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

Archive for the ‘Songs of 1943’ Category


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

Blog Day :

4249 Post No. : 15468 Movie Count :

4262

Today’s song is from film Amanat-43. There were 4 films with the same title, made in 1943, 1955,1975 and 1994. The films of 1955 and 1975 have already been yippied on the Blog. Amanat-43 makes its Debut with today’s song. The song is sung by Tara Harish.

When I had heard this name first time, somewhere in the late 40s, I had thought that this was some lady’s name. Later I thought that it was a joint name of two persons – one female and one male. However, after I read about ‘him’, his name mystery was solved. Harish, also known as Tara Harish, was born on 23-10-1916 at Delhi. His real full name was Tarachand Anand Biharilal Mathur. He was distantly related to Motilal and Mukesh. His father died when he was just 3 year old. He was brought up by his brothers and uncle. He graduated in 1937. After trying and failing in a second hand car business, he decided to enter film world and joined Sagar Movietone, where Motilal was getting established.

His first foray into films was in film ‘ 300 days and after ‘-38. In this film, however, he was uncredited. He got roles in other films like Postman, Ladies only, Service Ltd, Hum,Tum aur Voh, Ek hi Rasta, Civil marriage, Aurat, Nai Roshni, Vijay, Haqdar etc etc. He used to sing also in the films. As a Hero his last film was Amanat-43.

Harish took up Direction with film Beda Paar-44, a stunt C grade film, but soon he directed many social films also. In his career he directed 21 films. Some of his films are Toote tare-48, Ustad Pedro-51, Malhar-51 ( originally Harish was to be the hero, but he gave chance to Arjun), Daku ki ladki-54, Lalten-56, kali Topi laal rumaal-59, Do Ustad-59, Burmah Road-62. His last film, as a Director, was Awara Abdulla-63.

Harish acted in 21 films. He sang 39 songs in 16 films ( stats by MuVyz). He established his own production company- Omar Khayyam Films. When he was directing film Ustad Pedro-51, he changed the name of actress Nargis Rabadi to Shammi, since another more famous actress of same name- Nasrgis- was existing already in films.

Tara Harish died sometime in 1970.

Film Amanat-43 was made by N R Desai Productions and it was directed by Lalit Chandra Mehta. Earlier, Mehta had directed 2 films, namely, Nai Roshni and Lalaji, both in 1941. After Amanat-43, he directed one more film- Azadi ki raah par-48, before disappearing from films, as I did not find his name in any film later on.

The film had music by Ninu Mujumdar. There were 8 songs, written by Neelkanth Tiwari, MA. This Sahitya Academy award winner hailed from Madhya Pradesh. He was a very well known poet and a writer and was highly respected in film industry. He was a friend of Dilip kumar and Kishore kumar. He even acted in films like Nirdosh and Apna paraya in 1941. Both films were made by National studios. Tiwari also tried his hand at singing a song in film Nirdosh-41.

As a lyricist, he wrote 140 songs in 36 films. His last film as a lyricist was Hameer Hath-64. First song of Mukesh-“Dil hi bujha hua ho” from film Nirdosh-41 as well as the first yodelling song of Kishore kumar from film Adhikar-54 were written by him.

In addition to film songs, he also wrote many Jingles for advertising companies, for various products. After films he returned to M.P. and continued writing. He died on 11-2-1976, leaving behind wife Rama Devi, 2 daughters and one son.

The cast of film Amanat-43 was Harish, Husn Bano, Sankata Prasad, Bhudo Advani, Jyoti, Dulari, Nawab, Master Badri and many more. Actress Jyoti, besides acting in the film had also sung 2 duets in the film, one with the composer Ninu Mujumdar and the other with Dulari. This Dulari does not seem to be the one who acted in film Shehnai-47 and on whom the famous song “aana meri jaan Sunday ke Sunday” was filmed. She also became a popular character artiste in later films. She could neither sing nor dance, according to her interview published in Blog Beete hue din run by Shishir krishna Sharma ji. This singer Dulari may be Shama Dulari who later on had a 3 year contract with Shalimar Pictures, Poona and acted/sang in 3 of the films under this banner. Before Amanat, she seems to have sung songs in film Jhankar-42 also.

JYOTI ( real name Sitara Begum) was born in 1921 in a professional singer’s house in Agra-UP. Waheedan Bai was her elder sister. She was Nimmi’s aunt also.
She grew up in a musical atmosphere. She learnt the classical music of Agra Gharana.
Her entry into films was easy due to elder sister already being in films. Anil Biswas gave her first opportunity in Comrades-39 to act and sing 2 solo songs.
Then came Ek hi Rasta and Sadhana. She had done also Uski tamanna and Bhole Bhale in 1939.
Actually, she became famous after Aurat-40,in which she had 5 songs. Same year Pooja and Sanskar also added to her fame. In Sanskar,she sang with sister Waheedan Bai and also with Harish. Thus 1940 was a very lucky year for Jyoti.
In 1941,Darshan and Radhika, Jawani-42, Amanat-43. During 1942, there were rumours of bombing in Bombay. Jyoti got scared and stopped working for about 3 years. After much cajoling by Mehboob and Kardar she started working in 1945. Thus films Devar and Saathi in 46 saw her in films.

Her voice had some resemblance to Parul Ghosh. She was not a great singer, but Anil Biswas supported her very much.
Jyoti was married earlier, but her husband had left her. In Bombay she fell in love with G M Durani.
She married G.M.Durani-MD,Singer and Actor. Their married life was happy and long.
Jyoti acted in 19 films. Her last film was Sati Vaishalini-59. She sang 38 songs in 12 films. Her last songs were in film Devar-46.

Today’s song is sung by Harish. I have listened to other few songs of this film, but the music was very disappointing. This must be Ninu Mujumdar’s poorest film music easily. I selected this song as I felt, this was the best among other songs. After listening to this song, you can imagine about other songs.


Song-Chhoo gayi Chhoo gayi koi mera mann (Amaanat)(1943) Singer-Harish, Lyricist- Neelkanth Tiwari, MD- Ninu Mujumdar

Lyrics

Chhoo gayi Chhoo gayi koi mera mann
chhoo gayi
Chhoo gayi Chhoo gayi koi mera mann
murli bana gayi koi mera mann

mere hi honthhon se murli banaay ke
mere hi honthhon se murli banaay ke
koi baja gayi mera bhola mann
murli bana gayi koi mera mann
chhoo gayi

praanon mein bhar gayi koi nayi dhun
praanon mein bhar gayi koi nayi dhun
kaanon mein bhar gayi nayi run jhun
kaanon mein bhar gayi nayi run jhun
sapnon se
sapnon se
sapnon se bhar gayi mere nayan
murli bana gayi koi mera mann
chhoo gayi

soyi thhi mere aangan mein raat
soyi thhi
soyi thhi mere aangan mein raat
aayi wo kirnon ki le kar baaraat
aayi wo
aayi wo kirnon ki le kar baaraat
kamal sa khil gaya
kamal sa khil gaya angna ??
murli bana gayi koi mera mann
Chhoo gayi Chhoo gayi koi mera mann
murli bana gayi koi mera man
Chhoo gayi Chhoo gayi koi mera mann
chhoo gayi


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.This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4204 Post No. : 15393 Movie Count :

4243

Today’s song is from an obscure film ‘Angoori’ (1943).

The film was produced by The Indian Art Pictures, Bombay. This was a new company formed and this film was their first venture. They did not have their own studio, like many other producers. Due to the second world war, many new financiers turned to film making, using their black money earned during the rationing of many essential commodities. Even the raw film stock, used to make a movie, was controlled and naturally was available in black market freely at a premium price. Such producers got their films shot in some established studios by renting a shooting floor. The prolific film company, Ranjit, had reserved 2 floors out of their 8 shooting floors, only to be given on rent to such producers. Film ‘Angoori’ was shot in the studios of Circo Production company.

The film was based on a novel by writer LK Shukla. For the director, Mahesh Kaul, this was his debut film as a Director. So far he had been only a writer and a sundry actor in films.

Mahesh Kaul (10-4-1911 to 2-7-1972) was born in Lahore and educated in Moni College, Nagpur. After graduation, he worked as a journalist and a bank manager. He then entered films as a lyricist and dialogue writer. He debuted as an actor in KA Abbas scripted film ‘Naya Sansar’ (1941) and played Dronacharya’s role in film ‘Mahatma Vidur’ (1943). His other films as an actor were ‘Apna Ghar’ (1942), ‘Gopinath’ (1948), ‘Kaaghaz Ke Phool’ (1959) and ‘Tere Mere Sapne’ (1971). His first film as a director was ‘Angoori’, then came ‘Paristan’ in 1944. He produced and directed film ‘Gopinath’, with Raj Kapoor and IPTA actress Tripti Mitra. Some of his major films as a director are ‘Naujawaan’ (1951), ‘Aakhri Dao’ (1958), ‘Talaaq’ (1958), ‘Sautela Bhai’ (1962), ‘Palki’ (1967), ‘Sapnon Ka Saudagar’ (1968) etc. In all he directed 15 Hindi films. His last film ‘Agni Rekha’ came after his death, in 1973.

The music director for this film was GM Durrani and the lyricist was Rammurty Chaturvedi. Earlier, when the film was planned and an advertisement was published in ‘Film India’ magazine, the film had given the name of Pt. Indra as the lyricist, but later on probably he was replaced by Rammurty. The cast of the film was Ulhas, Kaushalya, Dar Kashmiri, Mukul, Chandrahas, Sunetra, PR Joshi, Angre, Ranjan, Peer Muhammad, Mukul etc. This was Durrani’s first film as an MD.

Ghulam Mustafa Durrani, often abbreviated as GM Durrani (1919 – 8 September 1988) was a popular and legendary Indian radio drama artist, playback singer, actor and music director. To his credit, he tried to make his own identity as a playback singer and not try to follow the KL Saigal type of singing. GM Durrani was notable for sad songs, romantic songs, patriotic songs, Quraan Khani, qawwalis, ghazals and bhajans. He was also one of the first Muslim singers to get to sing Hindu Devotionals. GM Durrani was also the most senior Punjabi singer-actor at that time. He was radio drama artist and full-time singer of Lahore, Delhi and Bombay stations of AIR (All India Radio, aka Akashvani (radio broadcaster)). His native language was Pashto but he had a strong command over Hindi, Urdu and Punjabi. He sang in many Indian languages including Hindi, Urdu, Punjabi and Pashto language in Indian movies in the 1930s, 1940s and 1950s. After the 50s Durrani sang very few songs. Durrani was the disciple of radio broadcaster Zulfiqar Ali Bukhari.

Ghulam Mustafa Durrani was born in Peshawar, British India in 1919. He was a Pathan (Pashtun) and belonged to the Mohammad Zai Durrani Kabila. He was from a conservative family where even tea was not taken. Milk and lassi were the drinks of choice. When he used to go to those shops and some songs used to be heard, he used to hum along with them. Everyone used to say this boy should go to Bombay, as his voice was very good. The thought of becoming an actor entered his mind as well. He soon ran out of money to make ends meet.

His mother had expired when he was very young. Father was educated and of artistic mind but very strict, and the only ally at the home was his loving grandmother. But she could also not protect him from his father’s anger.

The last job Durrani did in Peshawar was of at a painter’s shop where an artist always used to hum the tunes of the songs composed by highly respected composer and actor Rafiq Ghaznavi. He also started imitating those songs and got appreciation from the colleagues which inspired him. Durrani started practising Rafiq Ghaznavi’s songs and assumed him as his master. During this time, his father took him to another job at his uncle’s motor-part shop. But the artist within, didn’t stay long there and Durrani ran away from the home to Lahore with only 22 rupees in his pocket.

In Lahore, Durrani did odd jobs along with singing on radio. This brought him fame and passion for radio singing which took him to Delhi first, and then to Bombay. He came to Bombay on 14 April 1935. In Bombay, he got somehow a job at the Radio Station and from here he got recognition. Film wallahs started calling him to sing.

His singing career started from AIR. Durrani was discovered by film producer Sohrab Modi of Minerva Film Company (later known as Minerva Movietone). Modi gave him his first break around 1935-36 in the movie ‘Saed-e-Havas’ (1936), a historical under the music director, classical musician Bundu Khan popularly known as ‘Taan-Talwar‘ Bundu Khan.

When Durrani came to Bombay playback system was not there and one had to act on screen. He didn’t like running around trees and refused to work further. He faced a lot of difficulties and could not return as people would call him a ‘Kanjar‘. Minerva was reportedly to close down soon too. He soon joined the Delhi Radio Station of AIR (Akashvani). Durrani was working at the Delhi Radio Station where he got acquainted with poet Behzad Lakhnavi whose many ghazals had been sung by Mallika-e-Ghazal (Queen of Ghazals) Akhtari Bai Faizabadi, later to become famous as Begum Akhtar.

He later shifted to the Bombay Radio Station where he met a big personality at the time, whom he considered his ustad (master), Station Director of Bombay station of AIR (Akashvani), Baba-e-Nasharayat (Father of Broadcasting) Zulfiqar Ali Bukhari who helped the radio station come up a lot. Durrani always referred to Zulfiqar Ali Bukhari as ustad as a mark of honour. (ZA Bukhari, was the Station Director of Delhi station and then Bombay station of AIR (Akashvani). After the partition of India and creation of Pakistan, Bukhari migrated to Pakistan. He was made the first director-general of Radio Pakistan (Pakistan Broadcasting Corporation) and later, he served as general manager of PTV (Pakistan Television Corporation)).

Durrani’s salary was fixed at Rs 40 per month. Here he was working as a drama artist. He was soon counted as one of the best drama artist on the radio those days. Over a period of three years his salary had gone up to Rs 70 per month. But fate would soon call him back to films. In 1939-40, when the method of playback singing was already in use, he returned to films, to lend his voice for a film titled ‘Bahurani’ (1940) as his first playback singing assignment. The film was made by Sagar Movietone and its music director was Rafiq Ghaznavi. Durrani was then working as a full-time Singer in AIR (Akashvani). Those were British days and they were not allowed to do any private recordings. But Ghaznavi insisted. and Durrani laid down some conditions, like; the recording should be fixed on a Sunday night so that no outsiders would be allowed to enter the studio. Secondly, he said that his name shouldn’t appear in credit titles or on discs. The song was a duet with Miss Rose, an Anglo-Indian, who didn’t have much experience as a singer. He was paid Rs. 75 for the song as against his salary of Rs. 70 a month at AIR (Akashvani). He then left  his job at AIR on 31st December 1940 and decided to concentrate fully on his film career.

Thereafter he sang for, among others, noted music directors like Khawaja Khurshid Anwar, friend Naushad, Shankar Rao Vyas and AR Qureshi (also known as Alla Rakha, Pandit Ravi Shanker’s famous tabla accompanist) for films like ‘Namaste’ (1943), ‘Shama’ (1946), ‘Mirza Sahiban’ (1947), ‘Magroor’ (1950), ‘Sabak’ (1950), ‘Humlog’ (1951) and scores of others. He became very popular. Many singers started their careers with him and he inspired many others too.

He was the idol of Mohammed Rafi who imitated him in the initial days. Now what could be a better tribute to singer than that, that the symbol of divinity in the Indian Music Industry, Mohammad Rafi, followed him. In fact, in 1944 Rafi recorded what he considered his first Hindi language song for the film ‘Gaon ki Gori (1944) for Shyam Sunder, “Aji Dil Ho Kaaboo Mein To Dildaar Ki Aisi Taisi” with GM Durrani and chorus.

Geeta Dutt also started her career in her break through movie ‘Do Bhai’ (1947) with the song “Aaj Preet Ka Naata Toot Gaya“, a duet with GM Durrani for SD Burman.

Similarly, “Haaye Chhore Ki Jaat Badi Bewafa“, (in film ‘Chaandni Raat’, (1949), a duet with GM Durrani, was Lata’s first song for composer, Naushad.

Durrani has sung many songs during his career. His output later reduced. According to a story he was influenced not to sing for some time after his Hajj visit and Rafi then helped him get back to singing but by then his career was over. Music composer Khawaja Khurshid Anwar in his first film ‘Kurmai’ (Punjabi-1941) took Durrani as his assistant and later gave him the film ‘Angoori’ (1943) as music director.

In the period of KL Saigal – Surinder, Khan Mastaana and GM Durrani were also famous. GM Durrani was one of the 40s legendary playback singers. Durrani tried to make his own identity as a playback singer and not try to follow the KL Saigal type of singing. His singing style was to inspire Rafi and others in the years to come. Later GM Durrani became a model to many playback singers who followed then. The soulful renditions of Durrani were to be reminded of by Talat’s singing as well.

Mohammed Rafi was influenced most notably, by GM Durrani on whose style he based his singing. He sang with his idol in some of the songs such as “Humko Hanste Dekh Zamana Jalta Hai” (Hum Sab Chor Hain, 1956) and “Khabar Kisi Ko Nahin Wo Kidhar Ko Dekhte Hain” (Beqasoor, 1950).

Durrani considered his first famous song was “Duniya Mein Sab Jode Jode” of the film ‘Sharda’ (1942) composed by Naushad.

The song “Neend Hamaari Khwaab Tumhaare Kitne Meethe Kitne Pyaare“, that made him a real rage was however composed by Shyam Sundar for the movie ‘Nai Kahaani’ (1943). This song, sung most part by GM Durrani with some support by child-star Balakram, was playing everywhere. When he sang, this song, the listeners went crazy. This timeless melody can never be forgotten by fans of Indian Cinema. Nearly 40 years later, when Tata Oil Mills did a program Mortal Men Immortal Melodies to celebrate fifty years of talkies in India, they invited him to re-render the song. Although many had forgotten him, his voice was still great and he got a standing applause for it.

There was a time when GM Durani was the favourite and most preferred singer for most composers in the industry. From 1941 to 1951, he sang over 300 songs. He is a case of “Riches to Rags”. Once a rich and famous singer,he spent his last few years fighting with throat cancer, poverty and loneliness. His end was quite pathetic.

GM Durani was a leading singer, like Surendra. The difference was Surendra sang only in his own films and thus had limitations,but Durrani was a playback singer, without much competition. In the 40s, there were hardly any male Playback singers,because most singers were actors themselves and sang their own songs, like Asit Baran. Karan Dewan, Ashok Kumar, Prem Adeeb, Arun Ahuja, Balwant singh, CH Atma, Ishwarlal, kantilal, KL Saigal, Pahadi Sanyal etc. There were of course few playback singers like Khan Mastaana, SD Batish, AR Oza, Balbir etc., but they were no competition to Durrani at all.

Because of this ,some singers were jealous of him and there was an attempt to poison him with Mercury Chloride (sindoor) given in a paan  by another well known singer. All relevant stories point out fingers to Hafeez Khan Mastaana in this incident as the culprit. Before he could confess, which he wanted to it seems, Mastaana died in absolute poverty and in total neglect near Mahim Dargah.  Later on his only son used to be seen begging there for quite some time. One of the RMIM members had met him there.

After singing assignments dried up, he opened a provision stores in Mahim, Bombay and ran it for 3 years. Finally, when the losses mounted, he sold off the business in loss.

In his last days, Durrani had throat cancer. He was looked after well by his sons and daughters. In his last days, he was interviewed by the famous writer Shri Rajnikumar Pandya ji. After I came to know Shri Pandya ji, he kindly gifted me a CD containing this last interview of Durrani. The interview was conducted just one day prior to his death . So I have not only Durrani’s real voice, but also a song he sang from his deathbed for this interview ! Thanks to Shri Pandya ji. GM Durrani, in that last interview claimed that he had helped both financially and professionally two rising singers – Mohd. Rafi and Lata Mangeshkar, in their initial struggling period. He describes his first meetings with them in the interview.

GM Durani sang many memorable songs like, “Haath Seene Pe Jo Rakh Do To Qaraar Aa Jaaye“, with Noorjehan in ‘Mirza Sahiban’ (1947), “Laara Lappa Laara Lappa Laai Rakhda” with Lata in ‘Ek thi Ladki’ (1949), “Nazar Phero Na Ham Se” with Shamshad Begum in ‘Deedar’ (1951), “Gaaye Chala Jaa“, with Lata in ‘Hum Log’ (1951), “Humko Hanste Dekh Zamana Jalta Hai” with Rafi in ‘Hum Sab Chor Hain’ (1956. Durrani sang about 300 songs. His last song came in ‘Lal Pathar’ (1971). Co-incidentally, in this last film, he also appeared on screen, lip syncing a song by Mohd Rafi – “Unke Khayaal Aaye To Aate Chale Gaye“.

GM Durrani acted in 16 films, from 1949 to 1978. He sang 305 songs in 168 films. He gave music as MD in 8 films and also wrote lyrics in film ‘Nazaare’ (1949).

An odd name in the cast of ‘Angoori’ is Dar Kashmiri. A little information about this name. He was the eldest brother of Omkar Nath Dar aka OK Dar  aka Jeevan.

Om Prakash Dar was born into a  large family. He had 23 siblings. His grandfather was the Governor of Gilgit in Gilgit-Baltistan. He lost his father when the youngest- Jeevan – was 3 years old and his mother died at childbirth. Being the eldest, he came to Bombay in search of jobs and entered films. Instead of his original long name, he was called Dar Kashmiri.

Actually, when Jeevan came to Bombay in search of film roles, Om Prakash Dar aka Dar kashmiri, his elder brother, was already working in films. Jeevan appeared first time in ‘Fashionable India’ (1935). Since his name was Onkar Nath, he was billed as OK Dar (and not Dar Kashmiri – please note).

His elder brother Dar Kashmiri worked in many films- some of them are – ‘Noor Mahal’ (1934), ‘Watan Parast’ (1934), ‘Yaad Rahe’ (1940), ‘Abla’ (1941), ‘Saugandh’ (1942), ‘Angoori’ (1943), ‘Naya Taraana’ (1943), ‘Room No. 9’ (1946), ‘Hua Savera’ (1948′, ‘Kundan’ (1955) and ‘Ayodhyapati’ (1956). and many other films. In every film, he was billed as Dar Kashmiri only.

Jeevan was billed as  OK Dar (Jeevan) from film ‘Romantic India’ (1936) onwards and then on as Jeevan only – except still a few films where he was billed as OK Dar (Jeevan). In film ‘Patit Paavan’ (1955), both brothers acted and they were individually billed as Jeewan and Dar Kashmiri. This settles their name issue completely.

Let us now listen to this duet. With this song, film ‘Angoori’ of 1943, makes its debut on the blog.

(Information about GM Durrani here, is based partly on an article in www.peoplepill.com and from Rajani Kumar Pandya ji’s book ‘Aap ki Parchhainyan’. I acknowledge and my thanks to both. Information on Dar Kashmiri is from Filmdom-46).


Song – Nainon Mein Naina Deenho Daal. . . O. . . Baanke Naina Waale (Angoori) (1943) Singer – Kaushalya, GM Durrani, Lyricist – Ram Murty Chatruvedi, MD – GM Durrani
Kaushalya + GM Durrani

Lyrics (Provided by Sudhir)

nainon main naina deenho daal
nainon main naina deenho daa..aal
oo oo ooooo
baanke naina waale
nainon main naina deenhi daal
nainon main naina deenhi daa..aal
oo oo ooooo
baanke naina waali
nainon main naina deenho daal

jaat dagariya lad gaye sajni
jaat dagariya lad gaye sajni
chanchal nain hamaare
chanchal nain hamaare
chhail tere zulmi nainon se
chhail tere zulmi nainon se
nain hamaare haare
nain hamaare haare
oo oo ooooo
baanke naina waale
nainon main naina deenhi daal
nainon main naina deenhi daa..aal
oo oo ooooo
baanke naina waale
nainon main naina deenho daal

baney baawre pyaase naina
baney baawre pyaase naina
ab to naa tarsaao
ab to naa tarsaao
bas kar ke nainon mein pi
bas kar ke nainon mein pi
nainon ki pyaas bujhaao
nainon ki pyaas bujhaao
oo oo ooooo
baanke naina waale
nainon main naina deenho daal
nainon main naina deenho daa..aal
oo oo ooooo
baanke naina waale

nainon main naina deenho daa..aal
nainon main naina deenho daa..aal

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

नैनों में नैना दीन्हों डाल
नैनों में नैना दीन्हों डा॰॰ल
ओ ओ ओss
बाँके नैना वाले
नैनों में नैना दीन्हीं डाल
नैनों में नैना दीन्हीं डा॰॰ल
ओ ओ ओss
बाँके नैना वाली
नैनों में नैना दीन्हों डाल

जात डगरिया लड़ गए सजनी
जात डगरिया लड़ गए सजनी
चंचल नैना हमारे
चंचल नैना हमारे
छैल तेरे ज़ुल्मी ननों से
छैल तेरे ज़ुल्मी नैनों से
नैन हमारे हारे
नैन हमारे हारे
ओ ओ ओss
बाँके नैना वाले
नैनों में नैना दीन्हीं डाल
नैनों में नैना दीन्हीं डा॰॰ल
ओ ओ ओss
बाँके नैना वाली
नैनों में नैना दीन्हों डाल

बने बावरे प्यासे नैना
बने बावरे प्यासे नैना
अब तो ना तरसाओ
अब तो ना तरसाओ
बस करके नैनों में पी
बस करके नैनों में पी
नैनों की प्यास बुझाओ
नैनों की प्यास बुझाओ
ओ ओ ओss
बाँके नैना वाले
नैनों में नैना दीन्हों डाल
नैनों में नैना दीन्हों डा॰॰ल
ओ ओ ओss
बाँके नैना वाले

नैनों में नैना दीन्हों डाल
नैनों में नैना दीन्हों डा॰॰ल


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

Blog Day : 4182 Post No. : 15361

Today’s song is from film Ranee-43. The film was made by Barua Productions, floated by producer, director, actor and singer, P C Barua, before he had joined New Theatres. He joined NT on the invitation of B N Sircar, though he had his own production outfit and studio. In fact, he wanted a merger of his company with NT, but Sircar declined and offered Barua a paid job at NT, on monthly basis.

While in NT, Barua gave hit films, one after another like, Rooplekha-34, Devdas-35, Maya-36, Manzil-36, Mukti-37, Adhikar-38 and Zindagi-40. During the making of film Zindagi, differences between him and Sircar thickened. The reason was Barua felt, he was not given as many films to make as Nitin Bose and Harischandra Chunder got. Ego of both the giants persisted and culminated in their separation.

In the History of Hindi Cinema,till the Golden 50s started,Bengal had a dominating position in films and music. Its meaningful,entertaining films and the Film and the Non Film music ruled the roost, from the early 30s. In this conquest of the East,the Lion’s share was that of NEW THEATRES-set up and owned by B N Sircar. New Theatres was not just a production company,but it was an Institution and a school for developing artistes in the 30s and the 40s.

Out of these 20 years,I would say the first almost 10 years was the Peak Golden Period for NT. 1940, being one of the best years for NT, also was the beginning of its end, with the First major shock, when P C or Pramathesh Barua left NT because of differences with B N Sircar. In the period of 1940 to 1950, one by one many people left NT. Most went to Bombay, in search of greener pastures.

There were 3 reasons. One, during the period 1946 and 1947, production at NT was almost Nil ( 1946-due to communal riots in Bengal and 1947- due to Partition blues), but NT had to pay salaries of their employees. In peak years, their salary bill alone amounted to about 45000 rupees every month. Secondly, one of their main markets for Bangla and Hindi films-East Bengal, had become another country-East Pakistan and they lost this market. Thirdly, the New Government imposed a heavy ‘Excess profit ‘Tax ‘ on successful companies like NT. This damaged them financially very much. Added to this,of course, B N Sircar failed to hold people together due to Ego problems, recognitions etc etc.

By 1950,according to Dilip Sircar-son of B N Sircar,” many people left, Finance was in disarray and we had many court cases slapped on us.” The result- B N Sircar closed the shop ! In 1954,NT was handed over to Arora Film company. Then in 1955, Deluxe Films took them over. In January-56, the company closed down officially and in August 56,a Receiver was appointed by the High Court. New Theatres went into Liquidation in March-62 and a Glorious Chapter came to a close for ever !

Even in the tumultuous and troubled final years,few Loyal artistes did not leave NT. Pankaj Mullick was one of them,who stayed with B N Sircar till the last,despite differences with him.Many others like Kidar Sharma, Kanan Devi, Uma Shashi, PC Barua, Nitin Bose, Debk Bose,Phani Muzumdar, Nabendu Ghosh, Bimal Roy, K N Singh, Prithviraj Kapoor, Kumar etc and above all, K L Saigal- the pride possession of NT, left, at different times. Most came down to Bombay.

But, you will notice that actors from this lot who came from Calcutta to Bombay, were all Non-Bangla people. From the very beginning, actors from Bengal or South, rarely came to make their acting careers. Those who came at all, majority of them were actresses, who were ready to learn Hindi to continue here or they had Non-Bangla backgrounds. For example- actress Smriti Biswas, though a Bengalee, grew up and started acting in Lahore.

There were 3 reasons why actors did not come to Bombay from Bengal or South…
1.Difficulty and reluctance in picking up Hindi language and coping up with Bombay culture.
2. King size Regional Pride and
3. Their own areas became big production centres and scope was available on familiar grounds.

Artistes from other disciplines like Direction, Music, Singing, Editing, Cinematography etc came here and prospered, but not actors, worth mentioning.

Film Ranee-43 was made as a Bilingual film in Bangla ( Chandaar Kalank) and Hindi. The MD was Kamal Dasgupta, Lyricist was Pt. Madhur and the cast was Jahar Ganguly, Kalavati, P C Barua, Jamuna, Patience Cooper, Vikram Kapoor (father of Meena Kapoor-singer and wife of Anil Biswas) and others. When I first heard this name “Jahar”, I was shocked, but then realised that this was a Bangla name. Obviously, its meaning must be something else,other than ” Poison”. I started searching on Google and at one place found that Jahar in Bangla means ” Gift of God “. My Bangali friend in Mumbai says it means ” Gem “.

Jahar Ganguly (October 1904 – 1969) was a Bengali film actor and theater personality. He received Best actor award in 6th Annual Bengal Film Journalists’ Association Awards in 1943 for his performance in Bandi.
Ganguly was born in undivided 24 Parganas Dist, British India. He worked in number of Bengali and Hindi films in 40s and 50s as a supporting actor in comedy counterparts to the dramatic lead. He got break through in Dena Paona directed by Premankur Atorthy. Ganguly acted under Satyajit Ray’s direction in Parash Pathar and Chiriyakhana. He also performed as stage actor until the 1960.

Information on actress Patience Cooper has not yet been given on our Blog. She was one of the 7 sisters, out of whom 3 sisters-Patience, Violet and Pearl worked in Hindi and Bangla films. Patience Cooper (1905–1993) was an Anglo-Indian from Calcutta. Cooper had a successful career in both silent and sound films. She was one of the early superstars of Bollywood. Cooper is credited with the first Female double roles of Indian cinema—as twin sisters in Patni Pratap and as mother and daughter in Kashmiri Sundari, even though earlier in 1917, actor Anna Salunke had played roles of both the male lead character Ram and the female lead character Seeta in the film Lanka Dahan.

Cooper began her career as a dancer in Brandmann’s Musical Comedy, a Eurasian troupe. She later joined Jamshedji Framji Madan’s Corinithian Stage Company as an actress. Cooper first made an impact with Nala Damayanti (1920). The film starred Keki Adajania as Nala and Cooper as Damayanti. The film was a big budget Madan Theatre production and was directed by Eugenio de Liguoro, known in Italy for his Orientalist spectacles like Fascino d’Oro (1919). Nala Damayanti was famous for its special effects at the time — Narada’s ascent of Mount Meru to heaven, the transformations of four gods into impersonations of Nala, the transformation of Kali into a serpent among others.
Her next film was Vishnu Avtar, released in 1921. De Liguoro also directed Dhruva Chartitra (1921), a mythological based on the legend of Dhruva whose quest for eternal knowledge and salvation was rewarded when he became the brightest star in the heavens, the pole star also known as Dhruvatara. The film was made as a bid for an international breakthrough for Madan Theatres and featured many Europeans in the cast along with Cooper who played the female lead, Suniti.

One of Cooper’s biggest successes was Pati Bhakti (1922). Cooper played Leelavati in the film, directed by the great JJ Madan himself, advocating that women should be devoted to their husband. The film is regarded as her greatest film and was also involved in a small controversy as in Madras, the censor demanded that a dance number be removed on the grounds of obscenity.

Cooper also played perhaps the first ever double roles in Hindi films — Patni Pratap (1923), where she played two sisters and Kashmiri Sundari (1924), where she played mother and daughter.

Cooper did films right through to the mid-1930s. One of her last major films was Zehari Saap (1933). The film was a typical Cooper vehicle about a medieval chieftain’s revolt against the good Nawab Bakar Malik. The nawab’s outlaw son vows revenge and finally all’s well that ends well. The dramatic conflict in the film sees the chieftain wanting to marry the princess, whom he had raised as his own daughter.

Cooper acted in over 40 films until she retired after performing in her last films, Iraada-44 and Khan Bahadur-46. Cooper was often cast in the role of a sexually troubled but innocent woman, always at the centre of moral dilemmas, often caused by the men in her lives.

A major aspect of Cooper’s star image was the successful achievement of the ‘Hollywood look’ in spite of different light and technical conditions. Her distinctively Anglo-Indian features, like dark eyes, sharp features, ebony hair and light skin tone, allowed technicians to experiment with the imported technique of eye-level lighting and achieve an appearance similar to Hollywood stars of the silent era.

The low number of women, especially Hindus, in the film industry during the 1920s (due to conservative attitudes) meant Anglo-Indian actresses like Cooper, were in demand. Her appearance in a string of successful films has led her to being called the first ever female Indian film star.

It is generally supposed Cooper married Mirza Ahmad Ispahani Saheb (MAH Ispahani), a well-known Indian businessman. In 1947, they migrated to Pakistan. Actually she was married to MAH Ispahani at the age of 21 and divorced soon after. She then married Gul Hamid Khan, one of the first early silent movie actors. He died six years later from Hodgkin’s Disease. She remained friends with MAH Ispahani till the end of her life. Cooper changed her name to Sabra Begum and lived the last of her days with her two adopted daughters Zeenat and Haleema in Karachi, Pakistan. Her foster daughter Syeda Nafees Rizvi lives in Houston, Texas, USA. She fostered and/or adopted 17 children during her lifetime. Cooper died in 1993. (adapted from wiki and upperstall, with thanks.)

After Partition in 1947, it did not take long for things to become normal in the Indian film industry. This was mainly because ready replacements were available in plenty to fill the vacancies caused by migration. As far as producers and financiers were concerned, almost all producers and film makers had arrived here from Lahore. It was actually Lahore which felt the absence of Film makers. Pakistan film Industry was somehow managed well by the experienced people who went from India and Pakistan enjoyed a ” GOLDEN AGE OF FILMS AND MUSIC ” from 1959 to 1977. Once the old generation retired, there was no second line to take over from them.

The film industry in Pakistan was never an organised one. Moreover the often changing Goverments did not bother to do anything to protect, sustain, help or develop the infrastructure of Film industry. Unlike India, there was neither a Films Division, nor was there anything like Film and Television Institute to build local artistes in different fields.

By 2010,the film industry in Pakistan was in such a poor shape that, against India’s film production of 13526 films in 2011, Pakistan had produced only 7 films in that year !

While Indian films were distributed in over 90 countries, there was no International market for Pakistan films.

All studios in Pakistan were in ruins and Theatres had been demolished.

Can you believe, In the entire Islamabad city, there is ONLY ONE Theatre-a multiplex of 4 screens ! (info from-Filmistan-Javed Shaikh 0n pk.politics.in dated 10-4-2014 )

We have heard songs composed by the Music Directors who migrated to Pakistan,i.e. West Pakistan. Today we will listen to a film song composed by a famous and talented composer of Hindi/Bangla films, who migrated to East Pakistan (now Bangladesh). His name is KAMAL PRASANNA DASGUPTA or simply, Kamal Dasgupta ( 28-7-1912 to 20-7-1974.)

It is a moot point whether Kamal should be called a Film composer or a NFS composer in Hindi and Bangla. He can be called the Originator or the Pioneer, who established NFS during the period from 1935 to 1955. It was he who introduced the word ” Hindustani Song” for NFS on the 78 RPM records.

He gave music in 16 Hindi films like Jawab, Hospital, Rani, Meghdoot, Arabian Nights, Bindiya, Krishna Leela, Pehchan, Zameen Aasmaan, Faisla, Giribala, Manmaani, Chandrashekhar, Vijay yatra, Iran ki ek raat and Fulwari. However, except for Jawab and Hospital his songs did not become very popular. Kanan Devi became a National name after she sang “Ye duniya Toofan mail” in Jawab-42. He also gave music in 22 Bangla films.

He was not in good terms with his wife, Firoza Begum. In his final days, he contracted T.B. Finally he said Good-Bye to this world on 20-7-1974. The originator and populariser of NFS in India and a maker of memorable songs like “Toofan mail” left us forever-unsung !

Today’s song is the second song from this film. The story of this film was provided earlier by Sadanand Kamath ji, with the first song, so I am not repeating it here. The duet is sung by Anima Dasgupta (nee Sengupta…wife of Subal Dasgupta, MD) and an unidentified male. I liked this song .I hope you too will like it.


Song-Saawan ne boondan ki jhaalar daali (Raanee)(1943) Singers- Kamal Dasgupta, Anima Dasgupta, Lyricist- Pt. Madhur, MD- Kamal Dasgupta

Lyrics

Saawan ne boondan ki jhaalar daali
Sawan ne boondan ki jhalar daali
boondan ki jhaalar daali re ae
boondan ki jhaalar daali
Saawan ne boondan ki jhaalar daali
daali ee
boondan ki jhaalar daali
jhaank jhaank kar dil ki duniya
dekh raha hoon aaj
armaanon ke sar pe rakkha hai khushiyon ka taaj
chhupi huyi hai iske andar
chhupi huyi hai iske andar
jeewan ki hariyaali ee
Saawan ne boondan ki jhaalar daali

<em.Saawan ne boondan ki jhaalar daali
arre papaiyya
zara bataa aa
kyun piyoo piyoo raha pukaar
kyun piyoo piyoo raha pukaar
gulshan mein kyun aayi
kyun aayi hai
saj dhaj kar nayi bahaar
sada ye saawan ki kyun aaye
man ko harne waali
Saawan ne boondan ki jhaalar daali
ye jhaalar nahin hai
ye maikhaana
jiski boonden hain masti ka paimaana
pee pee kar dekho jhoom rahi hai
pee pee kar dekho jhoom rahi hai
aur ghata ye kaali kaali ee ee
Saawan ne boondan ki jhaalar daali
Saawan ne boondan ki jhaalar daali


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

Blog Day :

4179 Post No. : 15358 Movie Count :

4233

Today’s song is from a Non-Descript film-Mazaq-43. I call it a Non Descript film because no information is available on this film anywhere. As the film was released on 31-12-1943, its review was expected in the 1944 January or February issue, but as 1944 issues of Film India are not available in Internet Archive, it is not possible to know about this film. I did not see any film advertisement of Mazaq in any issue of 1943. Either I missed it or it was not there. The gist is, we do not know anything about who wrote the film story or what was the story, how it was received by the public etc.

The film was made by Raja Movietone, which was established by Zahoor Raja, after he directed film Badal-1942, made by Eastern Pictures, Bombay. Film Mazaq-43 was the maiden venture of Raja Movietone. It went on to make 3 more films. All four films were directed by Zahoor Raja and he acted in every film also. Only in film Mazaq-43, he tried his hand at composing songs, as Music Director. Thankfully, he never tried it again. Actress Radha Rani (Bombywali) also acted in all films with him.

The cast of the film was Madhuri, Pahadi Sanyal, Radha Rani (B), Zahoor Raja, Shyam kumar,Haroon and others. As far as Madhuri was concerned, she got married in 1941 and was in the process of ending her acting career. After this film, she completed few more films on hand and retired from film. In this film, the lead pair was Madhuri and Pahadi Sanyal. Zahoor Raja had done a negative role in the film.

ZAHOOR RAJA (Born 7 July 1918 Abbottabad (now in Pakistan)– Died 1992 England) Pre Partition Hindi/Urdu Film Actor, Producer, Director, Editor, Writer, Singer, Lyricist & Music Composer. He graduated from editing and story writing to become a producer-director in 1943.

Zahoor Raja was born in a wealthy family in Abbottabad. After schooling , he studied BA from Rawalpindi but could not complete his graduation as he was more interested in sports than in studies. His father, a Police Inspector, was keen in admitting him in Dehradun for a career in the army. But he ran away from home and landed in Bombay with a letter of introduction to Film maker A R Kardar. Since he was very handsome and well built man, getting into the Bombay film industry was not difficult. At that time, Kardar was directing ‘Mirza Sahiban’ (1939) for Ranjit Movietone and Kardar took Zahoor Raja in the film. The film was not completed.

Within a year after that film, V Shantaram invited him to join Prabhat Films and was taken on a contract of 3 years. His association with V Shantaram was not beneficial and he did not get much work. Kardar once again came to his rescue and got him employed in National Studios and got him a role in ‘Pooja’ (1940). Thereafter, he got a role in Minerva Moveitone’s ‘Sikandar’ (1941). During the making of the film ‘Sikandar’ (1941), he fell in love with his co-star Meena (Meena Shourie) and married her. The marriage did not last long and Meena later married another handsome actor, Al Nasir.

Zahoor Raja later worked as a Hero in ‘Sewa’ (1941). During this time, while looking for a change from his acting career, he got a chance to direct the film ‘Badal’ (1942) produced under Eastern Pictures where he also acted in the lead role. Though the film failed at the box office, his direction was appreciated by the critics. In 1943, he floated his own film production company, Raja Movietone and made its maiden film ‘Mazaq’ (1943) which he also directed, acted in a negative role and composed its music. His banner produced ‘O Panchhi’ (1944), ‘Ghazal’ (1945) and ‘Dhadkan’ (1946). In most of the films in which he acted, Zahoor Raja was paired with Radha Rani. He also sang the song ‘Bhulaane waale hamen bhi na yaad aaya karo’ along with Naseem Akhthar in the Movie ‘Ghazal’ (1945) composed by Gyan Dutt. His last Movie in India before moving to Pakistan was ‘Anmol Ghadi’ (1946). He acted in 8 films, directed 5 films, sang 15 songs in 4 films, wrote lyrics in 1 film and was MD for 1 film.

After partition, Zahoor Raja migrated to Pakistan. He was active in Pakistani film industry until 1966. After 1966, he migrated to England, married an English lady and later died in 1992 in England.

The heroine Madhuri was already 30 year old in 1943 and I wonder why Raja opted for this aged lady, who was on the verge of retiring from films – that too as a Heroine ! Of course, since we do not know about the story of the film, Raja gets the benefit of doubt, in this case. Madhuri was an actress coming from the Silent Era and early Talkie films. After retirement , she disappeared for almost 50 years, till she was traced for a function. Here is how…

Like many others,Madhuri too was an Anglo Indian. Her real name was Beryl Claessen. She was born on 3-11-1913 at Delhi. Her father was a big officer in Government. Her initial schooling took place in Nainital. She learnt music too,because she wanted to become a Music Teacher. However that she never became,but on a visit to Bombay she was picked up by producer Indulal Yagnik and she started acting in silent films.

Many Heroines in those days were Anglo-Indians,Europeans or Jew girls. Since silent films did not require speaking Hindi or Urdu ( or any language,for that matter),these girls were preferred,as Indian audience loved their fair colour (Gori Mem). Additionally,these girls did not hesitate to give intimate scenes like kissing or doing stunts themselves. Most girls knew Horse riding,fencing and fighting.

In 1928,there was a Silent film Madhuri,but actress Sulochana(Ruby Myers) did this role and in 1932 there was a Talkie film Madhuri,in which also Sulochana only did the role. When Talkie films era began most of the Anglo Indian girls became jobless,since they could not speak Hindi/Urdu nor could they sing a song-the two requirements for actresses in early era Talkie films. However,few intelligent and professional actresses learnt Hindi/Urdu language speaking. Madhuri and Sabita Devi (Irene Gasper) were two such clever girls who achieved proficiency in these matters.

Madhuri was very beautiful. After doing 17 silent films,she made her debut in Talkie films with ‘ Pardesi Preetam’-1933. Jaswantlal Nandlal directed his first film here. Her Hero was Raja Sandow. She did many films for Ranjit under the direction of Jayant Desai. From 1933 to 1942,she acted in 28 films. They were (not in order) Kashmeera, Mitti ka Putla, Noor e watan, Secretary, Lehri lala, Rangeela Raja, Sitamgarh, Prithviputra, Thokar, Raj Ramni, Diwali, Matlabi Duniya, Toofani Toli, Shama parwana, College Girl, Nadira, Veer Babruvahan, Zamin ka chaand, Ban ki chidia, Toofan Mail, Mehman, Sasural, Shadi, Ikrar, Vakil Saheb, Paapi, Mazaq and Dharm-45 …her last film.

In 1943,Madhuri got married and after completing films on hand, retired from Film line. After this, she simply disappeared for next 50 years without a trace,till the organisers of a programme located her. Bombay’s ” Amrut” and ” Cine Society of Bombay ” held a felicitation programme on 7-2-1999, for “Stars from the Silent Era”. For Madhuri it was a surprise,that the organisers found her out after living in oblivion for over 50 years. She was simply overwhelmed with the people’s affection and love. She and Jairaj were felicitated on that day.

The Hero,Pahadi Sanyal – an actor with a strange name, was a rare actor, who, in spite of being simultaneously in Bangla films, was a leading and singing Hero in Bombay’s Hindi films. Later on, few more Bangla actors did some Hindi films, but none were as prolific as Sanyal. He acted in 53 Hindi films and did Hero and side Hero roles, as well as character roles too. Pahadi Sanyal (22 February 1906–10 February 1974) was born in the midst of the serene beauty of hilly tract of Darjeeling. As he was born in the hills, thus his nickname became Pahadi .His real name was Nagendra Nath. He had completed his schooling from Lucknow but later joined Benaras Hindu University for Engineering studies. But he was never interested in studies and he chose a different path for himself .

He started taking lessons of Hindustani Classical Music from Morris College in Lucknow. He had learnt music under the tutelage of Ustad Md.Hussain, Chote Munna Khan, Nasir Khan . Ahmad Khan. Not only that, he was equally interested in instrumental music. Thus , he had also taken lessons of tabla from Rashbehari Sil and Abid Khan. He was deeply inclined to learn different types of songs. During his stay in Lucknow , he was in close contact with the Atul Prasad Sen and had hugely contributed to his songs.

Pahadi Sanyal was also fluent in Hindi and Urdu. In the personal front , he got married twice. He first tied his knot with the Vice Principal of Moradabad School. But unfortunately on 10th March , 1930 she died while giving birth to their child. Later , Pahadi got married to actress Meera Devi and had one daughter.

Pahadi was introduced to Director Devki kumar Basu by one of his friends. Devki kumar Basu took him to B.N. Sarkar of Star Theatre who helped him to make his debut with Rs.150 in the world of acting. In 1933, he got his first break in the film “Meerabai”. The movie “Vidyasagar” was a landmark in his career which made him a living legend of that time. Some of his notable movies are “Bhagyachakra”(1935), “Bidyapati” (1938), “Mahakobi Girishchandra” (1953), “Jomaloye Jobonto Manush”(1958), Aranyer dinratri (1970). He had even sung in some of his movies. In 1942, he went to Bombay for working in Bollywood films.

He acted in 53 Hindi films. His first Hindi film at Calcutta was Yahudi ki Ladki-1933 and the last Hindi film was Dharati-1970. During his career, he sang 45 Hindi songs in 19 films – first song being in film Chandidas-1934 and the last song was in film Milan-1946. The Door Darshan English News Reader Luku Sanyal was his daughter. This great legend passed away on 10th February, 1974.

Here is a duet from this film-Mazaq-43. The names of singers are not available, but my guess is that it is sung by Zahoor Raja and Radha Rani (Bombaywali). With this song, film Mazaq-43 makes its Debut on the Blog.

PS-The song is sung by Miss Tara, Pahadi Sanyal and Zahoor Raja. Thanks are due to Mr Sadanand Kamath for helping identify the singers.


Song-Chalti hain mast hawaayen kuchh gaayen laharaayen bahlaayen mohe (Mazaaq)(1943) Singers-Miss Tara, Pahadi Sanyal, Zahoor Raja, Lyrics-Abid Gulrej, D- Zahoor Raja
Miss Tara + Pahadi Sanyal

Lyrics

Chalti hain mast hawaayen
aa haa ha ha ha aa
Chalti hain mast hawaayen
kuchh gaayen
lahraayen
bahlaayen mohe
ho o o
Chalti hain mast hawaayen
kuchh gaayen
lahraayen
bahlaayen mohe
ho o o

laayi paighaam khushi ka
khushboo ek prem sandesa
aa ha ha aa
laayi
haan haan
laayi
haan haan
laayi paighaam khushi ka
kuchh ?? prem sandesa
hahaha ha

nikhra kaliyon pe joban
nikhra kaliyon pe joban
bahlaaye mohe ho o
Chalti hain mast hawaayen
kuchh gaayen
lahraayen
bahlaayen mohe
ho o o

koi unse kahde jaake
aa hahahahaha
koi unse kahde jaake
na chhedo
na chhedo
na chhedo mohe
ho o o
mera mera
mera mera
mera matwaala joban
naajon ka paala joban
na chhedo mohe
ho o

tu mere motor ka engine
main teri bagiyaa ka phool
tu mere motor ka engine
main teri bagiyaa ka phool
arre aaj to ghabra ke keh do
kar liya mujhko qabool
na chhedo
na chhedo
na chhedo mujhe
ho o o

Chalti hain mast hawaayen
kuchh gaayen
lahraayen
bahlaayen mohe
ho o o


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

Blog Day : 4176 Post No. : 15350

Today’s song is from the film “Aankh ki sharm (1943). This bhajan is sung by one ‘Pande ji’. I am neither aware who this singer is, nor aware of any information on him. The Music Director of this film was Vasant Desai, who was known to be a Talent Hunter ( He had discovered MD S.Purushottam and singers Desai sisters – Pramodini and Vinodini ). May be Pande ji was also his discovery. However in later films of Vasant Desai I failed to find his name again. Possibly he was a ‘one film wonder’, like many others.

The film was made by Wadia Movietone. In 1942, the Wadia brothers – Homi and J B H Wadia separated, when the elder brother J B H Wadia proposed that the company should start making Social films, instead of only Stunt films. Homi Wadia established his own company Basant Pictures and continued making stunt films with Fearless Nadia – who sided with him, obviously, in the separation. Much later, Nadia married Homi Wadia and she thus became Nadia Wadia !

This was the second Social film ( after film Shobha-42) that Wadia Movietone made after the split. It was directed by Balwant Bhatt – elder brother of Nanabhai Bhatt who was a veteran in directing B and C grade films.

All the 11 songs of the film were written by Pt. Indra Chandra. The cast of the film was Prithwiraj Kapoor, Kaushalya, Trilok Kapoor, Nayampalli, Nalini Gupte, Moti, Gulab, Himalayawala, Agha, Dalpat, Indira etc etc. This must be one of the very few films (or was it the only movie ?) in which Prithwiraj and Trilok Kapoor were acting together in one film.

An interesting name in the cast was that of NALINI Gupte. I said interesting, because, in Hindi films, as many as 12 NALINIs acted/ sang in films at slightly different times. Add to this list the name of a Male actor ‘ Nalini Ranjan Roy ‘, who, thankfully, acceded to the suggestion to change his name to ‘Kanu’ Roy. ( It is another matter that even this name clashed with another Kanu Roy, who was MD, in the same period…causing serious ” Same Name Confusion”. ) The different NALINIs were…

Nalini Tarkhud…..many films

Nalini Jayawant…many films

Baby Nalini…Mera ladka-43

Nalini Nagpurkar…Krishnarjun yuddha-34, Chacha Chaudhari-53

Nalini Chonkar… many films

Nalini Borkar…singer

Nalini Dhere… Nagad Narayan-43

Nalini Gupte…Ankh ki sharm-43

Nalini Mulgaonkar…Didi-48, nakli Baap-49

Nalini Rao…Talash-43

Nalini Saraf (later Seema Deo)… Anand-70

Nalini korgaonkar… singer

Additionally, there were actresses called SuNALINI and MriNALINI too.

These Nalinis did not cause any Same name Confusion, because, being Marathi artistes, they wrote their names with Surnames, so their names remained different always. Easily, this name is the most ‘appeared’ name in the Hindi Film History !

Another interesting name ‘ Nayampalli’ always reminded me of the ” Nampalli” Railway station… which is another name for Hyderabad Railway station. This actor Nayampalli was leading a silent life of a middle class gentleman, doing a 10 to 5 job and raising a family, when he was invited to the glamorous world of Films.

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

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

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

As sound films came in, silent actors were being discarded in favor of those with stage backgrounds, so Nayampalli joined the Grant Anderson Theatrical Company which specialized in Shakespearean plays. After gaining some experience he tried to rejoin films, but without much luck. His previous roles had been leads, so he decided if he wanted to work regularly, maybe he should take a different approach and he offered himself up for character parts.

His break came in the role of a hunchback in love with the heroine in Ezra Mir’s Zarina which starred Jal Merchant and Zubeida. The dentures he wore for the role were created specially by a dentist named Jimmy Gheista who had trained abroad with the dentist who had made similar dentures for Lon Chaney.

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

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

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

He died on 7-5-1994, in Mumbai.

In the cast, there is another name which, apart from being very unusual, belongs to an actor, who earned considerably infamy in his private life. He is Himalayawala. His name was Mohd Afzaluddin. He was born in March 1916, at Dehradun. After school education he joined his brother, Mohd Misaluddin’s firm – The Himalaya Drug Company, a leading Pharma company of repute (even today). He worked there for 10 years and after a dispute with his brother, left the company. He came to Bombay to join films.

First he had thought of starting a company, but looking at the situation, he decided to do acting only. His first film was ‘Kiski Biwi’ (1942), directed by MA Mirza. His name was changed from Afzal to A Himalaywala (since he came from the Himalayan town of Dehradun, like Kashmiri from Kashmir), by Shaukat Hussain, husband of Noorjehan. However in many films he was credited as Afzal only. He worked in few films like, ‘Vishwaas’ (1943), ‘Ankh Ki Sharm’ (1943), ‘Dost’ (1944), ‘Kismatwaala’ (1944), ‘Zeenat’ (1945), ‘Humayun’ (1945), ‘Nal Damayanti’ (1945), ‘Jagbeeti’ (1946), ‘Samrat Ashok’ (1947) and ‘Elaan’ (1947).

He was an outspoken and straightforward person, fond of hunting, football and travelling by car. He toured all of India twice in his car. In 1943, he married actress singer Amirbai Karnataki. After marriage he banned her from acting in films. Within 2-3 years, on this and other issues, they could not get along. He used to hit her and take all her money. At last, it was rumoured that he gave her talaaq after taking 2 lakh rupees and her car. Even after this he was stalking her. She stayed with her elder sister Ahilya Bai. Then one day, she was kidnapped by Himalaywala, from the recording room. She was kept locked in a room and beaten daily. She somehow managed to inform this to her sister.

Ahilyabai then got in touch with her acquaintance Mr Rasiklal Vyas and his brother Chhailabhai Vyas – one of the best criminal lawyers of Bombay. With their political and social connections, they forced the police to register an FIR, which was refused due to Himalaywala’s bribe. Meanwhile Himalaywala was alerted by his cronies. Within few hours Amirbai was escorted back to her sister’s place, by Himalaywala. All this episode is described in full details in the book ‘Aap Ki Parchhaiyaan’, by Rajnikumar Pandya ji. Amirbai later married Gujarati Journalist Badri Kaanchwala.

After partition, Himalaywala migrated to Pakistan. There the lady luck smiled on him and he did very well. Urdu film Shahida (1949) was his first film in Pakistan, which celebrated silver jubilees in Delhi and Lucknow.

Hamaliawala was in leading role in Pakistan’s first silver jubilee Urdu film Do Aansoo in 1950. He was main villain actor in the most of 1950s movies. He played the Akbar The Great role in musical film Anar Kali in 1958. His other famous moves were Kundan (1950) Chan Way(1951), Ghulam (1953), Gumnam, Ruhi (1954), Shoni(1955),Qatil (1955), Sarfarosh (1956), Saat Lakh (1957), Gumrah, Naghma-e-Dil (1959), Farishta (1961), Watan(1960) and Azra (1962).

He was seen in 33 movies, only two of them were in Punjabi language. His last film was Yahudi Ki Larki in 1963.

Mohd Afzuluddin Himalaywala married Begum Perveen, in Pakistan. He died on 1st January 1984 in Lahore. (Thanks to Film directory-46, http://www.pak.mag.com, Shishir krishna Sharma ji, book Aap ki parchhaiyan by Rajnikumar Pandya ji and my notes, for information used herein.)

Now let us see the video of today’s song. The singer on screen is probably Pande ji himself. This is my guess. I find this song scene funny. Prithwiraj is seen, obviously in sick condition. The singer is singing before him and telling him that ” tu do din ka mehmaan” ! What must be the sick man’s condition, hearing this ! But, after all, there must be some background also for this situation in the film, I am sure. With this song, Pande ji makes his Debut on this Blog, as a singer.


Song- Bhai bhaj le shri Bhagwan (Aankh Ki Sharm)(1943) Singer- Vasant Desai, Lyricist- Pt. Indra, MD- Vasant Desai

Lyrics

Bhai bhaj le shri Bhagwan
Bhai bhaj le shri Bhagwan
tu do din ka mehmaan
tu do din ka mehmaan
Bhai bhaj le shri Bhagwan
Bhai bhaj le shri Bhagwan
kal aayaa thha
kal jaayegaa
kal aayaa thha
kal jaayegaa
aaj ko soch vichaar
aaj ko soch vichaar
chhod ke bande
tu tu main main
chhod ke bande
tu tu main main
apna kaaj sudhaar
dhar murlidhar ka dhyaan
Bhai bhaj le shri Bhagwan

kya lena hai
kya dena hai
kya lena hai
kya dena hai
kyon jhoothha janjaal
kyon jhoothha janjaal
bair birodh bisaar ke bande
bair birodh bisaar ke bande
bhaj Giridhar Gopal
bhaj Giridhar Gopal
bhaj Giridhar Gopal
nar kar jag ka kalyaan
Bhai bhaj le shri Bhagwan
Bhai bhaj le shri Bhagwan


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

Blog Day :

4164 Post No. : 15336 Movie Count :

4226

Today’s song is from a film called Chiragh-43. This Social film was made by Murli Movietone and was directed by Ram Daryani. MD was Khemchand Prakash. Songs were written by D N Madhok, Wali Saheb and Pt.Indra. 8 singers were used for 11 songs. The cast of the film was Ishwarlal,Kaushalya, Veena Kumari, Gope, Majeed, Gulab and others.

Today, we will discuss a fresh case of ” Same Name Confusion “. In my first book, released last year, I had clarified about 56 artistes coming under the SNC category. In the last one and half year I have discussed 14 such new artistes and including today’s case, it will be 16 artistes. The total comes to 72 and surprisingly there are 36 Males and 36 female artistes in this group, so far. However, I feel, as the time passes by, there are still few more cases yet to come to light and that, finally in this, the females will outnumber the males in numbers.

One of the reasons for this could be that in the early era, actresses came from Muslim Tawayef families or even poor families. In such families, the girls’ names were pretty common – like Nurjahan, Zubeida, Khurshid, Naseem or Shameem etc. Those who came first in films kept their original names, others had to change their names. But even then, the limited stock of names created problems. For example, Khursheed Akhtar changed her name to Shyama, but there were already 2 Shyamas working in films. One more example was today’s case. Originally Nurjahan, changed name to Veena Kumari, but there was another Veena working in films.

The trouble with same names is when you want to write about them, their Filmography is mixed up. Secondly, most sites, blogs and Fb pages invariably mix up even their Bio data, in addition to Filmography. My B.P. goes up when I see this . Whenever possible, I try and give explanation to make corrections, but every time it is not possible. Further they quote from sites like Wiki and IMDB, who are the major culprits in creating, sustaining and nurturing the same name confusions.

Anyway, let us now see who this Veena Kumari was. Her original name was Nurjahan. Her father was a landlord in Lucknow. She was born in 1916. As per customs of those times, she never went to school, but being well to do, got private tutors and she learnt Urdu and English sufficiently to read and speak. She was a typical good looking girl. She was very fond of seeing silent films, with her father. When the Talkie films started, her interest grew much more and she decided to join films. She was a natural good singer too and this helped her getting into films.

Her first film was Inteqam-33, where she worked without any fees. Here she was credited with her real name Nurjahan. In the 1939 film Swastik, made by Mohan Pictures, she became Veena kumari-heroine of Jeevan. She continued working in films like Radhika,Asra and Kasauti- all 1941, Gharib and Zevar in 42, pratigya, masterjee and Chiragh in 43, Mujrim-44, Gunjan and Shauhar in 48. Shauhar was made by her own banner-Dil-Sitan arts. The film was directed by her. Her last film was Basera-50. She sang 22 songs in 7 films. She was quite good in singing. When you will hear her today’s song, you will agree with me.

Now let us see what proves they were 2 different persons. Firstly, Veena Kumari started her career much earlier than Veena. Secondly, Veena started acting in Punjabi films in 1941 only and then came to Bombay for film Yaad-42, Najma-43,Rajputani-44, Humayun-45 etc. Thirdly, Veena kumari was a B grade actress and her films were made by smaller banners, whereas, from the beginning, Veena was in Big league of Mazhar khan, Ranjit, Mehboob, Kardar, K.Asif, Minerva etc. Fourthly, Veena kumari stopped working in 1950, while Veena continued till 1983. The most important point was, Veena could not sing, whereas Veena kumari sang 22 songs in 7 films. All this clearly separates them as different actresses.

Veena acted in about 100 films in her 40 years’ career. Her Biodata is available freely on Internet as well as on this Blog. So much for the Same Name Confusion in this case.

Film Chiraagh was directed by Ram Daryani. His life story is very interesting. Ram Daryani was born on 6-12-1915, at Hyderabad, Sindh Province (now in Pakistan). His early education was done in Sindh and for college education he came to Karachi. Due to intense desire of being in film world, he left studies and joined Eastern Art Production and assisted Moti Gidwani in direction of film Insan ya Shaitan-33. But due to family pressure he had to rejoin college. After some time he again left college for good and started working as assistant director for films Prem Pariksha-34 with G R Sethi, Bharat ki Beti-35 with Premankur Attorthy and Yasmin-35 with H K Shivdasani.

He got his first chance to independently direct the film Baal Hatya aka Khoon E Nahak-35. In the year 1936, he floated his own company Daryani productions and directed films like Sangdil Samaj-36, Prem Murty-36 and Gentleman Daaku-37, for which his brother K S Daryani wrote the stories. In 1938, brother K S Daryani started Krishna Movietone. Ram Daryani closed his company Daryani productions and directed film Zamana-38 for krishna Movietone. The film became a Hit and his name became famous.

He worked for Murli Movietone to direct films like Pyas-41, which celebrated Silver jubilee. His other films were Qurbani-43, Preet-45, Panna Dai-45 and Shravan kumar-46. In all, Ram Daryani directed 23 films. His last film was Chand mere aaja-60. After this he entered Film Distribution business. Ram Daryani died on 7-9-1993.

The Heroine of this film was Kaushalya. She was born at Lucknow in 1929. She was the daughter of the famous dancer Lachhoo Maharaj and actress Daya Devi. Being brought up in the house of dancer and actor, Kaushalya picked up Dance, Music and acting very early. She appeared as a child artiste in films from 1936, when she was just 7 year old. She worked in 11 films as a child artiste. After film Devbala-38, she did roles in Bhole bhale and Uski Tamanna-both in 1939, made by Sagar Movietone. She even sang in both films.

Then came films like Darshan and Ghar ki laaj, both 1941, and Baraat, Bharat milap, Station master and Swapna, all 42. The work poured on her till 1946, when she got married to a boy from Calcutta, when she had gone there for doing films. After marriage she found it difficult to work in films, but continued for some more films, till her last film Ek Do Teen-1953.

In all Kaushalya acted in 27 films and sang more than 100 songs in about 35 films, in her short career time. As a Heroine she had worked with Prithviraj Kapoor, Ulhas, Kumar, Ishwarlal etc.

Today’s song is a duet of Veena kumari and Ishwarlal. I feel she beats Ishwarlal in singing. Her voice is full of youthfulness and quite professional, as compared to Ishwarlal. With this song, film Chiraagh-43 makes its Debut on the Blog.

( For the information used herein, thanks to Filmdom-46, Hindi film songs by Prof. Yadav, Swaron ki yatra by Anil Bhargav and my notes )


Song- Aao phir se yaad karen (Chiraag)(1943) Singers- Veena Kumari, Ishwarlal, Lyricist- Wali saheb, MD- Khemchand Prakash
Both

Lyrics

Aao phir se yaad karen
Aao phir se yaad karen
bhoole huye afsanon ko
bhoole huye afsanon ko
Aao phir se yaad karen

aao ?? pe jhoola daalen
aao ?? pe jhoola daalen
dil ke sab armaan nikaalen
dil ke sab armaan nikaalen

itni oonchi paing badhaayen en en
itni oonchi paing badhaayen en
jag ki nazron se kho jaayen
jag ki nazron se kho jaayen

ek jagah bithhlaa de baalam
ek jagah bithhlaa de baalam
dil ke do mehmaanon ko
dil ke do mehmaanon ko

aao phir se yaad karen

prem dor so ae
baandhoon tumko o o
prem dor so ae
baandhoon tumko o
bin baandhhe bandhh jaaooon main
bin baandhhe bandhh jaaooon
bin baandhhe bandhh jaaooon main
bin baandhhe bandhh jaaooon

main man ki
aasha ki chhedoon(?)
main man ki
aasha ki chhedoon(?)
haule haule gaaoon main
haule haule gaaoon main

deepak raag suna kar donon
deepak raag suna kar donon
tadpa den parwaanon ko
tadpa den parwaanon ko

aao phir se yaad karen
aao phir se yaad karen


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.

This article is his 800th article in the blog.

Blog Day :

4087 Post No. : 15227 Movie Count :

4184

This is my 800th post on this Blog ! Simply unbelievable !! Seems like, I had just started writing about old films yesterday only !!!

When I look back on my journey of last few years, I see me, learning operating computers at the age of 71 years and then start writing posts from the 72nd year. In last 7 years, almost precisely, I wrote more than 800 articles on various Blogs and sites and even published one book ! Can all this be true ? God has been very kind to me, I would say.

The credit for my 800 posts here, goes to Atul ji, who was the one who motivated me to start writing. He is not very expressive in these matters, but his constant encouragement, help and facilitation in various ways, kept up my enthusiasm in writing. Our own Sudhir ji has also been very helpful consistently. Initially, my speed of posting articles was very noteworthy. Later on it slowed down. The reasons were many.

One reason was, as the time went by, besides increase in the contributors, many available songs were getting posted and so to get a song of choice for writing was becoming difficult. Initially the field was open, but as the songs’ availability decreased, the speed of posting also slowed down. It is certainly not because the ‘ contents have dried up ‘ . There is still so much to write about and the scope is still very wide enough to last for a long time.

Here are the details of my centuries:

Here are the details of my centuries:

article Number Song Blog post number Date (blog day) Period taken
First article Surya wahi chandra wahi (Saavitri)(1937) 6760 1-10-2012 (1536)
100th article Aa ri sakhi main tohe preet sikha doon (Mahageet)(1937) 7870 11-4-2013 (1728 ) 192 days
200th article Jaago hey jaago jaago hey mahaakaal (Jagadguru Shankaracharya)(1955) 9003 14-11-2013 (1945) 217 days
300th article Hey Satyanaraya swaami (Maha Pooja)(1954) 9895 10-6-2014 (2153) 208 days
400th article Tu mi piaci caara(Bewaqoof)(1960) 11082 21-4-2015 (2468) 315 days
500th article Bedard tujhko pyaar kiya (Tajmahal)(1941) 11976 6-4-2016 (2819) 351 days
600th article Main patton mein chhupi kali hoon (Aandhi)(1940) 13564 4-9-2017 (3335) 516 days
700th article Shehron mein se sheher suna thha(Heer Ranjha)(1948) 14773 2-12-2018 (3789) 454 days
800th article Pooranmaasi aayi hansaati (Paraaya Dhan)(1943) 15227 26-09-2019 (4087) 298 days

I thank all my well wishers and those who commented on the posts to convey their appreciations. That actually motivated me further to continue writing.

Today’s song is from film Paraya Dhan-43. this was a bilingual film in Hindi and Bangla (Bichar-43), directed by Nitin Bose.

After a spat with B N Sircar, Nitin Bose came to Bombay with his group of artistes. He had a contract with Chunnibhai Desai’s ” Shree Films” for 3 films. This Chunnibhai was the elder brother of Chimanlal Desai of Sagar Movietone (later of National studios and then Amar Pictures). His first film was a Bilingual in Bangle/Hindi- Paraya Dhan-1943. This was a flop. Then came ‘Mujrim’-44. This too was a flop. the third film was ‘Mazdoor’-45. For this film, Nitin Bose had advertised for a Hero. One day, 4 candidates were interviewed. First was Dev Anand, second was Rehman, third was Chetan Anand and the fourth was Nasir Khan. Nitin Bose rejected the first 3 and selected Dilip kumar’s brother Nasir Khan. Most unfortunately,this film also became a flop. Luckily,he was invited by Bombay Talkies to make a film in Bangla/Hindi,based on Tagore’s story ‘Nauka Doobi’. Hindi version was ‘Milan’,with Dilip Kumar and Meera Mishra and Ranjana etc. This film was a Hit and Nitin Bose firmed up his position in Bombay.

Film Paraya Dhan had music by Pt. Gyan Prakash Ghosh. While shifting from Calcutta to Bombay, Nitin Bose had brought few people with him. Pt. Ghosh was also one of them. He was a very big and highly respected name in Bengal. While in Bombay he gave music to 2 Hindi films, namely Paraya Dhan-43 and Mujrim-44, both directed by Nitin Bose. Unfortunately, both the films proved flops and Gyan Prakash Ghosh returned to Calcutta. He had done a small role in film Mujrim-44 also. Not much is known about Pt. Ghosh, outside of Bengal, so here is some information about him.

Jnan Prakash Ghosh (8 May 1909 – 18 February 1997) often known as ‘Guru’ Jnan Prakash Ghosh was an Indian harmonium and tabla player from Farukhabad gharana of Hindustani classical music and musicologist.

Born in a Hindu family with musical background in Kolkata. He was the grandson of Dwarkanath Ghosh (1847–1928), who founded Dwarkin in 1875 and invented the “Dwarkin harmonium”, popular in West Bengal, India. He graduated from the Scottish Church College of the University of Calcutta. He was keen in sports (he played soccer, hockey, polo and billiards). He also practised painting, but had to discontinue these due to an eye injury in a soccer match.
Then he turned to music. He was trained in vocals by Girija Shankar, Mohammed Sagir Khan and Mohammed Dabir Khan. He took tabla lessons from Ustad Masit Khan of the Farukhabad gharana and became his senior disciple and later from Ustad Feroze Khan of the Punjab gharana.

He worked for 15 years in All India Radio as a producer of music. He wrote pieces in classical music, light music, modern, orchestral, choral, and percussion styles.

He was the founder of Sourav Academy of Music and closely associated with the ‘Sangeet Research Academy’. He scored music for many Bengali films, Jadubhatta, Andhare Alo and Rajlakshmi o Srikanta (1958) are worth mentioning. One of his compositions was called Chaturang – involving tabla, pakhawaj, kathak and tarana. He would instruct disciples staying with him to practice late into the evenings and it is said that he would correct any errors that reached his ears.

He also gave music to 2 Hindi films,namely Paraya Dhan-43 and Mujrim-44. Both were directed by Nitin Bose, who had shifted to Bombay after his spat with New Theatres.

Amongst his notable students are tabla players Kanai Dutta, Shyamal Bose, Shankar Ghosh, Abhijit Banerjee, Anindo Chatterjee, and Nikhil Ghosh, Rajkumar Misra, singers Prasun Banerjee, Ajoy Chakrabarty, Suman Ghosh and Arun Bhaduri and instrumentalist Paul Grant. His birth centenary was celebrated on 7 May 2012, in Kolkata, with screening of documentary of him and performances by noted singers.

In 1974, he was awarded the Sangeet Natak Akademi Fellowship the highest honour conferred by the Sangeet Natak Akademi, India’s National Academy of Music, Dance & Drama. This was followed by the Padma Bhushan in 1984, given by the Government of India.(adapted from wiki, with thanks.)

The cast of the film was Leela Desai, Balwant Singh, Radha Rani, Maya Banerji, Sunalini Devi, Jagdish Sethi, Rajkumari Shukla, Baby Madhuri (Madhubala), Krishnakant – for whom this was his Debut film, and many others.

Today’s song is rather unique, in the sense that the singer is the most unexpected – Deena Sanghvi….she is none other than the famous and popular character artiste of Hindi films, Deena Pathak. Deena did not act in this film, but sang 1 solo and 1 duet. This is the only time she ever sang in Hindi films. That way, this is a rare song. Harish Raghuwanshi ji has confirmed that Deena Sanghvi and Deena Pathak are same. Before marriage she was Deena Gandhi. Her 2 sisters are Shanta Gandhi and Tarla Mehta. Deena’s first husband was Ramesh Sanghvi, but they separated soon. Later she married Baldev Pathak. They have 2 daughters.

Dina Pathak (née Gandhi; 4 March 1922 – 11 October 2002) was an Indian actor and director of Gujarati theatre and also a film actor. She also was an activist and remained the President of the “National Federation of Indian Women” (NIFW).

A doyenne of Hindi and Gujarati films as well as theatre, Dina Pathak acted in over 120 films in a career spanning over six decades. Her production Mena Gurjari in Bhavai folk theatre style, ran successfully for many years, and is now a part of its repertoire.

She is best known for her memorable roles in the Hindi films Gol Maal and Khubsoorat. She was a favourite of the Art Cinema in India where she played powerful roles in films like Koshish, Umrao Jaan, Mirch Masala and Mohan Joshi Hazir Ho!.

Her notable Gujarati films were Moti Ba, Malela Jeev and Bhavni Bhavai, while her well-known plays include Dinglegar, Doll’s House, Vijan Sheni and Girish Karnad’s Hayavadana, directed by Satyadev Dubey.

Dina Pathak was born in Amreli, Gujarat on 4 March 1922. She was enamoured of fashion and films, and while a teenager, started acting in plays and won acclaim from critics. She attended and graduated from a college affiliated to the University of Bombay (Mumbai). Rasiklal Parikh trained her in acting while Shanti Bardhan taught her dancing.

At a young age, she joined the Indian National Theatre as an actress. She became known for her student activism, where Bhavai theatre, a folk theatre form from Gujarat, was used extensively to create awareness about the British rule, in the pre-independence era; this led to her close association with Indian People’s Theatre Association (IPTA), along with her elder sister Shanta Gandhi and younger sister Tarla Mehta; while in Mumbai, she had an important hand in reviving the Gujarati theatre there, along with fellow Gujarati actors like Kailash Pandya and Damini Mehta.

At age 44, she made a comeback into films, with Basu Bhattacharya’s Uski Kahani (1966), for which she won the Bengal Journalists Association Award. She made four films in the 1960s, including Hrishikesh Mukherjee’s classic Satyakam (1969), Saat Hindustani (1969), starring Amitabh Bachchan in his debut role and the Merchant Ivory Productions, The Guru (1969). By the 1970s, she had become a favourite of art and commercial films alike, playing powerful motherly and grandmotherly roles. It was in these films that she became recognised as the Grand-Old-Mother of Hindi films.

Films that stand out in this era are Gulzar’s Mausam (1975), Kinara (1977) and Kitaab (1977), and sweet comedies like Basu Chatterjee’s Chitchor (1976), Gharaonda (1977) and also in an art cinema classic, Shyam Benegal’s Bhumika (1977), which saw her standing tall alongside another acting legend, Smita Patil, in her career’s best performance.

Just as the 1970s ended, she was seen in the comedy classic, Hrishikesh Mukherjee’s Gol Maal (1979), where she essayed the role of Kamala Shrivastava, a middle-aged woman who sportingly plays mother to Amol Palekar, who went on to direct her in his 1985 film, Ankahee. The next decade began with another career best, as a stern disciplinarian matriarch in Hrishikesh Mukherjee’s Khoobsurat in (1980), closely followed by Bhavni Bhavai (1980). In 1980, she was also awarded the Sangeet Natak Akademi Award. In all, she acted in 150 Hindi films.

Her first marriage was with Ramesh Sanghvi, but they separated soon. It was at this stage , she sang two songs in her first Hindi film Paraya Dhan-43, as Dina Sanghvi. Later she married Baldev Pathak and had two daughters, actresses Supriya Pathak (b. 1961) and Ratna Pathak (b. 1957 ). She completed her last film, Pinjar (2003), but died before its release, of heart attack, following a prolonged illness, on 11 October 2002 in Bandra, Bombay. (adapted from wiki, with thanks.)

Today’s song is very melodious. It is less than 3 minutes long. The duet is sung by Deena Sanghvi and Balwant Singh, with chorus. With this song, Music Director Gyan prakash Ghosh, singer Deena Sanghvi and film Paraya Dhan-43 make their Debut on the Blog.

(I thank shri Harish Raghuwanshi ji for providing me a Gujarati article on Deena Pathak and for confirming that Deena Sanghvi and Deena Pathak are same ).


Song- Pooranmaasi aayee hansaati (Paraaya Dhan)(1943) Singer- Deena Sanghavi, Balwant Singh, Lyricist- Aarzoo Lucknowi, MD- Gyan Prakash Ghosh
chorus

Lyrics

aayi
lalalalalalala
aayi
aayi
lalala
laallala
lalaala
lalala
pooranmaasi aayi hansaati
pooranmaasi aayi hansaati
raakhi haathon haath bandhaati
raakhi haathon haath bandhaati
mel milaati
prem badhaati
mel milaati
prem badhaati
lalalalaalla
lalala
pooranmaasi aayi hansaati

?? chanchal bela
laga hua phoolon ka mela
dilon ka sauda kya albela
dilon ka sauda kya albela
lalalalalalala
pooranmaasi aayi hansaati

kho baitha man aas ki maala
gum ho jaise chaand ka haala
kho baitha man aas ki maala
baag mein to hai phool kahaan se
goonth li maala jaise chaahe
kisne mere dil ko churaaya
ab tak koi bhed na paaya
soone ban mein pyaasa hokar
phirte phirte thhak jaaoge
ek hi maala goonth ke laao
dono baand ke ek banaao
ek hi maala goonth ke laao
dono baandh ke ek banaao
?? phir donon ko lagaao
?? phir donon ko lagaao
lalaala
laalalalala
laalalalal
lalala
pooranmaasi aayi hansaati
pooranmaasi aayi
aayeee


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

Blog Day : 4044 Post No. : 15170

Today’s song is from film Shakuntala-43. This was the first film of V.Shantaram, under his own new banner- Rajkamal Kala mandir. The song is sung by film’s Heroine, Jayashree, on whom it was filmed also. The song was written by Ratan Piya ( I like this musical name, really !) and the music was by Vasant Desai.

The film was directed by Shantaram and the Cinematographer was his own brother V. Awadhoot.The cast of the film Shakuntala-43 was, Jayashree, Chandramohan, nana Palshikar, Nimbalkar, Zohra, Shantarin, Ameena, Vilas, Ratan piya etc etc.

Besides being the first film of Rajkamal, it was also first film of Vasant Desai to give music to a Shantaram film. He went on togive music to other Shantaram films like, Parbat pe apna dera-44, Dr. Kotnis ki amar kahani-46, Matwala shayar Ram Joshi-47 ( Amar Bhoopali-52 in Bangla and in 55 for Marathi version also), Dahej-52, Surang-53, Jhanak jhanak payal baje-55, do aankhen baraa haath-57 and Ladki Sahyadri ki-66.

Likewise, for Lyricist and writer Diwan Sharar ( real name Dewan Atmanand Sharar) also this was first film with Shantaram. He adapted the story from original ‘ Abhigyan Shakuntalam” in Sanskrit by mahakavi Kalidas. He wrote the story, dialogues and some lyrics too. later on he did some more Shantaram filmslike Parbat pe apna dera-44, Dr, Kotnis ki amar kahani-46, Apna Desh-49, Teen batti Chaar raasta-53 and jhanak jhanak Payal Baje-55.

So far,8 songs of this film are already discussed here and lot of information has been given in them, I too have done one post for this film. I wrote about this film being the First in 3 cases as mentioned above. This film also was the Last film in Pre-Partition era for one artiste, who was a very popular and well known Heroine, in the early era of the Hindi films. Her name is Miss Zohra Jaan aka Zohra.

In the Hindi film industry history,there have been many brother and sister pairs who worked in films. However, there were only 2 cases where 3 sisters worked in Hindi films as Heroines. The first ‘Triplet’ was Zubeida (Alam Ara fame), Sultana and Shahzadi,who all operated in the 30’s. The second ‘ Triplet ‘ was Zohra, Mushtari and Anuradha (real name Khurseed Akhtar), who worked in Hindi films from the 20s to the 40s. Mushtari died in her teens, after doing just 8 films as Heroine, and the other sisters migrated to Pakistanafter partition.

Miss Zohra Jaan or Zohra is not known to most people. She was one of the most successful heroines in the 30’s, having her first 5 films declared as Hit films, in the early era of Cinema. let us know more about her.

Zohra was born into a famous courtesan’s family of Delhi. originally from Punjab, the family had shifted to Delhi for better prospects. She was trained in Dance and Music in Lahore. They were 3 sisters-Zohra, Mushtari and Khursheed Akhtar ( screen name Anuradha). Zohra, as a young girl, was very naughty and mischievous. She had learnt Urdu, Punjabi and Pushtu languages, with excellence.

One day, while on an outing in Lahore, with father, Zohra saw a shooting on the road. This was her first encounter with a film shooting and she was terribly impressed. A.R.Kardar had started a small studio ‘ United players’ Corporation’ in Lahore and he was doing the shooting. He saw the sisters and was keen on taking them in films. Next day Kardar, along with a common friend, went to Zohra’s father and made his offer, which was out rightly refused by her father.

After few days, her father took the family to Bombay, in 1928, for some work. They hired a beautiful bungalow on Chaupati. Zohra was quite grown up now.she sang very well. She did some Mujra programmes. At the same time her Mujra and some devotional songs were recorded by The Twin Records company.

Neelam, a singer known to the family took the girls to see a film in Imperial Talkies. Ardeshir Irani, who saw them there, was impressed.Along with Neelam, he went to meet her father, next day. He offered Rs. 500 for each sister- Zohra and Mushtari- per month if they agree to working in his films.In those days, Rs. 1000 was a hugh amount and it did the trick . With father’s permission, Zohra was very happy.She did 2 silent films- Nand kumar-1929 and Radha Krishna-1930.

When the Talkie films started, she did Anang sena-31, Niti Vijay-32, Dagabaz Ashiq-32 and Bharati Mata-32 with Imperial. However, due to her command over Urdu language and good acting all these films being Hits, she started getting offers from other producers. She got an offer of Rs. 2500 and she left Imperial. Mushtari continued at imperial. ( Mushtari,who was in her teens did only 8 films. She fell ill and was removed to Lahore. However Mushtari died on 8-6-1934 at a very young age.)

Zohra became very popular and went on from 2500 to 5000 rupees per month. She was a very calculated person and saved quite a lot money. She went on doing films after films. In the beginning of her carer she had married Rafique Ghaznavi, who was making a career in films as actor,director, singer and Music Director. He had earlier married Anwari in Lahore but divorced her after a daughter was born.

In film industry, Zohra was known as ‘Marlene Dietrich’ of India. From 1931 to 1943, she did 31 films and had sung 44 songs in 15 films. Unfortunately none of her records of film songs are available,as most songs were not made commercially. Her private NF song records may be available with some Record Collectors of India or Pakistan. her last film in India was “Shakuntala”-43. She was further engaged to work in Shantaram’s next film ‘Parbat pe apna dera’-44. At that time the winds of Partition were blowing and some communal riots also took place. Zohra was scared and she left for Lahore.

Meanwhile Rafique Ghazanavi had divorced her after 15 years of married life. He married Zohra’s younger sister Anuradha. After migrating to Pakistan, he divorced her also and married someone else. Their daughter Shaheen was young now and ready for entering films. Zohra married director A.M.Mirza.

Sohrab Modi and Kardar urged her to come back for their films,but she was reluctant to come here due to fear. In Lahore,her daughter started getting film roles.In 1948, Filmistan invited her to act in their proposed film “Heer Ranjha”. So, Zohra came on 3 month’s visa. She immediately worked in a quicky stunt film “Aaj ka Farhad”-48. The news of her coming to Bombay spread and she was flooded with offers. In just 15 days, she made 10 contracts. Prithviraj Kapoor got her 1 year visa, with Morar ji Desai’s help.

During this period some artistes in Pakistan felt that because of Indian films,film industry in Pakistan was not developing and hence there was an agitation not to take any Indian films for exhibition and distribution. As a reply, India also declared not to take any Pakistani artiste in Indian films. Producers like Jagdish Sethi and P N Aurora hesitated to proceed with their films with Zohra. So once again Zohra went back to Pakistan.

Her daughter Shaheen’s career took off. Several offers came to Zohra also,but she did not want to work with new people. Consequently,offers stopped coming. It was rumoured that Zohra was curt, egoistic and very quick tempered, which was actually true. in reality Zohra could never forget the free atmosphere at India and the work of professionals here. That was also the cause of her career’s ending Pakistan. There is no information about her after that. In India, Zohara worked with the Best actors, best Directors and Best banners, at Bombay, Lahore and Calcutta.

Hindi film industry is full of unbelievable stories and anecdotes about producers, Directors, Actors, Singers and music Directors. Among actresses,the story of actress Shanta Apte is very famous how she taught a lesson to Baburao Patel, by beating him with a whip, in his office, for writing objectionable and insulting about her in magazine Film India. her name is quotes as an example of Woman-Power, courage and as an act of protecting self respect.

It is unfortunate that an act of similar nature, performed by Zohra in 1934 ( much earlier to Shanta Apte’s act) has remained unknown. She did something to protect her self respect and to teach a lesson for insulting her.Let us know how it happened.

Zohra was shooting for film ‘Jawani Diwani’-34 in Jayant studio of Jayant Desai. She had sent her driver for bringing lunch, but he was delayed. The shooting was going on even after the Lunch period of 1.30 to 2.30. She became very uneasy. Unmindful of the delay, the director arranged foranother shot. Zohra told him,” Lunch hour is already over and it is past 2.30.I am going.”

The director said ” you cant go without doing this shot.”

Zohra was angry and said- “you are arranging for this shot since last one hour. I can not wait anymore.”

Director said sarcastically, ” O Bai ji, this is your job, not a joke.”

His calling her “Bai ji” was very insulting for Zohra. She removed her chappals and gave a solid beating to the director. He started begging pardon. This matter went to the owners and the director was removed instantly. You must be wondering how the word ‘ Bai ji’ annoyed Zohra. To understand this, we have to know something.

To understand this word,we have to go back in History. There were 565 Princely states in India before Partition. Due to patronising of fine arts like music and dance by these Princes, a new class of Nautch Girls emerged in the 19th century. All Nautch Girls were not the same. Author Michael Kinnear, in his book “The Gramophone company’s first Indian Recordings 1899-1908 “, has explained the classification and Nomenclatures of these Nautch Girls. As per that, there were 4 types…

Lowest Class…..IV Name – Khanki Prostitutes/Sex workers
Class III Name – Kaneez Daasi or servant
Class II Name – Bai ji Singing/Dancing
Class I Name – Jaan Top class singers

They all were called collectively as Tawayafs. The readers will now understand the difference between Amirbai,Waheedanbai,Jaddanbai and Tamancha Jaan, Gauhar Jaan, Malika Jaan, Zohra Jaan etc etc.

There were quite a few such stars in the annals of early cinema world. Hopefully,more artistes will be dug out with their history.

Today’s song is sung by Jaishree. The video shows how happy Shakuntala is, about her father agreeing to send her to Dushant.

( This article is based on information from various sources, like Zohra’s interview in Madhuri magazine of 18-12-1981, book ” The lost treasure” by Kamlakar Pasupuleti and Surjit Singh ji, Screenplay by Isak Mujawar, MuVyz, HFGK, CITWF, shri Harish Raghuwanshi ji and my notes.)


Song- Mere baba ne baat meri maan li (Shakuntala)(1943) Singer-Jayshree, Lyricist- Ratan Piya, MD- Vasant Desai

Lyrics

Mere baba ne baat meri maan li
Mere baba ne baat meri maan li
?? baba ne
?? baba ne
achche baba ne baat meri maan li
achche baba ne baat meri maan li
Mere baba ne baat meri maan li
Mere baba ne baat meri maan li

?? sandes
apne preetam ke des
?? sandes
apne preetam ke des
haay ??
kaun jaaye arri
le ke paati meri
kaun jaaye arri
le ke paati meri
Mere baba ne baat meri maan li
Mere baba ne baat meri maan li

bhanwre bhejoon tujhe
par hai ye darr mujhe
wo bhi kaliyon ka ras pee ke phool jaayega
wo bhi kaliyon ka ras pee ke phool jaayega
aur mera sandesa bhi bhool jaayega
aur mera sandesa bhi bhool jaayega

meri nanhi kudi(??)
aaj kar lo deri
meri nanhi kudi(??)
aaj kar lo deri

arre pyaari gayi maari
kya jaayegi
arre pyaari gayi maari
kya jaayegi
raah aadhi na pahunchegi
laut aayegi
raah aadhi na pahunchegi
laut aayegi
Mere baba ne baat meri maan li
Mere baba ne baat meri maan li

maina

kaho mitthhu ye maina tumhaari
saari baaten kahegi hamaari
nahin bhoolegi na
na na na na na
?? kah degi na
haan haan haan haan haan
mere pyaare pyaare maina
mere achche achche maina
mere pyaare pyaare maina
mere achche achche maina
leja meri khabar
mere saajan ke ghar
leja meri khabar
mere saajan ke ghar
Mere baba ne baat meri maan li
Mere baba ne baat meri maan li

kahna ab to bula lo mujhe
apne paas
kahna ab to bula lo mujhe
apne paas
pyaasi dasshan ki main
swaami teri udaas
pyaasi dasshan ki main
swaami teri udaas
dekh lena badha
unki jaldi se ??
jajaaldi jaldi se
meri pyaari pyaari maina
meri achchi ahchi maina
meri pyaari pyaari maina
meri achchi ahchi maina
leja meri khabar
mere saajan ke ghar
leja meri khabar
mere saajan ke ghar
Mere baba ne baat meri maan li
Mere baba ne baat meri maan li

aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa


This article is written jointly by Atul and Sudhir. 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.

This is the 15000th song post in the blog.

Blog Day :

3929 Post No. : 15000

= = = = = = = = = = = = = = = = = = = = = = = =
Atul Song-A-Day 15K Song Milestone Celebrations – 10
– – – – – – – – – – – – – – – – – – – – – – – – – – – – –

Writeup by Atul
————————–

This writeup marks a very special occasion for the blog. It is the 15000th writeup for the blog !

5000th and 10000th posts in the blog were major landmarks for us. The preparations, celebrations and enthusiasm for those posts were quite grand and memorable.

For instance, preparation for the 5000th post had begun in right earnest some more than 150 posts prior to the big event. The song was identified well in advance. That was a legendary song, created by rather unknown artists. So that post was meant to honour lesser known HFM artists.

When the song was identified, I thought that the lesser known music director of the song should also get appreciation. So it was planned to make this 5000th post of the blog to coincide with 100th post of the music director. That was not easy because the music director only had 20 odd of his songs in the blog at that time. So lots and lots of his compositions were covered in the blog during the run up to the 5000th post in the blog.

And that 5000th writeup was a joint collaboration of three of us viz. Raja, followed by me and then Sudhir ji. It was such a long article that a few of our regulars gave up reading the article midway. 🙂 It was over 8000 words long article (including lyrics) !

The date was 13 november 2011. It was a sunday and the post was published at 12:29 PM. It was the sixth and final song posted on that day in the blog.

I was based at Nagpur, Maharashtra, at that time. Amazingly, the journey from post number 4001 to post number 5000 took only five months and one day (153 days) at a strike rate of 6.5 songs every day !

The 10000th post in the blog should have appeared earlier that it finally did. Going by the then strike rate of one century every 16 days (give or take a few days), the 10000th post should have come up by April or may 2014. But I found myself getting busy in other matters. My guess is that my family (wife , daughter, three pets) had joined me- (I was at Bilaspur then), and so I was finding it difficult to post at the usual rate. There were several dot days after post number 9990. There were as many as six dot days. Even on the days when I posted articles, I only managed to post one or two articles in a day. So finally, I decided (and some other regulars also arrived at the same view), that the 10000th post needed to be coincided by the blog birthday which fell on 19 july 2014 .

The idea of how to celebrate the event was thought about when I and Sudhir Ji had visited AK ji (of songsofyore)in his office in Delhi. While discussing lots and lots of HFM related matters, we discussed the forthcoming 10000th post in the blog. AK ji suggested that every regular needed to write an article and a brief introduction of that regular needed to be given. We expanded the idea and decided that the introduction of the regular would be a full fledged and separate article and would precede the guest article.

The run up to the big event began on 7 july 2014. It was planned that all regular contributors would be introduced by another regular familiar with the person being introduced. That article would be followed by an article penned by the person who was introduced in the earlier article. So, we had nearly 30 regulars “formally” introduced by other regulars.

The idea was a great hit and it was well received and appreciated. Regulars introducing other regulars- it was made possible because many of us had already forged friendships with each other not only through online interactions but also through personal visits. We all got to know lots and lots of interesting details about the regulars of the blog. For instance, we came to know that our seniormost (in age) contributor was 80 plus, whereas the youngest contributor (regarded as an expert in vintage songs of 1930s and 1940s) was only 15 at the time when he first contributed his articles in the blog !

Some very interesting details were revealed about our regulars. For instance, we had someone who used to write a columm in a local newspaper when he was a school kid ! That the ladies among the regulars were all amazingly versatile. One was “thhodi padhi likhi” (means she was BSc in maths), while another had a “cosmopolically interesting” background, another with an accidental filmy parentage was a voracious reader of books, among several passions. We had someone who aspired to be a lyricist in Film industry, but finally realised that studying well and doing his own business was a better idea. 🙂 I found that the world was a small place. AKji turned out to be my senior from the same alma mater !

It also turned out that we had struck friendships with some HFM related individuals as well- for instance Ms Manju Das, Daughter of K Amarnath.

The 10000th song finally got posted one day late than was planned. It was posted on 20 july 2014 in the evening. It was a sunday. It was the eighth post of the day. Every time a post would appear, eager regulars would comment something like- “post number 9995th done, five more to go”. During those pre whatsapp days, lots of e mail messages were doing the rounds among regulars wondering when the 10000th post would appear and what song would be discussed as the 10000th song. THat song of course rewrote history. It was believed till then that the oldest HF song was from 1932. The 10000th song that was covered in the blog was a song of 1931, the very first year for Hindi movies.

The first 5000 songs in the blog took 1213 days viz three years and four months at a rate of 4.4 songs per day. Next 5000 songs took only 980 days viz two years and eight months at a rate of 5.1 songs per day. This third set of 5000 songs has taken 1735 day , about four years and nine months! A rather sedate rate of 2.9 songs per day !

Lots of things have changed between 2014 and 2019. Whatsapp was a new concept at that time and only very few savvy ones among us knew what it was. Now even the less mobile savvy among us too have smart phones and now we have a whatsapp group. People who were clueless about smartphones in 2014 are now the most active participants.

Five years have passed. One of the youngest regulars has since acquired a job as well as a spouse. Son of another regular, had once hijacked his mother’s computer when she was not looking and posted comments like-this song is not good, it is boring. 🙂 . Imagine the kid making such comments about a Rafi song, when his mom is a diehard Rafi fan. 🙂 He has grown up and he is now a medical college student.

Today, I am based in another -Pur. This post appears while I am based at Gorakhpur, UP. Like the 5000th post and 10000th post, this 15000th post too is being posted on a sunday !

There are other similarities (or near similarities) as well. When I had gone to Delhi and met Sudhir Ji and AK ji there in may 2014 and discussed plans of 10000sup celebrations, Indian Parliamentary elections were going on. Five years later, we are in the midst of Parliament elections once again.:)

There are differences as well. Six songs were covered in a day while discussing 5000th song. Eight songs were covered in a day while covering 10000th song. Today, when 15000th song is being covered, it is the only the second song of the day. So the blog is living upto its name- song a day, while earlier it used to be songs a day. 🙂

Some times, I am asked about statistics related to the blog. For instance, Sudhir Ji, while preparing a “blog ten year challenge” post noticed that as many as 12 songs were covered in one day viz. on 10 march 2009. Sudhir Ji asked me whether it was the record for the highest number of songs in a day. I did not have a readymade reply to that. Today I have. I can put it on record that the record for the blog is 13 songs in a day. This feat was achieved twice- on 25 october 2011 and on 6 september 2012. Today, when we struggle to post one or two songs in a day, I wonder how I was able to achieve such a feat ! It is not that those two days were isolated cases. Posting big number of songs in a day used to be fairly common those days. For instance, the blog had seen 12 songs in a day on six occasions, once in 2009 and 2012, and four times in 2011. Eleven posts in one day was achieved once (16 august 2012) whereas there have been 18 occasions when ten songs were posted in one day. Nine songs in a day were acjieved on 42 occasions. Eight songs in a day were covered on 133 occasions, the last such occasions being in 2016.

Now a days, we are going at such slow pace that even six songs a day, which was a routine affair in the past has become uncommon. In the year 2019, there has been only one day when six songs were covered. In contrast 2009 saw as many as 166 days when 6 songs were covered in one day.

Another statistics that I was asked recently was regarding the number of visitors in a day. It has been mentioned in an earlier article that the blog clocked 1000 plus visitors in a day for the first time on 23 january 2009. Here are these first time details

Number of visitors per day First time date in the blog (visitors that day)
1000 23 january 2009 (1145)
2000 29 august 2009 (2071)
3000 15 july 2011 (3060)
4000 15 august 2011 (4184)
5000 7 october 2011 (5379)
6000 9 october 2011 (6082)
7000 10 october 2011 (7561)
9000 12 october 2011 (9824)
10000 19 october 2011 (10630)

As one can see from above, october 2011 was a breakthrough month for the blog. From an average visit of 3000 plus visitors till then, we suddenly found the average shooting up to stratosphere. One can notice that after 7000 plus visits, we directly jumped to 9000 plus visits in a day, bypassing 8000 plus visits mark. ! As many as 10630 visitors visited on 19 october 2011, which remains a record till this date. More than 8000 visitors per day arrived at the blog on 13 days of october 2011 !

So one can notice that the blog was at its peak, number of daily posts wise as well as number of daily visitors wise during second half of 2011, and it continued till end of 2012.

By now, we have settled back to a more relaxed 3500 visits per day routine.

Now, in 2019, I really wonder how I used to be able to post so many songs in one day. I cannot say that I had too much of time at my disposal then and that I am too busy now a days. That is hardly the case. In fact it should be the other way round. Those days, I would often find myself having to go on meetings or other official works quite frequently. I can only conclude that I was highly passionate and motivated during those days. Of course I was younger and more energetic those days. 🙂

In an earlier writeup, Mr Sadanand Kamath has arrived at the right conclusion that background work has increased a great deal, now that we have amassed such a goldmine of information about HFM. I actually find myself devoting more time in such background work than in writing articles. And these data, when properly analysed often reveal hitherto unknown and unnoticed bits of information that actually may have been missed by music lovers.

To cite an example of background work, our beloved Khyati Bhatt once analysed all movies of 1960s and their songs and prepared an excel sheet. That served as a homework for Sudhir Jee. He used this excel sheet to post songs from more than one hundred movies of 1960s that were not represented in the blog till then. Then our two senior contributors, Mr Arunkumar Deshmukh and Mr Sadanand Kamath have been doing the same for movies from 1930s and 1940s. Personally even I have introduced several movies from 1940s and 1950s into the blog.

As a result of these exercises, which need considerable research and background work, we are at a stage when over 4200 movies (4206 at last count) were represented in the blog. Less than 75 movies of 1960s and just over 100 movies of 1950s remain to be covered in the blog. Just over 200 movies of 1940s remain to be covered. Most of these remaining movies are rare movies and their songs are not easy to locate. So naturally this exercise takes considerable time and effort.

Another much cherished exercise, viz YIPPEE exercise has slowed down, but still we have managed to YIPPEE as many as 1167 movies (adding upto around 8000 songs) which is no mean feat.

Bit by bit, we are building up complete and accurate filmography of several artists. I often like to use these filmographies whenever these artists reach their important milestones (typically centuries of their songs in the blog).

It must be said that the blog has become an integral part of not only my life, but also for several regulars. We all have grown as a result. Speaking for myself, I know that I have grown and learnt a lot, not just about HFM, but about life in general. It has helped me become a more “mature” person. 🙂

The contents of some of these posts over the years gave me considerable satisfaction. Some of the articles that I am proud of deal with myriad subjects like transfers, road travel, pets, fellow human beings, economics, theory of music etc.

For instance, writing about a pet, that turned out to be a wolf, is an article that gave me great satisfaction. The comments on this article were equally heart warming and this appreciation meant a lot to me.

I have some other fields of interest that I may not have touched till now. 🙂

Unlike the songs to be posted as 5000th and 10000th song, I am in the dark about the 15000th song. 🙂 . Sudhir Jee has taken it upon himself to upload a rare (not yet available online) rare song for this occasion. So the song link as well as lyrics of the song, plus introduction of the song will be by him. He had wanted it to be a writeup by me, but seeing that it is he who is uploading this special song and is providing necessary details on the song and the artist, it is only fair that this writeup should be considered a joint write up, just like what was the case during 5000th and 10000th writeups.

Writeup by Sudhir
————————–

As usual, the wait is intensely anticipatory, and the delay appears to be customary. Of course, as last time, the final moment has been hanging on account of yours truly – 🙂 . And the reason is that we have had a difficult time getting to zero in on the song we would like to place at this important milestone today.

Completing 15 centuries (and that too, without a plan) is superlative indeed. Atul ji and I have been in communication to finalize which song to present at this juncture. We checked many different options and criteria, but somehow all of them seemed to be weighing lesser in comparison to the importance of this milestone. The historic discovery that was showcased at the 10K milestone, actually set a benchmark, which is near impossible to match, even though we now have access to a lot more material at hand. But no, this song at 15K surely does not match the spectacular-ity of its 10K counterpart.

We had tried many things again this time. We tried to search for historically important unpublished songs. We tried to trace the significant wanted songs of key artists. We tried our hand at getting multiple combinations together. We had shortlisted some films and songs, which are unheard of. As in, there is no mention of these films in GK or in other similar compilations, but these films, unreleased of course, were actually under production and their songs were recorded. Some of these songs have survived and are available with collectors, albeit not in public domain as yet. That would make them rare, very rare quality. But then we also argued that just because an unreleased film is unknown in public domain, how does that add to its historical significance. So this option was also pulled down in priority. I have access to some of these songs and will bring them out shortly.

For a longest time, both Atul ji and I were in a mood of despair, as we were not able to decide on the song for this occasion. The email exchange then turned towards artists, and the idea of showcasing the creation of a significant historical figure in the Hindi film music arena started to gain strength. The idea developed was to bring into limelight, an important artist whose contributions to Hindi film music has so far gone unsung. As we thought more about it, the idea seemed to get better. We would highlight an artist whom the people have heard about, but probably not much ‘information about’ is not in circulation.

We exchanged notes about some such names, and then we agreed to bring on board, the doyen of Hindi film music directors – Ustad Jhande Khan, as the artist to highlight at this important junction.

Ustad Jhande Khan – the artist whom the other famous luminaries of Hindi film music like Naushad, Ghulam Mohammed, Anil Biswas, Begum Akhtar, Hemant Kumar, Shyam Sunder, Master Nisar – have acknowledged to be their teacher and guru. This teacher of other reputed music directors and singers is himself now a forgotten name. Very little, if any, biographical information is available with any source. As I tried to search for information, I could finally locate only two bio sketches – a filmographic detail available in ‘Dhunon Ki Yatra’ by Pankaj Raag, and a brief biography compiled by our friend Javed Hamid, as a chapter in his book on Hindi film music directors – ‘Hindi Filmon Ke Sadabahaar Sangeetkar’. As per Javed Bhai, he was able to procure an article in Urdu on this artist, from a friend in Pakistan. The article appeared in a certain film magazine there, many decades ago.

Not much is known about Ustad Sb’s family background and his early years. He was born in Gujranwala (now in Pakistan). The circumstances by which he came to Bombay are not known. But it is known that he came to Bombay at a young age. He was already exposed to classical music and was adept at playing many instruments like saarangi and harmonium. In Bombay, he learnt more and polished his skills at the feet of masters like Ustad Chhajju Khan, Naazir Khan and Khadim Hussain Khan Sahib.

His first foray into creating music was theatre. He was associated with Agha Hashr Kashmiri for a long time. In days prior to talkie films, theatre was a popular and a powerful medium. The major theatre establishments would employ full time music directors and musicians for creating and performing music for stage dramas. That music has been such an important ingredient of the life and culture of this subcontinent, can be gauged from this fact that the popular theatre movements across the nation mostly depended on musicals and song enriched dramas. Ustad Sb was associated with Jubilee Theatre, Alfred Theatre and Parsi Alfred Theatre. It was a time when the dialogues and songs of stage dramas were released on gramophone records. Quite a few such record sets are still available with collectors. Special mention to be made of the stage drama ‘Mahabharat’. The dialogue and song record set of this drama became very popular. The music was composed by Ustad Sb. Then, in the famous stage play ‘Dilfarosh’, a song composed by Ustad Sb – “Dil e Nadaan Ko Hum Samjhaaye Jaayenge” became very popular with the theatre going public. And here, we are not yet in the era of talkie films.

With the advent of talkies, Ustad Sb made a natural transition to films and film music. He joined Ranjeet Studios, and became their premier music director. The 1931 film ‘Devi Devyani’ was the first film for which Ustad Sb composed 17 songs. In 1932, Ranjeet produced a very successful comedy film ‘Chaar Chakram’, starring E Billimoria, Ishwar Lal, Keki Adajania, Miss Shanta, Miss Kamla and the comedy team of Ghori and Dixit. Ustad Sb composed 7 songs for this film, which all became very popular.

Ustad Sb composed music for about fourteen films for Ranjeet Studios between 1931 and 1936. In 1935, he also started working independently for other production houses like Ajanta Cinetone, Daryani Productions, Amrit Films etc. His complete body of work would be less than 25 films. Sadly, majority of his creations are lost or are untraceable at present.

His most famous and popular film is considered to be Kedar Sharma’s ‘Chitralekha’ from 1941. Based on the novel by Bhagwati Charan Verma, the film has 10 songs. The song “Tum Jaao Bade Bhagwan Baney, Insan Bano To Jaanen” became very popular in its time. When Kedar Sharma recreated this film in 1964, this song served as the inspiration for the popular Lata song “Sansaar Se Bhaage Phirte Ho Bhagwaan Ko Tum Kyaa Paaoge”. A very interesting small anecdote about the music of this 1941 film. after completing the composition of all the songs, one day in the morning, Ustad Sb went to see his friend ZA Bukhari, who was a director at All India Radio, Bombay at that time. Excited and nervous like a small child, he conveyed to his friend – that a peculiar thing has inadvertently happened, and that he has not done it on purpose, and did not realize that it was so. His friend inquired as to what has happened. Ustad Sb sheepishly confessed that all the songs of the film have gotten composed in a single Raag; and requested ZA Bukhari to accompany him to the studio. Together they came to the studio and Ustad Sb played the different songs for his friend. It was a wonder that all the songs had become amenable to composition in Raag Bhairavi.

Ustad Sb continued to work into the mid 1940s. In 1943 came the film ‘Shahenshah Akbar’ for which he had composed 14 songs. In the same period he also composed 12 songs for a film titled ‘Jeevan Ka Saaz’. Unfortunately this latter film remained incomplete.

When the partition of India occurred in 1947, Ustad Sb made a choice to migrate to Pakistan, against the advise of his colleagues and friends in the industry. He went back and settled down in his home town – Gujranwala. He would travel often to Lahore to meet the industry people and friends. He also tried to get associated with the radio service in Pakistan, but that did not work out too well. Not a very long time after his migration, he passed away in Gujranwala, on 7th January, 1952.

Ustad Sb was a very reserved personality, so much so that he avoided even being photographed in company of his friends and co-workers. No images of this person have survived, except one photograph that I am able to acquire with the help from my friend, Javed Hamid. This is the photo that I have used in creating the online video file for this song.

Now, coming to this song. This song has two very peculiar and interesting characteristics. Based so far on the information that I have, this song is written by, and composed by and sung by Ustad Jhande Khan himself. Geet Kosh does not have the singer information. I got the name of the singer from another dear friend, Shri KL Pandey, who has done the monumental work of analyzing the classical raag basis of Hindi film songs. However, there is a little doubt, and another name has also been suggested by my other friend who provided me with the mp3 file of this song. I am awaiting confirmation from two other sources. Meanwhile, in this post I am using the singer name as suggested by KL Pandey ji. If there is a different update confirmed, I will inform the readers and make amends to this post.

Update 22Apr2019: Yes, we do have amendments as far as singer name is concerned. I have inputs from three different collectors. All have informed that the name of the singer is Krishna Rao Chonkar. Now this singer is supposed to have sung other songs in this film also. I specifically asked, and was informed that the name of the singer is not no the gramophone record. So the information is from a different source. That three people concur on this can also mean that all of them are possibly referring to the same source.

The second very interesting thing about this song is also informed by Shri KL Pandey. Of the 17,000+ Hindi film songs that he has analyzed, he has discovered only two songs which are based on Raag Deepak. Raag Deepak is a classical composition that is considered very difficult to render. The interesting thing that Pandey ji has shared is that the so called ‘deepak‘ songs in the the films ‘Tansen’ (1943) – “Diya Jalaao Jagmag Jagmag“, and ‘Sangeet Samrat Tansen’ (1962) – “Deepak Jalaao Jyoti Jagaao“, both these songs are NOT based on Raag Deepak, but are based on Raag Bhoopali.

Update 22Apr2019: The second Hindi film song based on Deepak Raag is “Deepak Kathan Karat. . .” from the film ‘Gaj Gaamini’ from 2000. The song is written by Maya Govind,  music composition is Bhupen Hazaarika, and the singer is Shankar Mahadevan.

So this song being presented today is one of the only two songs so far discovered, which are based on pure Raag Deepak. Listening to this song I am sure you will be able to appreciate the level of difficulty in the rendering of this creation.

And well, yes, Congratulations are due to all, for making to this momentous milestone. I will be following up with another post sharing more about that.

Happy listening and happy journey to all readers and friends on this blog. 🙂

[Ed Note: There a some words that have not been correctly deciphered in the singing. I request other readers and friends to suggest updates to the lyrics. And yes, also to the extended sargam, where I may have made an error in recording it correctly.]

 

Song – Deepak Jo Gaaye So Paaye Gyaan Dhyaan (Shahenshah Akbar) (1943) Singer – Ustad Jhande Khan Krishna Rao Chonkar, Lyrics – Ustad Jhande Khan, MD – Ustad Jhande Khan

Lyrics

deepak jo gaaye
so paaye
gyaan dhyaan sab bhed suran ka
deepak jo gaaye
so paaye
gyaan dhyaan sab bhed suran ka

sa ga ma pa dha ni sa
sa pa dha pa ga re sa

sa ga pa ma ga ma dha pa
dha pa ma ga ma pa sa
dha pa ma ga ma pa sa
deepak jo gaaye
so paaye
gyaan dhyaan sab bhed suran ka

jaanat hain re sagre log
deepak hai raag ?? ka
jaanat hain re sagre log
deepak hai raag ?? ka
deepak na gaaye sab duniya naa
ye kaam nahin
hai sab ka
deepak jo gaaye
so paaye
gyaan dhyaan sab bhed suran ka

anginati ko ginati jaan
ginati
aa ginati maane na bhed bhaav
bhed na jaane
agyaan bhajta
deepak jo gaaye
so paaye
gyaan dhyaan sab bhed suran ka

jaane ?? anjaane ??
vaani ?? vaa se paaye
bhed aarohan avrohan deepak ka
jaane ?? anjaane ??
vaani ?? vaa se paaye
bhed aarohan avrohan deepak ka
deepak jo gaaye
so paaye
gyaan dhyaan sab bhed suran ka

sa sa sa ni re sa
sa ga sa ga ma pa dha ma pa dha
ma pa ga ma pa dha
sa dha re ni sa
sa dha dha ga re sa
pa dha pa ga ma pa
ga ma pa sa
dha pa ma ma ga ga sa ma dha pa
dha pa ma ga ga
dha ma pa ga re
sa ga ga ma ga re sa dha pa
dha pa ma ga ga ma ma ga re sa
sa ga ma pa dha
sa ga ga ma ga re sa dha pa
dha pa ma ga ga ma ma ga re sa
sa ga ma pa dha
pa pa pa pa ma ma ga ga
dha ma pa ma ga
dha ma pa pa
sa pa pa
dha ma ma
ma ga ga
ga re sa
sa pa pa
dha ma ma
ma ga ga
ga re sa

sa ga ma pa
deepak jo gaaye
so paaye
gyaan dhyaan sab bhed suran ka

deepak jo gaaye
so paaye
gyaan dhyaan sab bhed . . .
bhed suran ka paaye
deepak gaaye
deepak jo gaaye
bhed suran ka paaye
deepak gaaye
bhed suran ka paaye
deepak gaaye
deep. . .

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

दीपक जो गाये
सो पाये
ज्ञान ध्यान सब भेद सुरन का
दीपक जो गाये
सो पाये
ज्ञान ध्यान सब भेद सुरन का

स ग म प ध नि स
स प ध प ग रे स

स ग प न ग म ध प
ध प म ग म प स
ध प म ग म प स
दीपक जो गाये
सो पाये
ज्ञान ध्यान सब भेद सुरन का

जानत हैं रे सगरे लोक
दीपक है राग ?? का
जानत हैं रे सगरे लोक
दीपक है राग ?? का
दीपक न गाये सब दुनिया ना
ये काम नहीं
है सब का
दीपक जो गाये
सो पाये
ज्ञान ध्यान सब भेद सुरन का

अनगिनत को गिनती(??) जान
गिनती(??)
आ गिनती माने ना भेद भाव
भेद ना जाने
अज्ञान भजता
दीपक जो गाये
सो पाये
ज्ञान ध्यान सब भेद सुरन का

जाने ?? अंजाने ??
वाणी ?? वा से पाये
भेद आरोहण अवरोहण दीपक का
जाने ?? अंजाने ??
वाणी ?? वा से पाये
भेद आरोहण अवरोहण दीपक का
दीपक जो गाये
सो पाये
ज्ञान ध्यान सब भेद सुरन का

स स स नि रे स
स ग स ग म प ध म प ध
म प ग म प ध
स ध रे नि स
प ध प ग म प
ग म प स
ध प म म ग ग स म ध प
ध प म ग ग
ध म प ग रे
स ग ग म ग रे स ध प
ध प म ग ग म म ग रे स
स ग म प ध
स ग ग म ग रे स ध प
ध प म ग ग म म ग रे स
स ग म प ध
प प प प म म ग ग
ध म प म ग
ध म प प
स प प
ध म म
म ग ग
ग रे स
स प प
ध म म
म ग ग
ग रे स

स ग म प
दीपक जो गाये
सो पाये
ज्ञान ध्यान सब भेद सुरन का

दीपक जो गाये
सो पाये
ज्ञान ध्यान सब भेद॰ ॰ ॰
भेद सुरन का पाये
दीपक गाये
भेद सुरन का पाये
दीपक गाये
दीप॰ ॰ ॰


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

Blog Day :

3903 Post No. : 14955 Movie Count :

4086

Today’s song is a rare song from film Salma-1943.

Like in my earlier post on film ‘ Arab ka Sitara’-46 dt 13-3-2019, in this Blog, about 3-4 years ago also I had discussed the issue of very few films made in India, on Muslim Social issues and also on other minority communities, for that matter. One of our readers from USA, Mr. Salim Shah-son of actress Indurani aka Ishrat jehan siddiqi- wrote an E mail to me on this issue. He had said that the film market is driven by the needs of the majority and hence not many producers dare to make films on minorities, which have a very small and limited market. I agreed, as this was a very logical explanation to my loud thinking.

When I planned to write on Muslim social films or films with Muslim backgrounds, I noticed that from 1933 to 1942 (10 years) only 15 such films were made. Then from 1943 to 1947, a whopping 23 films were made in just 5 years ! These are only rough and estimated figures, without going into much details and avoiding films like Pukar-39 and Humayun-45 or Shahajehan-46. In 1947 alone there were 9 such films.

What could be the reason for this sudden surge in Muslim social films ? I think, by 1943, it was almost certain that India would be divided on Religion basis and Pakistan would be a New separate country for Muslims. This possibly increased the awareness of a need for improvement in the Muslim population. May be, I am wrong. One can only hazard a guess on such matters.

Director Mehboob started his production company by making the film Najma-43 and later also he made films like Elaan-47. He is on record why he made such progressive films, despite the risk from fundamentalists involved. Anyway, we leave the matter here only. Now that the Muslim population has increased considerably from 1951 (3.5 crores or 9.8%) to 2011 (17.2 crores or 14.2%), let us hope to see more such films. Equally disturbing is to see rare films on Christian, parsee, Budhist, Jain, etc minorities.

Film Salma-43 was actually a story of two thick girl friends. The film story was written by Munshi Dil. Screenplay, dialogues and Lyrics were by Hasrat Lucknowi. Music was by Pt. Gobind Ram. The cast was Sitara devi, Ishwarlal, Yakub, Urmila, Majid, Azra, Anwari etc etc. The film was directed by Nazir Ahmed khan. It was made by his own Hind Pictures.

This was also the period when Nazir had married Sitara Devi. Saadat Hasan Manto, in his famous book ‘ Stars from another sky” has described very juicy stories about Sitara- her many lovers, Nazir and his Nephew K.Asif. Sitara eloped with Asif to Delhi to marry him, after conversion to Islam with a new name Allah Rakhi, the book says. Returning to Bombay, after some time, Asif himself made a Muslim Social film, ” Phool’-45, with Sitara as the Heroine. More about this film some other time.

Nazir Ahmad Khan (1910–28-8-1983) was a Indian / Pakistani film actor, director and producer. He was the first successful film hero in independent Pakistan. Nazir was associated with almost two hundred films during his career, which spanned over a period of 55 years.Nazir Ahmed was widely known as Bao Jee in the film industries in India and in Pakistan.
It was in the late 1920s when Nazir went to Calcutta along with A.R. Kardar, and appeared in a character role in Kardar’s Sarfarosh (aka ‘The Daring One’) in 1929. Kardar later made Heer in which Nazir played the role of the Qazi. Both these films are from the silent era. He also did a secondary role in Kardar’s Mysterious Bandit.

Nazir went to Bombay. During this period he was cast in leading roles in Rajputana Ka Sher, Chandaal Chaukri, Badmaash Ka Baita and Pahari Sawar.

In 1934 he went back to Calcutta on the request of his old friend Kardar to act in his productions of Chandra Gupta, Sultana, Milaap, Mandar, Night Bird and Aab-e-Hayat.

In Calcutta Nazir won laurels for his role of Chanakya in Chandra Gupta. To perform this role realistically, Nazir had his head shaved completely to authentically perform the role of the ancient Indian minister.

In 1939, both Nazir and Kardar moved to Bombay and under Kardar’s banner he performed his most well remembered and renowned character role in Baghbaan, which besides creating box office records also established him as a hero.

Shokh Dilruba, Sher ka Panja, Shamaa, Midnight Mail, Swami Pooja, Apni Nagaria, Laila Majnu, Wamaq Azra, Sandaisa, Kaljug, Society, Chher Chhar, Aabroo, Salma, Gaon Ki Gori, Maa Baap ki Laaj, Yaadgar, Malika and Abida and several other hit films of that era are credited to his name. He also produced and Directed many of them. Most of the films directed by him saw the milestones of being Silver Jubilees.He acted in 25 films and directed 8 films in India.He even sang 7 songs in 5 films.

Nazir’s studio and the offices of Hind Pictures were burnt down during the riots in 1946-47. Nazir stood quietly outside his burning studio,smoking a cigarette and watching the ashes.In 1947, Nazir migrated to Pakistan. He left everything he had behind in Bombay and shifted to Lahore. He started from scratch and in the process became one of the pioneers of the Pakistan film industry.

He produced and directed Saachai, as his first film in the newly born Pakistan. It was followed by the first Silver Jubilee film of Pakistani Cinema, Pheray. Nazir completed Pheray in just one month, followed by Larey. His other movies include Shehri Babu, Anokhi Daastan, Shamaa, Heer, Khatoon, Noor-e-Islam and Azmat-e-Islam.

During the 1960s, he disassociated himself from Pakistani cinema, with the decline in this industry. He could not reconcile himself with the qualitatively declining trends in this industry.

Nazir was first married to his cousin Sikandara Begum. He was the Maternal Uncle of K.Asif,Director of Mughal E Azam. Later he married Sitara Devi and before going to Pakistan,he married his Heroine Swarnalata.

He died in 1983.

The story of film Salma – 43 was….

Salma (Sitara) and Suraiya (Urmila) grew up in Kanpur as very close friends. When they became marriageable, Salma’s father Abdul Majid (Majid) fixed her marriage with Dr. Masood (Ishwarlal) of Allahabad. Suraiya’s brother Yakub (Yakub) was a crook. He used to destroy all letters Salma wrote to Suraiya, from Allahabad, after marriage. Now Suraiya got engaged to Dr. Manzur (Ishwarlal-double role), who resembled his brother Dr. Masood, husband of Suraiya.

Unfortunately, on the day of marriage, Dr. Manzur dies in an accident, but Yakub tells Suraiya that Manzur cheated her and has left the town.She is shocked and loses her memory. She is taken to Allahabad for treatment from Dr. Masood, the specialist.

Suraiya gains memory, recognises Masood as Manzur and insists for marriage. Masood learns Suraiya’s full story from her parents and tells Salma about it. Salma is very religious and follows five times Namaz. She knows that as per Islam religion, a male can have 4 wives. She forces her husband to marry Suraiya. After initial resistance Masood agrees.

After marriage Suraiya recovers completely and both friends live happily. Soon Salma goes to Haj and becomes a Darvish ( a Sufi religious Mendicant-as per wiki). All this so that her friend Suraiya is made happy in her life.

The film had 8 songs, composed by Pt. Gobindram. He is one MD, about whose life absolutely no information is available in any book or on Internet. Only his work details are available on the net, books and HFGK.

Pt. Gobind Ram – the Music Director was a highly respected composer in the industry for his originality. Stalwarts like C.Ramchandra considered Sajjad and Pt. Gobind Ram ji as the original composers.

Author Pankaj Raag mentions in his book,” Dhunon ki yatra”- ” When K.Asif planned his magnum Opus- Mughal E Azam in the late 40s, he had engaged Gobind ram ji as the Music Director.” This statement, however, could not be corroborated with any other reference.
Pt. Gobind Ram gave music to only 32 films from 1937 to 1955, composing 302 songs.

Today’s song is sung by G M Durrani, who was a leading Playback singer , before Rafi and others prevailed on the scene in the latter half of the 40s decade. 6 songs which I have heard are all good ones, but this song is the best and melodious. other singers are Rajkumari, Sitara Devi and Hameeda Bano.

With this song, film Salma-43 makes its Debut on the Blog.
(Thanks to book ” Forgotten movies on Muslim Culture 1933 to 1947″ by Kamalakar Pasupuleti ji for some information used here.)


Song-Ye kaun aaj reh reh ke yaad aa raha hai (Salma)(1943) Singer- G M Durrani, Lyrics-Hasrat Lucknowi, MD-Pt. Gobindram

Lyrics

Ye kaun aaj reh reh ke yaad aa raha hai
Ye kaun aaj reh reh ke yaad aa raha hai
Ye kaun aaj reh reh ke yaad aa raha hai ae ae ae
ajab haal dil ka hua jaa raha hai
ajab haal dil ka hua jaa raha hai

jise wo samajhte hain apna maseeha
jise wo samajhte hain apna maseeha
aa aa aa aa aa
wo beemaar khud hi hua jaa raha hai
wo beemaar khud hi hua jaa raha hai

mili hai nazar jabse unki nazar se ae
mili hai nazar jabse unki nazar se
mili hai nazar jabse unki nazar se ae ae ae
kaleje mein nashtar chubha ja raha hai
kaleje mein nashtar chubha ja raha hai

ye kaun aaj rah rah ke yaad aa raha hai
ye kaun aaj rah rah ke yaad aa raha hai ae ae


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has more than 15500 song posts by now.

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

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(© 2008 - 2020) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

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Movies with all their songs covered =1195
Total Number of movies covered =4273

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