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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 regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3707 Post No. : 14632

Today’s song is from film the film Mahatma Vidur-1943. It is sung by Vishnupant Pagnis. This will be his second song on the Blog.

The song is written by Pt. Narottam Vyas and MD is H.C. aka Harishchandra Bali. The film was produced by Circo productions and directed by Parshwanath Alatekar. The cast of the film was Vishnupant Pagnis, Durga Khote, nayampalii. Baby Madhuri,Kalyani, David etc.etc.

Thousands of actors worked in Hindi films. All were not heroes, because to become Hero in a film, you require Luck or a God father. There were many One Film Wonders in Hindi films. Some worked in only one film and some worked only in one film worth remembering. So much has been written about this tribe, that I will not repeat it here. However, working in just one film or a film which records your name in the Hindi Film History for ever is something extraordinary. I remember just two such names, offhand, in this category, though, I feel, there could be few more such names. Knowledgeable readers can point them out in the comment section.

The names which I remember are Rajkumar Gupta, who did the role of Ajay in film Jagriti-1954 and Vishnupant Pagnis who did the main role in the film Sant Tukaram-1936 (Marathi version. Its Hindi version came up only in 1948). Rajkumar Gupta-who hailed from Ranchi-acted in only One film, Jagriti, arguably the most meaningful Children’s film ever, and his role of Ajay alongwith the movie has passed into folklore.

Vishnupant Pagnis did the immortal role of Tukaram in his first film and then lived the role throughout his life, though he did four more films in the same Genre of Saint films. His name became famous not only in India but also in other countries. This film was hailed as “one of the 3 Best films in the world” at the Venice Film Festival, where it won accolades. Records of his Bhajans from this film created records ( we too had these records in our house in the 1940s.)

Vishnupant Pagnis was born in a small place called Chicodi, near Kolhapur, on 1-11-1892, in a lower middle class family. After formal education, he was assisted by Shahu Maharaj of Kolhapur state to join a Drama company at the age of 10 years. He sang naturally, without any training from an expert. he was a popular artist doing female roles, till his entry in films. He shifted to work in various drama companies including “Lalit Kaladarsh” of Mama Varerkar- a name connected with many Marathi and Hindi films of that time. In 1913, he floated his own company ‘ Jagchitradarsh ‘, only to wind after two years in 1915. he continued working in dramas and doing female roles, for which he was famous in those times.

After a few years, he left drama acting and worked as a Music Teacher in Municipal school at Girgaum in Bombay. After his wife died, he lived with his friend Petkar. They started a Gold Jewellary shop “Pagnis Petkar and Mandali” in Girgaon.

When Prabhat Film company planned to make Sant Tukaram, a search was undertaken for the main role and the main female role. This was in early 1936 and he was selected for the role of Tukaram, while a worker in the Prabhat company-Gauri – was selected as his wife. The Director duo of the film- Damle and Fattelal- were not happy about his selection, because his name was associated with female roles. But this became his strong point for the film in which he portryed a soft, kind and loving Tukaram. He did the role so well that the film Sant Tukaram became an International Hit, in addition to running to full house in Non Marathi areas like Madras Presidency, covering Andhra, Tamilnadu, Kerala and Karnataka and also in Bengal and Punjab. he became an actor in great demand for Saint films. After the film Sant Tukaral, hundreds of people used to crowd in his shop at Girgaum to pay respects and touch his feet as Tukaram. He also always dressed like Tukaram thereafter !

Vishnupant Pagnis worked in for more films of the same genre, namely Sant Tulsidas-39, Narsi Bhagat-43, Bhakta Raj-43 and his last film Mahatma Vidur-43. He also gave music in two films, Sant Janabai- 38 and Sant Tulsidas-39. These two and Mahatma Vidur were also made in Marathi language. His most famous film Sant Tukaram was released in Hindi only in 1948, but without his songs, because he had died on 3-10-1943. The MD- Snehal Bhatkar sang his songs in the Hindi version.

Vishnupant Pagnis became immortal with just one film Sant Tukaram. Even today this film is shown and discussed in the film Institutes of many countries.Many books and essays and articles are published on this film. His performance as Tukaram has become a major reference-point in debates about Indian performance idioms: e.g. Kumar Shahani’s essay The Saint Poets of Prabhat, 1981; Geeta Kapur’s Mythic Material in Indian Cinema, 1987 etc etc.

Today’s film Mahatma Vidur-43 was made on the life of Vidur after he renounced his Royal heritage and displeased the Kauravas by joining the Pandav camp.The film was full of miracle scenes. The art direction was by the legendary Baburao Painter. Story was by mohanlal Dave and dialogeus and lyrics by Narottam Vyas and Mahesh Kaul.

How many of us really know anything about Vidur ? Not many, I am sure. Vidur was an important character in Mahabharat. He was the brother of Dhritrashtra and Pandu, thus an uncle of Kauravas and Pandavas. The story of his birth is interesting.

In the clan of Kuru, Vichitraveerya became the king. Bhishma did his marriage with Ambika and Ambalika, However, the king died without any issues. The Queen mother Satyavati requested the Rajpurohit and family mentor Bhishma to produce children for the clan. But due to his vow of Celibacy, he refused. Then Maharshi Vyas was called in to help, which he agreed. When he went to queen Ambika, she could not tolerate his Teja and closed her eyes. Hence Dhritarashtra was born without vision. Ambalika fell pale and she gave birth to Pandu, who was ill always. Finally a Daasi was asked to go with Vyasa. the Daasi enjoyed the intimacy and a very intelligent and learned Vidur was born. the meaning of word Vidur itself is skillful, intelligent and Philosophical.

In the great war, Vidur sided the Pandavas because they were on the side of Truth. He saved them many times from the plans of Kauravas, especially from the Lakshagriha fire. His advices and principles are known as Vidur Neeti. ( This is supposed to be the precursor to Chanakya Neeti in King Nand’s period.). After the war Vidur was made the PM, but he declined and went to the forest for doing Penance. Dhritarashtra, Gandhari, Kunti and Madri too went with him. Once when Dharmaraj-Yudhishthir- went to call on him, Vidur died in his arm, bestowing all his powers to him. The others with him also died later in a forest fire.

The film was directed by Parshwanath Alatekar. Tbhis name too must be unknown to most people. Altekar (1897-1957) was from Kharepatan i n Ratnagiri, the coastal Konkan area of Maharashtra. he was educated in Kolhapur and graduated from Sangli. he abandoned Law studies to direct a drama in 1922. Basically a drama enthusiast, Altekar entered film world in Marathi and directed many films in silent era. He joined hands with Sarpotdar, Master Vithal and pendharkar brothers. In 1928, he made 4 films for Imperial film company, then for Saraswati Cinetone, Master Vinayak and Circo films. He made a few Tamil and Kannada films as well.

He floated his own company Natraj Cinetone and made Hindi/Marathi film Saathi/Savangadi in 1938 with Durga Khote and Mubarak. Meanwhile he worked for his pet drama group Natya Manwantar. Alatekar died on 22-11-1957 at Bombay. he directed 13 films including silent and Tamil/Kannada films. His Hindi films were Vasavdatta-34, Saathi-38, Mera Haque-39, Geeta 40 and Mahatma Vidur-43.

Let us now listen to Vishnupant Pagnis singing a song from film Mahatma Vidur-43. The film makes its in debut in the Blog with this song.

(Credits- Hindu Dharma Granth by Pt. Shrinivas, Encyclopedia of Indian Cinema, Film Directory, Prabhat Cinema by Bapu Watwe, Marathi Chitrapat sangeetkar kosh, HFGK, MuVyz and my notes)


Song-Har kaam mein rahte Prabhu hamaare (Mahatma Vidur)(1943) Singer-Vishnupant Pagnis, Lyrics-Pt Narottam Vyas, MD-Harishchandra Bali
Chorus

Lyrics

Har kaam mein rahte
Prabhu hamaare
Har kaam mein rahte Prabhu hamaare
hare muraare
hare muraare
hare muraare
hare muraare

mata kheti sab kuchh deti
mata kheti sab kuchh deti
bhare ann bhandaare ae
bhare ann bhandaare ae
hare muraare
hare muraare
hare muraare
hare muraare

chalta pyaara kargha pyaara charkha
chalta pyaara kargha pyaara charkha
karta rahta dhan ki varsha
karta rahta dhan ki varsha
dhakta badan hamaare
dhakta badan hamaare
hare muraare
hare muraare
hare muraare
hare muraare

ye jeewan sarvas(?)??
ye jeewan sarvas(?) ??
balram krishn ki maiyya
balram krishn ki maiyya
ham jeete un ke sahaare
ham jeete un ke sahaare
hare muraare
hare muraare
hare muraare
hare muraare

mukti ka panthh na dooja
mukti ka panthh na dooja
sab kaam prabhu ki pooja
sab kaam prabhu ki pooja
nij kaam hi jan ko taare
nij kaam hi jan ko taare
hare muraare
hare muraare
hare muraare
hare muraare
hare muraare
hare muraare
hare muraare
hare muraare
hare muraare
hare muraare

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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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3705 Post No. : 14630

Today’s song is from film Manchali-43. It is sung by Ramola and Sunder Singh. The lyricist is not mentioned in HFGK, but it is either of the two named therein- G.A.Chishti and Kashyap. The MD was G A Chishti. The film was directed by R C Talwar ( who was earlier an assistant to Kidar Sharma,in Calcutta). The film cast was Ramola, Manorama, Ramdulari, Sunder, A S Gyani, B N Sharma, Suraiya Begum etc etc.

The ‘ Same Name Confusion ‘ has haunted Hindi film industry, since its infant stage, i.e. Silent films. Even here you find a name Suraiya (albeit as Begum). Obviously, she was not the Suraiya- the singing sensation in the late 40s and the 50s. At the time of this film in 1943, she was still ‘ Baby Suraiya ‘, just starting her career. However, there were two more Suraiyas operating at this time. One was Suraiya Chaudhari and the other was Suraiya Zulfi. More in details about these Suraiyas, some other time. Today we will tackle another pair of ‘ Same name confusion ‘, which is different than such pairs discussed so far ( including in the recent book).

In the early stages of Cinema, it was difficult to get girls to work in films. However, as the film industry grew in the mid 1920s, many Anglo-Indian, European and Jew girls started working as Heroines. Since the films were silent, there was no need of knowing Hindustani language or a knowledge of singing. Additionally, due to their open culture, these girls were willing to give romantic, intimate scenes or even kissing on the screen. As such, the Censor had no objection for such scenes. In those days, there were separate Censor Boards for each state or presidency, after the Indian Cinematography Act was passed in 1920. It was implemented in 1927. All the Boards were unified and reconstituted as The Central Board of Film Censors, only in 1952. Till then films or songs used to be banned, if needed, in specific states only. For example, due to objectionable content, Zohrabai Ambalawali’s song from Mann ki jeet-44 was banned in Bombay Presidency, but it was shown all over India.

The biggest number of artists given by a single Non Indian origin community, in those days was the Jews. The Jews came to India in 562 BCE and in 70 CE in two lots. They settled in various parts of India. It was the first foreign religion to come to India, even before Islam or the Zorostrian. There were 8 types of Jews, based on their locations in India.

1. Cochin Jews
2. Madras Jews
3. Bene Israeli Jews in Bombay and Konkan areas
4. Baghdadi Jews-Gujarat, Bengal and Eastern India
5. South Asian Jews
6. Bnei Menashe- NE states
7. Bene Iphraim- Telugu and
8. Delhi Jews- Punjabi

Though the Jews mingled freely and adapted themselves to local atmosphere- maintaining and following Judaism-, the Jews who took up to Film Industry were only the Bene Israeli and Baghdadi Jews. A point to note was that no Jews from Kerala or Madras even entered film line. It was only the Hindi films. There too mainly Jew women joined films. The earliest recorded Jew girl to work as a Heroine in a film was Ruby Meyers ( Sulochana ). She acted in silent film Veer Bala-1925, made by Mohan Bhavnani for Kohinoor Film company, Bombay. She went on working in films and became very popular. When the Talkie film age came, she contacted Imperial film co. to stake her claim, but was rejected as she was not fluent in speaking Hindustani. learning from this, she took one year off and became expert in Hindi and learnt singing too. She made a thumping entry with the Talkie film Madhuri-1932, in which she sang 4 songs also ! Hats off to the dedication !

There were other Jew actresses like Rose Musleah (Miss Rose), Lilian Ezra (Lilian), Marcia Soloman(Vimla), Rachel Sofaer(Arti Devi), Esther Abraham (Pramila), Susan Soloman(Feroza Begum), Florence Ezekiel(Nadira) and many more. Among the males- David Jseph Penkar wrote the story and dialogues of Alam Ara-1931, Actor David Cheulkar (David ), Ezekiel Penkar (Viju Penkar- Tarzan film Tarzan and the Cobra-88 and few more films) and Lily Ezekiel (Asha Bhende), Edvyn Meyers (Ezra Mir) and Pearl Padamsi are well known Jews. There were some male Jews in the Technical side also.

In film Manchali-1943, the Heroine was Ramola (Rachel Cohen).

Actress Ramola (real name- Rachel Cohen) was born in a Jew family on 5-7-1917, at Bombay. Her father Hayam Cohem was a school Teacher. Her initial education was done in Bombay. Later they shifted to Calcutta where she completed her matriculation and joined films. Her first film was ‘ Graher fer’-38,a Bangla film. She did few small roles and then came ‘Khazanchi’-41 from Pancholi of Lahore. This changed her career and she became a popular actress. She did films like Masoom,Khamoshi manchali.etc etc.

Initially,Ramola was a small actress. First she acted on stage along with her two sisters. Then she got a Bangla film. It was Jagdish Sethi who introduced her to director/lyricist/dialogue writer Kidar Sharma.
According to Kidar Sharma,

“She was smart and a charming young lady. Her only drawback was her height. She was not tall, just about 5 feet, but she had lofty ambitions. One day she came to see me and I promised I would personally take her to the director of her choice. She said, “I would like to be introduced to Mr. Nitin Bose, and no one else.” I took her to Mr. Bose, and was sure that her charm and talent would impress him.

Mr. Bose scanned her, from top to toe, while I praised her talent and her choice of a director, like Nitin Bose. After a long silence, Mr. Bose addressed me and said, “When you brought her to me, why did you forget to bring some bricks for her to stand on?” Poor Ramola was hurt and heart-broken by this great director’s caustic remark. She quietly said, “Goodbye” and walked away from his office.

I followed her and found that she was in tears. ‘I was moved by the plight of a struggling youngster having high hopes, being ridiculed for something which nature was responsible for. I knew what it felt like to be ridiculed. I had experienced it often enough. I escorted her to the tram junction and there she bid me goodbye. To encourage her, I said, “Please, Ramola, don’t be heart-broken. One day, when I become a director, you will be my first heroine, and we will prove to Mr. Bose and the world, what a great star you are.” Ramola laughed and said,- “Poor Mr. Kidarnath, the dialogue-writer will never be a director and I will never be a heroine.” So saying, she jumped into the tram.”

However, Kidar Sharma kept his promise and cast her in his first film as director Aulad / Dil Hi Tou Hai (1939). Aulad/Dil Hi To hai was a down-to-earth story of a middle-class father, who had sacrificed all his life to educate his son and is darling daughter, hoping that they would be worthy children to the society and to the family. Little did the old man know that the generation gap would present a different, horrifying reality, which would destroy him completely. The modern college Miss, who destroys the dreams of her old father, the aged struggling middleclass man, was played by Ramola.

After the success of the film, Ramola got romantically involved with R.C. Talwar, Kidar Sharma’s assistant who later became a director in his own right. According to Kidar Sharma, “R.C. Talwar was a classmate and friend so I ignored his relationship with Ramola.”

Later Ramola appeared in many films including Qaidi, Khazanchi, Khamoshi, Swan Aya Re, Rim Jhim etc. When she acted in Pancholi’s famous film Khazanchi-41, she became famous all over India and film offers started pouring on her. She looked so cute in her Punjabi dress- Salwar and Kurta- in that film, that this dress became famous and popular as Khazanchi dress amongst the women in India.

She acted in 23 films in Hindi and 5 films in Bangla. She even sang 14 songs in 4 Hindi films. After the arrival of new heroines including Madhubala, Nargis, Meena Kumarietc, Ramola’s career got eclipsed and she bid farewell to her film career. Her last 3 films Actor, Jawani Ki Aag and Stage were released in 1951. However her actual last film was the Bangla film, Anurag-51

Ramola was married twice. Her second husband, Leslie Rondeau, was a Captain in the British Air Force, who helped to train Indian pilots in the IAF post Indian Independence. Her son, Sam, from her first husband, migrated to Israel in the 1950s. She had two daughters, Dena and Linda, from her second marriage. Dena, based in London today, even acted in a film, GP Sippy’s Ahsaas (1979), and works in the fashion industry while Linda, a resident of Bombay, was an air-hostess with Air India. With her generous and large hearted spirit, Ramola also ‘adopted’ and looked after another 14 families, helping them move ahead in life.

Ramola passed away in Bombay on 10-12-1988.

While Ramola was doing films, another actress having a similar name Romilla appeared on the scene. Romilla was actually Sofia Abraham, the younger sister of actress Pramila (Esther Abraham). Daughter of a retired Government Contractor, Romilla was born at Calcutta, After passing the Junior Cambridge examination she came to Bombay. She joined Imperial Film co. After doing some nondescript and uncredited roles, she became the heroine in Prince Movietone’s film Calcutta after Midnight-37. She started working in C grade stunt films of Mohan pictures and others. Some of her films were Bismil ki Arzoo-37,Cyclewali-38, Chabukwali-38, Thunder-39, Ratna lutari-39, Suhana Geet-41 ( later re issued as Toote Dil-47), Sarovar ki Sundari-42, Pistolwali-43 etc etc.

After this she got married and bid goodbye to films.

Today’s song is sung by Ramola and Sunder singh, who became a comedian after his film Shukriya-44. With this song, the film “Manchali”(1943) makes its Debut on the Blog.

(Credits- Times of Israel, The wire, ‘Mother, maiden, Mistress’ by Somaiya and Kothari, Cineplot, Film Directory-48, HFGK, MuVyz, Upperstall, wikipedia and my notes)


Song-Ho koi rang rangeeli aaye (Manchali)(1943) Singers-Sundar, Ramola, MD-G A Chishti

Lyrics

Ho koi rang rangeelee
Ho koi chhail chhabeeli aaye
Ho koi rang rangeelee
Ho koi chh chh chh chh chhail chhabeeli aaye
ho koi chatak matak kar
matak latak kar
jhoola mujhe jhulaaye
ho koi chatak matak kar
matak latak kar
jhoola mujhe jhulaaye
Ho koi rang rangeelee aaye

tum kya ho
main raani tujhe banaaun
aur geet khushi ke gaaun
main raani tujhe banaaun
aur geet khushi ke gaaun
jo mera jee bahlaaye
jo mera jee bahlaaye
ho koi chatak matak kar
matak latak kar
jhoola mujhe jhulaaye
ho koi chatak matak kar
matak latak kar
jhoola mujhe jhulaaye
Ho koi rang rangeelee aaye

main jhoola tujhe jhulaaun
aur jee tera bahlaaun
main jhoola tujhe jhulaaun
aur jee tera bahlaaun
to kya ho

tab jeewan sukh paaye ae ae ae
tab jeewan sukh paaye
ho koi chatak matak kar
matak latak kar
jhoola mujhe jhulaaye
ho koi chatak matak kar
matak latak kar
jhoola mujhe jhulaaye
Ho koi rang rangeelee aaye
ho ho
ho o o o
o o o


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3696 Post No. : 14613

Today’s song is from film Shakuntala-43. It was the first film made by V.Shantaram, in his newly established own studio Rajkamal Kalamandir Ltd. This name was made by combining the first few letters of his parents- RAJaram and KAMALabai Vankudre. The studio was set up in 1942 and the first film was made almost immediately with Shantaram’s second wife, Jayashree as the Heroine opposite Chandramohan- the (actually) Blue Eyed boy of Shantaram.

The year 1942 was an eventful and Milestone year for Hindi film industry.

It was in 1942 that a splinter group from Bombay Talkies, led by S Mukherjee, separated and established their own Filmistan Studio.
Abdul Rasheed Kardar started his own Kardar Studios, after working for many famous film makers of Bombay and Calcutta.
Leaving Prabhat Films, with select associates like brother V.Awadhoot (cinematographer), Vasant Desai and few others, Shantaram started his own studio-Rajkamal Kalamandir.

Mehboob Khan left National studios( earlier Sagar movietone) and established his own Mehboob Studios, with the famous Sicle and Hammer on its Logo.

Homi Wadia left Wadia Movietone ,along with fearless Nadia, and started his own Basant pictures.

Begum Akhtar made her rare appearance in film Roti-42.

Muqabala-42 was the ffirst film with many Trick scenes and double role of Fearless Nadia,speaking shudh Hindi in one character and donning Saree with bangles, kumkum etc.

Bharat Milap was the first film in which Prem Adib and Shobhana Samarth played the roles of Ram and Seeta. Later they created history with film Ramrajya-43 in the same roles.

Madhubala debuted as Baby Mumtaz in Basant-42.

This splurge of activities in 1942 and its roll over effect flooded the next year 1943 with ” ek se badhkar ek ” films from the new establishments, competing with the established ones. Films like Aabroo from Hind Pictures of Nazeer Ahmed, Adab Arz by Amar pictures of Virendra Desai (ex Sagar), Kanan Devi’s Hospital, Hamari Baat and Kismat from Bombay Talkies, Kanoon and Namaste by Kardar, Hunterwali ki beti and Mouj from Basant pictures, Andhera, Bansari, Gauri and Nurse from Ranjit, First film Najma by Mehboob studios, Panghat and Ramrajya by Prakash, Poonji from Pancholi of Lahore,Prithvi wallabh by Minerva and the biggest grosser Shakuntala from Rajkamal made the year 1943 a memorable year indeed. In addition other films from Circo, Mohan, Murali and many other production houses too joined in.
Out of all this, Shakuntala ran for 104 weeks and it was the First film shown in USA also. The success reassured Shantaram about his decision to go alone. He started with new vigour.

film Shakuntala had a cast of Jayashree ( Shantaram’s second wife), Chandramohan,Kumar Ganesh, Ratan Piya, Nana Palshikar, Shantarin etc etc. The songs were written by Dewan Sharar and Ratan Piya. The music was given by Vasant Desai. This was his first film with Shantaram. He went on to give music to several films from Rajkamal, like Parbat pe apna dera-44, Dr. Kotnis ki amar kahani-46, Matwala Shayar Ram Joshi-47 ( Amar Bhoopali-50, Marathi), Dahej-50, Surang-53, J.J.Payal Baje-55, Do ankhe bara haath-57 and Ladki Sahyadri ki-66.

Sharar had adapted the story from the original ” अभिज्ञान शाकुंतल by Mahakavi Kalidas ” written in the 3rd century. He wrote the story, dialogues and Lyrics also. This was Sharar’s first film with Shantaram . Their association continued for some more films like, Parbat pe apna dera-44, Dr. Kotnis ki amar kahani-46, Apna Desh-49, Teen batti char Raasta-53 and J.J. Payal baje-55.

Dewan Sharar also acted in 8 films and wrote 62 songs in 12 films.

Hindi film industry has seen uneducated, educated and talented artistes in various fields like acting, direction,production, cinematography, story and dialogue writing, Lyricists,composers etc etc. It has also seen successful artistes leaving films and shining somewhere else on their merits like, Shashi kapoor-sr, S D Batish, Lyricist Moti,B.A. etc etc. However , there is only one example where the artiste had an extraordinary success in totally unrelated fields, was a distinguished author and an acknowledged scholar BEFORE joining the film industry . He is Dewan Sharar. Not much has been written about him so far. Here is something about him.

Dewan was not his first name. It was a Title used as a prefix. He came from a family which had served as Dewans in many states traditionally in few generations. His name was Atmanand Sharar. He was born (1899-1969) in Multan in erstwhile Punjab. From 1929 to 1942, he travelled in many countries. He is credited with editing the Magazine, ” Shabistan “, the first Urdu cinema paper in India. He worked as a Publicist for the League of Nations in Geneva, Switzerland. He edited a leading weekly ” Great Britain and the East ” for 3 years He regularly contributed to British and American press. He was the first Indian whose 4 plays were broadcast over BBC. From 1937 to 1940, he was in charge of the cataloguing of Urdu books and Manuscripts in India House at London. He published many books like’ Indian Folklore’, ‘ In the garden of Peacocks’, ‘ East meets West’ and ‘ Gong of Shiva’. The last one was translated in many languages of Europe. Hindi film ‘ Ishara’-43 was based on this novel. He also wrote the story of Himanshu Roy’s film ” Karma”-33- first English film by an Indian. The film credits start with his name First.

This is what South Asian Cinema Faculty of U.K.said about him, “Film and stage actor, writer of English novels, short stories, stage and radio plays, “Eastern Adviser” to British-Gaumont films in London and Urdu poet. He also contributed prominently to Indian cinema as a producer, character actor and a story and dialogue writer. Born in Multan, Dewan Atmanand Sharar (1899-1969) came from a family that had served as Dewans or Ministers in Indian princely states. After graduating from Punjab’s prestigious Government College, Lahore, he established an impressive repertory company in 1919 and presented several Hindustani plays and mushairas in various urban centres. In 1929, he set up a film-producing and distribution company and began to edit Shabistan,reputedly the first Urdu cinema paper in India.
In 1933, Dewan Sharar moved to London for the completion and launch of Himansu Rai’s Indo-British film, Karma (1933) ofwhich he was the storywriter. It was completed in England by Indian & British Film Productions with J.L. Freer Hunt as the director and Thorold Dickinson as editor. Sharar also produced and acted in Nagin ki Rani, the Hindustani version of Karma. While in London, many of his English short stories on Indian life appeared in mainstream newspapers in the UK and overseas. A major London publishing firm, George G. Harrap & Co., published two of his English works: The Gong of Shiva(1935) and Hindu Fairy Tales(1936). His short stories were also published as part of an anthology which included contributions from other famous contemporary writers. He also contributed a number of English radio plays for the BBC.

After returning to India in 1939 just before World War II, he worked for All India Radio Bombay and Delhi. He then joined filmmaker, V. Shantaram and adapted Kalidasa’s Sanskrit classic, Shakuntala for the silver screen in Hindustani. The film was a runaway success and the Sharar-Shantaram combine lasted over a decade winning laurels for both Sharar and Shantaram’s banner, Rajkamal.

In 1943, Ishaara (1943), a film based on Sharar’s English novel The Gong of Shiva catapulted actor Prithviraj Kapoor to stardom. Besides becoming an important pillar of popular Indian cinema, he also started Dewan Sharar Publications in 1963. His descendants include famous Bombay-based Indian film actor Akash Khurana and Nagpur-based businessman turned playwright and theatre actor Vikash Khurana. ”

The other Lyricist of film Shankuntala-43 was a poet with a very romantic name-Ratan Piya. He was born on 5-3-1904 at Lucknow. His father Pt. Madan Mohan was secretary to Motilal Nehru. His father was a theatre lover and so started his own Theatre company at Allahabad. Ratan, after his matriculation started working in it. He was trained to write songs for its dramas. Their company was patronised by the Viceroy, who paid Rs. 20 p.m. as his Patronage !

Ratan debuted as a Lyricist in film Pakke Badmash-1939. For this film, he even wrote an English song. His films were Zaban-43, Mali-44, Umang-44 Nai Baat-47 and Batohi-48. For sustenance, he even acted in few films like, Shakuntala-43, Umang-44, Meena-44, Mahakavi Kalidas-44, Panna Dai-45, Khush Raho-49, Janam Patrika-49 and Begunah-49. After this ratan Piya returned to Allahabad to look after their Theatre when his father died.

Today’s song is sung by Vasant Desai himself. He gave music to 46 films. He acted in 4 films. He sang 13 songs in 9 films. He was often called for giving Background music to films. He gave Background music to 99 films.

( credits- http://www.sacf.co.uk, stagecrafttheatre.com, film directory-48, HFGK, MuVyz, and my notes )


Song-Chali apne ghar ko Shakuntala (Shakuntala)(1943) Singer-Vasant Desai, Lyrics-Dewan Sharar, MD-Vasant Desai

Lyrics

is bargad ko abmain tumhaare palle daal chali
par bahan
hamen kiske palle daal chali ho

hamen kiske palle mein daalegi
sakhi laadli
tu chali
chali
hamen kyon thhi ye ghadi dekhni
chhuta chhutpane ka jo naata thha
chali
chali aashram se shakuntala
chali aashram se shakuntala

??priya
priyamvada
?? mat
chhodo
shakuntala ko dheeraj do

madan
mere nanhe
ab main tujhse juda ho rahi hoon
ghabra nahin
baba teri paalna karenge

gurubaba
apne pyaaron ko vida karne jal tak hi aana thheek hota hai
ab ye jheel ka kinaara aa gaya
hamen aagya de kar
aap aashram ko laut jaayiye

kya
aap sab yahin se laut jaayenge

main tum sabko phir kab dekhoongi

baba se kab miloongi
baba
tapasya seap waise hi duble ho rahe hain
mere jaane se aur dukhi na hona
baba
mere baba

jo hansaati thhi
usey do diye
jise paaya thha
usey kho diye
gale mil ke rona judaai ka
pita putri ki hai yahi vidha
chali

beti
samay ho gaya

chali apne ghar ko shakuntala
ye safar tera path yatra
tujhe chhaaon achchi ghani miley
miley tujh ko chaman khile khile
tujhe peene ko miley ganga jal
path yatra teri ho sufal
chali


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3686 Post No. : 14591

Today’s song is from a film Naya Tarana-43. The film was produced byAcharya Atre’s ” Navyug Chitrapat Ltd. Poona”. The cast of the film was Snehprabha Pradhan, P.Jairaj, David, Dar Kashmiri (Jeevan), Raja Paranjpe, Protima Devi etc etc.

The film was directed by Najam Naqvi, the Lyricist was Wali Saheb (with one song by Ali Sardar Jaffri) and the music was given by Amir Ali.

Film making had started in India in early 1900s and many enthusiastic lovers of making images were doing a lot of work in this field.By the time the First Talkie Film came in 1931, there were quite a few film producing centres engaged in making silent films, like Bombay, Calcutta, Lahore, Poona, Kolhapur, Bangalore, Madras, Hyderabad etc. However, Bombay, Lahore and Calcutta were the three main centres where bulk of movies were made. In those days, India was vertically divided into two parts-Calcutta on the Eastern part and Lahore and Bombay on the Western part,for Hindi films. Madras,Bangalore and Hyderabad were busy in making southern language films.

Film making at Lahore was a losing proposition for two reasons. One- geographically,its finished product i.e. Films had no market in its West or north side. They had to look at the entire Indian subcontinent as their market and Secondly- Once the actors,Directors or the composers got an experience in Lahore,they would run to Bombay for bigger opportunities and poor Lahore would end up only as a stepping stone or at best a Training and launching pad for artistes ! Pancholi’s Khazanchi-41,was perhaps the First film,where Lahore was a successful profit centre !

By the mid 40s,it was well known that the Partition would take place and so artistes were not interested to remain in Lahore,but preferred Bombay which was prospering as a wholesale Production Centre.

Calcutta had some disadvantages compared to Bombay,on 3 grounds. 1) Geographical- Their Hindi film market was only on its Western side,competing with 2 other centres. 2) Social- The Regional Pride was very prominent(even today,it is.) and hence,except films,everywhere,knowing Bangla was a MUST. In Bombay, one could( and still can) live for 50 years and not speak Marathi, but it was impossible to survive without speaking the local language in Calcutta or Madras. Further,the regional cinema in Bengal fiercely competed with Hindi films here, sharing the only production centre in the Eastern India. The result was,Hindi film production slowly diminished as Artistes made a beeline to Bombay. Not only the Punjabi or the North Indian artistes,but even Bangla Directors (Nabendu Ghosh, Bimal Roy, Satyen Bose, Hrishikesh Mukherjee, Basu Chatterjee etc),Music Directors and Singers( Pahadi Sanyal, K C Dey, S D Burman, Salil Chaudhari, Anil Biswas, Hemant Kumar, even R C Boral) and few actors(Abhi Bhattacharya, Mala Sinha, Talat Mehmood, Pradeep Kumar etc) shifted base to Bombay.

Bombay welcomed one and all from entire India, grew bigger and became the only Hindi cinema production Centre in India. It had markets in East west,North and South. The number of Indian migrants to other countries was growing, it made an Overseas market for Hindi films. Regional pride did not interfere,as it had other centres too in Kolhapur and Poona. Local Language was similar to Hindi/spoken Urdu,the social and commercial aspects were friendly and the cosmopolitan culture was conducive and adaptable to all.

No wonder, then, that Local artistes were in majority in Bombay film world in early days. Heros like master Vithal,Bhagwan,Nandrekar in the early era,Heroines like, Shanta Apte,Shanta Hublikar,Vanmala.Hansa Wadkar,Ratnaprabha,Snehprabha Pradhan,Nalini Tarkhad,Nalini Jaywant,Durga Khote,Leela Chitnis Lalita Pawar (Amboo) etc in the 40s, and Nutan,Usha Kiron later on and composers like C.Ramchandra,Sudhir Phadke,Snehal Bhatkar,N.Datta,K.Datta,Datta Davjekar etc were famous in Bombay film world.

Out of these early Heroines,- Shanta Apte (1916-1964), Snehprabha Pradhan (1920-19930 ), Leela Chitnis ( 1912-2003), Durga Khote (1905-1991), Shobhana Samarth (1915-2000), Hansa Wadkar (Ratan Salgaonkar in real life,(1924-1971) and Shanta Hublikar (1914-1992) had few things common.

-They operated in films almost during the same period.

-They were educated and hailed from upper castes.

-They all were rebellious in nature.

-They all had failed marriages.

-They all worked in Marathi stage dramas
and

-They all ( except Shobhana Samarth) wrote Autobiographies in Marathi.

…. Shanta Apte– Jau mee Cinemaat ? means- shall I join films ? ,
Snehprabha Pradhan-Snehankita,
Hansa Wadkar– Sangte Ayka means- Listen to me (A Hindi film Bhoomika-with Smita Patil- was made on this book ).
Durga Khote– I, Durga Khote,
Leela Chitnis– Chanderi Duniyet
and
Shanta Hublikar– Kashala Udyachi baat.

Snehprabha Pradhan was born in 1920. Her mother became a widow, but married a social worker Vithalrao Pradhan. Her mother Tarabai could not decide between two names -Snehlata and Ratnaprabha,for her,so she combined parts of these names and named her Sneh-prabha. For first 10 years of her life were spent in different cities like Bombay,Nagpur,Poona, Lahore,Delhi and Calcutta and she learnt 4 languages (Marathi, Hindi, Urdu and Bangla) fluently. She attended college but could not get the degree as her mother fell sick and father left them high and dry. family friend Chiman bhai Desai offered her a film PUNARMILAN-1940, opposite Kishore Sahu,in Bombay Talkies.

She married Kishore Sahu,but they separated within an year. She got 3 more films in 1940- Saughagya, Sajni and Civil marriage. In 1942,she did Marathi film,’Pahli mangalagaur’ in which Lata Mangeshkar acted First time. Lata sang songs also with Snehprabha Pradhan. This Marathi film had earned ‘ A ‘ censor certificate, as there was a bedroom scene in which there is darkness on the screen, but hushed voices were heard. in those days some people came with Torches to the film, so that they could see ‘something’ in the dark scene ! She acted in 17 films. She also sang 56 songs in 13 films. Her last Hindi film was ‘ Birha ki Raat-50 ‘.

In 1946,when Tarabai-her mother died, she was so heartbroken that she contemplated suicide also. In the early 50s, she came in contact with the famous doctor of Bombay Dr. V.N.Shirodkar,with whom she stayed for another 40 years of her life. After leaving films, she did some noteworthy roles on Marathi stage. She wrote several books too, like her autobiography-” Snehankita” and ” Rasik prekshakanna saprem” etc. Snehprabha Pradhan died in 1993.

After she divorced Kishore Sahu, she got introduced to a British soldier on war duty in India-Edward Sparkes. Their romance became well known. They travelled all over India, but could not marry,as he had to return to England in 1947.

Snehprabha was the Dreamgirl of Dev Anand. He had acted with Nargis in Khel-1950 which was a flop. He never wanted to work with Nargis again in his life,but when a film ‘Birha ki Raat’1950 was offered to him opposite Nargis,he accepted it only because Snehprabha Pradhan was in it. Thus Dev Anand’s dream was fulfilled !

Film Naya Tarana-43 was directed by Najam Naqvi. He started his career from Bombay Talkies as an apprentice. One day there was an Earthquake in the company. The part owner and the Heroine of the company, Devika Rani had eloped with the Hero of the company, Najmul Husain. The trouble shooters of the company immediately started repairing work.

When the love affair of Najmul Hasan and Devika Rani fizzled out and Devika Rani returned to Bombay Talkies, 2 major things happened.
One- Bombay Talkies,in absence of its main lead,must now find a new Hero for their film ‘Jeewan Naiyya’-36,which was on the floor already. Here again Mukherjee came to Himanshu Roy’s help. He suggested the name of ASHOK KUMAR,who was a graduate,sang well,and also could act. He was working in Bombay Talkies as an apprentice in the Photgraphy Department. Ashok Kumar was sent for Screen test. Though the Directer Franz Osten rejected him,Himanshu Roy selected Ashok Kumar as their Hero and the rest is history,as they say !

Two- The whole episode of elopement had become a matter of embarrassment for a ‘continuity man’ working in the same studio. His name too was Najmul Hasan. Because of the same name, this innocent chap-who had nothing to do with the elopement drama-had to suffer staring eyes, wagging tongues and hush hush whisperings within the studio and the filmi circle of Calcutta !

He was Najmul hasan Naqvi, born on 11-4-1913 at Moradabad-UP. He was working in Bombay Talkies doing odd jobs-continuity man and even as an actor in ‘Achhut kanya-36’ He was a very hardworking person. After this episode he changed his name to a shorter edition-Najam Naqvi. He worked in the Direction department and his first film as an independent Director was PUNARMILAN-1940.

He went on directing films like Raja Rani-42,Tasveer-43,Naya Tarana-43,Panna-44,Prithwiraj Sanyogita-46, Nateeja-47, Parayee Aag-48, Actress-48, Nirdosh-50, Rangili-52 and last film-Samrat-54.

In 1955, Najam Naqvi migrated to Pakistan and directed 7 films from Kunwari Bewa-56 to Payal Ki Jhankaar-66.
Najam Naqvi died on 26-1-82 at Lahore. Due to same name, many sites including IMDB mix up the filmography of these two artistes.

All the songs ( except one song by Sardar Ali Jafri) were written by Wali Saheb. He was a person of one of a kind. He was an educated person fond of writing stories and songs, but he was also very orthodox in nature, So much so, that he had made it compulsory for his actress wife Mumtaz Shanti, to come for shootings in a Burkha, and was also a perfect Hypocrite who allowed her to act in films as a lover of the Hero ! He would put it it in her contract that the hero would not touch her during the shoots. To ensure this, he used to be present personally in her every shoot. After the shooting, she was to put her Burkha again and head straight to home, without speaking a word with anyone.

It seems, her uncle Barkat Nizami ( husband of actress Geeta Nizami) had brought her in films and he used to take away 75% of her earnings ( 50% for himself and 25% for his son). However, after her marriage to Wali saheb, this had stopped.

His name was Wali Mohd Khan. He was born at Poona in 1908. His family was from Punjab. He became a Compounder with a Doctor in Lahore till 1938. He used to write songs for the Recording companies, for a sum of Rs. 5 per song ! He entered film line as a story writer and Lyricist, with film,” Soni Kumharan” produced by East India Film Company.His songs became popular and he started writing dialogues too.He wrote songs, stories and dialogues for 36 films in all, with 280 songs. He worked for Kamla Movietone, Pancholi studios, Talwar productions, Cine art production etc.He even sang one song in film Udhar-1949.

After trying his hand at Direction in Venus pictures film ” Lady Doctor”-44, he went on to produce and direct film ” Dekhoji”-47, under his own banner, Punjab film corporation ltd. Bombay. He produced and directed 4 more films, Padmini-48, Heer Ranjha-48, Putli-50 and Zamane ki Hawa-52. In all these films, the Heroine was Mumtaz Shanti. He migrated to Pakistan, with his actress wife, in mid 50s.

The film’s music was by Amir Ali. He was working with HMV company and could not give music in his own name. In 1935, he gave music to film, ” Daksh yadnya”, but gave his younger brother Manzur Ali’s name as Music Director. Later on, when he left HMV service, he joined Rashid Atre as an assistant. Amir Ali gave music to film Pagli-43, Naya Tarana-43 and Panna -44. Songs of Panna became quite popular. One of the songs, by Rajkumari “Sanwariya re kahe maare” was heard after 42 years in film Mirch Masala-86. Naseeruddin Shah was shown listening to this song on his gramophone. Just before film Panna-44 was released, Amir Ali died after a short illness. He was credited in film Panna-44 as Late Amir Ali.

Today’s song is sung by Khan Mastana aka Hafiz khan Mastana alongwith chorus. I liked this song. Hope you too will like it. This song is the only song in the movie that is not writte by Wali Sahab but is penned by Ali Sardar Jaffri.

(credits-Film Directory, Dhunon ki yatra, Snehankita, HFGK, MuVyz and my notes)


Song-Ham duniya ke ann-daata hain(Naya Taraana)(1943) Singer-Khan Mastana, Lyrics-Ali Sardar Jafri, MD-Amir Ali
Chorus
Khan Mastana+Chorus

Lyrics

ham duniya ke ann-daata hain
ham duniya ke ann-daata hain
ham dhart maata ke bachche
ham duniya ke anndaata hain
ham duniya ke anndaata hain

saawan ki
ee ee ee
saawan ki ghanghor ghataayen
jab kheton par chhaati hain
saawan ki
saawan ki ghanghor ghataayen
jab kheton par chhaati hain
jab pyaasi dharti ke munh mein
wo amrit ras tapkaati hai
ham sab bhi mehnat karte hain
ham sab bhi paseena bahaate hain
ham sab bhi bhookhe marte hain aen aen
ham sab bhi bhookhe marte hain
ham sab bhi bhookhe marte hain
ham duniya ke anndaata hain

jab sooraj aag ugalta hai
aur garam hawaayen chalti hain
jab khet sunahre hote hain
gehoon ki baalen phalti hain
ham sab bhi mehnat karte hain
ham sab bhi dhoop mein jalte hain
ham sab bhi bhookhe marte hain aen aen
ham sab bhi bhookhe marte hain
ham sab bhi bhookhe marte hain
ham duniya ke ann-daata hain

dharti se sona ugta hai
dharti se sona ugta hai
dharti se chaandi ugti hai
dharti se chaandi ugti hai
dhanwaale sab le jaate hain
aur ham munh takte rehte hain aen aen
aur ham munh takte rehte hain
aur ham munh takte rehte hain
ham duniya ke ann-daata hain

ham dharti maata ke bachche
ham duniya ke ann-daata hain
ham duniya ke ann-daata hain


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3681 Post No. : 14575

“Sawaal”(1943) was directed by Niranjan for Geetanjali Movietone, Bombay. This “social” movie had Mumtaz Shanti, Ulhas, Radharani, Rajrani, Sadiq, Agha, Niranjan, V Sherali, Habeeb, Babu Bhai etc in it.

Three songs from the movie have been covered in the past.

Here is the fourth song from “Sawaal”(1943) to appear in the blog.

HFGK is silent about the singers for four out ten songs of the movie, including this song. Listening to the song, one can make out that this song is sung by Parul Ghosh. Wali Sahab is the lyricist. Music is composed by Pannalal Ghosh.

It is a superb song penned by Wali Sahab. It is a hidden gem of a song. Perhaps songs like this are better than way otherwise such song will get badly mutilated and spoiled by the so called cover version singers.


Song-Kaise chhupaaun kaise bataaun (Sawaal)(1943) Singer-Parul Ghosh, Lyrics-Wali Sahab, MD-Pannalal Ghosh

Lyrics

kaise chupaaun oon
kaise bataaun oon
kaise chhupaaun oon oon
kaise bataaun oon

preet hai tumse
pyaar hai tumse
jeewan ka singaar hai tumse ae
preet hai tumse
pyaar hai tumse
jeewan ka singaar hai tumse ae
man mein ek jwaala jalti hai ae ae
man mein ek jwaala jalti hai
wo kaise dikhlaaun oon oon
kaise bataaun oon
kaise chhupaun
kaise chhupaaun oon
kaise bataaun oon
kaise chhupaaun oon
kaise bataaun oon

honthon par khaamosh kahaani ee
man mein agni aankhon mein paani ee ee
honthon par khaamosh kahaani ee
iska matlab kya hota hai
iska matlab kya hota hai
wo kaise batlaaun oon oon
kaise bataaun oon
kaise chhupaun
kaise chhupaun oon
kaise bataaun oon
kaise chhupaun oon oon


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3661 Post No. : 14529

From the title of the film, it looks like a Historical film. However, genuine Historical films are rare in our country. Historical titles are used to actually showcase a Love story. It is generally a song, dance, love, sacrifice film, culminating into a Tragic or a happy ending. Films which are true to its historical content have hardly been made here. Of course, we can not blame the producers or the film makers. They make what sells !

We come to the old question, whether the reel life depicts the real life or real life copies the reel life ? This is a question similar to another age old question, What came first-the egg or the Hen ? Looking around today at the younger generation, I feel that nowadays the real life is following-nay, copying the reel life very much. Earlier, it was only following the fashion shown in the films-like dress or ornaments etc- by the audience, but now the lingo,dress,morals,methods and philosophy of the films are being followed blatantly. Some may feel that being an old person, I may be feeling that way, but what I read in papers, see on TV, and experience on the social media, it is exactly what I have said and felt. Today’s generation is frighteningly influenced by films and TV. So be it. The main point of contention was that real or realistic historical films are very rare.

Many film makers ( like Shantaram or Mehboob) took the risk of making films on social evils, but no one dared to make a historical film with pure historical content. The reason may be that the public emotions about history are stronger than social reforms and ithere is a great risk of inviting violent troubles from those who think otherwise !

I have not seen the film, Shahenshah Akbar-43, but obviously, it was a ” run of the mill” film, since there are no reports of it being a ‘different’ film. 1943 was an year in which Milestone films like Kismat and Ram Rajya were released. The Indian audience was savouring its music and contents. Shantaram’s Rajkamal Chitramandir released its First film ” Shakuntala “. K L Saigal’s film ” Tansen ” had mesmerised Indians. Nargis appeared first time as a Heroine in ” Taqdeer “, opposite Motilal. The Calcutta giant New Theatres released 3 Hindi films, Jawab, Kashinath and Hospital in 1943. Other big studios like Bombay Talkies, Prabhat, Ranjit, Prakash, Circo, Kardar productions, Mehboob studios, Sunrise, basant Pictures, Navyug, Mohan Pictures, Minerva, Amar pictures and many others with B and C grade films were active in 1943. Naushad with 3 films and C Ramchandra with 5 films were competing with each others in 1943.In all this competition, Shahenshah Akbar was lost, inspite of having an impressive star cast of Kumar, Vanmala.Rampyari, Husn Bano, K N Singh, Prakash, Azuri, Bikram Kapoor, Leela mishra etc etc.

Vanmala was one of those actresses, who not only came from a very respectable Royal family, but was also a highly educated person. In those days, these two things were valued highly. Veteran Marathi and Hindi actress Vanamala will always be associated with her roles in the landmark films, Sikandar (1941) opposite Prithviraj Kapoor and in particular the title role in Shyamchi Aai (1953), the first film ever to win the Best Film Award when the National Awards were instituted for Indian Cinema in 1954.

Vanamala was born Susheela Devi Pawar on 23-5- 1915. Her father Lt.Col. Rao Bahadur Bapu Rao Pawar was a Minister in Gwalior state. Vanmala grew up in the Royal palace with Princess Kamla Devi. Vanmala graduated from Agra University in 1935 and did her B.T. from Bombay University in 1937.

She began her career in the late 1930s following her graduation and having become a teacher in Pune’s Camp Education Society. Vanamala entered films at a time when it was considered taboo for women from respectable families to work in films though women like Devika Rani and Durga Khote had started working in films by then. It was V.Shantaram who encouraged her to come into the film industry as an actress. Her first film was a Marathi film ” Lapandav”. Pricipal Acharya Atre became very friendly with her and brought her to Hindi films. Vanmala had unusual Brown eyes. Hindi film industry had only two actresses with Brown eyes. One was Vanmala and the other was Ragini, who migrated to Pakistan, after partition.

Vanamala acted in both Hindi and Marathi Cinema. Among her Hindi films, Vanamala will always be best remembered for Sohrab Modi’s historical Sikandar and Sharbati Ankhen (1945), directed by Ramchandra Thakur for Wadia Movietone. In the former she played Alexander the Great’s love interest, a Persian woman, Rukhsana, who fearing for Alexander’s life extracts a promise from Porus that he will not harm Sikandar. Vanamala made a major impact in her role, her beauty coupled with her light-coloured lively eyes taking the audiences breath away. The film itself was a spectacle – its lavish mounting, huge sets and production values equalling the best of Hollywood then particularly its rousing and spectacular battle scenes. It was rated by a British writer as, “…well up to the standard of that old masterpiece The Birth of a Nation.”

In Sharbati Ankhen, her Brown eyes were again used to mesmerising effect, the film so aptly titled one feels, after her! The film has some of the earliest songs sung by Mohammed Rafi in his career includingPyaar Karna hi Padega and Bahut Mukhtasar Hai Humari Kahani. The music for the film was done by Feroz Nizami who went on to compose unforgettable music in a hat-trick of films with the great Noor Jehan (Jugnu (1947) in India and Chan Wey (Punjabi) (1951) and Dopatta (1952) in Pakistan).

However, the one role that undoubtedly immortalized Vanamala forever was the title role in the National Award winning Marathi film, Shyam chi Aai-1953, directed by PK Atre. The film, regarded as a cult classic today, is based on one of the most influential Marathi novels of the 20th century (1935), a fictionalised account of the childhood years of Sane Guruji (1899 – 1950). A nationalist influenced by Vinoba Bhave and especially Gandhiji, he was imprisoned repeatedly for his work among the peasantry and participation in the Quit India agitations. His book Shyamchi Aai, written in jail, has 45 episodes in which Shyam, a youth living in poverty in Konkan, recalls the teachings of his mother, a devoutly religious person with an earthy and practical philosophy. The hit film has remained a generic landmark in Marathi Cinema and especially so for Vanamala’s maternal prototype. Actor Madhav Vaze, who played the role of her son Shyam in Shyamchi Aai, recalls Vanamala as a woman of few words. “Her actions spoke for her. She was well-educated and a cultured woman who belonged to a noble family from Gwalior,” he said.

Some other films that Vanamala acted in include Payachi Dasi (Marathi)/ Charnon ki Dasi (Hindi) (1941), Vasantasena (1942), Dil ki Baat (1944), Hatim Tai (1947), Beete Din (1947) and Shree Ram Bharat Milap (1965). In all, she did 25 Hindi films. She sang 24 songs in 5 films in her career. For some time she was a partner in Atre pictures also. She produced film Bramhan Kanya aka Khandani-1947.

The supposedly demure Vanamala was a staunch nationalist and was deeply involved in the freedom movement along with stalwarts like Aruna Asaf Ali and Achyut Patwardhan. She was deeply involved in several social causes and was a member of the Chhatrapati Shivaji National Memorial Committee. She also ran a school to train children in traditional Indian arts and culture, The Haridas Kala Sansthan.

Vanamala who had been suffering from cancer, passed away in Gwalior on May 29, 2007.

Her Hero in this film was actor Kumar. KUMAR was born in the prestigious family of Syed s of Lucknow-UP in India,in 1912. His real name was SYED HASSAN ALI ZAIDI. His family used to call him MIJJAN Miyan.

He was a handsome and tall person. He was keen on joining cinema,so he came to Calcutta and joined New Theatres. After doing side roles in Subah ka Tara and Zinda lash,he was hero in PURAN BHAGAT in 1933.Even Saigal was also in the film.The film was about to be released and suddenly communal riots broke out in Calcutta.The new Theatre management found it difficult to announce a muslim name of the hero of PURAN BHAGAT,in the tense atmosphere of Calcutta.The director of the film was kumar Debaki Bose,a person from a Royal family.He took a dicision and told Mijjan,” from today,I am giving you a part of my name. You will become KUMAR now.”This solved the film release problem and thus his name became KUMAR, from then onwards. Truly enough,Debki Bose, thereafter never used his name Kumar again in his life !

After doing Yahudi ki Larki, Watan, Suhag, Shehar ka Jaadu and Maa ka Pyar, Kumar came to Bombay and joined Ranjit Studios. In 1939, he married another actress PRAMILA (who was actually a Jew, Esther Williams. Pramila was later India’s FIRST Miss India in 1947).They got a daughter Naqi Jehan(who too became a Miss India in 1967, exactly 20 years after her mother. Naqi acted opposite Rajesh Khanna in Akhari Khat – 66,as a Heroine. Later she married into the business family of Kamdar of Bombay and became Mrs.Nandini Kamdar, by converting to Hinduism.)

Kumar did many films in Ranjit,but in 1942,he was removed from Ranjit.At the same time,his friend,CHANDRAMOHAN also left Minerva Movietone( reason-despite PUKAR-39 being a blockbuster,his salary was not increased inspite of a promise by Sohrab modi).They both decided to lauch own company and on 16-3-1942,SILVER FILM CO. was launched.Its first film was Jhankaar.They produced Bhalai,Bade Nawab Saab,Devar,Naseeb,Dhun and Bahana.Kumar acted in these films.he also directed Dhun and Bahana.

He produced and directed Aap-Beeti-1948 under his company,Kumar Studios.Then under Shama prodn. he made Nahle pe dehla,Dhoom Dham and Dilbar.
later in life he made badal aur bijlee and jungle king under Artists United films.

From Najma in 1943,Kumar did only character roles in films like Bhishm Pratigya, Dayara, Mahal, Shri 420, khiladi, Maalik, Baiju Bawra, Yahudi ki Ladki. His memorable role was in Mughal e Azam, that of the sculptor and the famous song-‘Aye mohabbat zindabad’ was shot on him.

His last film was Raat aur Din – 67.

Then he decided to migrate to Pakistan. In Pak also he worked in few films and died in 1982.His sons are active in Pak film industry.

Rampyari was from Low cast and profession, but was a highly polished and sophisticated actress in those days. Rampyari hailed from a Telugu family of highly skilled professional dancers and singers. She lived in Nagulchinta area of old Hyderabad city.

She was born in 1908 December. That year Hyderabad witnessed devastating floods.She was taught Urdu and English. Apart from her mother tongue Telugu she was also proficient in Marathi and Kannada. She was trained in Dancing and singing. In 1918, at the age of 10 years, she was taken to Madras by her aunt, who trained her in Bharat Natyam. After 4 years of rigorous training, she became the best dancer of Madras.

In 1926, a film producer from Kohinoor Film company, Bombay ,visiting Madras, saw her dancing and invited her to Bombay.It was the era of Silent movies. Her first film was Gunsundari, with Miss Gauhar and Raja Sandow. It was directed by Chandulal Shah and was released in 1927. Her supporting role as a dancer in the film was lauded by the audience. Next film Vile woman was also successful. She acted in more than 20 films as a Heroine and dancer and established her name as a seasoned actress of the 30s.

With advent of Talkies, she easily switched over. She had no difficulty in delivering Urdu dialogues. In 1931, she acted in Paak Daman, Laila Majnu and Ghar ki laxmi, Gunsundari in 1934 and Azad Abla,Meethi Nazar and Hamlet in 1935.

Famous director Debki Bose from New Theatres, Calcutta invited her and signed up for ” Sunehra Sansaar”-36 and Vidyapati-37, which was a mega hit. After this, she did few films in Calcutta with other companies. Her film Milap-37 was famous for being the first to show the prototype of a “vamp” in Indian Cinema. Rampyari was shown wearing “an off-shoulder dress” and using a cigarette-holder, with the intent of seducing the hero Prithwiraj Kapoor, the scene was later used by Raj Kapoor on Nadira in his film Shree 420 (1955) for the song “Mud Mud Ke Na Dekh”.

She toured the entire south India and gave dance performances in major cities. She became so famous that the Ceylon Labour Union invited her to Ceylon and presented her with Gold Mementos. She was greatly inspired by the acting of Sulochana aka Ruby Meyers and Miss Gauhar of ranjit, with whom she acted in many films.

She shifted to Bombay permanently in the 30s. Her family also moved out of Hyderabad and came to Bombay. She had a large fan following in Hyderabad. She had a great fan mail too, which she replied in fluent Urdu and English. later she got married and retired from films.

She acted in 30 films. Her last film was Dak bungla-47. She sang 14 songs in 8 films.

The music of this film was by Ustad Jhande khan. The film had 14 songs and there were 4 Lyricists. Today’s song is written by Dewan Sharar, who also wrote the story, screenplay and dialogues of this film. This song is by a chorus, though individual voices can be heard, but not identified. HFGK is also silent about singers of all songs. The film makes a Debut in the blog with this song.

( Credits- The music and arts of Hyderabad Deccan, Upperstall, beetehuedin.com and my notes)


Song-Akbar mahabali ki jai ho (Shahanshah Akbar)(1943) Singer-Unknown female voice, unknown male voice, Lyrics-Dewan Sharar, MD-Jhande Khan
Chorus

Lyrics

Akbar mahabali ki jai ho
Akbar mahabali ki jai ho
Bharat chhatrapati ki jai ho
Bharat chhatrapati ki jai ho
Akbar mahabali ki jai ho
Akbar mahabali ki

karm hamaare nek
karm hamaare nek
mile hain
karm hamaare nek
karm hamaare nek
huye hain Hindu Muslim ek
Hindu Muslim ek
huye hain Hindu Muslim ek
Hindu Muslim ek
huye hain

Akbar mahabali ki jai ho
Akbar mahabali ki jai ho
Akbar mahabali ki jai ho
Akbar mahabali ki

Hindu dharam ka sooraj ??
Muslim ka hai chaand sitaara
Hindu dharam ka sooraj ??
Muslim ka hai chaand sitaara
apne
apni pasand ke donon nishaan hai
?? hai
apni pasand ke donon nishaan hai
?? hai

Akbar mahabali ki jai ho
Akbar mahabali ki jai ho
Akbar mahabali ki jai ho
Akbar mahabali ki

Akbar mahabali ki jai ho
Akbar mahabali ki

Hindu dharam ka sooraj ??
Muslim ka hai chaand sitaara
Hindu dharam ka sooraj ??
Muslim ka hai chaand sitaara
apne
apni pasand ke donon nishaan hai
?? hai
apni pasand ke donon nishaan
?? hai

Akbar mahabali ki jai ho
Akbar mahabali ki jai ho
Akbar mahabali ki jai ho
Akbar mahabali ki jai


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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3610 Post No. : 14396

Today’s song is from an unknown film Fashion-1943.

The film was made by Fazli brothers and was, naturally, directed by one of them- Hasnain Fazli. The music was composed by Shanti Kumar Desai and the Lyricist was Arzoo Lucknowi. The cast of the film was Sardar Akhtar, Chandramohan,Sabita Devi, Bhudo Advani, Nazir Kashmiri etc.

The producers Fazli brothers were the sons of Khan Bahadur S M Fazal Rabb of Beharaich- about 125 kms from Lucknow in U.P. The elder brother was Hasnain and the younger brother was Sibtain. Hasnain Fazli was born on 12-1-1912 in United Province (today’s U.P.). His family belonged to the noble Sayyads of Allahabad. Hasnain was a graduate of Allahabad University. Though his father was a Khan Bahadur, a Government Jahagirdar and lifetime Magistrate, Hasnain refused to do any service and did not complete his I.C.S. studies, as expected by the family.

He had a creative mind. He joined film line. He was very keen on making a film on Muslim Society. In those days it was considered outrageous to produce a film on Muslim society for fear of the ire of the fundamentalists. However Hasnain broke the barrier and the first Muslim Social film Qaidi-40 was produced and directed by him under the banner of Film Corporation of India, Calcutta. Very cleverly, the film was made at Calcutta, ( though the film depicted life in Lucknow ), and not at Bombay to avoid any disruption in the making of the film. The film was made so well that it was received very well by all strata of population, including the Muslims and became a hit film. After this Hasnain made more Muslim social films like Masoom-41, Chowranghee-42, Fashion-43 and Ismat-44. These films discussed Muslim family life and problems etc.

His first directorial film was at his 23rd year- Triya Charitra-35. Then came Sajiv Murti-35, in which the Handsome Vijay Kumar from Himachal Pradesh was the Hero. Fazli brothers also made Dil-46, Mehendi-47, Duniya-49 and Khoobsurat-52. Hasnain was so talented that he himself wrote the film stories, screenplays and dialogues usually.

After the Partition, Fazli brothers migrated to Pakistan. Sibtain remained in Pakistan and Hasnain returned to India to make 2 more films. Later Hasnain too relocated to Lahore and died there on 16-7-1957. His brother Sibtain ( 9-7-1914 to 25-7-1985) who had directed 3 films in India, made 4 films in Pakistan, including the most popular Urdu film of madam Nurjehan-Dupatta-52.

The life story of Sardar Akhtar- Heroine of this film- is very interesting. Sardar Akhtar was a Punjabi Muslim born in Lahore in 1915. Her mother was a famous singer on the infamous Hira Mandi Road of Lahore. Akhtar learned singing from her mother and also other ustads. Her younger sister Bahar Akhtar was beautiful and a good singer. These sisters were famous as Daaro and Baharo in Lahore. Bahar was hired by United Players Corpn. of Lahore , as a Heroine in their film ” Qaatil Kataar “. Producer A R Kardar was also its Hero. They fell in love. Bahar was under strict surveilance by her mother, but with the help of a friend, Kardar abducted her and they were married. When this news reached her mother, Akhtar and her mother made a Police complaint against Kardar. Kardar and his unit members were arrested and kept in a lock up for few days for abducting a Minor girl. They were released when Bahar herself gave a statement in their favour. Kardar destroyed the negatives of his film to prevent Bahar from further acting in films.

After this episode Akhtar started working in dramas. She went to Calcutta and did a small role in the film Dhoop Chaaon-35. From there she came to Bombay and joined Saroj Movietone. She did films like Eid ka Chaand, Roop Basant and Naqsh e Sulemani and earned a good name. She acted in films of Minerva and Wadia-mostly stunt action films. Mehboob Khan gave her a big role in the film Aurat-40 and her image changed. She also did Mehboob’s film Roti, during which they got married on 25-4-1942. They did not have any issues but they adopted Saajid Khan, child star of film Son of India-62. After Mehboob’s death in 1964 May, Akhtar lived alone, occasionally visiting Sajid Khan, who had settled in USA.

Sardar Akhtar did 44 films. Her last film was Raahat-45. However, she did small roles in films Hulchal-71 and Bandhe Haath-74.

Sardar Akhtar sang 92 songs in 27 films. Considering that she was not a regular or playback singer, her 92 songs were highly creditable. Not even 50% of her songs came on gramophone records. During one of her US visits, Sardar Akhtar died there on 2-10-1984. She was a devotee of sufi saint Ashraf Khan, her co-star of many films including Roti-42.

The Hero of the film Fashion-43 was Chandra Mohan. It was a proof of the secular nature of our film industry that a Kashmiri Brahmin actor was selected to act in a predominantly Muslim film. Chandramohan was one of the most Handsome actors Hindi films ever had. He was like Master Nissar. Both of them lived lives of Kings, but died like beggars !

Chandramohan Watal was born on 24-7-1906,to Kashmiri Bramhin parents,in Narsinghpore in the Central provinces,i.e. today’s M.P. area. By the time he was around 15,his parents died and he was looked after by his Guardians. When he could no longer tolerate the guardian’s torture,he ran away to Delhi. A friend helped him to get a job as a Cinema manager. After few sundry jobs,he settled in Mangal Distributors. They sent him to poona to finalise a deal for ‘Sairandhri” being produced by Shantaram. Shantaram,impressed with Chandramohan offered him film roles,but he refused. After some time,when Shantaram’s film Amrit manthan was on the floor,Baburao Pendharkar left the company on salary increment issue and Shantaram sent an offer to Chandramohan again. This time he accepted it and did the unforgettable role of Villain Rajguru in Amrit Manthan-34. After doing Amar jyoti and Vahan,Chandramohan had a tiff with Shantaram and he left Prabhat,joining Huns pictures for Jwala. With jwala’s debacle,he came to Bombay and joined Minerva for Pukar which proved to be a Hit film. Then came Geeta(HIndi/marathi),Roti and a string of Historical movies.

In all Chandramohan did 32 films. His last released film was Chocolate-50. He earned lakhs and spent millions on Races and drinks. he never came drunk on the sets. In his last days,he suffered from hallucinations and saw Durga mata blessing him. he used to say,” Laxmi left me but Durga came to me.”

His role of Shaheed-48,in his last phase was very impressive. His last days were spent in loneliness and poverty.When he died,his consort Sheila had no money,so Cine Artistes assn. did his last rites. He died on 2-4-1949.

The Music Director of this film was Shanti Kumar Desai, a very talented but unlucky composer who rarely got support from any famous banner. His music was enchanting and tunes were superb, but Lady Luck did not favour him.

He was born in Amreli, Saurashtra, Gujarat state on 3-3-1908. His family was in service as Royal Musicians, so he was exposed to music from childhood.He was an expert Harmonium player. To start his career, he came to Bombay and worked in H.M.V. as a Broadcaster. Here he came into contact with many composers and learnt how they operated and made tunes etc. He was already giving music to Dramas, but wanted to join Film line as M.D. He got his first film Navbharat ( Jawanmard0-1934. In those days Gujarati producers and directors used to prefer Gujarati MDs. Thus out of his 36 films, 18 were done with Gujarati Directors like Sohrab modi, Nanubhai Vakil, V.M.Vyas(4 films), Kanjibhai Rathod, Dhirubhai Desai etc. He also gave music to Gujarati films.

He gave music along with Madholal Master, Rafiq Ghaznavi, Pannalal Ghosh, Shyambabu Pathak etc. Famous singers like Rafi, Manna Dey, Zohrabai, Amirbai etc sang in his films during their early careers. Even kishore kumar’s early film Sati Vijay-48 had music by Shanti Kumar Desai. He gave music to films of early era actors like Prem Adib, Mehtab, Sitara Devi, Leela Chitnis, Jal Merchant, Ashraf Khan, Rajkumari, Mazhar khan, Shanta Hublikar, Jairaj, E Billimoria, Kumar, Sardar Akhtar, Chandramohan, Shobhana Samarth, Durga Khote, Shahu Modak and Sulochana.

From 1934 to 1948, he gave music to 35 films and in 1964 his one film was released. He composed about 300 songs. He never got films from top banners like Bombay Talkies, Prabhat, Sagar or Minerva, otherwise his career would have been different.

He died on 6-1-1986. Some of his better known films were Bholi Bhikaran-36, Punarjanma-38, Anjaam-40, Suhaagan-42, Naukar-43, Ek din ka sultan-45 and Lav Kush-51.

Film Fashion-43 was a very neatly made film. The film and its music become quite popular. The film got the ” Best film of the year” award from Film India. Hasnain was also declared “The Best Director of the year” by Film India. The story of the film was woven around the usual conflict between the Fashionable woman v/s traditional housewife. After the success of film Gunsundari from Ranjit, this type of story was made into films in many guises and various Titles. Film Gunsundari itself was remade in 1948 by Ratibhai Punatar- Nephew of Ranjit’s Sardar Chandulal Shah. Nirupa Roy did the main role in 1948 version, while the original 1934 film had Gauhar Mamajiwala as the Heroine.

Here is the song by Sardar Akhtar. When you hear the song, you will never feel that a non professional non playback singer is singing. The tune reminds us the famous song ” 15 August ka din hai hame pyara, azaad hua aaj ke din desh hamara” .
( Credits- Who’s who in Indian film industry-1946 edition, Cinerang by Isak Mujawar, Rahe na rahe hum by Shantaram Mankikar, Wiki, MuVyz, and my notes )


Song-Tum pyaare ho jab dil ko to ye ghar bhi hai pyaara (Fashion)(1943) Singer-Sardar Akhtar, Lyrics-Aarzoo Lucknowi, MD-Shanti Kumar Desai

Lyrics

tum pyaare ho jab dil ko
to ye ghar bhi hai pyaara
tum pyaare ho jab dil ko
to ye ghar bhi hai pyaara
tum pyaare ho jab dil ko
to ye ghar bhi hai pyaara
ye ghar bhi hai pyaara
ye ghar bhi hai pyaara

har cheez yahaan ki hai tasalli ka sahaara
har cheez yahaan ki hai tasalli ka sahaara
tum pyaare ho jab dil ko
tum pyaare ho jab dil ko
to ye ghar bhi hai pyaara
ye ghar bhi hai pyaara
ye ghar bhi hai pyaara

neend aankhon mein la rahi hai ye bujhti hui batti
neend aankhon mein la rahi hai ye bujhti hui batti
is dil ki ?? mein hai aaraam hamaara
aaraam hamaara
aaraam hamaara
is dil ki ?? mein hai aaraam hamaara
aaraam hamaara
aaraam hamaara

ulfat ho to is hans ke jode ki tarah ho
ulfat ho to is hans ke jode ki tarah ho
donon hain kisi ek ke jeene ka sahaara
donon hain kisi ek ke jeene ka sahaara
tum pyaare ho jab dil ko
to ye ghar bhi hai pyaara
ye ghar bhi hai pyaara
ye ghar bhi hai pyaara

yoon nal ki taraf dekh ke thhandi na hon aankhen
thhandi na hon aankhen
yoon nal ki taraf dekh ke thhandi na hon aankhen
thhandi na hon aankhen
paani na sahi phir bhi hai paani ka sahaara
paani na sahi phir bhi
paani na sahi phir bhi hai paani ka sahaara
tum pyaare ho jab dil ko
to ye ghar bhi hai pyaara
ye ghar bhi hai pyaara
ye ghar bhi hai pyaara
har cheez yahaan ki hai tasalli ka sahaara
har cheez yahaan ki hai tasalli ka sahaara
tum pyaare ho jab dil ko
to ye ghar bhi hai pyaara
ye ghar bhi hai pyaara
ye ghar bhi hai pyaara


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Zabaan”(1943) was produced and directed by Jayant Desai for Jayant Desai productions, Bombay. This “social” movie had Ishwar lal, Kaushalya, Mubarak, Diit, Vatsala Kumthekar, Bhagwandas, Kantilal etc in it.

The movie had twelve songs in it. All of them were actor-singer songs, viz the songs were sung by the actors themselves.

Two of these songs have been covered in the past.

Here is the third song from “Zabaan”(1943) to appear in the blog. The song is sung by Ishwar Lal. One can notice that his voice is similar to C Ramchandra’s singing voice.

Mahrul Qadri is the lyricist. Music is composed by C Ramchandra.

Only the audio of this rare song is available. The song was picturised on Ishwarlal himself who was the lead actor of the movie.


Song-Bigdi huyi kismat ko ik roz banaana hai (Zabaan)(1943) Singer-Ishwar lal, Lyrics-Mahir Ul Qadri, MD-C Ramchandra

Lyrics

Bigdi huyi kismat ko
haan aan aan
Bigdi huyi kismat ko
ik roz banaana hai
Bigdi huyi kismat ko
ik roz banaana hai
ab main nahin jaaunga
ab main nahin jaaunga
khud unko hi aana hai

haan aan aan
duniya meri haalat par
haan aan
duniya meri haalat par
hansti hai to hansne do o o o
mujhko to mohabbat mein
mujhko to mohabbat mein
kuchh kar ke dikhaana hai
mujhko to mohabbat mein
kuchh kar ke dikhaana hai

haan aan aan
wo husn pe gar apne ae
magroor hain
hone do o o o o
wo husn pe gar apne ae
magroor hain
hone do o o o o
ab ishq ki baari hai
haan aan
ab ishq ki baari hai
aur mera zamaana hai
ab ishq ki baari hai
aur mera zamaana hai
ab main nahin jaaunga
ab main nahin jaaunga
khud unko hi aana hai


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Shri Ramanuja”(1943) was directed by Debki Kumar Bose for Shree Films, Calcutta. This movie had Biman Bannerji, Master Kumud, Dhiraj Bhattacharya, Bipin Gupta, B R Tandon, Vitthaldas Panchotia, Natwar, Hiralal, Vikram Kapoor, Vibhuti Ganguly, Prafull Mukherji, Tulsi Chakraborty, Nawaazish, Puttan, Meera Dutt, Radharani, Renuka, Chhaaya Devi etc in it.

“Shri Ramanuja”(1943) had 17 songs in it and all of them are obscure songs.

Here is the first song from “Shri Ramanuja”(1943) to appear in the blog. This is a “wake up” song, which is sung by an unknown male singer. Narottam Vyas is the lyricist. Music is composed by Anupam Ghatak.

Only the audio of this song is available. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song. I request our knowledgeable readers to help identify the singer.

With this song, “Shri Ramanuja”(1943) makes its debut in the blog.


Song-Hua sawera moorakh ab to jaag re (Shri Ramanuja)(1943) Lyrics-Narottam Vyas, MD-Anupam Ghatak

Lyrics

hua sawera
moorakh ab to jaag re
hua sawera
moorakh ab to jaag re
hua sawera
moorakh ab to jaag re
hua sawera
moorakh ab to jaag re
jaag re
jaag re
soya neend mein kyun madmaata aa
soya neend mein kyun madmaata
mitaa andhera
jaag re
mita andhera
jaag re
jaag re
jeewan jag mein nikla sooraj
lekar naya ujera
jeewan jag mein nikla sooraj
lekar naya ujera

hua sawera
moorakh ab to jaag re
hua sawera
moorakh ab to jaag re
soya neend mein kyun madmaata aa
soya neend mein kyun madmaata
mita andhera
jaag re
mita andhera
jaag re
jaag re
jeewan jag mein nikla sooraj
lekar naya ujera
jeewan jag mein nikla sooraj
lekar naya ujera
hua sawera
moorakh ab to jaag re ae ae
hua sawera
moorakh ab to jaag re


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Today (9 november 2017) is the death anniversary of Ghulam Haider ( 1908- 9 november 1953). He left this world when he was just in his 40s, but by that time he had revolutionised the HFM scenario.
Read more on this topic…


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What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over TEN years. This blog has over 14600 song posts by now.

This blog is active and online for over 3700 days since its beginning on 19 july 2008.

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Movies with all their songs covered =1147
Total Number of movies covered =3997

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