
dekhta thha laachaar tujhe
aaj ladaai toone jeeti
aaj ladaai toone jeeti
aaj ?? hathiyaar tujhe
aaj ?? hathiyaar tujhe
kal duniya jai jai bolegi
kal duniya jai jai bolegi
hain sabhi ek zabaan
hain sabhi ek zabaan
sipaahi toone jeet liya maidaan
sipaahi toone jeet liya maidaan
sipaahi toone jeet liya maidaan
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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