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

Blog Day :

4792 Post No. : 16551 Movie Count :

4506

The name of Chimanlal Trivedi, the producer-director may not ring bell in the minds of most of the admirers of old Hindi films. In Mumbai, he was the contemporary of well-known producer-directors like Chandulal Shah, A R Kardar, Mehboob Khan, V Shantaram etc in the 1940s.

After working as a writer in Sagar Movietone, in 1937, he set up a film production company, CIRCO (Cine Industries and Recording Company Ltd.) with the help of some Bombay-based shareholders as a public limited company in association with New Theatres. He became the Managing Director of CIRCO. The arrangement was that films would be produced by New Theatres’ in Kolkata with their artists and the financing/marketing of the films would be done by CIRCO in Mumbai. Both of them would share the profit. In 1939, CIRCO took upon itself the production of films in Mumbai with ‘Laxmi’ (1940).

Sometime in 1940, Chimanlal Trivedi was under cloud as there was a court case against him for mismanagement of funds of CIRCO. He had resiged as Managing Director of CIRCO in April 1941. I felt that perhaps this court case may have something to do with Chimanlal Trivedi leaving CIRCO to set up a new film production company, Laxmi Productions. After intense searches on the internet, I got a reference to CIRCO court case in indiankanoon. It was an 8-page judgement delivered on November 24, 1941 by Bombay High Court. The gist of the court case is as under:

A shareholder of CIRCO filed a petition in Bombay High Court against Chimanlal Trivedi, the managing director for the mismanagement of funds and to wind up CIRCO as insolvent based on its financial statements for the year ended March 1940. The court did not find any evidence against Chimanlal Trivedi of mismanagement of fund of CIRCO. As regards declaring the CIRCO insolvent, the Company put the arguments that there were 3 films under productions – ‘Apna Ghar’ (1942, directed by Debki Bose), ‘Nai Duniya’ (1942, directed by A R Kardar) and ’Mahatma Vidur’ (1943, directed by P Y Altekar). As per the estimates, CIRCO was expected to earn a profit of Rs. 11 lakhs after the release of these three films taking into account the star value of the main actors and the eminent directors. The petitioner argued that these three films can as well run into losses.

The court held the view that it cannot declare a company insolvent merely based on the speculation that there could be losses after the release of the films. None of the creditors of the CIRCO and a majority of the shareholders have supported the petition for winding up. The court dismissed the petition with cost.

One of the interesting example of the mismanagement of funds of CIRCO was that Shanta Apte was paid Rs,90000/- for working as heroine in a single film which, according to the petitioner, was unreasonably high. The film was not even completed when the matter was under discussion in the court. CIRCO responded by revealing that the amount was paid to Shanta Apte as ‘waiting salary’ for the unexpired period of her contract with Prabhat Film Company. If the CIRCO had not done so, several film producers would have grabbed the opportunity to secure her services for their future film productions.

Another bone of contention between the petitioner and the company was the way the profit was measured in the film industry. CIRCO had drawn the profit and loss account with realizable revenue from film distributors and expected revenue from the films under production for which distribution rights had been contracted. The petitioner found this practice not in keeping with the good accounting principles as this accounting system hides the true financial position of the company.

On the other hand, CIRCO maintained that it followed the convention among the film production companies in drawing its profit and loss account. More often, there were long gap between making of a film and releasing it. During the making of the films, a good amount of money was spent while the income from films would accrue only after their releases and that too, over a period of time. During the intervening period, the company will have to show losses in its profit and loss account. Hence an estimate of revenue of the company was made for the films under production based on the commitment by the film distributors and also the likely response from the film audience based on the star value.

If all the film production companies of that time drew their profit and loss account based on the estimated future profit, it amounts to masking their true financial position. Probably, this type of ‘accounting jugglery’ made some of the producers to float multiple film production companies after closing the earlier ones. Chimanlal Trivedi was no exception as after 1951, he had floated film production companies in different names.

Though the court verdict came in favour of Chimanlal Trivedi and the Company, this was short-lived as CIRCO went into liquidation in 1942. So, the apprehension of a shareholder who had filed the petition in the court about the mismanagement of funds turned out to be correct even though the Bombay High Court had dismissed his petition. It is interesting to note that Chimanlal Trivedil had hired A R Kardar to direct ‘Swami’ (1941) and ‘Nai Duniya’ (1942) under CIRCO banner. After the liquidation of CIRCO, it was A R Kardar who bought CIRCO’s studio at Parel for Kardar Productions.

Chimanlal Trivedi seems to have departed from the usual practice of hiring the actors and crew as per the studio system. It is said that he would first plan the film project and then hire the actors and crew as per the requirements of the new film. Often, he would select the most popular lead actors and directors as per their box office success and pay them in lumpsum for the film which would often work out much higher than what actors would have got under the studio system. It was reported in Filmindia magazine that Chimanlal Trivedi’s ‘highjacking’ of star actors and directors from some of the well known film production companies of that time affected their shooting schedules for the films under productions.

For ‘Tamanna’ (1942), the maiden film under Laxmi Productions, Chimanlal Trivedi hired Leela Desai, one of the successful actresses of New Theatres along with Jairaj with 7 crew members from Bengal which included Phani Majumdar as director, K C Dey as actor-music director, Bibhuti Laha as Cinematographer and Robin Chatterjee as Sound Recordist. It was Leela Desai’s maiden film in Mumbai. It is said that his financial offer to Leela Desai was so attractive vis-à-vis her salary in New Theatre that she accepted the offer.

Chimanlal Trivedi produced around 45 films during 1940-1960. Surprisingly, even with high-end star actors and eminent directors, especially in 1940s when he produced 28 films, there was not a single film which can be tagged as an outstadning film under his banners. In the 1950s, most of his films he produced were of ‘B’ Grade.

‘Sharaafat’ (1943) was third film with Leela Desai-Chimanlal Trivedi combination as actor and producer, respectively under the banner of Laxmi Productions. The star cast included Leela Desai, Pahadi Sanyal, Jagdish Sethi, Agha, Moti, Ghulam Rasool, S L Puri etc. The film had 9 songs which were set to music by Ashok Ghosh. Lyricist for all the songs is unknown.

I am presenting the first song, ‘aayi aayi re maalan singapur se’ from the film to appear on the Blog. HFGK is silent on the singers of the song. But it is apparent that the voices in the song are that of Amirbai Karnataki and Pahadi Sanyal with an unknown female voice in between. At the outset, the song appears to be ‘sales pitch’ but after the completion of the song, a long musical orchestration gives an impression of a stage song.

With this song, ‘Sharaafat’ (1943) makes its debut on the Blog.

Audio Clip:

Song-Aayi aayi re maalan Singapur se (Sharaafat)(1943) Singers-Amirbai Karnataki, Pahadi Sanyal, Unknown female voice, MD-Ashok Ghosh
Amirbai Karnataki + Pahadi Sanyal

Lyrics

aayi aayi re
haan aayi aayi re
aayi re maalan Singapur se
haan Singapur se
haan haan Singapur se
oh
aaya aaya re
haan haan aaya aaya re
aaya re maali
haan Rangoon se
haan haan Rangoon se
haan haan Rangoon se

rang birange phool hamaare
rang birange phool hamaare
rang birange gehane
bhaagonwaala le jaayega
bhaagonwaali pehne

gori pehanegi
haan gori pehanegi
dil ke hain naina jaa ke teer se
haan haan jaa ke teer se
haan haan jaa ke teer se

aayi re maalan Singapur se

phoolon se mehka do
more tan ko aaj saja do
phoolon se meha do
more tan ko aaj saja do
bas jaaun aa ke nainon mein
aisa jaal bichhaa do

aao aao ree
haan haan
aao aao ree
raah takoon mein teri der se
haan teri der se
haan haan teri der se

aayi re maalan Singapur se

raat ki raani kaa gajra
champe ki kaliyon kaa jhoomar
kyun deke phoolon ki maala
nargis ke gunchhon ki jhaanjhar
nikhra waah waah roop tihaara
joban dhoom machaaye
nikhra waah waah roop tihaara
joban dhoom macchaaye
nayi jawaani chhaayi raani
jo dekhe lalchaaye

aao aao ri
haan haan aao aao ri
raah takoon mein teri der se
haan teri der se
haan haan teri der se

aayi re maalan Singapur se


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 :

4788 Post No. : 16544 Movie Count :

4504

Today’s song is from the film Pratigya-1943.

In HFGK the name of the film in Hindi is correct-” प्रतिज्ञा ”, but in English it is written as ” Pratigya “. I do not understand why it could not be written correctly as ” प्रतिज्ञा “. Even film Sant Gyaneshwar-1940 had the same problem. In Hindi it is written correctly, but in English it is Gyaneshwar. Some English language scholars must solve this puzzle. My guess is, because in colloquial Hindi language ज्ञ is pronounced as ग्य . Like ग्यान for ज्ञान . HFGK must have opted for this spelling. It is funny – in Hindi it is written correctly, but in English, this way. If it was the other way round, I could have understood, since colloquial Hindi is Gya. I can’t somehow digest this awatar of English words !

Film Pratigya-43 was made by Chitra productions and was directed by Nandlal Jaswantlal. He was one of the few foreign trained directors of Hindi films. Unfortunately, he died quite young and suddenly. The music director for this film was Ninu Majumdar ( it is not mentioned in HFGK, but Harish Raghuwanshi ji has confirmed it). Incidentally, his father was also working in this film. The cast of the film was Motilal, Swarnalata, Baby Meena (Meena kumari), Veena Kumari, Nagendra (Ninu Majumdar’s father), Hari Shivdasani (father of Babita), Bhudo Advani, Majid etc.

Motilal was one of my favourite actors because his acting was so natural and casual. In the film industry, there were few other actors too like – Ashok kumar, Balraj Sahni, Sanjeev Kumar etc. of course the senior most and the first such actor was Motilal. While his first film Shehar ka Jaadu came in 1934, Ashok Kumar’s first film Jeevan Naiya came in 1936. Initially Ashok Kumar’s acting was not natural, it was very awkward. He did not know what to do with his hands. Because of this dilemma, his acting became theatrical. However in his 13 th film-Naya Sansar-41 in which his role was of a Journalist, he had to smoke in the role. This actually solved his hand’s problem completely and from this film onwards his acting became mature and very natural. But the ‘cigarette in hand’ became his trademark in almost every film.

Motilal started his career in Sagar Movietone.In his first film his Heroine was a senior actress Sabita Devi. Their pair became so popular that they acted in 10 films together. Sabita Devi and Motilal’s first movie as a pair in the famous Sagar Movietone, was Lure of the City (aka Shaher ka Jadoo) which released on 29 th September 1934 at the Imperial Cinema Bombay. This movie was directed by Kaliprasad Ghosh and music was composed by K.C.Dey (the blind singer). Cast : Sabita Devi, Motilal, M.Kumar, K.C.Dey and Kamalabai.

This was the sound debut of Kaliprasad Ghosh at Sagar after a few successful movies directed in the silent era. Mehboob Khan was earlier selected for the lead role and was later replaced by Motilal. This was actor Motilal’s debut film and Motilal – Sabita made the best couple of the Sagar Film Company since then in many other movies under the banner of the Sagar such as, Silver King (1935), Dr Madhurika (1935), Lagna Bandhan (1936), Jeevan Lata (1939), Kulvadhu (1937), Kokila (1937), three hundred days and after (1938) and later in Sudhama Films in Ap Ki Marzi (1939) and Minerva’s Prarthana (1944).

Motilal earned millions and spent millions. He loved a good life. He was fond of good food, good clothing, good wine and a Royal lifestyle. He played on Race course and had few Race Horses too. He was the first actor to have his own small aeroplane. He had a Pilot’s licence. However, in his last days, he lost everything and became a pauper.

” A broken and a defeated man, he did not live to see the release of the one film he produced. ‘Chhoti Chhoti Baaten’ (1965)– a very close autobiographical presentation of his own life, turned out to be a production disaster for him. The loss of finances and assets may not have meant much to him, but it was the turning away of the ones he considered to be lifelong friends that probably broke him completely.

Near the end of his days, he was suffering with health problems, and was in the hospital. His pet project ‘Chhoti Chhoti Baaten’, was nearing completion, but the remaining work was moving very slowly due to financial and other difficulties. Anil Biswas, whom he had given the music composition responsibility, was those days in Delhi, working for All India Radio. He came to visit Motilal. In the hospital, Motilal implored Anil Biswas to complete the music for the film, so that it could be made ready for release. Anil Biswas responded, almost heartlessly, asking to be paid for the work that was already done and for the remaining work for background music. Motilal was stunned. And then he passed away a few days later. The work on the film was eventually completed through the efforts of Mukesh, his cousin, who convinced Anil Biswas to complete the work on the film. The film got critical acclaim and also won a special certificate of merit from the President of India, as part of that year’s national awards. Alas, but he himself was not around to see it.” ( an extract from Sudhir ji’s post, with thanks.)

In the cast of this film there is a name Veena Kumari. Today’s song is also sung by Veena Kumari and Amirbai Karnataki. We all know that there was another famous actress Veena in the same period. Here is a fresh case of ” SAME NAME CONFUSIONS “. In my first book, released in 2018, I had clarified about 56 artistes coming under the SNC category. In the last one and half years I have discussed 14 such new artistes and including today’s case, there 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 to give explanations 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 get 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 the 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 at singing. When you 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 the 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 the Internet as well as on this Blog. So much for the Same Name Confusion in this case.

Now let us listen to today’s song. With this song, film Pratigya-1943 makes its Debut on this Blog.


Song- Hum kidhar chale ri sakhi hum kidhar chale (Pratigya)(1943) Singers-Veena Kumari, Amirbai Karnataki, Lyricist- Unknown, MD- Ninu Majumdar
Both

Lyrics

Hum kidhar chale ri sakhi
Hum kidhar chale
le chali taqdeer jidhar
hum udhar chale

Hum kidhar chale ri sakhi
Hum kidhar chale
le chali taqdeer jidhar
hum udhar chale

pal mein yahaan pal mein wahaan
hum chale na jaane kahaan
pal mein yahaan pal mein wahaan
hum chale na jaane kahaan
is dagar kabhi to kabhi us dagar chale
is dagar kabhi to kabhi us dagar chale
le chali taqdeer jidhar
hum udhar chale
le chali taqdeer jidhar
hum udhar chale

barsaat ka din hai
saawan ka maheena
barsaat ka din hai
saawan ka maheena
ban ban mein bajaati hai koyal ?? veena
barsaat ka din hai
saawan ka maheena

pyaar ke mausam mein sakhi hum kidhar chale
is pyaar ke mausam mein sakhi hum kidhar chale
le chali taqdeer jidhar
hum udhar chale
le chali taqdeer jidhar
hum udhar chale

aa main tujhe le chaloon saajan ki nagariya
aa main tujhe le chaloon saajan ki nagariya
beech ke panghat pe sakhi bhar le gagariya
teri bhar le gagariya
beech ke panghat pe sakhi bhar le gagariya
teri bhar le gagariya
tujh to milegaa tera saajan ?? tale
tujh to milegaa tera saajan ?? tale

hum jidhar chale
hum jidhar chale
le chali taqdeer jidhar
hum udhar chale
le chali taqdeer jidhar
hum udhar chale
hum kidhar chale ri sakhi
hum kidhar chale
le chali taqdeer jidhar
hum udhar chale


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 :

4784 Post No. : 16539

Today’s song is from the film Prarthana-1943. The film was made by Minerva Movietone. The music was composed by Saraswati Devi. After a vertical rift between a disgruntled group led by S. Mukherjee in Bombay Talkies, the group left Bombay talkies and established their own Filmistan studio. Many people went with them. Some remained with Devika Rani. Saraswati devi also left Bombay Talkies but became a Free-Lance, without joining any group. The cast of the film was Sabita Devi, Motilal, Jahanara Kajjan, Nimbalkar, Menaka, K.N.Singh and many others.

The film was directed by Sarvottam Badami. Badami’s case is an example how strong will and hard work can really help anyone to come up in life. The rise and life of Sarvottam Badami shows how a simple Motor mechanic can reach a high place in the career by mere will to succeed. His life story can become a lesson to all who want to achieve success.

Sarvottam Badami was born in 1910 at Channapatna in Karnataka,to a revenue officer working in Mysore. He passed his SSLC and worked as a garage mechanic and then a projectionist in Select Picture House, Bangalore, both of which were owned by Dr. Ambalal Patel. Patel moved to Bombay and financed Ardeshir Irani of Imperial Film Company, and Chimanlal Desai as a partner forming Sagar Movietone in 1930.
At the age of 19 years, Badami went to Bombay to study automobile engineering. He was asked by Ardeshir Irani who met him at a wedding to help out with the recording equipment he had purchased from abroad.

Badami helped in the sound recording department for the first Talkie in India, Ardeshir Irani’s Alam Ara (1931). Around that time a German director making the film Harishchandra left half-way and Badami offered to complete it, the co-director was Raja Chandrasekhar, although the co-director credit has also been cited as T. C. Vadivelu Naicker. The film turned out to be successful. He was contracted by Sagar Movietone (Sagar Film Company) to direct three films, two in Telugu and one in Tamil: Galava Rishi (Tamil), Rama Paduka Pattabhishekam and Shakuntala in Telugu. The success of these films established him as a director. His working team had people like the cinematographer Faredoon Irani, music director Anil Biswas and the Sagar Movietone favourites Sabita Devi and Motilal.

Initially, to avoid embarrassment to his family he requested not to be credited in the regional language films. He did not know Hindi but from 1932-1947, he worked for Sagar Movietone and also directed nearly 30 films in Hindi, for many others. His first Hindi film was Chandrahasa (1933) starring Noor Mohammed Charlie. He was paid Rs 2000 per film with the complete film being made within Rs 50,000. He worked with most of the top actors of the time like Motilal, Nargis, Ashok Kumar and Pahari Sanyal. He brought Mehboob Khan who was then doing roles as an extra out of obscurity and gave him the role of Sabita Devi’s father in the film Vengeance is mine(1935).

He made several films based on novels. Some of the writers whose work he used were K.M.Munshi, Sarat Chandra and Ramanlal Vasanthlal Desai. The film Aap ki Marzi (1939) was inspired by the Hollywood film Paradise for Three (1938). He became known for his satirical comedies and “socially relevant films”.His film Grihalaxmi (1934), which starred Jal Merchant and Sabita Devi had the woman getting into marriage only if her doctor husband agreed not to want children. The success of the film mitigated the enraged public reaction at the time.

He showed his understanding of media publicity required for films when in 1937, Badami resorted to woo audiences by announcing cash prizes of Rs.500, Rs.200 and Rs.100 for the best reviews of his newly released film Kulvadhu (1937). The promotional gambit worked sending audiences to the theatres. According to an interview, most of Badami’s films didn’t survive as the negatives were burnt to extract the silver from the silver nitrate.

After Aap ki Marzi-38, he followed his mentor, Dr. Patel and joined Sudama Pictures, when in 1939, Sagar Movietone merged into National Films. Badami

also worked in Famous Cine Laboratories, from 46 to 48.

Apparently, in 1948 Deputy Prime Minister Vallabh bhai Patel, who was then also in charge of the Information Ministry, on a visit to the Cine Laboratories Bombay, asked Badami to help set up a NewsReel and Documentary section. The Films Division was established in 1948. He became chief producer in the newsreel department and made several documentaries. He worked in the Films Division making documentaries from 1948-1952. After that he stopped making films and returned to Bangalore to retire as “I was a forgotten man in the feature film world”. He became an industrialist by starting a manufacturing business. Later he worked as a Consultant for Kamani Group of Industries also. He died in 2005 in Bangalore, Karnataka, India.

FILMOGRAPHY: 1932: Harishchandra; Galava Rishi; Paduka Pattabhishekham; Shakuntala; 1933: Chandrahasa; 1934: Grihalakshmi; 1935: Dr. Madhurika; Vengeance is Mine; 1936: Jeevan Lata; Grama Kanya; 1937: Kokila; Kulavadhu; 1938: Three Hundred Days and After; 1939: Aap Ki Marzi; Ladies Only; 1940: Chingari; Sajani; 1941: Holiday in Bombay; 1942: Khilona; 1943: Prarthana; 1944: Bhagya Lakshmi; 1945: Ramayani; 1946: Uttara Abhimanyu; 1947: Manmani; 1951: Vinoba Bhave (Doc);1952: Roof over the head

(Ack: Sapnon ke saudagar by Vithal Pandya, Sagar Movietone by Biren Kothari, HFGK, muVyz, Encyclopedia of Indian Cinema, and my notes)

The film cast includes the name of Jahanara Kajjan. She was one of the last operating successful actresses from the Silent era. From a Tawaif family, Kajjan was counted amongst the elite society of Calcutta. In Bombay, however, she was not having that aura around her name.

JAHAN ARA BEGUM KAJJAN was born in Patna, Bihar, on 15-2-1915. She was the daughter of the courtesan Suggan and the Nawab of Bhagalpur’. Her mother was a famous singer from Lucknow. She grew up in Patna. She got a lot of attention for her education. She was taught Urdu at home and her maternal grandfather Syed Hussain taught her English. She , being very clever ,soon became proficient in both languages. At the same time she learnt household chores also. She learnt music under the guidance of Ustad Husnu Khan of Patna. Singing was in her blood anyway. She was very beautiful.

Kajjan belonged to a family of professional artistes, who carried the tag of tawaifs or courtesans. They were also invited by the princely courts and aristocracy to perform at their private mehfils. With their refined manners they provided stimulating company to the male elite. An established code of conduct ruled out marriage in their profession but they were allowed to have a liaison with a chosen patron. Kajjan’s mother Suggan apparently had one such relationship with her father.

The anti-nautch campaign at the beginning of the 20th Century denigrated the singing and dancing profession. Some, among them, became gramophone singers or theatre stage actors. Kajjan had received education at home and even learnt English. Well versed in Urdu literature, she wrote poetry under the pen name “Ada” and some of her poems were published in Urdu magazines. She received intensive training in Hindustani classical music from Ustad Hussain Khan of Patna. Noting her mastery of ragas, her mellifluous voice and also her charming looks, she was hired by a theatre company at Patna. She is said to have performed on stage for three days at a fee of Rs.250 per show. She enchanted the audience with her golden voice. This paved the way to her joining Alfred Company owned by Madan Theatres of Calcutta. According to Fida Hussain, a Parsi theatre legend, “He worked with actress Jahanara Kajjan becoming her director and leading man”. Kajjan attained name and fame as a very popular singer and actor of the stage.

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

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

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

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

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

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

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

Kajjan worked in Gulru zarina, Swami Bhakti Alibaba aur chaalis chor and Jahan Ara also. By end of the 30s Madon Theatres closed down and Kajjan also stopped work for few years.

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

Jahan Ara Kajjan died on 15-12-1945,at the age of only 30 years. 2 films, Jadui putli-46 and tiger man-47 were released after her death. Kajjan acted in 40 films. She sang78 songs in 14 films.

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

Credits and references- with thanks-
1.Stages of life: Indian Theatre Biographies-By Kathryn Hansen
2. Kamalp.blogspot.in
3.Dhunon ki yatra-Pankaj Raag
4.the big Indian picture.com
5.My own notes from diaries.


Song- Aaya saawan aa jaa sajan sooni sejariya (Prarthana)(1943) Singer- Jahanara Kajjan, Lyricist-Dr. Safdar Aah Sitapuri, MD- Saraswati devi

Lyrics

Aaya sawan, aa jaa sajan, sooni sejariya
Aaya sawan, aa jaa sajan, sooni sejariya
aay rahi chhaay rahi kaari badariya
kaari badariya
aay rahi chhaay rahi kaari badariya
kaari badariya
Aaya sawan, aa jaa sajan, sooni sejariya

dheere dheere dol rahi mast hawaayen
dheere dheere dol rahi mast hawaayen
ped hilen galey milen
pushp lataayen
ped hilen galey milen
pushp lataayen
laagi najariya mohe laagi najariya
aa aa aa
laagi najariya mohe laagi najariya
aay rahi chhaay rahi kaari badariya
kaari badariya
Aaya sawan, aa jaa sajan, sooni sejariya

ban mein udhar pihu pihu mor chinghaade
ban mein udhar pihu pihu mor chinghaade
jiya mora naam tera le ke pukaare
jiya mora naam tera le ke pukaare
haay sanwariya
haay haay sanwariya
haay sanwariya
haay haay sanwariya
aay rahi chhaay rahi kaari badariya
kaari badariya
Aaya sawan, aa jaa sajan, sooni sejariya
Aaya sawan, aa jaa sajan, sooni sejariya


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 :

4760 Post No. : 16504 Movie Count :

4484

Today’s song is from the film Duniya Deewaani-1943. This film was made by Kamal Pictures and the director was K.L.Kahan-who made Debut with this film as a director. Later he directed 5 more films…..Qatil-44, Nishana-46, Khooni-46, Bahadur Naresh and Tilasmi Kangan-49. All these films were stunt films. The Music Director for today’s film was K.Narayan Rao. He composed 10 songs in this film written by another Debutante Arshad Gujarati. In this film he used 5 playback singers.

The cast of the film consisted of 16 actors as per HFGK. Out of these, I know only 5 actors, the rest 11 are unknown to me. The known 5 are the lead pair-Eddie Billimorea and Romila, W.M.Khan, Firoza and Anant Marathe. Of The 5 singers 3 are unknown to me. I could not get any information whatsoever about this film, anywhere. No wonder,because in India at least 60% films were of this type only during the period 1939 to 1946. The reason was simple. Consequent to the crumbling of the Studio system, the ” novo rich’ financers had crashed into the Film industry with bags of money. The action, stunt, costume and C grade social films were made in plenty, because these needed less investment and profits were assured.

Fortunately, even in this period many creative, excellent and musical films were also made by the veterans and genuine film experts. By the end of the year 1942 some ambitious and capable film personalities like V.Shantaram, Mehboob Khan, A.R.Kardar, Ashok kumar, Homi Wadia etc had established their own studio and film companies. Many new playback singers like Hemant kumar, jagmohan sursagar, Manna Dey, Noorjehan etc and new Music Directors like Kamal Dasgupta, C Ramchandra, Vasant Desai, Ninu Mujumdar etc debuted in Hindi films. Artistes from New Theatres, Calcutta, like Saigal, Prithviraj, Kidar Sharma, K.N.Singh etc came to Bombay and the film industry in Bombay started shining with these changes in and from 1943 onwards.

Due to all these new changes and activities, the “outsiders” with Moneybags soon lost interest in films and turned to other fields. This paved the way for the film industry to enter into the ” Golden Era ” by the end of the decade.

The Hero of the film Duniya Diwani-1943 was Eddie Billimorea. He was a case of ” Mistaken Identity” to enter into film acting. E.(Eddie or Adi) Billimoria ( 1900-1981) came into film acting by accident. Eddie Billimoria was born in 1900 in Kirkee, a cantonment town near Poona, where his father worked in the ordinance factory. At 13 he ran away to join the railways as a fireman, hoping as many boys do to become an engine driver. Unfortunately, he fell ill and for a change of climate his parents took him to Bombay. There for the first time he saw a film – a silent American film. And it was then as he says, “that my troubles started.”

In Kirkee he couldn’t see any films as the only cinema hall was meant exclusively for British soldiers. Indians were not allowed. Eddie got around this by becoming a gate-keeper. During his spare time he hung around the projectionist cabin, and one day when the projectionist walked off in a drunken fit, Eddie got his job. Soon he decided to try his luck as a projectionist in Bombay. At nights he slept in the Azad Maidan and during the day he hung around the Excelsior and Empire cinemas hoping for a job. One night his hat, shoes and coat were stolen and Eddie felt the world had come to an end. Seeing the shoeless, coatless, hatless boy “from a good family” a kindly projection equipment dealer offered him a job. After this Eddie demonstrated and installed projection equipment in almost a thousand cinemas all over the country.

One day, he went to meet his younger brother D.Billimoria ( Dinshaw Billimoria), who had joined the film industry as an actor, in a studio. Both brothers, being Parsis, looked similar. The make-up man of that studio mistook E. for D. Billimoria, without caring about his protests,did his make-up. What’s more, the director immediately gave him a role in that silent movie,”Punjab Mail”-1929 too. Eddie enjoyed this confusion and did what was told. Thus he entered the cinema world. His first film as a Hero was Raj Ramani. He did 7 silent films with Imperial and 10 with Ranjit studios. At Imperial, he met a young man Prithviraj Kapoor, who worked as an extra there. After the arrival of Talkie films, Eddie was Hero in 32 Ranjit films. With actress Madhuri alone he did 15 films. He was called Dev Anand of Stunt films.He was the first Cowboy Hero of India.

Then for some time he was with Paramount owned by Kikubhai Desai. Desai’s sudden death led to the end of Eddie’s career as a leading man. After this he started accepting character roles, but even these were few and far between. Finally, he had to resort to playing an extra in crowd scenes.

After 1938, he did character roles and after 1953,as an extra in any film to survive. In old age he did service in a Fridge and A.C. shop. E.Billimoria died on 18-2-1981 in his own flat in Kemps corner, Bombay. He has worked in 73 Talkie films, directed 1 film,-Sone ki chidiya-48. He even sang 4 songs in 4 films,as per HFGK. His first Talkie film was Radha Rani or Divine lady-1932 and the last film was Honeymoon-73.( Thanks for some information taken from Cineplot and from book,”Inhe na bhulana” by Shri Harish Raghuwanshi ji )

There is one actress in the cast, who is not known to many – FIROZA. Firoza (real name Susan Soloman) was born in a village in Konkan, Maharashtra on 30-7-1905, into a Bene Isareli Jew community. By the time she finished her education, she was proficient in Hebrew, Marathi, Hindi and English. In spite of opposition from family, she started working in silent films and soon became popular. Some of her films also became famous and hits. She continued working in silent films till 1934, when Silent films stopped being made. Due to family’s opposition, she had to leave her house. She stayed in Bombay.

With the advent of Talkie films, she naturally entered Talkie films, with Noor E Yaman-1935, in a small role. She acted in films like Bhikaran-35, Aansuon ki duniya-36,Bharat ke laal-36, Jeevan Jyoti- 37, Dukhiyari-37, Veerbala-38 etc.etc. Due to her success in films,m she fell a prey to false promises and dreamt of working in Hollywood films.She wasted 3 years in this and dejected, started working in films again here with Ek Raat-42, Circus girl-43, Duniya diwani-43, Bhagta bhoot-43, Andhi duniya-43, Din Raat-45, Lal Batti-47, Daulat ke liye-47, Haatimtai-47, Dilwale-48 etc.

She became an alcoholic and a chain smoker. She made the mistake of refusing offers from Bombay Talkies and other big banners. Meanwhile she fell in love with actor Chandra Mohan and wished to marry him, but he became a drunkard and died in 1949. Her financial condition became worse. She did small roles in Marathi and Hindi films. Yasmin -54 was her last film.

She lost her parents and lived alone in a single room, where she died unnoticed one day in early 70s. She was one of the top 5 Jew actresses, included in the Documentary ” Shalom Bollywood’ made by Danny Ben-Moshe in 2003. Thus ended a talented artiste !.

NOTE – There was another FIROZA BEGUM- wife of Music Director Kamal Dasgupta of Calcutta. She is different. She was Bangla Deshi singer. Never acted in any film.

(Ack: Information culled from Beete kal ke sitare by S.Tamrakar,” The untold story of Jews in Indian Cinema”-Sunday Guardian, Women in Hindi Cinema by Bhavna, Jigna and Supriya, theoneminute.com and my notes.)

The song presented today is sung by K.Sundaramma. She was Music Director K.Narayan Rao’s wife. She was a trained classical singer by hobby. Narayan Rao gave her a break in this film. However, she did not pursue singing in films as a Playback singer, hence film Duniya Diwani became the first and last film for her career. Narayan Rao had also given a break to Lyricist Indivar in his film Jagriti-1949. He also introduced 3 playback singers in that film -Sanjivani Pai, Lalita Rao and Freni Shroff.

With today’s song, the singer K Sundaramma and the film Duniya Deewaani-1943 are making their Debuts on this Blog.


Song- Ek bewafa se pyaar kiya (Duniya Deewaani)(1943) Singer- K Sundaramma, Lyricist- Arshad Gujarati, MD- K Narayan Rao

Lyrics

Ek bewafa se pyaar kiya aa aa aa
aa aa aa
pyaar kiya hai pyaar kiya
Ek bewafa se pyaar kiya
pyaar kiya hai pyaar kiya
har waqt dil ne waar kiya
waar kiya hai pyaar kiya
Ek bewafa

aa aa aa aa
ae intahaaye ?? ye deewaangi teri ae ae ae ae
kyon unpe aitbaar kiya aa aa
aitbaar kiya hai pyaar kiya
kyon unpe aitbaar kiya
aitbaar kiya hai pyaar kiya
Ek bewafa

aa aa aa aa aa aa
aa aa aa aa
?? hai ?? koshishen
naakaam ho gayin
bekaar unse pyaar kiyaa
aa aa aa
pyaar kiya hai pyaar kiya
bekaar unse pyaar kiyaa
pyaar kiya hai pyaar kiya
Ek bewafa

?? dil ka ??
aur sar chhupa saki ee ee ee ee
ro ro ke ashkaar kiya
aa aa
ashkaar kiya hai pyaar kiya
ro ro ke ashkaar kiya
ashkaar kiya hai pyaar kiya
Ek bewafa


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

Blog Day :

4748 Post No. : 16476

Kishore Sahu, actor, producer, director and story/screen-play/dialogue writer must be a dynamic, ambitious and resourceful person. Otherwise, how could one explain the pace at which he turned producer after the release of only one film? He started his acting career with a lead role in Bombay Talkies’ ‘Jeewan Prabhat’ (1937). One film old Kishore Sahu set up a film production company, India Artists Ltd. As a managing director of the company, he produced ‘Bahurani’ (1940) which was released in June 1940. The film was commercially successful.

By 1945, Kishore Sahu had become a successful film producer, director, writer and actor. But before that he faced a ‘speed breaker’ in his career path. Sometime in the latter half of 1940, Kishore Sahu’s marriage with Snehprabha Pradhan, his co-star in ‘Punar Milan’ (1940) in September 1940 ran into trouble. In less than six months of their marriage, they separated. The long court battles and the resultant divorce sometime in 1942 affected Kishore Sahu to such an extent that he left Bombay in early 1941 and went into ‘hibernation’ for a year or so in his native town and Nagpur.

It is said that a person in a depressed mind for a long time is likely to experience change in his personality after he overcomes the depression. But in the case of Kishore Sahu, it appears that more than the likely change in his personality, the recovery from the personal problems changed his filmy career for the better. Kishore Sahu returned to Bombay with a story of ‘Kunwaara Baap’ (1942) which was his debut film as a director. He was also the lead actor opposite Protima Dasgupta. It was a social satirical film.

The box office success of ‘Kunwaara Baap’ (1942) encouraged him to direct two more films with similar theme – ‘Raja’ (1943) and ‘Sharaarat’ (1944) making them a trilogy of films with social satire as the theme. He was once again paired with Protima Dasgupta in both these films. While ‘Raja’ (1943) was a commercial success, ‘Sharaarat’ (1944) did not fare well at the box office. But his subsequent film, ‘Veer Kunal’ (1945) which Kishore Sahu produced and directed under the banner of Ramnik Productions was a commercially successful film. In this film, he played the lead role of Veer Kunal.

The next line of career progression took place in 1945 when he bought the banner, Hindustan Chitra Production and become the producer-director under his own banner. Films like ‘Sindoor’ (1947), ‘Saawan Aaya Re’ (1947), ‘Kali Ghata’ (1951) and “Mayur Pankh’ (1954) became successful at the box office. As a director, he saw success in ‘Saajan’ (1947), ‘Nadiya Ke Paar’ (1948). ‘Dil Apna Aur Preet Paraayi’ (1960), ‘Grihasti’ (1963) etc. He also acted in films of other banners.

As happens with many film directors, after his successful innings of around 10 years, Kishore Sahu, by and large, failed as a director in his later part of the career. After ‘Grahasti’ (1963), he could not attain the same level of success as in the 1940s and 1950s. In the 1960s and 70s, Kishore Sahu produced and directed ‘Poonam Ki Raat’ (1965), ‘Hare Kaanch Ki Chooriyaan’ (1967), ‘Pushpanjali’ (1970) and directed ‘Dhuen Ki Lakeer’ (1974) but could not create ripples on the box office front.

Of these four films, I had seen ‘Poonam Ki Raat’ (1965) when it was released. The film was a suspense thriller. I found the film interesting with tightly maintained suspense coupled with outstanding song compositions by Salil Chowdhury. Around the same time, I had seen ‘Gumnaam’ (1965), and later, I had also watched on TV ‘Wo Kaun Thhi’ (1964), The common factors in all these three films were (i) suspense thriller, (ii) Manoj Kumar as the lead actor and (iii) melodious music and songs. While ‘Poonam Ki Raat’ failed at box office, the other two films were box office success. Can it be said that the young directors were more innovative and had read the pulse of the filmy audience of mid 1960s better than Kishore Sahu or was it simply a loss of his magic touch?

When Kishore Sahu was facing a downturn in his career as a producer-director, he started doing character roles in the films of other banners. Dev Anand seems to be fond of Kishore Sahu who acted with him in ‘Kala Paani’ (1958), ‘Kala Baazar’ (1960), ‘Guide’ (1965), ‘Gambler’ (1971) and ‘Hare Rama Hare Krishna’ (1972). By the way, Dev Anand worked with Kishore Sahu for the first time in ‘Namoona’ (1949).

Kishore Sahu died on August 22, 1980 while on a family trip to Thailand. His last film, ‘Vakil Babu’ (1982) was released after his death.

‘Raja’ (1943) was Kishore Sahu’s third film as a director and the 5th film as an actor. He also wrote the story, screen-play and dialogues for the film. The star cast included Kishore Sahu and Protima Dasgupta in the lead roles supported by Ranibala, Moni Chatterjee, Gulab, Vijay Sahu, Wasker, Anant Prabhu etc.

There were 8 songs in the film of which one song has been covered on the Blog. I am presenting the film’s second song, ‘aankhon ki ye sharaab piye jhoom ke nikle’. The song is written by Amritlal Nagar which is set to music by Khan Mastana. Most of the on-line resources mention Kishore Sahu as the singer. But it is apparent that the voice in this song is that of Khan Mastana.

When I first listened to the song, it gave me an impression of a song of enjoyment. By the time I come to the last stanza of the song, it dawns to me that all is not well in protagonist’s love life.

Audio Clip:
Song-Aankhon ki ye sharaab piye jhoom ke nikle (Raja)(1943) Singer-Khan Mastana, Lyrics-Amritlal Nagar, MD-Khan Mastana

Lyrics

shar…..aab
shar….aab
ye shar…..aab
aankhon ki ye sharaab
aankhon ki ye sharaab
aankhon ki ye sharaab piye jhoom ke nikle
haan jhoom ke nikle
haan haan jhoom ke nikle
armaan mere dil ke
armaan mere dil ke ghaav choom ke nikle
haan choom ke nikle
haan haan choom ke nikle
aankhon ki ye sharaab
aankhon ki ye sharaab piye jhoom ke nikle
haan jhoom ke nikle
haan haan jhoom ke nikle
aankhon ki ye sharaab

main kis tarah bachoon
main kis tarah bachoon na ke madhosh banoon main
behosh banoon main aen
main kis tarah bachoon na ke madhosh banoon main
behosh banoon main
behosh banoon main
gar ?? khud sharaab
gar ?? khud sharaab bane jhoom ke nikle
haan jhoom ke nikle
haan haan jhoom ke nikle
aankhon ki ye sharaab
aankhon ki ye sharaab piye jhoom ke nikle
haan jhoom ke nikle
haan haan jhoom ke nikle
aankhon ki ye sharaab

toota huwa dil ek bhi apna sa na paaya
hamne nahin paaya
toota huwa dil ek bhi apna sa na paaya
hamne nahin paaya
hamne nahin paaya
ham pyaar ki duniya se
ham pyaar ki duniya se bahut ghoom ke nikle
haan ghoom ke nikle
haan haan ghoom ke nikle
aankhon ki ye sharaab
aankhon ki ye sharaab piye jhoom ke nikle
haan jhoom ke nikle
haan haan jhoom ke nikle
armaan mere dil ke
armaan mere dil ke ghaav choom ke nikle
haan choom ke nikle
haan haan choom ke nikle
aankhon ki ye sharaab


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

Blog Day :

4726 Post No. : 16441

Blog 10-Year Challenge (2011-2021) – Song No.28
——————————————————————-

After the successful release of Prabhat Film’s ‘Padosi’ (1941) on January 25. 1941, V Shantaram, the director, remained inactive for more than one year in Prabhat Films which was unusual for him. His next directorial venture was ‘Shakuntala’ (1943) under his own banner which was released sometime in the second half of 1943. Apparently, there was something unusual happening in Prabhat Films.

To know what was going on in Prabhat Films in general and with V Shantaram in particular, I browsed through the available issues of ‘Filmindia’ magazine of the yeas 1941 and 1942 wherever there were references to Prabhat Films and V Shantaram. What I gathered from the various columns of the magazine is summarized below which explanins as to why V Shantaram got sidelined in Prabhat Films:

(1) The grapevine was that all was not well among the 5 partners of Prabhat Film Company after the release of ‘Padosi’ (1941). It was speculated that some of the partners were not on the speaking terms and they rarely met to discuss the future plans. This discontentment was evident from the fact that in January 1941, there was an announcement that V Shantaram will direct Prabhat’s next film, ‘Omar Khayyam’ with Jayshree in the lead role. The screen-play and dialogue writing were completed and film was to go on shooting floor in April 1941. But no progress was made beyond screen-play and dialogue writing. Eventually, the film was shleved.

(2) Sometime in the middle of the year 1941, Prabhat Film Company had spared the services of V Shantaram to Government of India as the Chief Producer for its Film Advisory Board (later called as Film Division) at a remuneration of Rs.2500/- per month. He was the first Indian to head the Film Advisory Board of the Government of India. Although he was allowed to work for Prabhat Films whenever his services were required, Prabhat Films did not give him any assignment.

(3) Around the same time, V Shantaram married Jayshree Kamulkar who was the lead actress in Prabhat Film’s Marathi version of ‘Padosi’ (1941), titled as ‘Shejari’. Earlier, one of the partners of Prabhat Films, Keshavrao Dhaiber had married actress Nalini Tarkhud who was the heroine in Prabhat’s ‘Rajput Ramani’ (1936). For this, he was made to exit from the partnership of Prabhat Films. Since then, there was a rule in Prabhat Films that any partner marrying the actress in the payroll of the Company would have to leave the partnership. This rule would also apply to V Shantaram.

Since V Shantaram did not immediately exit from the partnership of Prabhat Films after the marriage, it is quite possible that sparing his services to the Film Advisory Board was a way out to keep V Shantaram out of Prabhat Films. This arrangement may have also suited V Shantaram as he got the time to plan for his future film ventures before he finally exited from his partnership in Prabhat Films.

V Shantaram exited from the partnership of Prabhat Films in May 1942. He continued with his new assignments with Film Advisory Board until September 1942 when he resigned his post as the Chief Producer. By this time, he had set up Silver Screen Exchange, his film distribution company for Western India and was in advance stage of setting up of his film production company. He had already announced ‘Shakuntala’ (1943) as the first film under his newly set up banner, Rajkamal Kala Mandir. He had almost finalised buying National Studio for Rs.7 lakhs and he had already made the announcement to this effect.

But unlike doing business in Kolhapur and Pune, Mumbai was highly competitive. When the news of his buying National Studio became known in the film industry, Keki Mody, the Chief of Western India Theatres put his bid for National Studio at much higher price and snatched away the deal from V Shantaram. It was a setback for V Shantaram as he had planned to start the shooting of ‘Shakuntala’ (1943) soon after the acquisition of the National Studio.

The necessity of buying a studio become a prestige issue for V Shantaram more than for the immediate requirement for the commencement of shooting for his first film. So, he immediately bought Wadia Movietone’s studio for Rs.2 lakhs – much lower price than his bid for National Studio. But it had a hidden cost – the cost of renovation and the resultant delay of about 3 months to commence the shooting of ‘Shakuntala’ (1943).

The shooting of ‘Shakuntala’ (1943) started in January 1943 and got completed in July 1943. Therafter the film was released. It ran for 104 weeks in a single theatre in Mumbai. Thus the two years of inactivity of V Shantaram in commercial cinema was rewarded with a grand success of ‘Shakuntala’ (1943).

10 years ago on this date (26 June 2011), one song from the film ‘Shakuntala’ (1943) was posted on the Blog. So far, 10 songs (out of 13) from the film have been posted on the Blog, details of which are as under

Sr. No. Song Posting Date
01 Jeewan ki naao na doley 09/06/2011
02 Kamal hai mere saamne 25/06/2011
03 Pyaari pyaari ye sukhad maatribhoomi apni 26/06/2011
04 Jhooloongi jhooloongi 30/06/2011
05 Tumhe prasann yoon dekh ke 04/05/2014
06 Chaand sa nanha aaya 06/05/2014
07 Na jaane kahaan ka ye jaadoo kiya hai 24/07/2017
08 Chali apne ghar ko Shakuntala 18/08/2018
09 Mere baba ne baat meri maan li 04/08/2019
10 Ek prem ki pyaasi bani banwaasi 25/06/2021

I am presenting the 11th song, ‘meri biraha ki rain thhi ek to badi’ from the film ‘Shakuntala’ (1943). The song is rendered by Amirbai Karnataki. There were two lyricists – Diwan Sharar and Ratan Piya for the film. However, for the song under discussion, individual accreditation is not available.

The song is picturised on a dancer whom I am not able to identify. The situation of the song is that as soon as King Dushyant gets to see the ring which he had presented to Shakuntala after his marriage with her, his memories of the time he spent with Shakuntala is restored. He becomes restless and is eager to see Shakuntala. This song is the reflections of what is going in the mind of King Dushyant.

Lyrics of the song were sent to me by Prakashchandra.

Audio Clip:

Video


Song-Mere birha ki rain thhi ik to badi (Shakuntala)(1943) Singer-Amirbai Karnataki, MD-Vasant Desai

Lyrics (provided by Prakashchandra)

mere birha ki rain thhi ik to badi
dooje badhti ee gayi
aur badhti gayi
mere birha ki rain thhi ik to badi
uthhi rang(?) ki siyaahi se kaali ghataa
kaali raat ke chadhti ee
chadhti ee gayi
mere birhaa ki rain thhi ik to badi

hai biyog ki lambi kahaani meri
kabhi ant main uska likh naa saki ee
kabhi likhti rahi
kabhi padhti gayi ee
phir likh likh
likh kar
padhti gayi
mere birha ki rain thhi ik to badi


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

Blog Day :

4725 Post No. : 16438

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Blog 10-Year Challenge (2011-2021) – Song No.27
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The story of Shakuntala which is based on a classic Sanskrit play ‘Abjijanashakuntalam’ written by Kalidas has been one of the favourites of film makers. Two silent films with the title ‘Shakuntala’ were made in 1920 – one directed by Suchet Singh and the other by Shrinath Patankar. In 1929, Fatma Begum also directed a silent film with the same title. With the advent of sound film in 1931, two films were released with the same title in 1931 – one directed by Mohan Bhavnani and the other by J J Madan. Sarvottam Badami of Sagar Movietone directed ‘Shakuntala’ (1932) in Telugu. Jyotish Banerjee directed ‘Shakuntala’ (1941) in Bengali.

When V Shantaram set up his own Rajkamal Kala Mandir in 1942, he produced and directed ‘Shakuntala’ (1943) as his first film under his banner. He remade the film in 1961 with the title ‘Stree’. Bhupen Hazarika made the film in Assamese in 1961 and Kunchako directed the film in 1965 in Malayalam. The list is not exhaustive but the number of films made so far shows the popularity of the story of Shakuntala.

Since Prabaht Films did not make film on ‘Shakuntala, probably, V Shantaram thought of making Shakuntala as his first film after leaving Prabhat Films in May 1942, V Shantaram set up his own film production company, Rajkamal Kala Mandir. In October 1942, he acquired Wadia Movietone’s studio and renovated the same which took about 3 months. Simultaneously, he was also busy with the preparatory work for his maiden film, ‘Shakuntala’ (1943). When the studio was ready after renovation, he signed Chandramohan for the role of Dushyant opposite Jayshree in the role of Shakuntala. The shooting of Shakuntala started in January 1943 and it took about six months to complete the shooting. The film was released tereafter.

‘Shakuntala’ (1943) was a big box office hit which laid a strong foundation for Rajkamal Kala Mandir. In Mumbai, the film ran for 104 weeks in Swastik theatre. In 1947, the film was released in the USA with English sub-titles. The New York Times carried the review of the film in its issue dated December 26, 1947. Among other things, the review has said:

Shakuntala has charm entirely of its own. The story – call it a fairy tale or just plain Hollywood – is strictly boy-meet-girl, forest version with inevitable reunion. The lovely background, the unabashed naivete of acting of the entire cast, the crudely rich musical score and above all the expertly flavoursome English subtitles all blend together to make Shakuntala a sturdy screen promises from our Indian friends.

Almost all the songs of the film became very popular. I recall that my mother used to often sing at least 3 songs from the film, one of which I am presenting with this article. She was singing despite the fact that she did not speak and understand Hindi at that time (in the late 1940s) in my native place. Of course, I heard her singing in my childhood only when we shifted to Mumbai in early 1950s and realised after about six decades that the songs she was singing were from ‘Shakuntala’ (1943).

‘Shakuntala’(1943) was the beginning of a long association of V Shantaram with Vasant Desai as a music director which continued till ‘Mausi’ (1958). It is said that during the making of ‘Navrang’ (1959), their relations sour leading to the separation. But his respect to his mentor, V Shantaram was so great that he did not reveal the reasons of his separation even to his family members. Later, he was recalled by V Shantaram to provide background music for ‘Geet Gaya Patharon Ne’ (1964) and as a music director for ‘Ladki Sahyadri Ki’ (1966).

10 years back, one song from the film ‘Shakuntala’ (1943) was posted on the Blog. So far, 9 songs (out of 13) from the film have been posted on the Blog, details of which are as under:

Sr. No. Song Posting Date
01 Jeewan ki naao na doley 09/06/2011
02 Kamal hai mere saamne 25/06/2011
03 Pyaari pyaari ye sukhad maatribhoomi apni 26/06/2011
04 Jhooloongi jhooloongi 30/06/2011
05 Tumhe prasann yoon dekh ke 04/05/2014
06 Chaand sa nanha aaya 06/05/2014
07 Na jaane kahaan ka ye jaadoo kiya hai 24/07/2017
08 Chali apne ghar ko Shakuntala 18/08/2018
09 Mere baba ne baat meri maan li 04/08/2019

I am presenting the 10th song, ‘ek prem ki pyaasi bani banwaasi’ from the film, sung by Amirbai Karnataki. The song is written by Ratan Piya which is set to music by Vasant Desai.

The song is picturised on Zohrabai (not to be confused with Zohrabai Ambalewaali), in the role of Menaka to seduce sage Vishwamitra to break his meditation. The song can be regarded as one of the earliest attempts of ‘honey trap’ which Lord Indra laid, fearing that with his deep ascetic practice and meditation, sage Vishwamitra would acquire enormous power to challenge the gods.

Audio

Video


Song-Ek prem ki pyaasi bani banwaasi (Shakuntala)(1943) Singer-Amirbai Karnataki, Lyrics-Ratan Piya, MD-Vasant Desai

Lyrics

aa aa aaa
aa aa aa aaa
aa aa aaa
aa aa aa aaa
ek prem ki pyaasi
ek prem ki pyaasi
bani banwaasi
ban mein tumhaare aayi
ban mein tumhaare aayi
nain khol dekh o bairaagi
nain khol dekh o bairaagi
bairaagan kya laayi
bairaagan kya laayi
aa aa aaa
aa aa aaa

main roopmayi
tum gyaanjayee
main vilaasi tum banwaasi ee
prem bina sab gyaan adhoora
prem bina sab gyaan adhoora aa
mat bhoolo sanyaasi
mat bhoolo sanyaasi
aa aa aaa
aa aa aa aa
aa aa aaa
aa aa aa aa
ek prem ki pyaasi bani banwaasi
ban mein tumhaare aayi
nain khol dekh o bairaagi
bairaagan kya laayi
bairaagan kya laayi
aa aa aaaaaa


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 :

4699 Post No. : 16391 Movie Count :

4454

Today’s song is from an unknown film – Daawat aka invitation-1943.This film falls under the II category of ” Road Closed” movies – which means, except for the information given in HFGK, no other information about the film is available anywhere, as on today. What do we do then ? Nothing. Just try to know more about whatever is available.

The film was made by Eastern Pictures, Bombay. It was directed by M.Nazir, who apparently directed only this film. However, he acted in 15 films, from Zingaro-35 to Mala-41. I found one more name, Nazir Ajmeri (5 films) as a director. Obviously he must be a different person. There were 8 songs in the film, written by lyricist Tanvir Naqvi. He was one of those people who first migrated to Pakistan after partition and then came back to India to get some work and then went back again to Pakistan for good.

Tanvir Naqvi ( real name- Syed Khursheed Ali ) was born on 16th February 1919, at Lahore. His father was a Jahagirdar and elder brother was ADC to a Nawab. Tanvir went to Persia, along with father, where he was educated in Urdu and Persian. From the age of 14 years, he started writing poetry and participated in various Mushairas. He published a book ” Suhane Sapne ‘ of his poetry. By chance, A R Kardar read it and called Tanvir to Bombay to write for his film ‘ Swami’-41 made by CIRCO.

In his next film, Nai Duniya-42, Suraiya sang his song as her First song. His films Anmol Ghadi-46 and Jugnu-47 became hits and all his songs were appreciated much. He had earned a good name. However, after the film Parda-49, he migrated to Pakistan. In 1954, K.Asif invited him to India to write songs for his film ‘Mughal E Azam’, but by that time, Naushad had built his own team and he declined to take Tanvir Naqvi. From 1954 to 1959, Tanvir did many films. He also joined S.Mohinder and wrote songs for his 7 films.

In 1959, Tanvir Naqvi shifted again to Pakistan, but this time for good. There also he wrote for many films,like Koel, Jhoomar, Salma, Gulfam,Elaan etc etc. He also wrote for Punjabi films. He had married Idaan- elder sister of actress singer Nurjehan. However,since he had no children from her, he married again and had 2 children. He died in Lahore on 1-11-1972. In India, he wrote 224 songs for 48 films. Some of his songs are popular even today.

The Music Director of this obscure film was equally obscure – Vasant Kumar Naidu. There were a number of people who came to Bombay to try their luck in films. They had hopes, skill and a will to do hard work. Such people came to Bombay from all over India. Naidu came all the way from Burma-via Madras. All could not succeed. Those with strong Luck got some God Fathers and some could get opportunities which they turned into solid performance, but some could not get any of these and remained unknown. There are strange cases where Luck just came near but eluded them leaving them empty handed.

Vasant Naidu was not only one such person, who could not become a big name, but he was also one about whom hardly any information was available anywhere. In the case of music director Vasant Kumar Naidu, no information is available in any book or on the internet. Only Pankaj Raag wrote about his films and songs in his book ‘Dhunon Ki Yatra’. This too is based on HFGK only. Luckily Ms. Sai Lakshmi and Mr. Krishna Kumar Naidu, niece and nephew of Vasant Kumar Naidu visited this Blog and left some comments on an article . I picked up this slender lead and wrote to both of them. It is to their credit that both responded promptly . They tried to provide song and film information from different sites, which I already knew. After exchanging a few mails, they sent me a newspaper cutting, announcing the passing away of Vasant Kumar Naidu, along with his photo and a copy of his death certificate. Krishna Kumar ji also gave me some information about his family. I can understand their limitations. Naidu ji died in 1951. At that time these two were very young and now there may not be any other elder who may provide information about this artist.

Anyway, earlier I had zero information, now at least I have some information about him, plus his filmography as per the HFGK. I sincerely thank Ms. Sai Lakshmi ji and Shri Krishna Kumar Naidu ji for their help.

Vasant Kumar was born on 5-6-1915. His family had settled in Burma like thousands of other South Indian families. When Burma was struggling for independence, in the 1930s, most Indians left Burma and came to India. Many went to Calcutta and many went to South India. Many families walked for around 6 months from Burma to India. Mr.Vasant Kumar’s family was one amongst them. They walked from Rangoon to Madras. The family settled in Madras for some years.

Vasant Kumar had come alone to Bombay earlier in search of a career in music. He was an instrumentalist and could play any string instruments and also harmonium. He was also very much interested in reading different languages. There were many books that he read. He was also very keen on dressing up and had several suits in those days. He joined the industry and started growing as a Music Director. He then called his mother and other siblings to live with him in Mumbai along with his eldest brother’s widow and her son. He had 4 brothers. His eldest brother expired in Madras itself. Vasant Kumar was the second eldest. He had two younger brothers as well. They all lived on Peddar Road initially. Later, he left his Peddar Road flat and moved to Parel.

Vasant Kumar thereafter lived in Parel until his passing away on 16-10-1951.

Vasant Kumar got married in Madras. This marriage was arranged by his mother. Eventually his other brothers also got married. All three brothers and their wives stayed under the same roof in Parel in a joint family which was headed and supported monetarily by Vasant Kumar ji. His younger brother, the late Mr. Pandurang Naidu was also working towards a career in music. He became a musician (played banjo and mandolin). Vasant Kumar ji taught several string instruments to his brother, Pandurang ji. His youngest brother, the late Mr. Sreenivasn Naidu, became a composer at a later stage of his life for the Indian Railways Music Academy (Central Railway Cultural Academy).

Vasant Kumar is survived by his only daughter, Mrs. Pramila Naidu, who is now a widow. She lives in Pune with her grown up children. Pramila ji was around 5 years old when her father passed away. She has vague memories of her father. It is sad to see her struggling now financially. She continues to give tuition at the age of 70 to make her living. She lawfully owns 3 flats in Parel, Mumbai but the 3rd generation of the family has occupied these flats and are not willing to vacate. This property is now worth in crores. The cousins of Pramila ji have gotten together and have filed a lawsuit against these 3rd generation greedy family members. The lawsuit has been going on now for the past 3 years.

When luck is not in your favour, any amount of hard work, efforts or support from influential persons does not work. This is amply proved by what happened in Naidu’s case. Naidu, before starting as an independent composer and even later, for some time, was an assistant to Anil Biswas. To help Naidu establish, Anilda sometimes used to put a word to known people for him as M.D.

Anilda knew Harishchandra Rao kadam very well. When he decided to become a Producer and make a film “Sukhi Jeevan”, Anilda met him and took a promise from him to make Naidu the MD for that film.

Harishchandra Rao wanted Master Bhagwan as the film’s Director. Bhagwan agreed but put a condition that C.Ramchandra be made the MD for this film. Rao told him about Anilda and the promise given for Naidu. Bhagwan refused his film if C.Ramchandra was not made MD. To solve this problem, Anilda was called and after discussing with all, he withdrew his demand for Naidu. Thus Naidu lost and C.Ramchandra got his first Hindi film ” Sukhi Jeevan”-42 , to start his career ! ( from the book ” Ek Albela” by Isak Mujawar).

Vasant Kumar started his career in 1939 by giving music to films ‘Thunder’ and ‘Pakke Badmash’. Till 1947, he composed music for 22 films, as per the HFGK. He sang 1 song as a duet with Khan Mastana for the film ‘Mere Sajan’ (1941). He has composed 160 songs in these 22 films. His filmography, as per the Geet Kosh, is ‘Thunder’ (1939), ‘Pakke Badmash’ (1939), ‘Rangeela Jawaan’ (1940), ‘Jung-e-Azadi’ (1940), ‘Desh Bhakt’ (1940), ‘Suhaana Geet’ (1941), ‘Meri Khwaish’ (1941), ‘Mere Saajan’ (1941), ‘Lehri Jawaan’ (1941), ‘Lala ji’ (1942), ‘Call Of Youth’ (1942), ‘Maata’ (1942), ‘Watan Ki Pukaar’ (1943), ‘Nai Zindagi’ (1943), ‘Mohabbat Ki Jeet (1943), ‘Daawat’ (1943), ‘Circus Girl’ (1943), ‘Bhaagta Bhoot’ (1943), ‘Beda Paar’ (1944), ‘Shaahi Khazaana’ (1946), ‘Chamkati Bijli’ (1946) and ‘Toote Dil’ (1947).

Unfortunately, Vasant Kumar got mostly B and C stunt and action films for composing the music. Big banners like National Studios gave him an opportunity with the film ‘Lala ji’ (1942), in which he got many songs sung by Anil Biswas, Kusum Mantri, and Vatsala Kumthekar. However such films came to him only as an exception, therefore his exposure to audiences was limited and his name did not gain any fame. Actually, many big, well known and popular singers have sung for him.

However, without a mentor, God Father or the support of a big banner, it became impossible for Vasant Kumar to grow further. During the transition period of 1947-48, when many composers migrated to Pakistan, the existing big composers made their positions solid. Thus smaller composers never got any opportunity to benefit from the void created by the exit of composers. This was the case of many small-time composers like him.

Today’s song is a duet by Rajkumari and G M Durrani. This rare song comes from Shri Abhay Jain ji (US) and was uploaded by Sadanand Kamath ji for me. Thanks to both. With this song, film Daawat-43 makes its Debut on this Blog.


Song- Nain se nain milaaye aao (Daawat)(1943) Singers- G M durrani, Rajkumari, Lyricist- Tanveer Naqvi, MD- Vasant Kumar Naidu
Both

Lyrics

Nain se nain milaaye aao
Nain se nain milaaye aao
Man ko man se taulen aen aen
Man ko man se taulen

nindiya ban kar do nainon mein
sapnon ke pat kholen aen aen
nindiya ban kar do nainon mein
sapnon ke pat kholen

nain se nain milaaye aao
Man ko man se taulen aen aen
Man ko man se taulen

main raat gaye ka sapna
main raat gaye ka sapna
main saanjh bhaye ki dhool
saanjh bhaye ki dhool
main pawan ki sheetal ??
main pawan ki sheetal ??

main bhor bhaye ka roop
main bhor bhaye ka roop
ye bhed kabhi na kholen aen
bhed kabhi na kholen
Man ko man se taulen aen aen
Man ko man se taulen

main kali banoon bagiyaa mein chatkoon
kunj kunj mehkaaun
main kali banoon bagiyaa mein chatkoon
kunj kunj mehkaaun

main bhannwra ban kar it ut doolon
door door ho aaun
door door ho aaun
aur munh se kuchh na bolen
aur munh se kuchh na bolen
Man ko man se taulen aen aen
Man ko man se taulen


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 :

4677 Post No. : 16354 Movie Count :

4441

During 1966-72, I used to watch one Hindi film almost every week-end. I had only two main criteria for selecting a film. First, I should be able to procure a ticket without a long queue either in advance or current booking. Second, the film should be from a good banner which meant that ‘B’ and ‘C’ grade films were out of my reckoning.

‘Aradhana’ (1969) was one such films which fitted my criteria. I watchedit in a theatre during the first week of its release. There was no problem in booking the ticket as Rajesh Khanna had not become a ‘phenomenon’ at that time, a term which one of the film magazines had used for him after the success of this film. While I was acquainted with the names of most of the main actors, the actor who had done the role of Sharmila Tagore’s father was a new face for me. His performance as a distressed father whose daughter has become a widow, carrying her fiancé’s child before formally getting married, had remained embedded in my mind with the song, safal hogi teri araadhana playing in the background. It was after a few months that I came to know that the actor in that role was Pahadi Sanyal, a name that I heard for the first time. Now this sounds surprising for me.

It was a sort of paradox that while I was not aware of Pahadi Sanyal as an actor in 1969, I was acquainted with his daughter, Luku Sanyal who was a lecturer in English literature in my college (K C College, Churchgate) during my college days in 1966-69. It was only when she started reading news in English on Doordarshan, Mumbai in 1972 that I came to know that she was the daughter of Pahadi Sanyal.

It took me another four decades to know that Pahadi Sanyal was also a good singer. That was after I joined the Blog sometime in 2011.

Pahadi Sanyal (22/02/1906 – 10/02/1974) and K L Saigal were contemporaries in New Theatres, both of them starting their filmy career almost the same year (1932). Apart from Bengali, Pahadi Sanyal was fluent in Hindi, Urdu and English. This qualified him to work as a singer-actor in most of the bilingual films (Bangla and Hindi) produced by New Theatres during 1933-40. The bilingual films included ‘Rajrani Meera’ (1933), ‘Chandidas’ (1934), Dhoop Chhaaon’ (1935), ‘Devdas’ (1935), ‘Karorepati’ (1936), ‘Vidyapati’ (1937), ‘Adhikar’ (1938), ‘Sapera’ (1939), ‘Haar-Jeet’ (1940). He also acted and rendered songs in ‘Yahudi Ki Ladki’ (1933) and ‘Kaarwaan-E-Hayat’ (1935). In some of these films, Pahari Sanyal worked with K L Saigal and also rendered songs with him.

Despite being a trained musician and singer in Hindustani classical music from the prestigious Marris College of Music, Lucknow, Pahadi Sanyal had to work under the shadow of K L Saigal whose songs were very popular and thus sure shots for the box office success of the films. I have seen many films of Pahadi Sanyal and K L Saigal working together and there is no doubt that K L Saigal was a better singer than Pahadi Sanyal. But when it comes to acting I felt that latter’s acting calibre was higher than that of K L Saigal.

After completing ‘Saugandh’ (1942), Pahadi Sanyal shifted his base to Mumbai in 1942. During his Mumbai stint, he acted in ‘Saheli’ (1942), ‘Sharaafat’ (1943), ‘Inkaar’ (1943), Mohabbat’ (1943), ‘Anban’ (1944), ‘Paristan’ (1944), ‘Kadambari’ (1944), ‘Preet’ (1945), ‘Malan’ (1946), ‘Milan’ (1946) among others. He was a lead actor in many of the films in the 1940s in Mumbai and he sang for himself in all these films.

Some time in the late 1940s, Pahadi Sanyal went back to Kolkata and worked in Bangla films but often visited Mumbai to work in Hindi films in the 1950s and 60s. By early 1950s, Pahadi Sanyal had started doing character roles.

While writing articles under the series ‘Hindi Songs in Bangla Films’ for the Blog, I had occasion to watch many Bangla films and Pahadi Sanyal had acted in some of these films. His role as a Psychiatrist in ‘Deep Jeley Jai’ (1959) was noteworthy for his long monologues with few dialogues delivered in chaste English. I have also seen its Hindi remake, ‘Khamoshi’ (1969) in which Nazir Hussain played the role of Psychiatrist but in my view, he was a shade lower in performance than the one by Pahari Sanyal.

In ‘Uttar Falguni’ (1963) and its Hindi remake, ‘Mamta’ (1966), Pahari Sanyal had a small role of a prosecution lawyer. Here he was pitted against the defence lawyer, Bikash Roy/Ashok Kumar. It was an interesting dual of natural actors in the court room to watch. In ‘Alor Pipasa’ (1959), Pahari Sanyal played the role of a senior doctor who tells the story of a mujra singer to his junior doctor (Asit Baran) who turns out be the mujra singer’s son. The narration of the story in a flash back mode by the senior doctor in tight to medium close-up shots shows the confidence the director of the film on the ability of Pahadi Sanyal to give effective facial expressions along with smooth dialogue delivery. In Bangla cinema, some of the character actors like Pahadi Sanyal and Chhabi Biswas, thanks to their acting prowess, commanded status almost equal to that of the lead actors. There are some more such Bangla films where Pahadi Sanyal has given memorable performance even in small roles.

During the 4 decades of his filmy career, Pahadi Sanyal worked in 56 Hindi films and almost an equal number of Bangla films. In addition, he also worked in an English film, ‘The Householder’ (1963).

As a singer in Hindi films, Pahadi Sanyal was active from 1933 to 1946 during which time, he rendered about 50 songs as an actor-singer. His last Hindi film song appears to be wo kahen aap ki do chaah ka inaam mujhe from ‘Milan’ (1946).

About a week back, I uploaded a rare song from the film ‘Mohabbat’ (1943) ‘tum shyaam badariya main hoon mor’ rendered by Pahadi Sanyal which I am presenting here. The film was directed by Phani Majumdar. Shanta Apte and Pahadi Sanyal were in the lead roles in the film with the supporting cast of Jagdish Sethi, Sunalini Devi, K C Dey, Yashodhara Katjoo, S Nazir etc.

There were 10 songs in the film which were set to music by Hari Prasanna Das. Except for Meera Bai bhajan, the lyricist/s for remaining 9 songs are unattributed.

With this song, ‘Mohabbat’ (1943) makes its debut on the Blog.

Audio Clip:

Song-Tum shyam badariya main hoon mor (Mohabbat)(1943) Singer-Pahadi Sanyal, Lyrics-Unknown, MD-Hari Prasanna Das

Lyrics

tum shyaam badariyaa
badariyaa
main hoon mo…r
tum shyaam badariyaa
badariyaa
main hoon mo…r
tum shyaam badariyaa
tum chaand kiran ho
tum chaand kiran ho
main hoon chakor
tum shyaam badariyaa
badariyaa
main hoon mor
tum shyaam badariyaa

ek praan hai do hain kaaya
ek praan hai do hain kaaya
bandhi preet ki dor
bandhi preet ki do…..r
tum shyaam badariyaa
badariyaa
main hoon mo….r
tum shyaam badariyaa


aa haa
tum jal ki chanchal dhaara
main uska ek kinaara
tum jal ki chanchal dhaara
main uska ek kinaara
jeewan pathh mein sang sang dolen
jeewan pathh mein sang sang dolen
chale ek hi ore
chale ek hi ore
tum shyaam badariyaa
badariyaa
main hoon mo….r
tum shyaam badariyaa

hum tum donon do panchhi hain aen
hum tum donon do panchhi hain
uden aen gagan ki ore
dekhen kitni door hai
apni iss duniya ka chhor
dekhen kitni door hai
apni iss duniya ka chho..r
tum shyaam badariyaa
badariyaa
main hoon mo…r
tum shyaam badariyaa
badariyaaaaa


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 :

4662 Post No. : 16331 Movie Count :

4433

Today’s song is from the film Talash-1943. This is one of those films, about which hardly any information is available on the net or in any book. But thank God, at least credits for all the important departments like Banner, Director, MD, Lyricist and all the star cast names are available in HFGK.

There are few films about which, except their titles and year of censoring, nothing else is known, not on the internet, in any book or even in HFGK. Just for example, in the year 1943 itself you have films like “Pati pooja”, “Magic of South India”, and “Andhi Duniya”, for which the page space is blank- no information at all except the Banner’s name. Since 1931, almost all years till at least 1960, one can find such films in HFGK.

Film Talash-43 was a Stunt film and its cast was full of the usual artistes who featured in such C grade action films. The cast shows the names of Benjamin, Leela Pawar, Ranibala, Sadiq, Dalpat, Faqir Muhammed, Nazira, Shyamsundar, Jahangir, Meherbano, Roopa etc.

I have no idea who this actor Benjamin was, but he featured in stunt and action films from mid 30’s to mid 40’s. All the other names are familiar. There were 8 songs in the film and the singers included Kalyani Bai, Zohrabai ( this was the first time Zohrabai sang for a film’s Heroine in a solo and a duet-thanks to Khan Mastana, the MD), Nalini Rao, Shyamsundar and Khan Mastana – the MD himself. it was a common matter that usually the Music Director also sang a few songs in the film – if he was a singer, which most early era MDs were.

In this singers’ list there are 2 names which fall into the “Same Name Confusion” category. One was Kalyani bai and the other was Shyamsundar.

As far as Shyamsundar is concerned, he was different from Music Director Shyam Sunder (Gabba) and he continued to sing in films till 1955, well after the demise of MD Shyamsunder in 1952, confirming that he was a different person. I have written earlier also about him. Kalyani bai and Kalyani Das were singers who operated in same period in Calcutta and Bombay and both sang in films made in both cities, so the scope of confusion was plenty. However, there was a distinct time slot for their operation in singing.

Kalyani Bai (1920-2009) (real name – Zarina) was an actor-singer who was trained in classical singing. She sang khayal, thumri and ghazals for All India Radio and recorded such genre of songs for HMV. This led her to a filmy career in Calcutta in 1934 as an actor-singer. After some struggle, she was employed with New Theatres and she acted in films like ‘Anaath Ashram’ (1937), ‘Mukti’ (1937), and ‘President’ (1937) in which she also sang some songs for herself.

In 1937, Kalyani Bai left New Theatres and joined Ranjit Movietone in Bombay (Mumbai). Her first film with Ranjit Movietone was ‘Toofaani Toli’ (1937). In the 40s, she appeared to have become a freelancer, although I find that she worked in more films directed by VM Vyas of Sunrise Films than other banners. She was one of the singers in the famous All-Women qawwali in the film Zeenat-1945. Her last film as an actor-singer was ‘Ghar’ (1945). However, she lent her voice for other actresses in films released during 1947-54. She also acted in small roles in a few films of the 1970s and probably early 80s. She later married Seth Chirauddin Bakar. She had 2 sons and a daughter from him. She retired and settled in Bombay. She died on 1-10-2009.

Kalyani Das was a playback singer who started her career in Hindi films from Calcutta with PC Barua’s ‘Jawaab’ (1942) and ended her playback singing career in Hindi films with ‘Iran Ki Ek Raat’ (1949). She also sang for a few films made in Bombay. To the best of my knowledge, she did not act in any films.

It is not so difficult to segregate ‘Kalyanis’ as both of them worked in Calcutta at different times. Kalyani Bai worked in films produced in Calcutta up to 1937 whereas Kalyani Das commenced her playback singing career from Calcutta from 1942 onward. She mostly worked for music director Kamal Dasgupta (8 out of 11 Hindi films in which she was playback singer). She sang 37 songs in 11 films….Jawab-42, meghdoot-45, Kurukshetra-45, Zameen Aasmaan-46, Prem ki Duniya-46, Bindiya-46, Manmaani-47, Giribala-47, Faisla-47, Swayamsidha-49 and Iran ki ek raat-49.

The third name which had a potential of ‘Same name Confusion’ was NALINI. In the period from the 30’s to 50’s, there were several ‘Nalini’s operating same time, as actresses and singers. They were Nalini Tarkhud, Nalini Jaywant, Nalini Nagpurkar, Nalini Borkar, Nalini Dhere, Nalini Gupte, Nalini Saraf(Seema), Nalini Chonkar, Nalini Rao and Nalini Korgaonkar. However, the problem of ‘ Same Name Confusion’ never arose for any ‘ Nalini’. The simple reason was- all of them were Marathi artistes and as per their custom, they always used their Surnames to make distinction between other ‘Nalini’s. Hence SNC rarely involved Marathi artistes. The other example of this was Shanta Apte, Shanta Hublikar, Shanta Mujumdar, Shanta Kumari and Shantarin.

One peculiar thing about film Talash-43 was that the Director and lyricist of the film was same – A Kareem. (another such example was Kidar Sharma). There were few artistes in the Film Industry who were ‘all- rounders’. These artistes achieved excellence in many departments of film making. A. Kareem was one such artiste. He was brother of Music Director Ghulam Mohammed. He was an Actor, Producer, Director, Composer, Lyricist, writer, screenplay and dialogue writer and a Costume designer ! In my opinion, he can be compared with only Badri Prashad, who was Actor, Producer, Director, Composer, Singer, Character artiste and a Choreographer too !..

In the early era, there were many such artistes who did many things-sometimes out of necessity or compulsion or to sustain jobs. But they were known for ONE main activity. Similarly A. Kareem was known as a Lyricist. He started his career with Aaj ki Duniya-40 as an actor. He also acted in Jagat mohini-40, Meri Khwaish-041, and Circus ki Sundari-41. He wrote s/p and dialogues, with P L Santoshi for films Circus ki sundari-41 and Bombay Calling-42. He composed music for 5 stunt films like Kashmir ki kali-46, Toofani Teerandaz-47,Atom Bomb-47, Dhoomketu-49 and Maya Mahal-49. He had composed 35 songs.

He directed 13 films like Kalakar-42, Talash-43, Badmash-44, Jeewan swapna-46, Parbat ki Rani-48, Rangeele Musafir-50, Josh-50, Gazab-51, Char chand-53, Maharani-57, Mehfil-57, Tilasmi Duniya-62 and Mehbooba-65.

As a Costume designer he worked for Naya Daur-57, Dil apna aur Preet Parayee-60, Mere Mehboob-63,Kaajal-65, Main vohi hoon-66 and Dastak-70. As a Lyricist his most famous song was Talat’s “Hai ye vohi aasman, aur vohi zameen, par meri Taqdeer ka ab vo zamana nahin “. He wrote 146 songs in 20 films.

Nowadays, it is impossible to find such All rounders in the film industry.

Today’s song is a solo song sung by Kalyani Bai, composed by Khan Mastana. With this song, film Talash-43 makes its Debut on the Blog.


Song- Kuchh peena kuchh pilaana (Talaash)(1943) Singer-Kalyani bai, Lyricist- A Kareem, MD- Khan Mastana

Lyrics

lalalalalala
kuchh peena
kuchh pilaana aa aa aa
kuchh peena
kuchh pilaana
kuchh peena
aaya hai samaa suhaana
aaya hai samaa suhaana
kuchh peena
kuchh pilaana
kuchh peena
kuchh pilaana
kuchh peena
kuchh pilaana

main bech rahi hoon jawaani
haan aan aan
main bech rahi hoon jawaani
jiska mol hai paani paani
jiska mol hai paani
koi aankhon ka jhhuthhaana
koi aankhon ka jhhuthhaana
lalalala
kuchh peena
kuchh pilaana
kuchh peena
kuchh pilaana
kuchh peena

zindagi khatm na ho jaaye tarakki teri
zindagi khatm na ho jaaye tarakki teri
is qadar pee ke na baaqi rahe hasti teri
is qadar pee ke na baaqi rahe hasti teri

ang ang se joban chhalke
ang ang se joban chhalke
do nainon se madira chhalke
do nainon se madira chhalke
usko na bekaaar ganwaana
usko na bekaaar ganwaana
usko na bekaaar ganwaana
usko na bekaaar ganwaana
laalalalala
kuchh peena
kuchh pilaana
kuchh peena
kuchh pilaaaaaana


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

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