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

Archive for the ‘Songs of 1943’ Category


This article is written by Arunkumar Deshmukh, a fellow 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 :

4586 Post No. : 16205 Movie Count :

4409

Today’s song is from an obscure and unknown film of the early 40s, which is making its debut on this Blog. The film is Rahgeer-43. Rahgeer means Pathik or a Traveller. No information is available about this film anywhere, except what is provided in HFGK.

1943 was an year in which the IInd world war was in full swing. Both sides were almost equal. The effects of the war on India were… it faced the infamous Bengal Famine, caused by the war profiteering. Controls on film production were tightened by the Government. I.P.T.A. became operative with its first staged p0lay ‘ Nibanna’. Film Kismet became one of the biggests Hits ever. V.Shantaram’s Rajkamal Kalamandir debuted with Shakuntala, so did Mehboob with his film Najma. Government made showing of Newsreel before any film mandatory. Film Raj Nartaki’s english version The Court Dancer was exhibited in the USA, first time for an Indian film.

1943 produced 105 Hindi films, the highest number during the war years, 1939 to 1945. Many landmark and musical films appeared in this year giving a respite to the war torn audience of Indian Cinema. Let us take a look at some of these films.

Film Bhaichara had music by the only other ” Sursagar” musician – Himangshu Dutt ( the more well known being the singer Jagmohan Sursagar). C. Ramchandra had his first musical hit with film Bhakta Raj, made by Jayant Desai productions. Film Gauri from Ranjit became Monica Desai’s first Hindi film in Bombay. It was a very successful film with songs by Khemchand Prakash, based on Bangla Folk tunes. Kanan Devi gave some sweet songs in the film Hospital, under Kamal Dasgupta’s baton.

Bombay Talkies film Hamari Baat was the last film in which Devika Rani acted. Anil Biswas was the composer. Music Director Khurshid Anwar brought Gauhar Sultana from Lucknow to sing some songs in the film Ishara. Naushad'[s musical film Kanoon had some good Suraiya and Shyam duets. Film Kashinath was Nitin Bose’s last film in New Theatres, after he developed differences with B.N.Sircar.

Anil Biswas gave his career best musical Hit film ” Kismet”- the longest running film from Bombay Talkies. Nurjehan’s musical film Nadaan was popular with songs from composer K.Datta. Director Mehboob made his first film Najma, under his own banner Mehboob productions. Yet one more musical from Naushad- film Namaste. At last a musical hit for composer S.N.Tripathi- Panghat from prakash Pictures. Rajkumari Shukla sang her only Hindi song in this film.. (the film was remade as Chitchor-1976).

Film Paraya Dhan had music by Bengal’s famous musician Gyan Prakash Ghosh. Deena Pathak sang her only 2 songs in this film as Deena Sanghavi. Ghulam Haider makes merry again with Shamshad hit songs in film Poonji from pancholi, Lahore. Minerva Movietone blockbuster prithvi Vallabh had 5 songs from menakabai Shirodkar.

One more superhit film – Ram Rajya from Prakash Pictures had very good songs from composer Shankar Rao Vyas. Saraswati Rane gave 2 melodious songs. Yashwant joshi and Yashwant Nikam sang the famous song ” Bharat ki ek Sannari ki katha”. Ram Rajya had also a distinction as the only Hindi film that was seen by Mahatma Gandhi, on 2-6-1944.
( before this Gandhi had seen ” Mission to Moscow-43′ an English film, in Wardha, according to The Hindu (Kathmandu Ed.) dt.8-2-2010). The film had early songs by Manna Dey also. Naushad in full swing with his 3rd Musical Sanjog, where Suraiya gave playback to Mehtab, the Heroine. Vasant Desai gave excellent songs in hit film Shakuntala by V.Shantaram.

In presence of so many hit and musical films an ordinary film Rahgeer was nowhere to be counted. The film was directed by A.Rashid, for whom this was his first film as a Director. Later on he directed 3 more films- Airmail-46, Daulat ke liye-47 and Bulbul-51, for which he wrote some lyrics also. Hafiz Khan Mastan gave music and also acted in it. His case is a ” Rags to Riches to Rags” story.

Hafiz Khan was born in 1917 in Agra. His father Ustad Wahid Khan, from Etawah Gharana, was a famous musician. He sent his two sons, Hafiz and Aziz, to his elder brother Ustad Inayat Khan at Calcutta to learn Sitar. However, both brothers were more interested in film music than learning Sitar.

Ustaad Waheed Khan was a well known and respected player of Sitar and Surbahar. His place in the Etawah Gharana was high up. He had 3 sons. Bande Hassan,Hafiz khan and Aziz Khan. Waheed khan was very keen that his sons should continue his profession,earn a name and shine in classical music of Etawah Gharana. He thought working for music in films was below their dignity and a shame. Bande Hassan specialised in vocal music and became a famous qawali exponent. Second son Hafiz khan,after initial training in classical music turned to film singing,without father’s knowledge. Not only that,he also accepted the pen name of Mastana-awarded by composer Meer Sahib- to hide his identity from father. The third son Aziz Khan also went the film way,using the name Aziz Hindi sometimes.

Though Aziz Khan did not continue his family profession,he ensured that his son Pervez took the training and became an International Sitarist,settling in USA. Even son of Pervez- Shakir became a famous Sitarist. he continues the Etawah gharana tradition now.

Hafiz came to Bombay in the mid 30s and sang a song in the film Bahadur Kisan-1938, music by Meer Saheb. Meer Saheb took him to Minerva and he was employed as a singer. He sang in films like Talaq-38, Jailor-38, Main haari-40 and Sikandar-41. Looking at his jolly nature, Meer Saheb gave him the name Mastana and he became Khan Mastana. Later in his professional life, he wrote Khan Mastana as a singer and Hafiz Khan as a MD.

As a Composer he started with Wasiyat-40, then came Virginia-40, Akela-41, Muqabla, 42, Raahgir-43, Neelam-45 etc. In all, he gave music to 29 films, composing 215 songs. As a singer, he sang 152 songs in 83 films. He also acted in 9 films and directed 1 film- Paramount-41. As a singer he last sang in the film Nek Khatoon-1959 and as a composer his last film was Gunehgaar-53. As an actor his last film was Shikarpuri-47.

Khan Mastana became quite rich. He had 5 flats in Bombay. He had a professional competition with singer G.M.Durrani. It is alleged that once Khan Mastana tried to make Durrani eat a ” Pan ” laced with Sindoor(mercury), so that he can never ever sing again. However, Durrani suspected and vomited immediately. Later, when its analysis was done, the fact came out. Anyway, thanks to Durrani, he did not make it a public issue. Only 17 years after Khan Mastana’s death, Durrani spilled the beans, but did not take Khan Mastana’s name, even then. Only his close friends knew this.

When Mastana was at the height of fame and work, he was invited by the Prince of Hyderabad State to teach music to his Begum. Due to some reason, the Prince became angry with Mastana and he was kept captive for a long time in Hyderabad.

By the time he returned to Bombay. The film industry had changed a lot. Many new singers had appeared. The music pattern had also changed. Khan found it difficult to get singing assignments. However, he continued to compose music. When the bad times continued, he had to sell all his flats, cars etc. He became so poor, that he had to beg near the Mahim Masjid. He also started drinking and taking drugs. Once Naushad saw him there. He tried to help him but drinking had spoiled him completely. Finally he died on 6-3-1972. One of his sons was still begging near the Masjid.

There was a time when in the film Laila Majnu-45, he was the main singer and Rafi was in Chorus. When the bad days came , in the film Laila Majnu (incomplete), Rafi was the main singer and Mastana was in the Chorus ! That is Destiny !!

Today’s song is by Amirbai Karnataki. The song and the tune is quite good. With this song, film Rahgeer-43 makes its Debut on this Blog.


Song-Apni to zamaane se har baat niraali hai (Raahgeer)(1943) Singer- Amirbai Karnataki, Lyricist- Shevan Rizvi, MD-Hafiz Khan Mastana

Lyrics

Apni to zamaane se har baat niraali hai
apni to zamaane se har baat niraali hai
aankhon mein diye gham ke
daaman pe deewaali hai
aankhon mein diye gham ke
daaman pe deewaali hai
apni to zamaane se har baat niraali hai
apni to zamaane se har baat niraali hai

aankhon mein abhi se kyun
aansoo ye chale aaye
aankhon mein abhi se kyun
aansoo ye chale aaye
hamne to abhi dil se
hamne to abhi dil se
ik faans nikaali hai
hamne to abhi dil se
ik faans nikaali hai
apni to zamaane se har baat niraali hai
apni to zamaane se har baat niraali hai

gurbat ke zamaane ki
purdard kahaani ye
gurbat ke zamaane ki
purdard kahaani ye
sah daali magar phir bhi
sah daali magar phir bhi
ik baat chhupaani hai
sah daali magar phir bhi
ik baat chhupaani hai
apni to zamaane se har baat niraali hai
apni to zamaane se har baat niraali hai

rote hain zamaane ke
hansne ke liye ??
rote hain zamaane ke
hansne ke liye ??
soorat bhi kabhi roki
ab hamne zamaane se
soorat bhi kabhi roki
ab hamne zamaane se
apni to zamaane se har baat niraali hai
aankhon mein diye gham ke
daaman pe deewaali hai
aankhon mein diye gham ke
daaman pe deewaali hai


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 :

4570 Post No. : 16174 Movie Count :

4405

Today’s song is a rare song from a C grade Stunt film-Khooni Laash-43. This film was made by Amrit pictures. The name of Producer or the Director of this film is not mentioned in HFGK. This is one of the several problems of the C grade Stunt/ Action films, made on shoestring budgets. Most times the film booklet was not issued and in maximum cases the song records were also not issued commercially. In some films, selected songs are available on records. In the cast also only 4 names are given. The music director was K.Narayan Rao.

K. Narayan Rao is known to be a composer of C grade action/stunt films. No book or Encyclopedia gives information about his Bio data. All the information is available only via the HFGK only.

The first film of K Narayan Rao seems to be Madari Mohan-40, where he joined hands with another composer Prof. B R Deodhar. In 1943 he gave music to Pistolwali,Khazanchi Ka beta,Khooni Laash and Duniya Deewani.In 44,it was Lehri Cameraman and Qatil. In 46,he gave music to Royal mail, Khooni, Reporter, Maaf Kijiyega and Dhokebaaz. In 47-Extra Girl, Chabuk sawar and Sher E Bangal. In 48-Bahadur Naresh, Jungle Goddess, and white Face. 1949-Jagriti, Nakli Baap, Chunnu Munnu and Billi. 1950- Meri Asha and Meherbani. Then in 1959 came his last film with Lacchhiram- Hazar Pariyan. Thus he gave music to 25 films, but not even one film was a Hit, nor was any of his songs famous.

People like Narayan Rao reflect the kind of artistes that were used in C grade films. The audience of such films was typical. They were not worried about the film story or the songs. All that they looked for was sensational dangerous stunts, fighting, a little raw comedy and a reasonably good looking Heroine. With these basic requirements, stunt films did not need well known actors, MDs, Directors or story writers. These films touched the baser emotions of the audience which was generally the lower strata of the society, daily earners and uneducated lot.

Most of us like to see films, be it on a TV, in a cinema hall, or through DVD. Some like old films, some like new films.

Did you ever see films like, Khooni Khanzar, Dagabaj Doctor, Shaitaan ka paash, Char chakram, Daku Rani Talwarwali, Jaadu ka dandaa, Zinda Laash, Revolver Rani, Sindbad-Alladin-Alibaba, Flying man, Fighter Sheela, Khooni Darinda, Tarzan aur Jadugar, Tarzan aur Jadui Chiraag, Golden Gang, Murde ki jaan khatare mein,or Jadui putli ?

I bet none of these movie names have been even heard by you ever. These were all STUNT FILMS or in other words ‘C’ grade films.

In India I really wonder how the classification or Grading of films was done, or who was the person or the body authorised to do it. Censor Certificates do not label A B or C grades at all. Then how does this happen ?

My guess is that films are graded on 2 counts- One, The cost of production or Budget and the class of stars in it and Two, The class of people for whom the film is made or directed, like the Rich, middle and the Poor class. Whatever the basis, there is a very thin line between A and B grade films, while between these two and the C grade films, the line is very Bold and thick indeed !

Stunt films, Costume films, fantasy films and purely Religious films were normally treated as C grade films. These film did not carry any prestige, the actors working in them were exclusive to C grade films, the production values and the budget was quite low and most important, they were ALWAYS shown in theatres situated in older parts of the town, single screens, or only for Morning shows or in Theatres generally frequented by lower strata of society.

A person seeing/loving or craving for such films was generally considered a ‘Low’ creature and a person with ‘child brain’.

In India ,this was the fate of C grade films. Actually these films had everything that A and B grade films had, like, story, songs, dances, fights etc, but still, the treatment given to handling of the story etc in the films was very poor or lacking in expertise.

Stunts have improved, Technology has evolved but the participation of Zippy the Monkey, Tiger the Horse, Moti the Dog, parrots, snakes and khatara cars named Rolls Royce ki beti and Austin ki Bachhi is missing ! The contribution of Fearless Nadia in making Stunt films popular can not be denied, but then she had the backing of companies like Wadia Movietone, Basant Pictures, Ranjit, Sagar, National etc. When you read the stories of these films please don’t employ Logic or common sense to it.
This was a different world altogether. The set of actors was fixed, many times the composers were unheard of or they were known composers now in bad shape, the Directors were typical and the production houses were exclusive to churn out such films.

It is, nevertheless, a fact that many well known and famous actors and actresses of the 40s and 50s evolved from the stunt films of yore. Examples are Jairaj or Master Bhagwan.Can you believe that this roly-poly Bhagwan dada was a great body-builder when he started in stunt films in the late 20s and 30s ? Lalita Pawar(Amboo), Madhuri, Rampyari, Miss Moti, Sabita Devi, and Sulochana (Ruby Myers) are some female examples who graduated to Social films via Stunt films.

C grade films were those films which were made by not so famous banners, almost unknown actors directors and composers. Usually C grade films used to be action/stunt films, made on shoestring budgets, having a fixed storyline resembling Tarzan, Hercules or Hollywood action films of Robin Hood, with the background of a jungle, Tribal people, King-Queen-wicked Vazir and similar stories.

C grade films were always quickies, made on shoe-string budgets. During the late 30s and 40s, Master Bhagwan action films used to be completed in about Rs. 50,000 only- including studio rent, sets, artistes’ fees and other expenses. C grade films had a captive audience comprising factory workers, daily wagers, Low grade earners and students. However, such films used to rake in big profits to the film makers. Therefore, even top class banners sometimes made C grade films, to make up their losses in big film flops.

There were certain production houses specialised and thriving on such films, like Paramount films, Jagriti films, Mohan pictures, Wadia Movietone etc etc. The actors and actresses of such films were fixed. Since the studio system was in vogue, the film studios usually had their actors and directors fixed. Music directors were of no consequence, so anybody would do. Well known composers like C.Ramchandra used to take another name while composing music for C grade action films. Music assistants of famous composers used to give music to such films. Well known composers falling on bad days also gave music to such films. C grade films rarely made Commercial records for their film songs, so such songs are a real rarity even with big collectors.

Some common and regular names one found in Action/Stunt films are, Nadia, Boman Irani, Sayani, Bilimoria bros, Cooper sisters, Zohra Khatun, Ameena Khatun, Khatun Bai, Prakash, Adjania, Noorjehan (sr.), Moosa Pehelwan, Vasantrao Pehelwan, Baburao Pehelwan, Marutirao Pehelwan, Azim bhai, Basheer, Ali, Bachha, Chandra Rao, Harishchandra Rao, Shankar Rao, Master Bhagwan, Mirajkar, Jamshed, John Cavas, Lalita Pawar, Navin chandra…and many such names.

Barring a few names like Lalita Pawar, Bhagwan, Nadia etc, all the other action film actors remained unknown. No one knows anything about them.Actors like Baburao pehelwan, Marutirao Pehelwan ( He was the Hero in the First Gujarati Talkie film ‘ Narsi Mehta ‘), Chandra Rao, Sayani etc were quite famous in their times, but except their Filmography (thanks to HFGK), nothing more is known about them. All of them ended with only mere names !

Sometimes Gems were found in these C grade films. Remember the famous qawali- Hamen to loot liya mil ke husn walon ne- which had the honour of becoming the prestigious 5000th song in this Blog ? This was from a C grade film- AL HILAL-58

In my young age I was fond of stunt films and used to travel to theatres in Old city of Hyderabad, to watch films featuring Kamran (father of famous choreographer and Director Farah khan and Director, comedian, Anchor Sajid Khan), Naazi, Bhagwan and many such actors.” Adventures of captain marvel and Trip to the Moon” were my favourites from Hollywood’s Republic Serial productions.

In the 50s and 60s,some respectability to these stunt films was brought by actors like Mahipal, Ranjan, Dara Singh, Azad, Hemant Birje etc. The set of Heroines was also set to Mumtaz, Tabassum,Vijaya Chaudhary, Indira, Nishi etc. Mumtaz started with Stunts and graduated to greater heights and was counted in Top actresses of her days. Costume and Stunt films like Baaz, Insaniyat and Azaad etc were made respectable by the stars acting in them.Interestingly, some famous actresses like Meena Kumari, Shobhana Samarth,Nirupa Roy, etc had acted in stunt C grade films initially.

Over a period the picture changed and nowadays every alternate film has breath-taking stunts done by almost all top Heroes, thanks to SFX, of course !

I am not aware about the film’s story or other details. The cast shown in HFGK is Baburao (Pehalwan), Shanta Rin, E.Bilimoria and Ali. Obviously Eddie Bilimoria was the hero and Shanta Rin must have been the Heroine. Dinshaw and Eddie Billimoria were the brothers who were active from silent films upto films of 50’s decade through the Talkie era, but they always featured in C grade films and hence even their long careers did not make them big stars.

Today’s song from this film is sung by Naseem Akhtar. In fact this was her first hindi film in Bombay for which she sang songs. Naseem Akhtar ‘s father was a Sarangi player. They were originally from Kashmir. She was born in 1924. She started singing on Lahore Radio. Impressed with her singing style,composer pt. Amarnath gave her a break in Nishani-1942. Till then she used to sing at rich people’s functions and mehfils etc. after Nishani,she came to Bombay to sing for Khooni Laash-43.She never acted in any films.She sang in Bhai, Ek din ka Sultan, 40 karod, Flat no.9, Pehli nazar, Ratnavali, Dharma, Sanyasi, Wamiq Azra, Tadbir, Shahjehan, Nek Parveen, Safar, Keemat, Sohni Mahiwal, Bhanwar, Ek Roz, Doli, Parai aag etc. She sang for Naushad, Ghulam Mohd, Anil Biswas, Shyamsunder, Ghulam Hyder, Rafiq Gaznavi, Govind Ram, Sajjad Hussain, Firoze Nizami and C.Ramchandra.

She sang 72 songs in 40 films in India. She left for Pakistan after Partition and sang in a few films, but was not successful. She got married and settled as a housewife. It seems she died in Lahore on 11-5-2007 at the age of 87 years.

With this song, film Khooni Laash-1943 makes its Debut on this Blog.


Song- Loot liya loot liya nainan ne haay ree (Khooni Laash)(1943) Singer- Naseem Akhtar, Lyricist- Shevan Rizvi, MD- K Narayan Rao

Lyrics

Loot liya
Loot liya nainan ne
haaye ree
haaye ree
Loot liya
Loot liya nainan ne
haaye ree
haaye ree

nazar uthhaana halke se
haay
nazar uthhaana halke see
kaale gusuon ki ye zulfen
haaye
kaale gusuon ki ye zulfen
das liyo das liyo naagan ne
haay
das liyo das liyo naagan ne
haay naagan ne
haay
Loot liya
Loot liya nainan ne
haaye ree
haay ree
Loot liya
Loot liya nainan ne
haaye ree
haay ree

kahaan hai ??? raha aa aa aa
milte hi ??
?? nazar ka
aayi aawaaz lehron se
chalaa aaye ??
maar diya
maar diya
chitwan ne
haay
maar diya
maar diya
chitwan ne
haay chitwan ne
haaye
Loot liya
Loot liya nainan ne
nainan ne
haay ree


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 :

4509 Post No. : 16052

Today’s song is from an obscure film Ranee-43, which was a Bi-lingual film made by Calcutta’s Barua Productions.

The film was directed by P C Barua and the music was by Kamal Dasgupta. Barring a few big movies, the Hindi-Bangla bilingual films did not become as successful as their Bangla versions. I feel the reasons were mainly two. One was that the cast of such films consisted of most names, with which the Hindi audience was not familiar. The second point was the style of acting and the dialogue delivery of the Bangla actors was deemed strange in Hindi belt. The Hindi used in films made in Bengal was too pure to be of the liking of people who were used to Hindustani language. The audience preferred ” pyar or muhabbat ” to ” prem “, for example.

The cast of the film Ranee-43 was Jahar Ganguli, Kalavati, P C Barua, Jamuna, Patience Cooper, Bikram Kapoor etc. The music of film Ranee-43 was not popular. The year 1943 was an year when lots of films provided melodious music. There were films like Aabroo, Ishara, Kanoon, Kismat, Nadaan, Nai Kahani, Najma, Namaste, Naukar, Panghat, Poonji, Prithvi Vallabh, Ram Rajya, Sanjog, Shakuntala, Tansen, Taqdeer etc. etc. Films of popular singers like Saigal and Noorjehan were on everone’s lips. In this situation, films like Ranee with music below par could not make any impact.

There were a number of films made by Bangla artistes, like Wapas, Shri Ramanuj, Ranee, Manchali, Kashinath, and Hospital. The exodus of artistes from New Theatres had started from 1940 onwards and many came to Bombay. Whatever the reason, New Theatres had lost its sheen, which it had enjoyed till now, It was sad to see a Lion in a dilapidated and helpless situation.

P C Barus and Jamuna, the husband-wife pair, were in the lead in this film. While Jamuna still looked like a Heroine, Barua did not look suitable for the ” young and Handsome” hero’s part. Reviewing the film in his magazine, Baburao Patel cme down heavily on this misfit hero and the declining skill of the director Barua. The story of the film was about Ranee- a young and good looking girl in a village, who becomes a victim of false rumours about her character. She leaves the village, giving an impression that she has done suicide. She works as a Maid in another village with a Zamindar. The zamindar’s young and handsome brother falls in love, but she does not show inclination. He starts drinking. She leaves the house. The hero drinks and falls ill, Ranee enters as a Nurse and looks after him. The zamindar comes to know who she is and that all the rumours were false. The hero recovers completely and both get married.

Before joining The New Theatres, Barua was running his own film making outfit for a studio and a company. After leaving NT, he restarted it. Actually he wanted initially to merge his company with NT, but Sircar refused and offered him a paid job, which he had accepted.

Director P.C. aka Pramathesh Barua was born on 24-10-1903. A well educated and foreign trained prince from a Royal family came into the films only by chance. He established his own studio and made films. Impressed by his style and work, B.N.Sircar of New Theatres offered him a job in his company. Barua joined and made such films in New Theatres that the studio became famous all over India. His greatest contribution was his first film here, ” Devdas”-34 in Bangla. he did the main role and brought in a comparatively new actress Jamuna for the role of Parvati aka Paro. With the fantastic success of the Bangla version, Barua made its Hindi version in 1936, with K L Saigal as the Hero. This was mor successful than the Bangla version and became an iconic film for ever as a reference point. Then an Assamese version was also made in 1937.

With a very eventful, successful and satisfying stint in New Theatres, Barua developed serious differences with the owner-B.N.Sircar, who was known to be a disciplinarian who held the Institution ( of NT) in place. New Theatres, in the 30s , was full of Titans having larger than life images and it was inevitable that there would be clashes amongst the artistes and the owner. Like true Bengalis, they all had king size Egos and over estimated self respects.

The first crack came in 1933 when Nitin Bose and Debaki Bose clashed, resulting in Debaki Bose’s temporary exit. In the line was Barua, who had a grudge that he was not given as many films as his peers Nitin Bose and Hemchander Chunder got . The rift between Barua and Sircar was obviously born out of deep differences, because after Barua left, B N Sircar had said ” He was a remarkably innovative director who seemed to improve after every film. As an actor, he forged a style that was distinctively his own uniquely. But as a Man…..well,I would rather not discuss it ”.

However, it was known to both of them and all others connected with NT, that both these Giants had tremendous love and respect for each other. In 1951, when Barua lay dying on his bed, he instructed that his body be taken past the house of B N Sircar, where he was lying sick on bed. When Barua’s funeral convoy reached Sircar’s house, the ailing Sircar hobbled painfully to the window of his elegant Elgin Road Residence, as the prince of Players paused beneath the window for a while and then proceeded. It was a poignant moment- an act symbolic of a reference point established a long time ago in a business which was notorious for callous and impermanent relationships !

After Barua Nitin Bose left, then Kanan Bala and a few more. Only Pankaj Mullick, though hurt by NT’s neglect, stuck till the end. P.C.Barua died on 29-11-1951. He acted in 8 Hindi films( Manzil-36, Mukti-37, Adhikar-38, Jawab-42, Ranee-43, Subah Shaam-44, Amiree-45 and Pehchan-46). He directed 14 films and sang 1 song in the film Jawab-42.

Barua’s wife Jamuna Was an excellent actress. Pity that she did only 13 films in Hindi. Jamuna ( 10-10-1919 to 24-11-2005) was the fourth of the six daughters of Puran Gupta, a resident of a village near Agra, India. Each of the sisters was named after an Indian river like Ganga, Jamuna, Bhagirathi etc. As destiny would have it, Jamuna came to reside in Calcutta, a leading film producing city in India. Originally from Gauripur of Assam’s Goalpara district (undivided), Jamuna was married to the legendary actor director Pramathesh Barua, or P.C. Barua, who died in 1951. She began her acting career in her husband’s famous production Devdas in 1936 and was the film’s lead character Parvati or Paro. She went on to make a number of memorable movies in Assamese, Bengali and Hindi, notably Amiri, Mukti, Adhikar and Sesh Uttar. She stopped acting after Barua died.

Jamuna made her film debut in the 1930s and played a small role in Mohabbat Ki Kasauti (1934), Hindi version of Rooplekha (Bengali), directed by P.C. Barua. A romance started although Barua, hailing from the native Indian state of Gauripur, Assam, was already twice married. As the actress, who was to play Parbati in Barua’s next venture Devdas (1935) reported inability to attend the studio on the very first day of shooting, Jamuna was called from Barua’s residence (she was living with him by then) and was asked to get down to work straight away without any preparation whatsoever. Thus she came to be the first Parbati of Indian talkies- Miss Light had played the role in the silent version of the enormously popular Sarat Chandra novel. Aishwarya Rai happens to be the last so far and Devdas has been made and remade a number of times. Jamuna played the same role in the Hindi version also and was accepted in this very first proper exposure as an actress in her own right.

She continued to act in Barua’s films like Grihadaha (1936), Maya (1936), Adhikar (1939), Uttarayan (1941), Shesh Uttar (1942), Chander Kalanka (1944) and the respective Hindi versions of each film. Barua had left the prestigious New Theatres in 1940 and was directing as well as producing his films. Thereafter she acted in a number of Barua directed Hindi movies like Amiree, Pehchan and Iran Ki Ek Raat. These films however did not add to the prestige of either Barua or Jamuna. Jamuna also acted outside Barua direction in three Bengali films Debar (1943) and Nilanguriya (1943) where she proved herself without Barua’s influence. Her last film Malancha (1953) was also outside Barua’s direction. She also starred in its Hindi version Phulwari (1953).

Barua’s death in 1951 when he was only 48 changed Jamuna’s life altogether. She had three sons by Barua, Deb Kumar, Rajat and Prasun. They were all minors at the time and the Gauripur estate refused to take any of their responsibilities. She had to wage a legal battle with the powerful and influential royal family to get her and her children’s dues and recognition. Time settled the matters and she was allowed ownership of the house with its vast adjoining land and also an allowance. Jamuna spent the rest of her life after Barua as a housewife, busy in bringing up her minor sons. She had to complete the unfinished film Malancha of course but bid adieu to the film industry soon after. Later in her life she did attend a number of functions to celebrate the centennial year of husband P.C. Barua and received felicitations on behalf of the Government of India and the state Government of Assam as the first Parbati of Indian talkies.

Her last days were not very comfortable and she was bedridden for more than six months prior to her death. She is survived by her three sons and their families and a host of relatives. According to her family members, she had been ill for some time, and the cause of death was illness related to old age. She died at her residence in South Kolkata. She had acted in 13 Hindi films. Her last film was Phulwari-51.

Today’s song is the third song from this film to be posted here. The names of singers of all songs are not given in the HFGK. The film was released on 4-6-1943 at Super cinema, Bombay, where it ran for only 2 weeks.


Song-Piyo ji khoob piyo main pilaun pyaar se (Ranee)(1943) Singer-Unknown female voice, Lyricist- Pt. Madhur, MD- Kamal Dasgupta

Lyrics

Piyo jee
khoob piyo
main pilaaun pyaar se ae
main pilaaun pyaar se
Piyo jee
khoob piyo
main pilaaun pyaar se ae
main pilaaun pyaar se

dil tera howe
maikhaana
saaqi ban jaaye
paimaana
bano jee
mast bano ye
jawaani ki kahaani
bano ji
mast bano ye
jawaani ki kahaani
Piyo jee
khoob piyo
main pilaaun pyaar se ae
main pilaaun pyaar se

peene kaa hi hai naam zindagi
aur aankh aankh se karti hai bandagi
dilon ke ??
nahin inkaar se
dilon ke ??
nahin inkaar se
Piyo jee
khoob piyo
main pilaaun pyaar se ae
main pilaaun pyaar se

honthhon ko hai ye jaam choomte
dil ke hain saare armaan jhoomte
mazaa peene ka peene ka
mazaa peene ka
boojh lo
aa aa aa aa
ishq ke beemaar se
Piyo jee
khoob piyo
main pilaaun pyaar se ae
main pilaaun pyaar se


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 :

4485 Post No. : 16001

Today’s song is from the film Bhaichara aka Fraternity aka Brotherhood-1943. It was produced by Unity Productions, Calcutta and was directed by a veteran of Silent films- G.K.Mehta.

Gopal Krishna or G.K.Mehta was born on 18-7-1899 and he joined the film industry in 1920. He slogged in the film companies doing odd jobs and finally started directing films from 1928 onwards. By 1931, the Talkie had started and Mehta, after 15 silent films to his credit, directed his first Talkie film-” Chirag E Husn”-1935. Then came Ghazi Diler-36, Toofani khazana-37, Prem samadhi-38, Master Man-38, Juwari-39 and his last film was Bhaichara-1943. He directed Leela Chitnis in film Master man-38, Jairaj and Nirmala in Juwari-39Bharat Bhushan in his second film in Bhaichara-43. Like many other silent film stalwarts like R S Chaudhuri (8-6-1903 to 22-8-1972) with 15 silent and 14 Talkie films, G K Mehta also disappeared without a trace.

This social film had music by Himangshu Dutt – a name not heard by most people in Hindi, but in Bangla films he was a highly respected music composer. Songs composed by him in the early 40s were sung not only by singers of that generation, but also by the younger generations. Due to his early death and a busy schedule in Bangla cinema and Non film music, he was not able to benefit the Hindi audience of the rest of India. He was so popular and respected that he was awarded the first ever award of ” Sur Sagar ” by the people of Dhaka. After him,only singer Jaganmoy Mitra aka Jagmohan was the only person who was awarded the title of “Sursagar “. Jagmohan sang for Dutt’s Bangla films regularly. After Dutt was gone in 1944, Jagmohan sang his Non film songs also. As per HFGK, Himangshu Dutt gave music for only 2 Hindi films – Bhakt Kabir and Bhaichara-43. For both films, Jagmohan sang 2 songs each.

The cast of the film was Bharat Bhushan, Veena Kumari, isabela, Beena Pal,Sunetra, Ansari,Hadi,Himmat Rai etc etc. One name in the cast is VEENA KUMARI. Now this is a name causing ” Same Name Confusion.” In my book, released in 2018, I had clarified about 56 artistes coming under the SNC category. In the last one and half year I have discussed 14 more 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, Zohra 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, one Khursheed Akhtar changed her name to Shyama and the other changed her name to Anuradha, 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 Veena kumari-heroine of Jeevan. She continued working in films like Radhika,Asra and Kasauti- all 1941, Gharib and Zevar in 42, Pratigya, Bhaichara,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 songs, 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 films 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.

The hero of the film Bhaichara was Bharat Bhooshan, who was a good looking hero, but acting wise, he was similar to his other clones like Anil Dhawan, Karan Dewan and Pradeep kumar. All of them were good looking but very weak in acting. These Heroes got many films, good heroines and popular songs to sing on screen, as long as their luck favoured them. Once their luck-quota exhausted, they fell on bad days and suffered a bad end too. It is said that Bharat Bhooshan, in his bad days, had to work as a Watchman in a film studio.

Bharat Bhushan (14 June 1920 – 27 January 1992) was an Indian actor in Hindi language films, script writer and producer, who is best remembered for playing Baiju Bawra in the 1952 film of the same name .He was born in Meerut, and brought up in Aligarh, Uttar Pradesh. Bharat Bhushan was born on 14 June 1920 in a Vaishya (Baniya) family at Meerut, Uttar Pradesh.
His father, Raibahadur Motilal, was the government pleader of Meerut. His mother died when he was two years old. His elder brother was film producer Ramesh Chandra, who owned the Ideal Studio at Lucknow. The brothers left for Aligarh to stay with their grandfather after their mother’s death. He did his studies and earned a graduate degree from Dharam Samaj College, Aligarh. After this he took to acting against his father’s wishes. He first went to Calcutta to join cinema and later established himself in Bombay.

He married into a prominent family in Meerut, Zamindar Raibahadur Budha Prakash’s daughter Sarla. They had two daughters, Anuradha and Aparajitha. Anuradha had polio-associated complications. His other daughter Apararith played the role of Mandodari in the famous TV show Ramanand Sagar’s famous serial Ramayan. In an interview, Aparajita had said that after the sudden demise of her husband, she turned to acting. Aparajita has done more than 50 films in her career. Bhushan’s wife Sarla died of labour complications after delivering their second child in the early 1960s, soon after the release of film Barsaat Ki Raat. In 1967, he married actress Ratna, his co-star in the same film.

Bhushan owned bungalows in Bandra, Bombay and other areas. He was an avid reader and boasted of his collection of books, which he had to sell off like his cars and bungalows in bad times, after he turned co-producer on the ploddings of his brother. Only a few of his films were successes and unfortunately, the rest flopped. He died after he escaped his financial crisis, on 27 January 1992.

He made his debut with the Kidar Sharma hit Chitralekha (1941). However, he struggled for over a decade to make a mark in Hindi movies till Baiju Bawra (1952), which gave him instant stardom and legendary status along with Mohammad Rafi, Meena Kumari and Naushad Ali. Though a very talented actor and a prominent star of the 1950s and 1960s in Hindi language films, he often took on roles of tragic musicians in the movies. Films in which he starred as lead actor include Basant Bahar.

“He portrays historical and mythological characters the best in Hindi movies,” states contemporary actor-producer Chandrashekar. He wrote scripts and stories for Barsat Ki Raat, Nayi Umar Ki Nayi Fasal, Basant Bahar, Dooj Ka Chand, etc. He was the producer of Dooj Ka Chand. His brother R. Chandra made many films such as Bebus, Minar, and Basant Bahar.

He was the recipient of the second Filmfare best actor award for the film Shri Chaitanya Mahaprabhu in 1954. Most of the great songs of major singers of that period such as Rafi, Manna Dey, Talat, and Mukesh were pictured on him. He was the first chocolate-faced good-looking star of Hindi films. He was one of the few actors who had a good sense of music, so most music-based movies were made with him in lead roles in the 1950s and 1960s.

He acted in Hindi language movies until the 1990s.he acted in 211 Hindi films,in all. His last film was Maachis-1996. He is still loved and revered by the Indians for the great movies and great songs that he gave in spite of personal tragedies and stiff competition from his contemporaries. He is considered to be one of the greatest stars and legends of Hindi cinema. (Thanks to wikipedia for some information.)

Let us now listen to the sweet voice of the great Jagmohan in this second song of this film on the Blog….


Song- Vaada na mera toote (Bhaaichaara)(1943) Singer- Jagmohan Sursagar, Lyricist- Not known, MD- Himangshu Dutt Sursagar

Lyrics

Vaada na mera toote ae
waah duniya
duniya badal jaaye
jaaye
Vaada na mera toote ae
waah duniya
duniya badal jaaye
jaaye

main khoon se seenchoonga
khoon se seechoonga
?? phool ye khil jaaye
jaaye
Vaada na mera toote ae
waah duniya
duniya badal jaaye
jaaye

hasti ko mita dena aa
jeene ka saleeka hai ae
hasti ko mita dena
jeene ka saleeka hai
ubhrega wahi daana
ubhrega wahi daana
mitti mein jo mil jaaye
jaaye
Vaada na mera toote ae
waah duniya
duniya badal jaaye
jaaye

phoolon ke pujaari hain
kaanton se nahin darte ae
phoolon ke pujaari hain
kaanton se nahin darte ae
?? jaan rahe tan mein
jaan rahe tan mein
?? jaan nikal jaaye
jaaye
Vaada na mera toote ae
waah duniya
duniya badal jaaye
jaaye
Vaada na mera toote ae


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:

4363 Post No. : 15689

I do not remember when was the last time that I wrote about a NFS. I guess it might have been about 4-5 years ago. There is no specific reason for this gap. I came across a good NFS by Hemant kumar-my favourite singer- that prompted me to take it up for discussion today.

1936 to 1956 was a period when NFS were very very popular, not only in India, but wherever in the world Indian population lived. In western Music, NFS has been a routine since the beginning. For India, where different types of Music existed, it was not possible for one type of music to be popular all over the country. In olden days, like in the period of 1900 to 1940s, the Royalties of various states, depending upon the King’s or the Nawab’s liking and understanding, gave support to Classical music or Ghazals etc. Many Classical singers and Ghazal singers won the Patronage of different states. For the common public, there used to be Jalsas, stage shows or Mushayaras etc. The audience used to be different for each type of singing.

It was somewhere in the mid 1930s when an enterprising pair of a writer and a Musician decided to promote a new type of presentation – singing of Geets. Geet was a type of song which existed in Poetry, but it was not connected with Music in any way. Poet Lyricist Faiyyaz Hashmi and Musician Kamal Dasgupta identified a few aspiring singers and recorded Hashmi’s Geets in their voice. Probably the first ever such Non Filmi Song – a Geet – came out as a 78 RPM record. From 1934 to 1945, this pair (Faiyyaz and Kamal) made NFS extremely popular all over the country. For their 400 recorded songs (in Bangla and Hindi), they selected singers like Jagmohan, Pankaj Mullick, Talat Mahmood, Juthika Roy, Hemant Kumar and few others to sing these Non Film Songs. The NFS thus got established.

Those readers, who are in the age bracket of 60 to 85, will surely remember the popular NFS during their younger days. Sometimes the sales of such NFS exceeded even the popular Film songs! These NFS were popular from Kashmir to Kanyakumari, irrespective of the language barrier. Some of the popular NFS of yore were by Hemant Kumar, Geeta Dutt, Juthika Roy, Jagmohan, K L Saigal, Pankaj Mullick etc. Seeing the popularity of these NFS, even the Film Singers cut their NFS records. Some of them were Lata, Asha, Rafi, Mukesh, Shamshad Begum, Manna Dey, Laxmi Shankar, Jaddan bai, Noorjehan and even Indurani etc etc. These lists are only indicative and not exhaustive.

Today’s NFS is sung by Hemant Kumar (16.6.1920 – 26.9.1989). Hemant Kumar was very fond of singing from his childhood. While in school, one day, one teacher was absent and the period was blank. The boys started pressing HK to sing a song. He too, enthusiastically started singing and all the students started beating the benches to give ‘ music’ to his song. All this commotion went to the Head Master’s room. He came and Hemant was sent home immediately. Next day, his parents met the Headmaster, said sorry and Hemant was allowed in the school again. While he was in H.S.C. he got a call from A.I.R to sing songs.

After HSC, he joined Engineering college, but after an year, he left it and started singing. Columbia cut his few records in Bangla. Then came Bangla film playback singing in film “Nimai Sanyas”. In 1942 he gave a playback in hindi film ‘Meenakshi’-42, under the baton of Panbkaj Mullick. However there was no record issued. In film ‘Irada’-44, Pt. Amarnath gave him an opportunity to sing.

After film ‘Anand Math’-52, he came into Hindi films as an MD. He continued to sing songs even for any MD, who wanted him. Thus he sang more songs for other MDs than for his own films as MD ! On Lata’s insistence, he sang Marathi Koli Geet and some film songs too, in Marathi. He also sang in Gujarati, Punjabi,Oriya and Assamese language films. Vishwa Bharati gave him D.Litt. Sangeet Natak Akademi awarded him in 87. He refused Padmashree and later Padma Bhushan awards.

Today’s song is written by Fayyaz Hashmi, with music by Kamal Dasgupta. This must have been recorded sometime in the early 40s. This song is included in the 1961 LP No.33 E Sx 4252 ” Geets of Hemant Kumar.”

In the 1940s, Kamal Dasgupta was a star composer. He had many firsts to his name. He was the most educated man across the industry in those days. He came to the rescue of singers who were trying to break into the music world. He gave music in the most successful films of the 40s. The sale of his private records touched an all-time high. Yet the man behind many unforgettable melodies has been forgotten.

Kamal was born on July 28, 1912, in Kalia village in the district of Jasore, then in British India (now in Bangladesh). He was initiated into music by his father Prashanna Dasgupta. He later learnt it from his brother Bimal Dasgupta. Afterwards, he became a disciple of the legendary Dilip Kumar Roy and Ustad Zamiruddin Khan. He did his matriculation from Calcutta Academy. Later, he completed his B Com from Komila Victoria Collage. He joined Banaras Hindu University (BHU) for his masters. He earned his PhD from BHU for his work on Mirabai’s bhajaans and music.

Kamal Dasgupta was a versatile musical genius. He used to sing modern songs in Bangala, Hindi, Urdu and Tamil. He was a brilliant composer who composed around 8,000 songs. His first composition was recorded in 1932 in the voice of Satyaboti, (she seems to be the mother of actress Leela Desai). His composition was classical based and folk music. Later he tended to lean towards Thumri style and Naats. In 1935, Kamal Dasgupta joined the Gramophone Company of India in Calcutta as a music director. During this stint, he developed a close and lasting association with the poet Nazrul Islam. They became fond of each other and the relationship lasted for eleven years (1934-45). The culmination of their friendship were 400 songs – inspired by the works of the poet.

Calcutta was the major hub of Indian films produced in the 1930s. New Theatres and Madan Pictures were the main studios along with the other companies. After earning a name with his compositions, Kamal tried his luck in films. His first picture was Pandit Moshai (1936) in Bangla which was followed by Sarbjanin, Vivahotsab and Devyani between 1936-1942. The legendary actor, director Prathmesh Chandra Barua was impressed by his music and gave him a break in Jawaab in 1942. PC Barua directed both the version in Hindi and Bangla. The film was an instant hit. It had cult numbers like Toofan mail ye duniya toofan mail, Ae chand chhup na jana and Kuchh yaad na rahe.

Kamal Dasgupta’s next film was MP productions social, Hospital, starring Kanan Devi, Ahindra Choudhary and Heeralal. The very same year he did another Barua Production, Ranee. The cast included J Ganguly, Kalawati, PC Barua and Jamuna. Like his earlier films, his music became popular. Kamal Dasgupta was as successful in films as he was in his private recording career.

In 1944, he moved to Bombay and did the film Meghdoot (1945), based on the Sanskrit poet Kalidas. Leela Desai and Sahu Modak were in the lead. The film was directed by the legendary Debki Kumar Bose. During his stay in Bombay, he did several films across different genres. His next film was Arabian Nights, directed by Niren Lahari. The cast included Kanan Devi, Nawab and Robin Majumdar. All the numbers of the film became very popular. The same year, he did a social film Bindiya, starring Ragini, Amar, M Shakeer and E Billimoriya. The film was directed by CM Luhar. Kamal Das Gupta used the voices of Anima Dasgupta, Kalyani Das, Hemant Kumar and Amar. His next film was the mythological Krishna Leela (1946) which was directed by Debki Kumar Bose and had Kanan Devi and Paresh Banerjee in the lead. 1946 was the busiest year for Kamal Das Gupta. He did Zameen Asmaan for director Dwarka Khosla, starring Ranjana, Jeevan and Kusum Deshpande.

Coming back to Calcutta, he did Faisala (1947) followed by Manmani. The film had Ragini and Jairaj in the lead. The film was directed by Sarvottam Badami. His last film with his mentor PC Barua was Iran Ki Ek Raat (1949) – a costume drama, starring Jamuna, Narang, Chandrakant and Chandrawati. Its melodious number were: Ulfat mein jise banaya tha, Chhalke chhalke sarabein jawani ke palaye, Kaun hai teer andaaj bada, Ae dil kya and Khel hai ye zindagi. His last release was Phulwari in 1951. He had 40 films to his credit. He gave music to 17 Hindi films. His first film was Jawab-42 and the last Hindi film was Phulwari-51. He had also sung 1 song in Hindi in film Jawab-42.

Following this, the maverick composer got completely disillusioned by the film industry and recording companies. His favourite songs which were sold in the lakhs didn’t carry his name on the jackets. At the age of 44, he married his favourite singer, Firoza Begum and embraced Islam. Kamal Dasgupta, by now, became Kareemuddin Ahmed. He kept on doing movies whenever an offer came. His last film in Bangla was Bodhu Baran in 1967.

He shifted to Dhaka. When Bangladesh became independent, he became a citizen in 1972. The composer was a man of taste. He owned a Buick, a rare thing in Calcutta in the 1950s. He was a great human being. He fed hundreds of people during the Bengal famine. He was also extremely fond of cricket. He was blessed with three sons – Shafin Ahmed, Hamin Ahmed and Tahsin Ahmed. They followed their father in music and cricket. Two brothers played cricket at the state level and Hamin Ahmed was selected for the national team of Bangladesh. Kamal Das Gupta with his failing health and lack of proper medical treatment succumbed to his ailments and passed away in Dhaka on July 28, 1974, at the age of 62.

With all his work in film line, his name will be remembered forever, for making the Geet form of songs in Hindi and Bangla, popular in India. His pioneering contribution to promoting the Non Film Songs, is beyond words. Music lovers throughout the country are indebted to him for this work. Poet Lyricist Faiyaz Hashmi and composer Kamal Dasgupta were regularly churning out wonderful melodies on 78 RPM every month and listeners all over India were enjoying them fully. Surprisingly, while Kamal’s name was written correct, Hashmi was credited in several ways like F Hashmi, F. Hashmi, Faiaz Hashmi, Faiaz Hashumi, Faiyaz Hashmi, Faiyyaz Hashami, Falyyaz Hashmi, Fayyaz Hashimi etc.

Actually,in 1985,Jagmohan Sursagar wrote in his Autobiography…..

” In the initial stages Kamal Dasgupta was influenced by Rabindranath Tagore. Tagore’s songs and compositions(Rabindra sangeet) were extremely popular, but were limited to Bangla people only. Ghazal, qawwali, Dadra, Naat, Thumri, Hori, Kajari etc used to come to market but had a very limited listenership. These never reached the top.

” The fusion of Ghazal,Dadra and Qawali with Bangla Geet style gave birth to Hindi Non Film Songs or geets. As such Geet had a known and accepted place in Literature, but not in Music. To establish this new Genre, Kamal babu used lyrics by Pt.Madhur, Pt. Anjum and Faiyaz Hashmi, got them sung by Jagmohan, Hemant, Talat, Juthika etc. Their records were inscribed with ‘ Hindi Geet (Hindustani Song) ‘. What thus started as NFS Geet from 1936 continued upto next 20 years non stop. “

(adapted, with thanks, from an article by Sharad Dutt, in milleniumpost.in, ‘Yaad kiya Dil ne’ by Subhash Chandra Jadhav and my notes.)

Today’s song is a lovely NFS. I am sure you will love it too.


Song- Main saaz bajaaun tum gaao (Hemant Kumar NFS)(1943) Singer- Hemant Kumar, Lyricist- Faiyaz Hashmi, MD- Kamal Dasgupta

Lyrics

Main saaz bajaaun oon
tum gaao o
tum gaao
Main saaz bajaaun oon
tum gaao o
tum gaao
taaaron main main tumhen suna doon
is dil ki jhankaar aar
geeton mein tum mujhse keh do
chhupi baat ek baar
taaaron main main tumhen suna doon
is dil ki jhankaar aar
geeton mein tum mujhse keh do
chhupi baat ek baar
main tumko kuchh samjhaaun
tum mujhko kuchh samjhaao
main tumko kuchh samjhaaun
tum mujhko kuchh samjhaao
Main saaz bajaaun oon
tum gaao o
tum gaao

mere sur mein dard chhupaa ho o
ek jaadoo ho geet tumhaara
mere sur mein dard chhupaa ho o
ek jaadoo ho geet tumhaara
hum tum donon milen jahaan aan
hum tum donon milen jahaan
(?) wo dariya ka kinaara
meri dhun par maujen tadpen
meri dhun par maujen tadpen
tum geet se lehron ko sharmaao o
tum geet se lehron ko sharmaao o
Main saaz bajaaun oon
tum gaao o
tum gaao


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: 4330 Post No.: 15623

Today’s song is from film Aagey Kadam-43. This is an obscure movie, in the sense that no information about its story etc is available anywhere on the Net or Film India magazine issues. However, from the lyrics of its various songs, one can say that the film is about a love story set amidst Patriotic atmosphere. Of course, being British times, such films had to be careful, lest their raw material quota of Raw Film would get into problem, during the wartime controls. Further the tablet of patriotism has to be sugar coated, so as not to get into legal tangle like perhaps”Kismet” of Bombay Talkies !

Among the wartime films, from 1939 to 1945, I feel that the year 1943 was quite significant as many musical, noteworthy and successful films came up during this year. Taking a look at the films of 1943, we find that a total of 105 Hindi films were made in this year. For the 7 year period of 39 to 45, this was the highest number – the lowest being 1945 with just 74 films.

Films like Aabroo, Bhakta Raj, Hamaari baat, Hospital, Hunterwali ki beti, Ishara, Kanoon, Kashinath, Kismet, Mahatma Vidur, Manchali, Mazaq, Nadaan, Nagad Narayan (a remake of Marathi film-‘ पैसा बोलतो आहे ), Nai Kahani (one of the best songs of Hindi film history-” neend hamari, khwaab tumhare ” was from this film), Najma (first film of Mehboob productions), Namaste,, Pagli, Panghat (film Chitchor-76 had the same story), Paapi, Paraya Dhan (The only song by Deena Sanghvi Pathak), Poonji, Prithvi Vallabh (debut in a Bombay film by Meena Shorey), Ram Rajya (super duper Hit film), Sanjog (Suraiya’s playback to Mehtab), Shahenshah Akbar, Shakuntala (First film of Rajkamal Kalamandir of V Shantaram), Tansen (last film of Nagendra Majumdar-father of Ninu Majumdar,MD), Vishwas, Wapas, and Zamin (debut of Khurshid Jr.), made 1943 an year full of content, Music, Acting and entertainment.

Amongst these films, a movie like Aagey kadam-43 was nowhere to be noticed or remembered. The film was made by Acharya Art Production, owned by its director, N R Acharya. This is what Encyclopedia of Indian Cinema says about Acharya….N R Acharya,Hindi director (1909-1993) born in Karachi. Was a government contractor when he joined East India film Company in Calcutta (1934). Later worked as production manager at Bombay Talkies, where he directed the first examples of S. Mukherjee’s new regime, e.g. Bandhan and the Abbas script Naya Sansar. Became producer with KISHORE SAHU’s Kunwara Baap (1942). Continued producing under the Acharya Arts Prod. banner until 1950. Also made Gujarati films, e.g. Lagna Mandap.

FILMOGRAPHY-1940: Bandhan; Azad; 1941: Naya Sansar; 1942: Uljhan; 1943: Aage Kadam; 1949: Parivartan; Shohrat (with K. Amarnath); 1950: Lagna Mandap; 1956: Dhola Maru.

There were two MDs for this film- old timer Madholal Damodar Master and Ramchandra Pal- who was in Bombay Talkies, with Acharya. The cast of the film was Motilal, Anjali Devi, Mubarak, Rajkumari Shukla, Leela Pawar, Narbada Shankar and others. There were 8 songs, but in the absence of individual credit we do not know which song was composed by whom. Lyricist was Kailash Matwala. Out of these 8 songs, I have heard 7 songs and find them good songs with tune and rendition. One song of Motilal is already on the Blog.

The name Anjali Devi, which appears in the cast is not of the famous south actress Anjali Devi ( 8-12-1927 to 13-1-2014 ), who acted in films like Ek the Raja-51( dubbed film), Shuk Rambha-53,Ladki-53, Devta-56, Suvarn Sundari-57 etc etc. This Anjali Devi of the 40s was different. As usual, I find that the filmography of south Anjali devi includes films done by Anjali Devi of the 40s. This is what I call Same Name Confusion.

Miss Anjali Devi’s real name was Durgesh Kumari. She was born at Benaras in 1926 in a respectable Brahmin family. Her education was not much but she was fluent in Hindi, Urdu, English and Sanskrit. At the age of 14 years, she came to Bombay, to fulfil her desire of becoming an actress.

She joined Ranjit Films and worked in film Pardesi in the year 1940. The film was released in 1941. She was credited as Durgesh in this film. She was called to Bombay Talkies to work in film ‘ Punarmilan’-40, directed by Najam Naqvi. When a section of artistes, led by S.Mukherjee, left Bombay Talkies to start Filmistan in 42, one of the BT directors N.R.Acharya also left and started his own company Acharya Art Productions. Anjali Devi also left to join Acharya.

She acted in 3 films of Acharya, Kunwara Baap-42, Uljhan-42 and Aage Kadam-43. She later on acted in Paristan-44, and Parivartan-49. She then got married to N.R.Acharya and settled as a Housewife.

There is one more name-Rajkumari Shukla. There is scant information available on the net about her. Recently, I got her more information from an Urdu book ” Filmi Titlian” 1945, written by Bijli Jampuri from Hyderabad Deccan (that is my hometown). So here is her latest information for our readers…

Raj Kumari Shukla, She was born in a well-known Brahmin family in Calcutta in 1903. Her own life has been quite tragic. She had to join the film industry not so much because of personal choice, but due to tragic personal circumstances. Like most young girls from Indian families, this virtuous lady, well-versed in household chores, got married. But her family life after marriage proved to be extremely unhappy — so much so that one day her husband gave her a brutal beating and drove her from his house.

Finding no refuge anywhere, she went to Jagannath Puri (in Orissa) and lived there in an ashram. Gradually, her family history and marital problems became known to one of the priests there, and he informed her parents. Her elder sister then brought her back to her house.

One theatre actor known locally as Gujarati Baba used to live nearby. Sometimes, she would get some theatre passes from him and go to local theatres to see some plays. This not only helped her to forget her unhappy past but also kindled in her young heart the desire to act in plays. The Gujarati Baba then persuaded her to adopt acting as a profession. Accordingly, in 1933, she joined Maadan Theatre and began her career as a leading lady, Film-goers of those days can still recall her “hilaali abroo, tez aankhen, kushaada peshaani aur siaah zulfen”. She excelled in emotional roles.

Starting her career in silent films, she came into her own with the advent of “Talkies”. Apart from Maadan Theatre, she worked for other film companies too. Her memorable films included “Intezaar”, “Zevar”, “Jagat Mohini”, “Far’yaad”, “Chaandni”, “Sharda”, “Panghat”, Tulsi”, “Swami, “Ek Raat”, “Man Ki Jeet”, “School Master”, Dulhan”, “Badalti Duniya”, “Aankh Micholi”, “Raj Nartaki”, “Jhoola” and “Najma”. She now acted more as a character artiste and vamp. Her realistic emoting in such negative roles makes the audiences shiver in revulsion. Her roles in films like “Ek Raat”, “Swami”, “Jhoola”, “Far’yaad” and “Dulhan” have been specially appreciated by film-goers.

She was only an actor and not a singer. She acted in 31 Talkie films. She also worked in few Gujarati and Bangla films. Her last recorded Hindi film was Nai Maa-46. She did sing just one song in her career. That was in film Panghat-43. It was a duet with Baby Tara. At her times, the other more famous actress-singer Rajkumari Dubey Banaraswali was also very active. In few films both acted, but the songs were only by Rajkumari Dubey Banaraswali. There were two more Rajkumaris also. One was Rajkumari Calcuttewali and another was from south, T.R.Rajkumari. Their details have been described earlier and also in my book” Forgotten artists….”. (Information for the above has been taken from Urdu book,”Filmi Titlian”published in 1945, and Film Directory, with thanks.)

Today’s song is a duet by Anjali Devi and Motilal, with Chorus. This is also a sort of Patriotic song, exhorting friends to be ready for a sacrifice for the country.


Song-Aage kadam badhaana hoga (Aage Kadam)(1943) Singers- Motilal, Anjali Devi (Durgesh Kumari), Lyricist- Kailash Matwala, MDs- Master Madholal and Ramchandra Pal
Both

Lyrics

Doston
naya sabak sikhlaana hoga
naya sabak sikhlaana hoga
dhang zamaane ka badla hai
dhang zamaane ka badla hai
kuchh kar ke
kuchh kar ke dikhlaana hoga
haahaakaar uthha hai jag mein
haahaakaar uthha hai jag mein
peena hai to aaj
peena hai to aaj jagat mein
peena hai to aaj

aage
aage kadam badhaana hoga
aage
aage
aage kadam badhaana hoga
aage
aage

baadhaaon ko door hataana hoga
soyon ko phir aaj jagaana hoga
apne ko apnaanaa hoga
phoolon ko samjhaana hoga
?? nahin hai
?? nahin hai
aage
aage kadam badhaana hoga

aage
aage
aage kadam badhaana hoga
aage
aage

aafaten jo sar pe aayen
unse na daro
shaan se jiyo
shaan se maro
aafaten jo sar pe aayen
unse na daro
shaan se jiyo
shaan se maro
yahi sandesa ?? chali hai
yahi sandesa ?? chali hai
aaj hamen pahunchaana hoga
aaj hamen pahunchaana hoga
aao

aage
aage kadam badhaana hoga
aage
aage
aage
aage
aage kadam badhaana hoga
aage
aage
aage
aage


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

Blog Day :

4311 Post No. : 15589 Movie Count :

4291

In the Indian film industry, it is very difficult for a producer and director to balance their ideals with money making in a film. Very few film producers have become successful in producing films combining the social purpose with commercial consideration. Prabhat Films and its director, V Shantaram was one of the earliest examples who produced and directed socially purposeful films like ‘Duniya Na Maane’ (1937), ‘Aadmi’ (1939), ‘Padosi’ (1941) etc. Fazli Brothers – Hasnain and Sibtain successfully produced and directed Muslim reformist social films like ‘Qaidi (1940), ‘Maasoom’ (1941), ‘Fashion’ (1943) etc. One of the risks of producing reformist social films is that of the backlash such films may face from the fanatics in religious groups. Hence, the commercially minded producers, by and large, avoided producing such ‘reformist’ films.

There was one more set of now forgotten producer/directors who were ready to jump into the bandwagon of producing the socially purposeful film taking the Hindu-Muslim unity as the theme. They were Rameshwar Sharma and Lahori Ram Parashar who set up their film banner, Unity Productions. The theme of their maiden film ‘Bhakt Kabir’ (1942), was Hindu-Muslim unity. That means that the film could be prone to attack from the religious fanatics from both Hindu and Muslim. But the film had a smooth release and it become a box office success. Almost all the provincial Governments at time made the film entertainment tax-free.

‘Bhakt Kabir’ (1942) was released at a time when the British rulers with their stooges were successfully deploying their ‘divide and rule’ policy. The success of the film emboldened the Unity Production to produce one more film on Hindu-Muslim unity. The film was titled as ‘Bhaichaara’ (1943). The film, as per the advertising material, advocated the virtues of good neighbourly relationship between Hindu and Muslims who have common traditions and culture in India. The star cast of the film included Bharat Bhushan, Rai Mohan, Ramesh Sinha, Sunetra, Beena Kumari, NA Ansari, Rajendra Singh, Mohammed Hadi, Rajkumar Bedi, Himmat Rai, Isabella etc. ‘Bhaichaara’ (1943) seems to have not done as well as ‘Bhakt Kabir (1942) at the box office.

Under the banner of Unity Productions, Calcutta, the third film produced and directed by Rameshwar Sharma was KL Saigal starrer, ‘Kurukshetra’ (1945). The film was based on the events in the story of Mahabharat which were to depicted in the social scenarios prevalent at that time. The film failed miserably at the box office though it was regarded as an off-beat film. I guess, this film virtually ended the journey of Rameshwar Sharma and Lahori Ram Parashar in Hindi films as producer and director.

‘Bhaichaara’ (1943) had 10 songs written by IC Kapoor, MR Kapoor, Kumar Vyas, Udaybhanu Bhatt and Nazir Bedi. But allocation of songs among the 5 lyricists is not known. All the songs have been set to music by Himangshu Dutta Sursagar.  It is interesting to note that Rameshwar Sharma entrusted the music direction of his first two films to Himangshu Dutta Sursagar.

Himnagshu Dutta (1908-1944) was a Hindustani classical singer who also gave the music direction in about 20 Bangla films. He was a contemporary of Gurudev Rabindranath Tagore and Kazi Nazrul Islam. Just like ‘Rabindra Sangeet’ and ‘Nazrul Geeti’, Himangshu Dutta has been known for his ‘Himangshu Gaan’.  He was also instrumental in promoting SD Burman by composing some of his non-film Bangla songs during his early days of musical career. Himangshu Dutta was the childhood friend of SD Burman in Comilla (now in Bangladesh).

I am presenting the first song from the film, ‘Bhaichaara’ (1943) –  mujhko khayal e yaar sataaye to kya karoon. The song is in a ghazal format sung by Jagmohan Sursagar in an unusual style. For example, he renders the first line, mujhko khayal-e-yaar followed by a short pause and then continue sataaye to kya karoon. This style is repeated in the all subsequent couplets also.

 With this song, ‘Bhaichaara’ (1943) makes a debut in the Blog.

Song – Mujhko Khayaal e Yaar Sataaye To Kya Karoon (Bhaichaara) (1943) Singer – Jagmohan Sursagar, Lyrics – [Unattributed], MD – Himangshu Dutta Sursagar

Lyrics

mujhko khayaal e yaar sataaye to kya karoon
kya karoon
mujhko khayaal e yaar sataaye to kya karoon
kya karoon
rah rah ke unki yaad jo aaye to kya karoon
kya karoon
mujhko khayaal e yaar sataaye to kya karoon
kya karoon
 
shaam e firaaq unka tasawwur ke ha……aaye
shaam e firaaq unka tasawwur ke ha…..aaye
zauq e nighaah e aas badaaye to kya karoon
kya karoon
mujhko khayaal e yaar sataaye to kya karoon
kya karoon
 
pehlu se unki yaad alahda na kar sakaa
pehlu se unki yaad alahda na kar sakaa
zarre mein aaftaab samaaye to kya karoon
kya karoon
mujhko khayal e yaar sataaye to kya karoon
kya karoon
 
behki huyi nazar wo jawaani ki mastiyaan
behki huyi nazar wo jawaani ki mastiyaan
saaqi mujhe jo aap pilaaye
saaqi mujhe jo aap pilaaye
pilaaye
pilaaye
saaqi mujhe jo aap pilaaye to kya karoon
kya karoon
mujhko khayaal e yaar sataaye to kya karoon
kya karoon
kya karoon
kya karoon

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

मुझको ख़्याल ए यार सताये तो क्या करूँ
क्या करूँ
मुझको ख़्याल ए यार सताये तो क्या करूँ
क्या करूँ
रह रह के उनकी याद जो आए तो क्या करूँ
क्या करूँ
मुझको ख़्याल ए यार सताये तो क्या करूँ
क्या करूँ

शाम ए फिराक उनका तसव्वुर के हा॰॰आ॰॰ए
शाम ए फिराक उनका तसव्वुर के हा॰॰आ॰॰ए
ज़ौक़ ए निगाहे ए आस बढ़ाए तो क्या करूँ
क्या करूँ
मुझको ख़्याल ए यार सताये तो क्या करूँ
क्या करूँ

पहलू से उनकी याद अल्हदा ना कर सका
पहलू से उनकी याद अल्हदा ना कर सका
ज़र्रे में आफ़ताब समाये तो क्या करूँ
क्या करूँ
मुझको ख़्याल ए यार सताये तो क्या करूँ
क्या करूँ

बहकी हुई नज़र वो जवानी की मस्तियाँ
बहकी हुई नज़र वो जवानी की मस्तियाँ
साक़ी मुझे जो आप पिलाये
साक़ी मुझे जो आप पिलाये
पिलाये
पिलाये
साक़ी मुझे जो आप पिलाये तो क्या करूँ
क्या करूँ
मुझको ख़्याल ए यार सताये तो क्या करूँ
क्या करूँ
क्या करूँ
क्या करूँ


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

Blog Day :

4249 Post No. : 15468 Movie Count :

4262

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

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

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

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

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

Tara Harish died sometime in 1970.

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

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

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

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

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

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

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

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


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

Lyrics

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

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

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

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


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

Blog Day :

4204 Post No. : 15393 Movie Count :

4243

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

Lyrics (Provided by Sudhir)

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

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

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

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

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

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

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

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

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


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

Blog Day : 4182 Post No. : 15361

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

Lyrics

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

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


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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.

This is a labour of love, where “new” songs are added every day, and that has been the case for over TWELVE years. This blog has over 16300 song posts by now.

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

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