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

Archive for the ‘Songs of 1944’ 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 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 :

3968 Post No. : 15050 Movie Count :

4128

Today’s song is from film Ghar ki shobha-1944.

The history of Hindi Film Music (HFM) begins with the very first Talkie ” Alam Ara”-1931, in which there were 7 songs. Madan Theatres, Calcutta, Krishna Cinetone, Bombay and few other production houses were busy hectically in 1931, to release their First Talkie film, ahead of all others. Lucky Ardeshir Irani got the cake and released his film Alam Ara before all others and engraved his name in the history of Hindi and Indian talkies. Music and singing being an integral part of the Talkie films, many musicians were attracted to films. Stage and Drama musicians and some classical singers joined films and gave music in them. In those days, Film music was totally influenced by Gujarati, Parsee and Marathi stage and Drama music (Natya Sangeet). Probably no one ever imagined that there was a need for a different approach to Cine Music.

For the first 9-10 years of Hindi films, i.e. 1931 to almost 1940,there was virtually no change in the music pattern or the singing styles of songs in films. By the end of the 30s, playback technique was gaining a foothold. This system actually freed the Cinema from songs sung by film stars who were no singers at all ! Genuine, independent, non-star singers were now available to give playback. This was the case in the western India or Bombay made films. The Eastern centre of Hindi film making-Calcutta was strictly following Robindra Sangeet and Nazrul Geeti, adapted into Hindi film songs. They also used more pure Hindi words like Preet, Prem, Bandhan, Milan, Sangam, Vyatha etc to appeal to Hindi belt audience.

Beginning of the change came from the far off Lahore. Dalsukh Pancholi’s “Khazanchi”-41 introduced for the first time the Punjabi folk tunes music in the voice of a New singer SHAMSHAD BEGUM. The use of Dholak and Punjabi robust rhythm in songs was tried by the composer Master Ghulam Hyder. This path breaking,new type of Music was received by the audience with great joy and love, all over India. With this was ushered in the VIBRANT changes HFM was to undergo in the 5th decade,i.e. from 1941 to 1949.

This was also the time when the old batch of actors, singers and composers were slowly getting replaced by a newer crop of artistes. Phirozshah Mistry, Master Ali Baksh, Jaddanbai,Lallubhai Nayak, Pransukh Nayak, Brijlal Verma, Nagardas Nayak, Sunderdas Bhatiya, Govindrao Tembe, Keshvrao Bhole, Master Krishnarao Phulambrikar, master Mohammed, Jhande Khan, Rewashankar Marwadi, B S Hoogan, Meer Sahab, Damodar Sharma, Jhande Khan, Rewashankar Marwadi, S P Rane, Vithaldas Panchotiya, Annasaheb Mainkar, Dada Chandekar, Mushtaq Hussain, Master Chhaila etc were disappearing one by one.

A new set of composers and singers like Anil Biswas, Ashok Ghosh, C.Ramchandra, Ghulam Hyder, Sajjad Hussain, Naushad, K.Datta, Govind Ram, Pt. Amarnath, Husnalal Bhagatram, Khemchand Praksah,Khursheed Anwar, Nissar Bazmi, Vinod, A R Qureshi, Saraswati devi, Bulo c Rani, Gyan Dutt etc were taking over from the old guards.

These new entrants brought with them melodious tunes and music from Goa, UP, Rajasthan, Bengal, Maharashtra, Punjab, Kashmir etc and their experimentation truly enriched the HFM making it a genuinely All India music.

In the 40s, the HFM became absolutely VIBRANT. The new composers with new ideas and hard work tried to understand what the audience wanted. In other words,we can say that hitherto the film music was ” Sales Oriented ” (selling what you produce) till the 30s decade, but the 40’s music was ” Market oriented” (producing what the audience wants). Now, there was a fair and healthy competition and a wide variety in music. The composers too had new singers who were trained and had a singing voice and talent, unlike the earlier ‘Untrained forced singers’. Naushad Ali had once said,’’ The coming of Rafi and Lata liberated we composers from the painful task of making the ‘musically illiterate’ actors and actresses.” Thus Ashok kumar,Leela Chitnis and the likes of them were left alone to concentrate on their acting,while the trained singers sang for them.

New and exclusive playback singers like Amirbai, Zohrabai, Kalyanibai, Rajkumari Mohantara, Shamshad, lalita Deulkar, G M Durani, Rafi etc became popular. Actually, the lead actors now started deciding who should sing their songs. This paved the way for stars to become powerful in coming period.

Like Music, the type of cinema stories too started changing. The Fantasy, Stunt, Mythological, Historical, Religious and Costume dramas gave way to Love stories, Musicals. Family dramas, Comedy, Crime stories…so on and so forth. Overall, the cinema industry was going through a overhauling. However, the winds of Independence, after the world war put a brake to these changes. 1945 to 1950 was a period of turmoil and matters settled fully with the advent of the new decade of the 50’s.

In this change over, here was a film discussing the problems of a Happy Home. Ghar ki Shobha-1944 was a film which stressed the importance and need of the capable housewife who was an ” Adarsh” Bahu, Bibi, Mother and everything else the society needed !

The main players in this family drama were, Karan Dewan, Swarnalata, Jagdish Sethi, Dixit, Fazlu, Ramesh Saigal etc etc. The film was directed by Harshadrai Mehta- who became a well known director in Tamil films of Madras, later. Ramesh Saigal assisted him in direction. Harshadrai Sakerlal Mehta

was a Pioneer Hindi and Tamil director born in Mota, Bardoli Dist., Gujarat. Started as a painter, editor and cameraman at Kohinoor (1919), but made his début for Krishna Film (Ver Ni Vasulat). At Krishna he began his association with long-time partner and cameraman Luhar (e.g. Be Din Ni Badshahi, Amar Asha) making melodramas often starring the Anglo-Indian star Ermeline. Best-known film of this period is Janjirne Jankare, the much-acclaimed Rajput romance scripted and shot by Luhar. Made his most influential films with the famous Mehta- Luhar Prod. set up in 1931 with Bapubhai Desai and the informal support of the Sharda Studio. Made several Sharda-type stunt movies featuring e.g. Navinchandra. Moved to Coimbatore’s Premier Cinetone (1937) and made a number of Tamil films.

In Hindi films, there have been three actors who were very handsome and very lucky but zero in acting – Karan Dewan, Pradeep Kumar and Bharat Bhushan. They all appeared in leading roles opposite all leading actresses of their times. They had the best films, best songs and best roles. Karan Dewan had about 25 Silver Jubilees to his credit and was considered a lucky star. Bharat Bhushan had the most musical films to his credit like ‘Baiju Bawra’ (1952), ‘Shabaab’ (1954) and ‘Mirza Ghalib’ (1954) etc. Pradeep Kumar had ‘Anarkali’ (1953) and ‘Taj Mahal’ (1963).

All three had their brothers producing films for them. Gemini Dewan made films for Karan Dewan, R Chandra made films for Bharat Bhushan and Kalidas for Pradeep Kumar. Unfortunately, in later years, all three lost everything and died in poverty and neglectful anonymity. Karan Dewan was a manager with BR Chopra’s production company. When he died no one came for his funeral except for Chandrashekhar and Manmohan Krishan from the Cine Artist’s Association. Bharat Bhushan worked as a watchman in a film studio, in his last days. Even he died unsung and only the men from the Association were present at the cremation.

Pradeep Kumar’s case is the saddest. He lay seriously ill in the ICU of a Calcutta nursing home, abandoned by his relatives. The hospital was not discharging unless the bills were paid. Luckily one Mr. Pradeep Kondaliya, an estate agent, recognised him, despite his grown beard. He paid the huge outstanding bill of the hospital and took Pradeep Kumar to his home, where he passed away after a few days. He was cremated by his fan. Such is the film industry – cruel and ruthless, where the recognition lasts only till one is successful.

Dewan Karan Chopra aka Karan Dewan ( 6-11-1917 to 2-8-1979 ) youngest of three brothers was born at Gujranwala, Punjab (now in Pakistan), British India. He studied in Lahore, where he became interested in Journalism and started editing a film magazine in Urdu, Jagat Lakshmi. One of the local distributors he met was Tarachand Barjatya, who was then the Manager of Chandanmal Inder Kumar’s distribution office at Lahore. Through his connection with Barjatya he landed in Calcutta, and in 1939, made his acting debut as Puran in the Punjabi feature film Puran Bhagat

Dewan started his film career with the role of Puran in Puran Bhagat in Punjabi in 1939 in Calcutta. It was produced by Raisaheb Sukhlal Karnani and directed by Roop K. Shorey’s father R. L. Shorey. His second film Mera Maahi (1941) was also a Punjabi film, directed by Shankar Mehta at Lahore and starring Ragini and Manorama. This was the movie in which he sang songs for the first time in the movies under the baton of legendary music director Shyam Sunder. Later, in Rattan, he sang for the first time in Hindi movies for Naushad. B R Chopra, then working as a film journalist in Lahore, helped Karan Dewan to get in touch with Devika Rani, who invited Dewan to come to Bombay. When this did not helpDewan get films, he taught “Urdu pronunciation to actors and actresses”.

In 1944, Karan Dewan acted in Rattan, a musical romantic drama, directed by M. Sadiq, which became one of the most popular films of that year. “A tremendous hit”, it paired Dewan with Swarnalata. His decisive film was Rattan (1944), which was produced by his brother Jaimini Diwan, and this movie had turned out to be the biggest hit of 1944. He also sang songs in this movie under music director Naushad, and his song “Jab Tum Hi Chale Pardes” became popular. He sang in films such as Piya Ghar Aaja (1947), Mitti Ke Khiloune (1948) and Lahore (1949). His other important films were Zeenat (1945), Lahore (1949), Dahej (1950), Bahar (1951) and Teen Batti Char Rasta (1953). Known as a “jubilee star”, about twenty of his films are stated to have been jubilee (twenty-five weeks or more) hits.

Dewan married co-actress Manju in 1944 following the release of Rattan, in which she had a character role. By 1966, he was working as a casting agent for the film unit of Maya (1966). He continued to work in the 1960s and 1970s playing supporting parts in films such as Apna Ghar (1960), Shaheed(1965), Jeene Ki Raah (1969) and Nadaan (1971), with the last film in which he was credited being Sohanlal Kanwar’s Atmaram (1979).

He worked in 73 films and sang 18 songs in 9 films. He worked with all leading actresses of his times,including Noorjehan and Nargis. At the end of his career, however, he was down financially and had to work as a Manager with B R Chopra’s company. When he died, except two workers of Cine artistes association, no one else from Film industry was present.

Ustad Alla Rakha aka A R Qureshi ( 29-4-1919 to 3-2-2000) gave music to this film. Having started only in 1943 with Mahasati Anusuya, film Ghar ki shobha-44 was his only the second film as an MD. So his music sounds fresh. After you hear today’s song, you will agree with me. He gave music to 40 films, composing 356 songs. He also sang 14 songs in 7 films.

In the cast of this film, there was one fading actor – Dixit, from the Dixit and Ghori pair of that era. The projected themselves on the lines of Laurel and Hardy…Hardy being our Dixit. Later, Yaqub and Gope triede to project their image as Laurel and Hardy and still later Johar and Majnu tried to copy Bob Hope and Bing Crosby of Hindi cinema ! Let’s take a look at Dixit and Ghory- a very popular comedy pair of early cinema.

Manohar Janardhan Dixit was born on 12-11-1906 at Sinner in Nashik district,Maharashtra (Bombay state at that time.) His comedy career started with silent film ‘Sparkling youth’-1930. His first day of work in a film was 14-11-1929. He did 3 more silent films with Navjivan Films and then joined Ranjit studio. Here he met his mate Nazir Ahmed Ghori,born on 11-8-1901 at Bombay.He was the senior of the two,having started in 1927. He worked till 1931 in silent films of various companies and then joined Ranjit studio in 1931 Here too he did 4 silent films.

He paired with Dixit first time in Char Chakram-1932,directed by Jayant Desai.The film was a terrific hit and the pair did many films together like, Bhutio mahal,Do badmash,Bhola shikar,Bhool bhulaiya,Vishwamohini,nadira etc. They worked together till 1947,doing solo films also in between. Unfortunately none of their films have survived and we know about their acting only through Photographs,interviews and articles. However Dixit’s solo films like Pehle aap-44,Jeevan yatra-46,Aap ki sewa mein-47 and Pugree-47 are still available.In film Pugree,his name was Ramu kaka and the very fat Dixit (222 pounds) carried the world’s smallest dog-Chikoo in the film.Later comedian Omprakash did this role in the remake of the film in Dil Daulat Duniya-1972.

Dixit acted in 66 Talkie films and 8 silent films in 17 years. He died on 29-6-1949 due to a massive heart attack. His partner Ghori migrated to Pakistan and did 8 films there till 1960, without much success. He died on 9-12-1977 at Karachi.

Today’s song is sung by Rajkumari. Note the type of music and tune. With this song, film Ghar ki Shobha-44 makes its Debut on the Blog.


Song-Main duniya ki raani (Ghar Ki Shobha)(1944) Singer- Rajkumari, Lyrics- Roopbani, MD- Alla Rakha Qureshi
unknown male voice

Lyrics

Main duniya ki raani
laalalalaalaalala
duniya ki raani
Main duniya ki raani
laalalalaalaalala
duniya ki raani
firti hoon mauj manaati
firti hoon mauj manaati
chhed chhaad se dil behlaati
chhed chhaad se dil behlaati
karti hoon main manmaani
karti hoon main manmaani
Main duniya ki raani
laalalalaalaalala
duniya ki raani
Main duniya ki raani
laalalalaalaalala
duniya ki raani

main ?? kheloon
saagar se geet bakheroon(?)
main ?? kheloon
saagar se geet bakheroon(?)
aazaadi ki deewaani
aazaadi ki deewaani
Main duniya ki raani
laalalalaalaalala
duniya ki raani
Main duniya ki raani
laalalalaalaalala
duniya ki raani

meri laila jaisi aankhen
meri laila jaisi aankhen
sab majnu ban kar jhaanken
sab majnu ban kar jhaanken
zulfen to mast jawaani
zulfen to mast jawaani
Main duniya ki raani
laalalalaalaalala
duniya ki raani
Main duniya ki raani
laalalalaalaalala
duniya ki raani

?? kar pankh hilaati
bhanwron ko paas bulaati
?? kar pankh hilaati
bhanwron ko paas bulaati
patthar dil kar doon paani
patthar dil kar doon paani
haay haay laila
Main duniya ki raani
laalalalaalaalala
duniya ki raani
Main duniya ki raani
laalalalaalaalala
duniya ki raani

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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 : 3919 Post No. : 14982

 

Today’s song is from film ‘Shahenshah Babar’ (1944).

Hindi film makers seem to have an attraction for Mughal Empire. Films were made on life events of right from Babar to Bahadurshah Zafar- the first to the last Mughal kings. I do not know what the film makers found so magnetic in their lives. Not only Mughal kings, but also the Mongol king Changez khan, Nadir Shah and generals like Behram Khan also became the subject matters of films. May be the producers found lot of scope to show big palaces, big armies, wars, dances and songs, beautiful women etc. in such films which attracted the audience.

More than any other Mughal king, it is Babar, who has been in public discussion in India , since about 20-30 years, for well known reasons for which we are not concerned here. Babar was born as Zaheeruddin Mohammed, on 14-2-1483 in Fergana valley in what is known today as Uzbekistan. He was a direct descendant of Taimurlane. At the age of 12 years he ascended his father’s thrown and faced rebellion. Next few years were spent on fighting to save his kingdom. Having lost, and won and again lost the valley of Fergana and Samarkand three times, Babar decided to go to India.

He marched with his army towards India, which was ruled by Ibrahim Khan Lodhi that time. Babar’s army was tired and tried rebellion till they reached India. In the battle of Panipat, he defeated Lodhi and became the Emperor of India. Later he fought with several Rajput kings and won also. Babar married several times and had several children too. His 3 sons were main and Humayun was his dearest son. Babar established the Mughal Empire in 1526 at Delhi. It was Humayun, who succeeded Babar when he died on 26-12-1530.

‘Shahenshah Babar’ is a depiction of his life from childhood to death, but most part of the film is about the love affair and sickness of Humayun. After his death Babar was first buried in Agra, but later his remains were buried again in Kabul. Babar is considered a national hero in Uzbekistan and Kergystan. In India Babar is not known for such good things.

This film was made by Ranjit Movietone, calling it a historical film. It was directed by Wazahat Mirza Changezi (20-4-1908 to 4-8-1990). He directed 5 films, namely, ‘Swaminath’ (1942), ‘Jawaani’ (1942), ‘Shahenshah Babar’ (1944), ‘Prabhu Ka Ghar’ (1945) and ‘Nishaana’ (1950). He wrote lyrics in films like ‘Watan’ (1938), ‘Hum Tum Aur Woh’ (1938), ‘Bahen’ (1941), ‘Roti’ (1942) and ‘Jawaani’ (1942). Later he became famous as a screenplay and dialogue writer. Some of his famous films are ‘Zeenat’ (1945), ‘Shaheed’ (1948), ‘Shikast’ (1953), ‘Mother India’ (1957), ‘Yahudi’ (1958). ‘Mughal e Azam’ (1960), ‘Ganga Jamuna’ (1961), ‘Leader’ (1964), ‘Palki’ (1967) etc.

The music director was Khemchand Prakash and lyricists were Pt. Indra, Munshi Aziz and Munshi Shums. Out of the 9 songs, today’s song is 5th song to be discussed here. The cast of the film was Khurshid, Sheikh Mukhtar, Sushil Kumar, Yakub, Majid, Anwari, Agha and others.

Religious, mythological or historical stories have some characters who are with extra ordinary strength or even Rakshasas. Such characters maintained the equilibrium of entertainment in those films and made them more interesting with their actions. In the Hindi film industry, some actors fitted this requirement. Some of them were BM Vyas, Ramayan Tiwari, Sheikh Mukhtar, Dara Singh, Dev kumar etc. Sheikh Mukhtar fitted into these roles perfectly, for example as ‘Nadir Shah’ in film ‘Nadir Shah’ (1968), as Changez Khan in film ‘Changez Khan’ (1957), or as Sher Afghan in film ‘Noor Jehan’ (1967). In social films, roles of police officers and in action/stunt films as dacoit, drunkard, gambler etc. In some of the films directors used to make him do unimaginable and unbelievable acts like in film ‘Roti’ (1942), he brings down an aircraft with his spear throw ! As a police officer, he would hold 5-6 criminals by their scruff in his extra large hands or run barefoot after a speeding jeep and stop it !

His real name was Mukhtar Ahmed Siddiqi. He was from old Delhi. His father was a senior police officer. He was Bollywood`s first ‘hunk’ – one who would have put today`s WWF hulks to shame. Exceptionally tall and frighteningly hefty, he was endowed with an immense physique. His face was a roadmap of crisscrossing muscles. A sharp jaw line added to the dimensions of his rock-hard face. Hardly `star` material compared to the Hrithiks and Salmans of today. Yet, this rugged man was once a hero.

Those were the days when a limp-wristed hero, who could not even unlock the mysteries of the lush curls of his beloved, was universally adored in cinema halls. In such times, Sheikh Mukhtar adorned the garb of a hero. This feat was achieved by movie monarch Mehboob Khan. In ‘Ek Hi Raasta’ (aka ‘The Only Way’), a film directed by Mehboob Sb for Sagar Movietone way back in 1939, Sheikh Mukhtar was one of the three heroes. The other two were Arun Ahuja (matinee idol Govinda`s father) and a certain Harish (who later directed films such as ‘Burma Road’, he was Tara Harish). Though billed as male lead, Sheikh Mukhtar never fitted into the `romantic` mold. And why should he? He portrayed an uncouth lover, almost a pre-Neanderthal man, in Mehboob Khan`s ‘Roti’ with sensuous Sitara Devi as his beloved. In that film, Sheikh would bring down an aircraft with the mere strike of his spear. When thirsty, he would empty an entire bucket down his throat in one go. Soppy dialogues oozing with maudlin emotions such as love and romance, did not come forth from the super-hunk.

In Wadia`s ‘Krishnabhakt Bodana’ (1944), Sheikh Mukhtar was the Lord`s devotee. In ‘Bahen’ (1941), he portrayed the role of Nalini Jaywant’s brother. His imposing personality fitted well into period films which dabbled in history. He played the role of Shahenshah Babar; went on to become Chengez Khan and then donned the mantle of Sher Afghan in ‘Noor Jehan’, a film which he produced. He was often teamed with Begum Para, the bewitching beauty of that era. The pair hit it off exceedingly well on the screen. For countless cinema aficionados, the Sheikh Mukhtar-Begum Para pair was a classic case of the beauty and the beast. With pint-sized Mukri, Sheikh Mukhtar had a successful celluloid partnership. Sheikh Mukhtar produced a string of Hindi films, such as ‘Dada’, ‘Dara’, ‘Ustad Pedro’, ‘Toote Taare’, ‘Mr. Lambu’, ‘Annadaata’, ‘Mangu’ (with another beauty, Nigar Sultan), ‘Do Ustaad’, and ‘Noor Jehan’, among others.

He wove into his films a variety of songs, from “Bahaaron Ke Dole Mein Aayi Hai Jawaani”, a romantic number from ‘Annadaata’, to naughty ditties, such as “Dil Ka Ye Injan Seetiyaan Maare” from ‘Ustaad Pedro’, and “Namaste, Doctor Baaro, Hum Ko Bhi Ek Injection Maaro”. Sheikh Mukhtar`s pair of shoes, of twelve number size, (in ‘Do Ustaad’), summed up his big time existence. His role in this film was widely appreciated. Sheikh Mukhtar showcased his acting talents in the concluding scene of ‘Do Ustaad’ when he holds his long-lost brother and son to his bosom.

Sheikh Mukhtar invested all his hard-earned money on ‘Noor Jehan’, his dream project. However, the period film bombed miserably at the box office. And with the film collapsed this mighty man. Debts began to pile up. Income Tax arrears kept multiplying in geometrical progression. Unable to resolve this crisis, Sheikh Mukhtar, who was adored in Bollywood for his integrity and for his firmness to keep vices of every variety at bay, fled to Pakistan with the alacrity of a small-time house burglar. He took with him the prints of his films. But, sadly, the Pakistan film industry offered him no succor. He kept running from pillar to post, visiting government offices with a plea that he be allowed to release his films.

He was not at all welcomed by Pak film industry. As it is Indian films were already banned there. When all efforts failed, he met General Zia ul Haq. He was a great fan of Sohrab Modi. When he learnt that Sohrab Modi was acting in this film, he allowed the film’s release. However, the Pak film industry went to Supreme court against this order. The case dragged on and finally on 11th may 1980 he won the case. While hee was returning to Lahore with his son Sheikh Moinuddin, Mukhtar got a severe heart attack in the flight. He was immediately taken home and doctor was called. Strangely no doctor came to help him. Finally by the time he was taken to hospital, he died on the way.

‘Noor Jehan’, which was released in Pakistan after Sheikh Mukhtar died, on 23rd may 1980, kept the box office registers ringing with cash. In his 40 years’ career he acted in 70 films and under the banner of his own Omar Khayyam Films, he produced 8 films. (Some information from articles by Shirish Kanekar and Jawed Hamid is used here with thanks).

Singer actress Khurshid played the heroine Hameeda’s role and sang good songs too. Here is an edited interview of Khursheed, taken in 1992,by Pakistani journalist, Navid Rasheed (Thanks to Cineplot)..

Khursheed Bano was born as Irshad Begum in Lahore, on 14th April 1914. As a child she resided in the Bhatti Gate area next to Allama Iqbal’s house. The two families were pretty close. Khursheed was a child then. There was no ambition of joining the showbiz bandwagon then and it was by chance that led her to this arena.

Khursheed was very still young when she became an actress in the early 30’s. The era of the silent movies had already ended with the release of ‘Alam Ara’ in 1931 and the Indian film industry was going through a revolution. What set her apart from other heroines were her attractive face and certain flamboyance owing to which she made her presence felt. And then she was very good actress who could be melodramatic and happy-go-lucky with equal ease.

Each star then was required to playback for themselves and Khursheed was lucky to have a good voice. Hence started the brilliant era of some timeless classical and exemplary numbers like “Panchhi Baawraa Chaand Se Preet Lagaaye”.

The graceful and decent actress was luckier to secure some of the best films including ‘Sitaara’, ‘Shaadi’, ‘Musafir’, ‘Pardesi’, ‘Bhagat Surdas’, ‘Dekha Jayega’, ‘Shehanshah Babar’ and ‘Tansen’. ‘Pardesi’ had a very famous soundtrack comprising of memorable numbers by the late actress. In ‘Tansen’ she played the protagonist Tani with Kundan Lal Saigal as Tansen. Together they made indelible performances and the role took her to great heights. She even transcended Saigal with her strong performances and pretty looks and her fans started calling her Tani after that. Her leading men in those days apart from Saigal were Motilal, Ishwar Lal, Nazeer and Sadiq Ali. She made a successful pair with Motilal the most. Her female contemporaries included actresses of caliber like Kanan Bala, Devika Rani, Leela Chitnis, Suraiya, Swaranlata and Noor Jehan. The last three were her juniors.

Khursheed said that there was no such thing as rivalry in those days and actresses worked in close coordination. Abusing, backbiting or gossiping was not amongst their traits. Even the male stars with whom she worked treated her with great respect and there were no scandals.

Though she was an accomplished singer, acting remained her forte and first love. “Singing was a requirement to be a heroine in those days”, she said, “and even heroines with not too good voices were forced to sing if they were to act. But the composers were so good that they managed to get the best out of them then. Each song was recorded after several rehearsals. But I was an actress first and singing was just to complement that.”

Khursheed was not too happy with the way films shaped up in the years to come. So much so that she never wanted to see films anymore. In the interview she expressed her displeasure, “In spite of the resources and much higher budget, there is not a single film maker in the entire sub continent who could make a film even half as good as the films made in my era. Ours were simple films but treated well and had strong content. Plus the hard work and honesty of each unit member reflected in the entire film. This thing is missing now. A film is not only about technique, rather the issue, sensitivity and sincere dedication too.

Following partition in 1947, Khursheed opted to move to Pakistan. She worked in two Pakistani films too – ‘Mandi’ and ‘Fankaar’. But then she decided to quit and tied the knot with a Karachi – based businessman Yousaf Bhai Mian. They had one daughter who lived in the US when the interview was conducted. She then concentrated on her marriage alone and emerged equally successful on the home front as much as she was in films. She was happy that she quit films before their standards declined .

Khursheed died on 18-4-2001 at Lahore.

Khursheed Bano sang about 170 songs in about 40 films in India. Her life and career would have been like any other actor/singer, but for the controversy of her initiation into films as ‘SHEHLA’ ( HFGK writes this name as SHAILA ) at Calcutta between 1931 and 1935. It was finally and conclusively proved by Shri Kamlakar Pasupuleti ji, that Khurshid and Shehla were different and two separate individuals.

The story of film Shahenshah Babar,

The film starts with the march of Babar’s army to India in 1526, with flashbacks of his childhood and activities as an young man. Defeating Ibrahim Khan Lodhi in the battle of Panipat, Babar becomes Emperor of India.

One of his knights Sardar Sheikh has a daughter Hameeda. She and Babar’s son Humayun fall in love and meet often. When Babar comes to know this, he takes a promise from Humayun that he will forget Hameeda. Humayun promises and leaves Hameeda. Heart broken Hameeda is taken by her father to their native place .

Humayun falls ill and is on death bed. To save his life Babar prays to God that he saves Humayun and instead give death to Babar. In addition, he himself goes and brings back Hameeda to Humayun. In few months Humayun gets well, but Babar dies.

I distinctly remember, when I was studying in 5th or 6th standard, we had a lesson “The Power of Prayer” and in this lesson Babar and Humayun’s story was told, how Babar sacrifices his life for son’s life by praying to God. The film too has the same theme. It seems this story is there in ‘Humayun-Nama’ written by Gulbadan Begum, half sister of Humayun. I have not seen this film.

Today’s song is a duet of Zohrabai and Munshi Aziz. The song is written by Pt. Indra.

(Some information has been used, with thanks, from book ‘Forgotten movies on Muslim Culture 1933-1947’, by Shri Kamlakar Pasupuleti ji.)

Song – Hamen Bhool Mat Jaiyo Raja Ji  (Shahenshah Babar) (1944) Singer – Zohrabai, Munshi Aziz, Lyrics – Pt Indra, Music – Khemchand Prakash

Lyrics

hamen bhool mat jaiyo raja ji
hamen bhool mat jaiyo raja ji

ho raja ji
souten ke lambe lambe kes
o raja ji
souten ke lambe lambe kes
ulajh mat jaee
ulajh mat jaiyo raja ji
hamen bhool mat jaiyo raja ji

o rani ji
jaana padey hai bides
o rani ji
jaana padey hai bides
sandesa deti rahiyo
ho sandesa deti rahiyo rani ji
hamen bhool mat jaiyo raja ji

purab mat jaiyo ho morey raja
purab mat jaiyo ho morey raja
maalan ke teekhe teekhe nain
ho raja ji
maalan ke teekhe teekhe nain
paagal na ban jaiyo
ho paagal na ban jaiyo raja ji
hamen bhool mat jaiyo raja ji

dil to rahega paas tumhaare
dil to rahega paas tumhaare
naadan hai kismet kahiyo
o rani ji
naadan hai kismet kahiyo
sandesa deti rahiyo
ho sandesa deti rahiyo rani ji
hamen bhool mat jaiyo raja ji

dacchin mat jaiyo o morey raja
dacchin mat jaiyo o morey raja
panihaari ki matwaali chaal
ho raja ji
panihaari ki matwaali chaal
machal mat jaiyo
haaye machal mat jaiyo raja ji
hamen bhool mat jaiyo raja ji

pyaasa rahoon par panghat na jaavun
pyaasa rahoon par panghat na jaavun
tum hi pyaas bujhaiyo o rani ji
tum hi pyaas bujhaiyo
sandesa deti rahiyo
ho sandesa deti rahiyo rani ji
hamen bhool mat jaiyo raja ji

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

हमें भूल मत जइयो राजा जी
हमें भूल मत जइयो राजा जी

हो राजा जी
सौतन के लंबे लंबे केस

राजा जी
सौतन के लंबे लंबे केस
उलझ मत जइ
उलझ मत जइयो राजा जी
हमें भूल मत जइयो राजा जी

ओ रानी जी
जाना पड़े है बिदेस
ओ रानी जी
जाना पड़े है बिदेस
सँदेसा देती रहियो
हो सँदेसा देती रहियो रानी जी
हमें भूल मत जइयो राजा जी

पूरब मत जइयो हो मोरे राजा
पूरब मत जइयो हो मोरे राजा
मालन के तीखे तीखे नैन
हो राजा जी
मालन के तीखे तीखे नैन
पागल ना बन जइयो
हो पागल ना बन जइयो राजा जी
हमें भूल मत जइयो राजा जी

दिल तो रहेगा पास तुम्हारे
दिल तो रहेगा पास तुम्हारे
नादाँ है किस्मत कहियों
ओ रानी जी
नादाँ है किस्मत कहियों
सँदेसा देती रहियो
हो सँदेसा देती रहियो रानी जी
हमें भूल मत जइयो राजा जी

दछिन मत जइयो ओ मोरे राजा
दछिन मत जइयो ओ मोरे राजा
पनिहारी की मतवाली चाल
हो राजा जी
पनिहारी की मतवाली चाल
मचल मत जइयो
हाए मचल मत जइयो राजा जी
हमें भूल मत जइयो राजा जी

प्यासा रहूँ पर पनघट ना जावूँ
प्यासा रहूँ पर पनघट ना जावूँ
तुम ही प्यास बुझइयो ओ रानी जी
तुम ही प्यास बुझइयो
सँदेसा देती रहियो
हो सँदेसा देती रहियो रानी जी
हमें भूल मत जइयो राजा जी


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 : 3885 Post No. : 14912

Today’s song is a rare song( difficult to get) from film Bhanwara-44, starring K L Saigal.

I have been writing on old films and its music since more than 6 years now, but I have never written on any song of a film featuring Saigal and his songs. I had never planned it that way. Actually, I am also a fan of Saigal. Probably it so happened that I found that there were “better’ people to write on Saigal and I coolly left it at that. Our Sudhir ji has done great justice to Saigal songs- film and Non film- with his detailed and emotional articles. These were lapped up by our readers and praise was heaped on every article of his on this topic. Comments on those songs are a testimony to this.

Now there are no Saigal songs left in any film uncovered nor are there any of his popular films without full coverage of all songs. However, few films have few other non K L Saigal songs still to be covered. Today’s song is one such song. This song is a rare song, opines Sadanand ji – the uploader of this song.

K L Saigal (11-4-1904 to 18-1-1947) started his film career with Muhabbat ke aansoo-32 and ended it with Parwana-1947. Most of his career was pursued in Calcutta, primarily with New Theatres and at the end of his life, he did 7 films in Bombay. 2 films each had music by Khemchand Prakash and Lal Mohammed, and 1 film each by Gyan Dutt, Naushad and Khursheed Anwar.

Film Bhanwara-44 was a quickie made by Ranjit within a span of just 9 days, using up the balance period days of Saigal’s contract with Ranjit. The film was directed by his old friend Kidar Sharma. The film had music by Khemchand Prakash. The songs were written by Kidar Sharma, Swami Ramanand and Pt. Indra. The cast of the film was Saigal, Arun Ahuja, Kamla Chatterjee, Monica Desai, lala Yaqub, Brijmala, Kesari etc etc.

Arun Ahuja was a favourite of Sagar, Mehboob and Ranjit. His real name was Gulshan Singh Ahuja-born on 26-1-1918. He was a science graduate from Lahore in 1937. Director Mehboob was interviewing candidates for his new film. From among the shortlisted 100 candidates, Mehboob was impressed with the personality of Arun Ahuja and he was selected to be one of the Heros in film Ek hi Rasta-1939, made by Mehboob for Sagar Movietone. In this film Arun even sang a duet with Maya Banerjee. The film was so successful that Arun became a Hit Hero overnight. Next came Civil marriage-40, Bhole Bhale-40 and his life’s best film Aurat-40

In 1942, while doing film Savera with a new comer Nirmala, he fell in her love and they got married. Arun went on doing roles in about 30 films in his career till his last film Aulad-54. He had produced a film, which was a total flop. He had heavy loss and had to sell off his Bungalow in Bombay and go to a chawl in far off suburb-Virar to live in a rented flat. Arun had 3 daughters and 2 sons- actor/producer Kirti kumar and superstar Govinda. To maintain family, his wife acted and sang in stage shows till her last. Arun Ahuja died on 4-7-1998.

Film Bhanwara had a one film old Heroine Monica Desai- who was called from Calcutta by Kidar Sharma. He knew her well earlier,from Calcutta.
Monica Desai was a famous Indian actress during 1930’s and 40’s. She was the daughter of Dr. Umedram Lalbhai Desai and Satyabhama Devi, a well-known musician of the early 20th Century. Her father was a Gujarati, and her mother hailed from Bihar. Her father who was a reputed Doctor of that period died in the year 1930.
Monica Desai first worked for Bangla movie ‘Nimai Sanyasi’ which released in the year 1940. She was an actress who represented the era of upcoming character actresses like Leela Mishra, Ram Dulari, who made debut along with her and later ruled the Indian screen.

Monica Desai acted under the direction of Phani Majumdar and Kidar Nath Sharma. She did not concentrate much on acting as she got married to Phani Majumdar, a pioneering Indian film director, who worked in Hindi cinema. Phani Majumdar is known for Meena Kumari’s classic film ‘Aarti’ (1962), and ‘Oonche Log’ (1965). Monica Desai had a sister named Leela Desai, who was a renowned actress in Hindi and Bengali cinema. Leela Desai has even acted in the film ‘Kapal Kundala’ (1939) directed by Phani Majumdar. After completion of the venture, Phani Majumdar married Monica Desai.

Monica acted with Prithviraj Kapoor in her career, in film Gauri. ‘Gauri’ was an Indian Bollywood film that was the seventh highest grossing Indian film of 1943 and this established Monica Desai as an actress. Later, she featured in a film ‘Devdasi’ as a heroine that was also top seven grossing film at the Indian box office in 1945. She appeared in the film ‘ Chitralekha’ which was the second-highest grossing Indian film of 1941, in this movie, she portrayed the character of Yasodhara.

This film also was a debut film for actor Bharat Bhushan, who later achieved fame with ‘Baiju Bawra’ (1952). Monica Desai had also acted with a legendary actor and singer K. L Saigal.

Monica worked in only 9 Hindi films- Qaidi-40, Chitralekha-41, Bhakta Surdas-42, Gauri-43, Bhanwara-44, Lakharani-45, Devdasi-45, Rangeen Zamana-48 and Vikram Shashikala-49.

The screenplay and direction of Bhanwara-44 was by Kidar Sharma. This was a social comedy film. Saigal was never known for comedy acts. In fact, it was a new experience for him, since this was only a comedy dominated love story without any sad songs-hallmark of Saigal’s popular songs,done by him so far.

Saigal shifted to Bombay in December-1941 for two reasons. One- Ranjit had offered him a very lucrative offer ( One lakh per movie, according to one source) and secondly most of his friends like Prithviraj kapoor, K N Singh, Kidar Sharma etc had shifted to Bombay. Further, the atmosphere in New Theatres was nowadays polluted and vitiated with Ego clashes, financial difficulties and new entrants to replace the vacancies. Saigal was uncomfortable with all this.

In Bombay, Saigal met all his old friends and he had a gala time with them. In 1944 itself he went back to Calcutta to complete film ‘My Sister’. Then again he went in 1945 to do film ‘Kurukshetra’. This was perhaps his last visit, as he became very busy in 45 and 46 in Bombay. In early 1947, in his visit to his hometown, Saigal breathed his last, luckily amidst his family members.

Bhanwara-44 was a story of two friends- Pancham (Saigal) and Rikhab (Arunkumar Ahuja), who come to Bombay in search of employment. The chawl where they stay,in single room tenements, has a pair of sisters, Indu(Monica) and Bindu(Kamla Chaterji). Indu happens to work as a teacher in the same place where Pancham is working as a Music and singing teacher. They fall in love. His friend Rikhab loves Bindu but is too shy to express his love. In this, he is assisted by his neighbour friend Pehelwan (Lala Yaqub). With his help, Rikhab develops a great body and finally wooes his ladylove. At the end, both the couples unite happily. The film was full of comic sequences, particularly with Arun Ahuja and Bindu. All in all, it was a hilarious movie.

The film had 11 songs. 7 songs are already discussed here. The remaining songs are difficult to get as they are not uploaded on the Net yet, Record collectors, of course, have them. Today’s song is also one such rare song. It is a duet of Amirbai and Arunkumar Mukherjee.

This song can be considered an example of an unusual coincidence. It is like Shyamkumar singing for Shyam in Dillagi. This song is an example of an even rare coincidence. This song finds one Arunkumar (Mukherjee) singing for another Arunkumar (Ahuja)…..and a third Arunkumar
(Deshmukh) writing about it !


Song- Mann ki baazi haar chuke to preet ki baazi jeet (Bhanwra)(1944) Singers- Amirbai Karnataki, Arun Kumar Mukherji, Lyrics- Kidar Sharma, MD- Khemchand Prakash
Both

Lyrics

Mann ki baazi haar chuke to
preet ki baazi jeet
Mann ki baazi haar chuke to
preet ki baazi jeet
jeet mein haar
haar mein jeet
jeet mein haar
haar mein jeet
ye preet ki ulti reet
preet ki ulti reet
saajan ki har baat niraali
ee ee
ee ee

saajan ki har baat niraali
ee ee
ee ee

chitwan ki
ee ee
chitwan ki har aas niraali
ee ee

ee ee
ee ee

chitwan ki
ee ee
chitwan ki har aas niraali
ee ee

ee ee
ee ee

khel raha hai aankh michauli
aankh michauli
michauli
michauli
aankh michauli
michauli
michauli
khel raha hai aankh michauli
man se man ka meet
jeet mein haar
haar mein jeet
jeet mein haar
haar mein jeet
ye preet ki ulti reet
preet ki ulti reet

phir aayin ghanghor ghataayen
aen aen
phir aayin ghanghor ghataayen
aen aen
mor papeehe shor machaayen
ae ae ae ae
mor papeehe
mor papeehe
mor papeehe
shor machaayen
phooli nahin samaati kaliyaan
sun bhanwron ke geet
phooli nahin samaati kaliyaan
sun bhanwron ke geet

jeet mein haar
haar mein jeet
jeet mein haar
haar mein jeet
ye preet ki ulti reet
preet ki ulti reet

man ki baaazi ee


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 : 3855 Post No. : 14868

Today’s song is a surprise item. Just when we were ( atleast I was) feeling that all available film songs of Noorjehan are covered in the Blog, I came across this song. As a Bonus, even the complete video of this song was traced by me. For a long time, only a short clip of the song was available, but now you can enjoy the full video too.

The song is from film Lal Haveli-44. The film was made by Bombay Cinetone of K.B.Lal, the producer and director of the film. It seems the finance for this film was provided by one Rooplal Mehra, as per comment made by one of our readers. The film story was by R S Chaudhari, dialogues were written by Agha Jaan Kashmiri and Wajahat Mirza and the screenplay was done by the director K B Lal himself.

The cast of the film consisted of the then popular singing pair Surendra and Noorjehan, supported by Ulhas, Maya Banerjee, Badri prasad, Kanhiayalal, Baby Meena(Meena kumari), Alaknanda, Brijrani and few others. The veteran composer Meer Sahab composed the melodious songs written by Munshi Shams Lucknowi.

Noorjehan ( 21.9.1926 – 23.12.2000 ) had a very short span of career in India- 1942 to 1947, as far as Hindi films are concerned. Her first Hindi film was Khandaan-42 as an adult and the last film was Jugnu-47. She acted in only 15 films during this period. They were Khandan-42, Naukar-43, Naadaan-43, Duhai-43, Lal Haveli and Dost in 44, Zeenat, Gaon ki Gori, Bhaijaan and Badi Maa in 45, Hamjoli, Dil and Anmol Ghadi in 46 and Mirza Sahibaan and Jugnu in 47. In these films, as per one source, she sang just 68 songs. 66 songs of these are already discussed on the Blog. Today’s song will be the 67th song.

As long as Noorjehan was in India, people were mad about her singing. After she left India, people became Nostalgic about her. Many composers used to insist the female singers to sing like Noorjehan ( just like after Saigal, his copies were popular), for quite some time. Over a period of course this influence waned. Out of the many artistes-in different categories of film making- who migrated to Pakistan, no one became as successful as Noorjehan. Not because she was extraordinary, but because there was an aura of fame and awe about her singing.

During 1980,Zia Sarhadi, who too had migrated to Pakistan, visited India. While in Bombay, he was asked ” How is our Noorjehan ?” He replied,” the most successful artiste who came from India was Noorjehan in Pakistan.”
” How is her singing?”
” you call it singing because she is singing, otherwise there is no charm in her singing anymore. Shreiking is what she does now, instead of singing. People in India are nostalgic about her. And why not ? Her best songs finished in India only. What she is doing in Pakistan , I wont call that singing ! ”
These words from a poet who wrote songs for her, like ” Diya jalakar aap bujhaya ” and ” Aaa intezar hai tera “,speak a lot about Norjehan’s singing in Pakistan.( from the book ” From Noorjehan to Lata” by Isak Mujawar).

I am not a fan of Noorjehan. In fact, except Mohd. Rafi, I dont consider any singer ( that includes Lata too) versatile and heart touching singer. Of course this is my personal opinion. Every person has his own likes and dislikes. When the tune is lovely, music is appropriate and Lyrics are meaningful, any song by any singer-in general- can become popular, but when Lyrics are meaningless, music is average and the tune is ordinary, to render a song that will touch your heart makes a singer immortal-like Rafi.

Film Lal Haveli-44 had some less known artistes namely Alaknanda and Brij Rani. Let us know more about them.

Brij Rani was born in 1921 at Shikarpur, Sindh province, in a well to do business family. She studied up to Matriculation and also qualified as a Middle School Teacher. However, she opted to join films as an actress. Her first film was Jeewan Jyoti-37, doing an un credited small role to get the feel, followed by Calcutta after Midnight-37, Aurat-40, Wayda-40, Ulti Ganga-42, Daughters of the Jungle-43, Bhagta Bhoot-43, Circus Girl-43 etc . She was getting roles only in stunt films and C grade films. Being from a business community, she started her own company- Bharat productions and herself made stunt films.
Meanwhile she continued acting in films like Lal Haveli-44 and acted and directed film Circus King-46 and film Sajni-47. Then there was a gap. probably she looked after her family. In 1951, she directed film Daamaad-51.

You will find one more name in the cast-Alaknanda. In Hindi films, there were many sister-pairs who worked as actresses, but in the history of Hindi films-both Silent as well as Talkie- there have been only 3 sets of 3 sisters who worked as actresses in the same periods. The first set was of Zubeida, Sultana and Shehzadi in the early 30s. Then in the 40s came the second set of Alaknanda, Tara and Sitara Devi. In the 50s, the last Trio of Padmini, Ragini and Lalitha worked in same period. After this, to my knowledge, no such Trio of actresses came on the screen. If you count step-sister also, then Mehtab was the step sister of Zubeida, Sultana and Shehzadi trio. This made them the only Quartet of Sister Actresses in Hindi Film History ever ! Even their mother Fatima acted, directed and Produced films, to boot !! Alas ! Their father did not join films !!!

Alaknanda was born in or around 1910 in a Banares situated Mishra family. Her clan had a tradition of singing in temples for the last 5 centuries. The family had close relations with Nepal and its Royal family. Her Grandfather was a court singer. Her grandmother and mother were from Nepal, so Alaknanda called herself as ‘ half Nepalese ‘.

When her father wanted to train her and her younger sister Tara, in Dancing and music, there was opposition from their society. Therefore the family moved to another corner of Banares and he started a Music school and trained children of Royal families from Bengal. In one of their visits to Calcutta, Sitara Devi was born in Calcutta. Alaknanda’s first Talkie film was Suryakumari-33. She worked in 37 films till late 40s. All three sisters worked together in film Haiwaan-40. She had sung 15 songs in 7 films. She got Cancer and died sometime in or around 1947. Not much information is available about her or her sister Tara/Tara Devi/Tarabai. Vithal Pandya, in his book mentions that in her last days, Tara stayed in Bombay slums and worked as extra in films in her old age( Famous dancer Gopi krishna was her son). Sitara Devi, on the contrary,lived a famous,rich and majestic life, with several marriages. That’s life, anyway.

Film Lal Haveli-44 story was nothing new. It was spun around an old time Thakur- beautiful daughter- cruel creditor etc type story. The story was-

Thakur Ramchand lives in his ancestral Haveli, of which he is very proud. His sister has eloped with an ordinary soldier. He had objected to their love story as the boy was from a lower caste. The soldier dies in war and his sister commits suicide. Thakur is very sad. His daughter Mukta (Noorjehan) is in love with her childhood friend Anand (Surendra). Thakur’s haveli is already mortgaged with seth Laxman singh. When thakur knows about Mukta’s love, he bans Anand from coming to their house, but the lovers meet secretly. Mukta is sent to attend the marriage of the daughter (Maya Banerjee) of Laxman singh. There, Laxman Singh’s son Jawahar (Ulhas) sees Mukta and desires her. On Mukta’s return to Thakur, Laxman singh proposes her marriage with Jawahar in return of his Haveli.
Mukta, to save family pride, agrees to this marriage. Anand is upset and joins Army and goes to the war front. Anand is injured severely. In the meantime Thakur dies and the marriage gets cancelled. Enraged, Jawahar decides to burn the Haveli as a revenge. Anand returns to the village, comes to know this. There is a confrontation of Jawahar and Anand. Finally, Jawahar has a change of heart, seeing the true love of Mukta and Anand and he blesses their marriage with Lal haveli as a Marriage Gift. So, all is well, happy ending.

In today’s video, see Noorjehan, Ulhas, Maya Banerjee, dancing- singing girls and enjoy this melodious song.


Song-Bhaiyya hamaaro jee (Laal Haweli)(1944) Singers-Unknown female voice, Noorjahaan, Lyrics-Shams Lucknowi, MD-Meer Sahab
Chorus

Lyrics

bhaiyyaa humaaro ji ee
bhaiyaa humaaro ji
aayi hain bahne aas lagaaye
aayi hain bahne aas lagaaye
dekho khadi hain duaar
dekho khadi hain duaar
bhaiyaa humaaro ji ee
bhaiyaa humaaro ji

haathon mein pahnungi sone ke kangan
haathon mein pahnoongi sone ke kangan
heere kaa pahnoongi haar
haar

heere kaa pahnoongi haar
bhaiyaa humaaro ji
bhaiyaa humaaro ji
bhaiyaa humaaro ji

pahanoongi main to dhaake ki saadi
pahanoongi main to dhaake ki saadi
bambay kaa gotaa kinaar

bambay kaa gotaa kinaar
bhaiyaa humaaro ji
bhaiyaa humaaro ji
bhaiyaa humaaro ji

na mohe chaahiye kangan naa saadi
na mohe chaahiye kangan naa saadi
naa teraa gotaa kinaar
naa teraa gotaa kinaar
ik bol kehde ae mere bhaiyaa
ik bol kehde ae mere bhaiyaa
pyaar se behna pukaar
pyaar se behna pukaar
bhaiyaa humaaro ji ee
bhaiyaa humaaro ji
bhaiyaa humaaro ji
aayi hain behnen aas lagaaye
aayi hain bahnen aas lagaaye
dekho khadi hain duaar
dekho khadi hain duaar
bhaiyaa humaaro ji
bhaiyaa humaaro ji


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 :

3853 Post No. : 14865 Movie Count :

4065

Today’s song is from the film Maharathi Karna-44, a film produced by Prabhakar Films and directed by its owner Bhal G. Pendharkar. Lyricist was Pt. Shiv Kumar and the music was provided by K.Datta aka Datta Korgaonkar. This Mythological film had top class actors in its cast- Prithviraj Kapoor, Durga Khote, Leela Chandragiri, Shahu Modak, Swarnalata, K N Singh and many more in other roles.

During my journey of life, I have found that the common man ( of any religion) has very little knowledge of his own religion. Even most of the educated people have scant information about the basics in their religion. Probably Religion is considered as something one gets to know only in the old age, when nothing else is to do. Just to check this, ask anybody who was Vidur ( Uncle of Kauravas and Pandavas), who was Jayadrath ( Brother in law of Kauravas..Husband of Dushala) or even who was Mandavi ( wife of Bharata)and Shrutikirti ( wife of Shrutikirti). You can hardly find a person who can tell names of 4 Vedas ( Rigved, Saamved, Yajurved and Atharvaved).

This is not exclusive to Hindus alone. I asked some of my Muslim friends and they confided in me that they have never read the Quran. They only know Namaz. Christians too are in the same category. I do not say that everyone should be an expert in Religion. That would be too much to ask for, but I feel atleast a basic knowledge is a must. This is our Heritage and it is applicable to all religions equally.

While watching or reading about a Mythological film. the references and the contexts become easier to understand the story, if one has the basic knowledge. Today’s film Maharathi Karna is obviously about the character Karna. Instead of checking if one knows about him, let us have some information about him- a character from one of our Epics-Mahabharat. Karna represents a right person who was at the wrong place or the Good amonst the Bad. I sympathise with Karna, because I feel that he was forced by the circumstances to join the Evil Kaurav camp.

Karna also known as Vasusena, Anga-Raja, Sutaputra and Radheya, is one of the major characters in the Hindu epic Mahabharata. He is the son of Surya (the Sun deity) and princess Kunti (later the Pandava queen). He was conceived and born to unmarried teenage Kunti, who hides the pregnancy, then out of shame abandons the new born Karna in a basket on a river. The basket is discovered floating on the Ganges River. He is adopted and raised by foster Suta parents named Radha and Adhiratha Nandana of the charioteer and poet profession working for king Dhritarashtra. Karna grows up to be an accomplished warrior of extraordinary abilities, a gifted speaker and becomes a loyal friend of Duryodhana. He is appointed the king of Anga (Bengal) by Duryodhana. Karna joins the losing Duryodhana side of the Mahabharata war. He is a key antagonist who aims to kill Arjuna but dies in a battle with him during the Kurushetra war.

He is a tragic hero in the Mahabharata, in a manner similar to Aristotle’s literary category of “flawed good man”. He meets his biological mother late in the epic then discovers that he is the older half-brother of those he is fighting against. Karna is a symbol of someone who is rejected by those who should love him but do not given the circumstances, yet becomes a man of exceptional abilities willing to give his love and life as a loyal friend. His character is developed in the epic to raise and discuss major emotional and dharma(duty, ethics, moral) dilemmas. His story has inspired many secondary works, poetry and dramatic plays in the Hindu arts tradition, both in India and in southeast Asia.

A regional tradition believes that Karna founded the city of Karnal, in contemporary Haryana.

One of the cast was actress Swarnalata, who married director Nazir, converted to Islam and migrated to Pakistan after Partition. She was heroine of Pakistans first ever Silver jubilee film Pherey (1949. As heroine she was seen in movies like Laarey (1950), Sherhri Babu (1953), Heer (1955), Golden jubilee film Noukar (1955), Noor-e-Islam (1957), Azmat-e-Islam (1965).

She was character actress in movies like Sawaal (1966) and Dunya Na Manay (1971).

Sawarn Lata was born on 20-12-1924 as a Sikh and converted to Islam after she married prominent actor, producer and director Nazir. The first film they produced in Pakistan was Heer Ranjha, but film print was destroyed due to poor negative of the film.

Her converted name was Saeeda Bano, she was born in 1924 in Rawalpindi and died on February 8, 2008 at Lahore.

Before partition she worked in Awaz (1942), Ishara and Tasveer (1943), Bari Baat, Rattan, Swarn bhomi and Us paar (1945), Chand Tara, Laila Majnu, Preetima, Preet (1945), Insaaf, Maa Baap ki laaj and Sham Savera (1946) and Abida (1947).

Contrary to the prevailing custom of having around 10+ songs in a film, the composer K.Datta had only 6 songs in this film and rightly so as Maharathi Karna was a Mythological film. When the story is strong, there is no need of musical support to the film.

K.Datta or Datta Korgaonkar alias Anna saheb, was born in Sawantwadi in konkan area on 4-6-1908. He grew up learning to sing. His mother was a Bhajan singer. He started singing on stage during Ganesh utsav melas. He was called to Kolhapur in 1937 to give music to a Marathi film, Chandrarao Morey’-38. His first break in Hindi came in 1939 with Mera Haq,followed by Alakh Niranjan-40, Geeta-40 ( in Hindi and Marathi) and Yaad-42.

He first came face to face with Noorjehan in Naadaan-43. He was simply mesmerised with her voice and singing style. he composed 7 songs for Noorjehan. After doing Zameen-43 and Maharathi Karna-44, he again composed 4 songs for Noorjehan in film Badi Maa-45. He also gave a break to Lata and Asha to sing in a chorus with Noorjehan. It is very sad that initially, K.Datta’s name was not mentioned on the 78 RPM records of Badi Maa. Only on the ‘re-issue’ records his name came up.

His other films were Yateem-45,Shaahkaar-47,Rangmahal-48,meri kahani-48,Daaman-51,Gumaasta-51,Rishta-54,Harihar Bhakti-56 and Ajanabi-66. In all K.Datta gave independently music to just 17 films,plus one film Badmash-44,with Khan Mastana. His Marathi films were 12 from 1938 to 1965. After retirement in 1965,he spent his time in Bhakti, Pooja and Asrology. He used to have special Pooja on every Thursday,when Bhajans were sung. Many composers and other film industry people used to be his visitors. Naushad, C.Ramchandra, Madan Mohan, Sajjad Hussain etc were the regular visitors to Annasaheb. He died on 23-12-1978.

He was a Noorjehan believer to the core. To date K Datta remains the only top composer from Maharashtra to whom Noorjehan came first, Lata later. No one regretted Partition more than K Datta. Indeed, his creativity seemed to come to an end once Noorjehan left him high and dry by moving, with a song on her lips, to Pakistan. He once said, “Noor Jehan left for Pakistan and took my creativity with her”. The four Noorjehan numbers, as fashioned by K. Datta, are historically most important. Because it was hearing and absorbing these four nuggets of Noorjehan, while acting with her in `Badi Maa’, that Lata Mangeshkar learnt to shape her vocal technique. If Lata came to sound a Noorjehan replica for so long, the tonal base for this was laid, just imagine, by a robustly tall Maharashtrian from the ghats called K Datta in `Badi Maa’.The last number of Noorjehan fetched him the ultimate tribute from no less a movie stalwart than Mehboob Khan, who said: “Bhai Datta, yeh gaana to aap ne Khuda ke darbar mein baithe hue banaya lag raha hai” (“It sounds as if you created this song sitting in Allah’s abode”). K Datta used to play Ek anokha gham ek anokhi musibat ho gayi on a harmonium presented to him by O.P. Nayyar. How grimly significant that the one music director, O.P. Nayyar, who never in his life commissioned Lata, should have gifted that harmonium to the one Maharashtrian composer who believed only in Noorjehan!

Today’s song is a lovely song, with an excellent tune, sung by Rajkumari. With this song film Maharathi Karna-44 makes its Debut on the Blog.


Song-Suno suno hum tumhen sunaayen(Maharathi Karna)(1944) Singer- Rajkumari, Lyrics-Pt. Shivkumar, MD-K Datta

Lyrics

Suno suno
Suno suno
hum tumhen sunaayen
ae preetam chitchor
kahaani
suno hriday ke chor
Suno suno
hum tumhen sunaayen
ae preetam chitchor
kahaani
suno hriday ke chor

ik naari thhi bholi bhaali
pagli preetam ki matwaali
ik naari thhi bholi bhaali
pagli preetam ki matwaali
sunte ho
sunte ho kuchh saaj(?) piya ke
naari bani chakor
ae preetam chitchor
kahaani
suno hriday ke chor
Suno suno
hum tumhen sunaayen
ae preetam chitchor
kahaani
suno hriday ke chor

?? kali kali ka lobhi
sunte ho
aji sunte bhi ho
?? bhanwra nirmohi
nikla
hmm
ae preetam chitchor
kahaani
suno hriday ke chor
Suno suno
hum tumhen sunayen
ae preetam chitchor
kahaani
suno hriday ke chor

preet ki aag se bhi na pighla
preetam ka man patthar nikla
preet ki aag se bhi na pighla
preetam ka man patthar nikla
naari laakh jatan kar haari
chala na kuchh bhi zor
ae preetam chitchor
kahaani
suno hriday ke chor
Suno suno
hum tumhen sunayen
ae preetam chitchor
kahaani
suno hriday ke chor


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 : 3804 Post No. : 14797

When we talk of Partition and Migration of artistes from India to Pakistan and vice versa, only the famous and the well known names are considered. There were hundreds of small time less known artists, viz. actors, directors, lyricists, composers, instrument players, chorus singers, technicians etc who also had migrated for various reasons. The other day I was reading a book, ” Who’s who: Music in Pakistan ” written by A.Shaikh and M.Shaikh. In this book I found several names of singers,composers,lyricists and above all instrument players, who shifted to Pakistan.

It is a well known fact that in olden times,the instrument players,chorus singers and orchestra players had personal attachments and preferences,for particular composers and vice versa too. That is why, when Ghulam Haider went back to Lahore,he was extremely happy to meet some of his orchestra players in Lahore. In one of the interviews he had said that he felt like a family reunion. He arranged a get together for all those people.

In the Hindi film industry,many Partition immigrants came to dominate and transform the scene here.Film makers like Pancholi, Sippy,B R Chopra,Yash Chopra,Ramanand Sagar-all India’s most successful commercial producers were also Partition immigrants. Once heavily dominated by Muslim Film makers,writers,actors and composers,the Hindi film industry changed drastically after the Partition.

Many successful film personalities had gone to Pakistan between 1947 and 1950,including producers like Mehboob and Shaukat Hussain Rizvi-who went to Lahore,with capital to buy the Hindu-owned studios. Prominent producers of Lahore like Dalsukh Pancholi and Shorey were forced to sell their studios and properties for a song and flee for their life,to India,after riots in Pakistan post Partition. Some Muslim artistes returned to India,after a few years when they realised that Lahore film industry had largely collapsed due to exodus of prominent Hindu producers.

The crucial role played by films in Indian culture could be seen in the Refugee camps of Delhi,where ever evening,for 2 hours Hindi films were shown free to all. ‘ Film India’ commented that there were more than 15000 refugees from Sindh and Punjab in Bombay.It also suggested that good looking and educated women can be employed in films.Due to polarisation,there was much explosive writing published in this magazine,that time.

However,as before and always, Bombay film industry maintained its secular culture and a big rally,led by Durga Khote and Prithviraj Kapoor was taken out on 2-10-1947,in Bombay. The entire film industry had joined in it and slogans like ‘Hindu-Muslim bhai bhai’ etc were shouted in the rally. Similarly,to pacify over one lakh refugees from East Pakistan (now Bangaladesh) in Calcutta, Lata Mangeshkar had led a rally in Calcutta during 1971.

The famous Music Historian James Mc Connachie said, ” As India marched into an uncertain future-in 1947-Film songs offered something Unique: they helped creating a sense of belonging to One Nation,something that the divisive extremist right wingers in India,chanting” Hindustan for Hindus” could never achieve. When Hindi film singers sang,nobody cared that Mohd.Rafi was a Muslim or Lata was a Hindu Brahmin. Its great music bridged the gap between Hindus and Muslims,mush better than any Politician (including Gandhi and Nehru) ever could achieve.” -World Music-The rough guide,Vol II,pp 106,pub.1990 by Harper.

Like many top class composers who migrated to Pakistan, there were some small time or recently started composers who also left, like Inayat Hussain (only 1 Punjabi film Kamli),Fateh ali khan (2 films,Aaina-44 and Director-47),Tufail farooqi (2 films-Sona Chandi-46 and Dekhojee-47). Inayat Hussai of course became a Legend in Pakistan.

Today’s song is from film Aaina-1944. Its music directors were Gulshan Sufi and Fateh Ali Khan. Fateh ali khan migrated to Pakistan after Partition and Gulshan Sufi went after mid 50s.

Fateh Ali Khan was a classical singer and a Qawwali musician in the 1940s and 1950s. He was born in Jalandhar, Punjab, British India in 1901. Fateh Ali Khan was the father of Pakistani Qawwali musicians, Nusrat Fateh Ali Khan and Farrukh Fateh Ali Khan. Their family had an unbroken tradition of Qawwali, linked closely to the Sufi Chishti Order for over 600 years. Fateh Ali Khan was trained in classical music and Qawwali by his father, Maula Baksh Khan (Ali Khan), and he, soon after his training, distinguished himself as a skilled vocalist and instrumentalist. He learned to play traditional Indian instruments such as sitar, sarod and vichitra veena as well as Western instruments like the violin. He also mastered thousands of verses in Punjabi, Urdu, Arabic and Persian.

Fateh Ali Khan was the leader of his family’s Qawwali party but they were billed as Fateh Ali Khan, Mubarak Ali Khan & Party. Mubarak Ali Khan, his brother, shared both singing and harmonium-playing duties with him. They were regarded as among the foremost exponents of Qawwali in their time. They are credited with popularizing the poetry of Allama Iqbal through their singing. Iqbal’s poetry was regarded as difficult to set musical tunes to, and while he was highly admired in academic circles and by intellectuals, Allama Iqbal did not have much of a popular following yet among the common people mainly due to the radio broadcasting technology still under development back then in British India. Fateh Ali Khan and Mubarak Ali Khan, more than anyone else, helped Iqbal achieve popular success as well: Allama Iqbal paid the ultimate homage to the two brothers by saying: ‘I was restricted to schools and colleges only. You (Ustad Fateh Ali Khan) have spread my poetry through India’.

Like many other musicians,Fateh ali khan too wanted to try his hand at Film music. In India,he gave music only to 2 films, that too with other composers. One was film Aaina-1944, along with Gulshan Sufi and the other was film Director-1947, along with Lachhiram Tamar. After partition he migrated to Pakistan with all his family. In Pakistan, however, he had better luck in films. He gave music to Do kinare-50, Harjaai-52, Shola-52, Bedari-57 ( ditto copy of our film Jagriti-1954), Saathi-59 and Tum na maano-61. He also sang in film Waada-57 and Raagini-58. Ustad Fateh Ali Khan was the foremost sitar-player and film music composer of the 1950’s in Pakistan.His compositions in Bedari (1957)became run-away super-hits in Pakistan because they were a heart-felt tribute to the founder of Pakistan, Mohammad Ali Jinnah, and the public’s sentiments about patriotism.

In 1948, his son, Nusrat, was born in Faisalabad, Pakistan. Fateh Ali Khan wanted Nusrat to become a doctor or an engineer because he felt Qawwali artists had low social status. However, Nusrat showed such interest in and aptitude for Qawwali that his father soon relented, and began training him. However, Fateh Ali Khan died in 1964 at the age of sixty-three, when Nusrat was sixteen and still in school. Nusrat’s training was completed by Fateh Ali Khan’s brothers, Mubarak Ali Khan and Salamat Ali Khan. (information adapted from wiki, Harish Raghuwanshi ji, pakfilms.net and my notes).

The cast of the film Aaina-41 consisted of Husn Banu, Yakub, Trilok kapoor, Yashodhara katju, Rajkumari Shukla, Gope etc etc. The film had two Lyricists- Pt. Phani and Tanvir Naqvi. ( Naqvi had also migrated to Pakistan). The film was directed by S.M. Yusuf. Even he had migrated to Pakistan.

S.M.Yusuf – Shaikh Mohammed Yousuf, (20-6-1910 at Poona to 17-8-1994 at Lahore) was originally from U.P. and started his career by assisting directors in various studios. He was one cine artist who migrated to Pakistan and became a very successful director there too. Actress Nigar Sultana was his second wife for 5 years.

After Partition,several artistes-heroes,heroines,Directors,Comedians,lyricists,Composers, Singers and character artistes migrated to Pakistan. Almost 90% of them failed there miserably. Some of them like Meena Shorey shone for a while but ended up in penury and anonymity. Exceptions were like Malika -e-Tarannum Noorjahan. from the successful artistes,the major chunk was musicians-composers like Khurshid Anwar,Nissar Bazmi, Nashad etc. Among the directors. S M Yusuf was the exception who succeeded. The migration of Cine artistes continued till 1965,when President General Ayub Khan banned Indian actors. Shaikh Mukhtar-1963 and Kumar-64 were probably the last to migrate to Pakistan. Till then some artistes like Sheila Ramani,Nasir Khan,pran,Manorama,composer Timir Baran etc went and worked in Pakistani films.

S.M.Yusuf started directing films in India from Bharat ke Laal-36. He directed 20 films like,Darban, Aaina, grihasthi, Saheli, Mehendi,GuruGhantal, Bahurani, Maalik, Gujara, Hyderabad ki Nazneen, Bikhre Moti etc.

When he went to Pakistan,in late 50s,he made his first film there Saheli,which was a ditto remake of his own Hindi film- Mehendi-1950. This film Saheli became such a great hit that it virtually grabbed all major awards including a Nigar award for S M Yusuf himself. He made about 13 films in Pakistan,before he died on 17-8-1994,at Lahore,from where he had begun his career !

Film Aaina-44 was a social film. It depicted a family, in which the mother in law, due to her short temper, querulous and quarrelsome nature almost destroys her happy family. She has 2 existing daughters in law who are submissive. The third daughter in law is different. Initially she tolerates mother in law’s tantrums,but later on she teaches her a lesson and brings peace and happiness back to the family. This type of stories were abundant in the 70s and 80s in Bollywood. Title Aaina was used in 1944,1977, 1993 and 2014 also.

Film Aaina-44 had 8 songs. 7 songs were already covered. Today’s song is the 8th and the final song of the film. So, film Aaina-44 joins those films which have ALL songs covered.


Song-Bharat Mata ki Beti shakti ka avtaar (Aaina)(1944) Singer-Zohrabai Ambalewali, Lyrics-Pt. Phani
MD- Fateh Ali Khan
chorus

Lyrics

Bharat Mata ki Beti
shakti ka avtaar

ae Bharat Mata ki Beti
shakti ka avtaar
ae Bharat Mata ki Beti
shakti ka avtaar

aa samay samay par devi toone
samay samay par devi toone
badla hai sansaar
samay samay par devi toone
badla hai sansaar
ae Bharat Mata ki Beti
shakti ka avtaar
ae Bharat Mata ki Beti
shakti ka avtaar

jahaan pati pooja karwaaya
wahaan shaanti laayi
jahaan pati pooja karwaaya
wahaan shaanti laayi

deep bani andhere ghar ka
shobha ban muskaayi
deep bani andhere ghar ka
shobha ban muskaayi

pati ki kismat ka hai taara
bindiya teri naam
pati ?? hai taaraaaa
bindiya teri naam
ae bharat mata ki beti
shakti ka avtaar
ae bharat mata ki beti
shakti ka avtaar

dheeraj tera dharam hai naari
daya hai teri shaan
dheeraj tera dharam hai naari
daya hai teri shaan

prem pujaaran tu satwanti
pati tera bhagwaan
prem pujaaran tu satwanti
pati tera bhagwaan

sote bhaagya jagaaye
tere paayal ki jhankaar
sote bhaagya jagaaye
tere paayal ki jhankaar
ae Bharat mata ki beti
shakti ka avtaar
ae Bharat mata ki beti
shakti ka avtaar


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 : 3764 Post No. : 14737

Today (7 november 2018) is Deewaali, the festival of lights. It is the biggest festival in India, and it has kept on becoming bigger and bigger with time.

For the blog, it happens to be our eleventh Deewaali. Unblievable but true that this blog has lasted this long and has in fact gone on to evolve and progress as well.

We have discussed all the well known Deewaali festival songs during the previous ten occasions. The aricles accompanying these songs may have covered the festival from several angles. Some articles have dscussed the history of the festival, while others may have touched its financial worth.

In my discussion the last year, I had opined that our worship of Goddess Laxmi can succeed only if we have worshipped Goddess Saraswarti and Lord Viswwakarma, whose festivals come earlier in the year. By worship, I meant not the symbolic worship but following the spirit behind the worship.

For instance, worshipping Goddess Saraswati means acquiring quality education and skills, and business knowhow, while worshipping Lord Vishwakarma means putting all that acquired education, skill and knowedge to use into providing quality goods and services that can be traded. These commercial activities bring you money, viz Laxmi, and that too without necessarily worshippng her symbolically during Deewaali festival. Look at the prosperous nations of the West and far east. They worship Goddess Saraswati the right way (stressing on high quality education) and worship Lord Vishwakarma (creating vast industrial infrastructure). Little wonder then that they are blessed by Goddess Laxmi throughout the year, and not just on the occasion of Deewaali.

A good number of Indians on the other hand are scarcely blessed by Goddess Laxmi, and I have already given the reasons above. Most Indians do not invest on acquiring useful skills because that is hard work. Indians somehow try to avoid working hard and hope to move ahead through short cut methods. When it comes to dealing with other humans, these short cut methods are bribes, sycophancy, sifaarish and other forms of corruption, which may bring “results” for the individuals but in the long run it proves counterproductive for society and the nation as a whole. No country in the world has ever progressed to become a prosperous nation by adopting short cup methods. I have been doing a lot of studies off late on the topic of economy where I have looked at the nations that were poor like India in the past but have now become prosperous. They have done so by adopting the right policies, which involved quality education, healthcare etc, adopting business friendly policies and enforcement of discipline and rule of law.

India is on the right track I feel, but the number of people blessed by Goddess Laxmi in India can increase only if we sincerely and seriously worship Goddess Laxmi and Lord Vishwakarma as the advanced Western and Far Eastern countries do. India does not have much time left to squander. India has another one decade or so to get its act together. If Indians can ensure quality education and have skilled employable manpawer and the right infrastructure and policies during the next one decade then Goddess Laxmi will begin to favour Indians like she favours the West and Far East nations. The vast manpower (then the biggest in the world, overtaking China), if educated and trained properly would be an asset for the nation. India cannot afford to fail here because failure means this vast population, if not employable, would then become a burden on the nation.

How to harness manpower for national development is a vast subject and I will cover it in some future date. Right now, people are in festival mood and most of them have more immediate pressing issues to worry about rather than long term issues like progress of the nation.:)

One important immediate issue that people worry about on the eve of Deewaali is- will I get leave to go home. 🙂 If somehow he/she manages to get leave, then the next worry is- trains are going crowded, how will I be able to reach home for festival. Indians, as is their wont, cannot help but look for short cuts here too. Ticket is wait listed. No problem. I will do something. So, a few days ago, I find an unsolicited whatsapp good morning message on my official mobile number. A few hours later, the person comes to the point. My son is employed in Mumbai. He has to come home to me for deewaali. He is wait listed. Here are the details. My take- I do not even know, who is this person, moreover, I am not based at Mumbai.Train is from A to B. I am based at C. This stranger wants me to go out of my way and help him. I am a soft hearted man by default, so I decide to help. I give the details to a staff of mine to be sent to concerned person in Mumbai, while telling him that I do not know who this person is. My staff is of the view that this person, going by his location must have obtained this number from the kid of my predecessor, who stays in this location B. OK, let us help him even if he is a stranger to me. So the requisition for emergency quota goes to Mumbai. On the date of journey, Mumbai office honours the request and allots a berth against emergency quota to the person. So this person is able to go to his parents during festival. Happy ending. Claps.

What about me and my family ? No such luck. I am based in eastern UP. My wife is a state government employee in MP. MP is going to assembly polls later in the month. Model code of conduct is in force in MP. So state government employees will not be given leave from now till the elections are over. So, unlike previous years, my wife and daughter will not join me for Deewaali at my place. First time ever for me to be away from my family during Deewaali. It happens. Elections are important. Country’s fate hinges on them. My wife often nags me to try and get myself posted in MP. Easier said than done, I tell myself sotto voce. Moreover, I feel that I am making a real contribution in the development of this place. It may look idealistic, but I feel that the nation will develop only if the backward areas of the nation, viz UP and Bihar develop. It is the duty of all people, including those from outside UP and Bihar, to help in the cause. I sincerely and seriously believe that I am adding my mite in this important work of nation building. I keep all these idealistic thoughts to myself of course. I do not think my wife will understand these sentiments. 🙂

Since all low hanging fruits, viz popular Deewaali songs, have already been plucked on past occasions, we are left with Deewaali songs that are obscure ones.

Here is an extremely obscure Deewaali song. It became available on YT when our own My Saradand Kamath uploaded it sometime back. The song is from “Badi Baat” (1944).

“Badi Baat” (1944) was produced and directed by Mazhar Khan for Mazhar Arts, Bombay. The movie had Swarnlata, Ulhas, Yakub, Mazhar Khan, Moti, Gulab, Khaleel, Madhusudan, Lalita, Mishra, Saguna, Ram Marathe, Baby Roshan, Chandra etc in it.

There were nine songs in this movie. Two songs from the movie has been discussed in the past.

Only The name of Kusum Mantri is mentioned in HFGK though the song seems to have at least another female voice, plus chorus. Swami Ramanand is the lyricist. Music is composed by Feroz Nizami.

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

I may have been unable to get a few words right in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.

I take this opportunity wish everyone a very happy, prosperous and safe deewaali.


Song-Phir aayi hai deewaali (Badi Baat)(1944) Singer-Kusum Mantri, Lyrics-Swami Ramanand, MD-Feroz Nizami

Lyrics

Phir aayi
Phir aayi
Phir aayi hai deewaali
deewaali
deewaali
deewaali
deewaali
Phir aayi hai deewaali
khushi se naach rahe hain naina
deep jale har oar
khushi se naach rahe hain naina
deep jale har oar
kaisi sundar rain hai pyaari
kaisi sundar rain hai pyaari
ho na iski bhor
kabhi bhi
ho na iski bhor

laut ke waapas na jaayen
ye ?? bulaane waali
ye ?? bulaane waali
ye ?? bulaane waali
Phir aayi hai deewaali
deewaali
deewaali
deewaali
deewaali
phir aayi hai deewaali

dil ke sainyyaan ghar mein naahin
dil ka manwa dole
dil ke sainyyaan ghar mein naahin
dil ka manwa dole
jaise khewaiyya ke bin naiyya
jaise khewaiyya ke bin naiyya
khaati hai hichkole
jaise khewaiyya ke bin naiyya
jaise khewaiyya ke bin naiyya
khaati hai hichkole

jin ke sainyyan ghar mein hain
wo chaal chale matwaali
jin ke sainyyan ghar mein hain
wo chaal chale matwaali
wo chaal chale matwaali
wo chaal chale matwaali
phir aayi hai deewaali
deewaali
deewaali
deewaali
deewaali
phir aayi hai deewaali
khushi se naach rahe hain naina
deep jale har oar
jaise sundar rain hai pyaari
ho na iski bhor kabhi bhi
ho na iski bhor

laut ke waapas na jaaye ye
raat(?) bulaane waali
ye raat(?) bulaane waali
ye raat(?) bulaane waali
phir aayi hai deewaali
deewaali
deewaali
phir aayi hai deewaali


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 : 3762 Post No. : 14735

“Jwaar Bhaata”(1944) was directed by Amiya Chakravarty for Bombay Talkies. The movie had Mridula, Shamim, Agha Jaan, Dilip Kumar, P F Pithawala, K N Singh, Mumtaz Ali, Arun Kumar, Vikram Kapoor, Jagannath Arora,Naseem Lodhi, C J Pandey, Khaleel etc in it. The movie is today remembered as the debut movie of Dilip Kumar.

The movie had ten songs in it. For some reason I thought that this movie was already YIPPEED. My be I confused it with some other movie. Only three songs from the movie have been discussed so far.

Here is the fourth song from “Jwaar Bhaata”(1944) to appear in the blog. This song is a calling the beloved song which is sung by Parul Ghosh. Pt Narendra Sharma is the lyricist. Music is composed by Anil Biswas.

Only the audio of this song is available. I request our knowledgeable readers to throw light on the picturisation of this song.

Some words in the lyrics are not clear. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.


Song-More aangan mein chhitki chaandni (Jwaar Bhaata)(1944) Singer-Parul Ghosh, Lyrics-Narendra Sharma, MD-Anil Biswas

Lyrics

More aangan mein chhitki chaandni
haan chaandni
ghar aaja sajan
More aangan mein chhitki chaandni
haan chaandni
ghar aaja sajan
chhedi koyal ne
chhedi koyal ne preet ki raagini
meethhi raagini
chhedi koyal ne preet ki raagini
meethhi raagini
ghar aaja sajan
More aangan mein chhitki chaandni
haan chaandni
ghar aaja sajan
More aangan mein chhitki chaandni

chanda more ang jalaaye ae
chanda more ang jalaaye
preet ki jwaala
preet ki jwaala
?? ??
chanda more ang jalaaye
kumhlaaye ho kumhlaaye ae
kumhlaaye piya bin shaalini(?)
haan shaalini(?)
ghar aaja sajan
More aangan mein chhitki chaandni
haan chaandni
ghar aaja sajan
More aangan mein chhitki chaandni

kheli sajan sang neend nigodi
kheli
haa haa
kheli sajan sang neend nigodi
tadpat nikle man ki ??
??
sajan sang neend nigodi
ho o o o o
main bani teri bairaagini
bairaagini ee
More aangan mein chhitki chaandni
haan chaandni
ghar aaja sajan
More aangan mein chhitki chaandni ee ee ee


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 : 3743 Post No. : 14699

“Mumtaz Mahal” (1944) was produced under the banner of Ranjit Movietone. It was directed by Kidar Sharma. The movie had Khursheed , Chandramohan, Yakub, Sajjan, Sulochana Chatterjee etc in it.

The movie had eleven songs in it. Threee songs from this movie has been discussed in the past.

Here is another song from this movie. This song is sung by Khursheed. It is clear that the song is picturised on her as well.

Wali Sahab is the lyricist. Music is composed by Khemchand Prakash.

I am not quite sure about the accuracy of the lyrics that I have noted down.I request our readers with keener ears to suggest corrections as applicable.


Song-Udaas shaam ki aahen (Mumtaz Mahal)(1944) Singer-Khursheed Bano, Lyrics-Wali Sahab, MD-Khemchand Prakash

Lyrics

udaas shaam ki aahen
udaas shaam ki aahen
salaam kahti hain
salaam kahti hain
salaam kahti hain
salaam kahti hain

gareeb shab din gaahe
gareeb shab din gaahe
salaam kahti hain
salaam kahti hain
salaam kahti hain
salaam kahti hain

jahaan hamaari mohabbat ne aankh kholi thhi
jahaan hamaari mohabbat ne aankh kholi thhi
wo badnaseeb si raahen
wo badnaseeb si raahen
salaam kahti hain
salaam kahti hain
salaam kahti hain
salaam kahti hain


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 : 3742 Post No. : 14696

Today’s song is from a film called ‘Parakh’ (1944). This is a special song. It is a song sung by singer Ira Nigam. The song was written by Pt.Sudarshan and the music was by Khursheed Anwar. The cast of the film was Mehtab, Balwant Singh, Yakub, Shahnawaz, kaushalya, Sadiq Ali and others.

Ever since film making progressed and was seen as a job-provider, it attracted people from all over India. Unemployed but ambitious youngsters ran away from their hometowns to Bombay, with dreams in their eyes. As the industry got organised, those who were already working here either called or brought their other kins. Some impatient parents came themselves with their daughters. Due to poverty, examples of the entire family coming to Bombay and all joining the film industry were also seen-like Alla Bux, Iqbal Bano, Meena Kumari and her two sisters. Also seen earlier was Fatima and her three daughters and a step daughter-Mehtab. Some mothers or Grandmothers(Suraiya and Vyjayantimala) chaperoned their star children, while some fathers (like Madhubala’s) squeezed the best out of their child’s earnings (hell with her happiness !). In general,however it was the male part of the family which took charge of the actor or actress in film line.

If one sees the world history, one will find that most nations have changed culture wise and they have adapted themselves to the modern times and needs. Thus,things which were taboo a century ago are not taboo anymore. U.K. accepts jokes and cartoons on its royalty now,whereas hundred years ago, person would have been hanged in public for doing the same. USA can today tolerate parody of Christ and Christianity whereas hundred years ago the person would have been dead.

But our country has not changed its basic culture in spite of hundreds of years. Barring few exceptions, that too, in hi-fi society, Indian women are still ruled by the whims and dictates of males. When women from educated families entered the film industry, it looked like our women are liberated, but alas ! even in the film industry women are ruled by males.

A seemingly rebellious star of yesteryear – Shanta Apte – had to accept her own brother as husband in a film because she was not allowed to be touched by other males, by him. Unfortunately, her brother not only managed her film affairs, but also gave her a daughter. All this is recorded and declared by her daughter herself. She too became an actress in Marathi drama and films.

The most daring and courageous star of the 1940s – Meenakshi Shirodkar – who stunned everybody by donning a swimsuit and bathing in the waters of a river openly, in ‘Bramhachari’ (1938), had to give up her acting career midway because her husband refused to allow her to do any roles other than heroine.

Who knows how many women had to forego opportunities in film line only because their men-folk would not allow.

Today we will talk about a singer who had to forego wonderful opportunities in playback singing in Hindi films, first because of her father and then because of her husband. These days she only recalls and weeps.

Ira Nigam (NOT Ira Nagrath – wife of Roshan. She was different person) was born in October 1930 in Seoni (M.P.) in her mother’s maayeka. She had a God given gift of singing. She was educated in Delhi and Shanti Niketan. Her father Hriday Narayan Nigam was a singer himself. With his help she started singing on AIR Delhi. She completed her graduation in music form DU.

Her voice was sweet and melodious. Roshan, who was also working in AIR Delhi, one day brought the famous composer Khurshid Anwar to her house. They convinced her father to allow her to sing in films. She was so lucky to sing her first song in ‘Parakh’, under the baton of Khurshid Anwar. She was only 14 years old then. Here her father put a condition that only he will sing duets with her and no other male. Due to this strange condition, she got only one more film ‘Asmat’ (1944) and they had to go back to Delhi.

Ira got married meantime and came back to Bombay again in 1948. This time with her husband P.N. Nigam.

Harmandir Hamraaz, who interviewed her in Kanpur in Aug 1984 says that she wept when she told him that as her husband did not like her work in Hindi films, she had to give up singing after doing just 5 films. She did not have her own song records also. It was Hamraaz ji, who met her again and gave her those records. She was very happy.

She sang in ‘Rakhi’ (1949), ‘Chaar Din’ (1949), ‘Ek Teri Nishani’ (1949), ‘Veer Ghatotkach’ (1949) and last film ‘Guru Dakshina’ (1950). There were hundreds of singing offers to her when she left Bombay second time. First it was due to father and next it was due to husband, who cut short a melodious singing career. However, while in Kanpur and Delhi, she sang on A.I.R. and Television.

If you take 100 actors/actresses who worked in films, 20% will be the hero/heroines. The rest 80 % comprise of character actors, comedians, villains etc. Even out of the 20 % lead players, very few – like Dilip, Dev Anand or Amitabh – last as heroes till the end of careers but most others end up as character actors. Some examples are Pran, K N Singh, Om Prakash, Sunder Singh etc etc. Some actors do character roles from start to finish of their careers- like Nazir Hussain, Kanhaiyalal, C S Dubey, Tiwari etc. Some actors, though endowed with good face and personality, could not get a hero’s role and did character roles throughout.

One such actor was Shahnawaz Khan, known only as Shah Nawaz. He was born on 18-9-1906 in Hyderabad Deccan. His father was a Major in Hyderabad’s Nizam Army. During education, he used to act in dramas. After matriculation, he joined a Govt. service in Hyderabad state. He was however keen on joining films and dramas. After 5 years, he left the job and started a motor car business. In that connection, he would visit Bombay and try his luck at different studios. Finally, his efforts bore fruit and he got a villain’s role in film ‘Bharat Ka Laal’ (1936), in which he was listed as S. Nawaz. It was a stunt film made by the Kadam brothers (Harischandra Rao and Chandra Rao Kadam), with Master Bhagwan as the hero.

After this, he did not go back to Hyderabad. Then came ‘Daulat’ (1937), ‘Toofani Khazana’ (1937), ‘Rangila Mazdoor’ (1938), ‘Jungle King’ (1939), ‘Sardar’ (1940) etc. In 1940, he joined Bombay Talkies and worked in films. He was apparently in Devika Rani’s camp. He was in ‘Punarmilan’ (1940),’Bandhan’ (1940), ‘Jhoola’ (1941), ‘Naya Sansar’ (1941), ‘Kismet’ (1943) and ‘Hamari Baat’ (1943). He also worked in ‘Master ji’ (1943), ‘Police’, ‘Parakh’ and’ Anban’ (1944), ‘Zeenat’ and ‘Humayun’ (1945) and some more. In all, he did about 35 films in India. In or around 1948, Shahnawaz migrated to Pakistan. He was welcomed there. He did 41 films in Pakistan (32 Urdu and 9 Punjabi). Some films were quite famous like ‘Aansoo’ (1950), ‘Sassi’ (1954), ‘Ayyaz’ (1960) etc.

Shahnawaz died in Karachi on 18-6-1971. His last released film was ‘Nek Parveen’ (1975).

Another actor was Sadiq Ali. He was born on 6-10-1911 at Jullundhar, Punjab. His 2 cousins- Wazir Ali and Nazir Ali were famous Indian cricketers. Sadiq Ali completed his engineering degree and worked in M.E.S. at Kanpur (Military Engg. Services). Due to strong desire to work in films and dramas, he resigned from his job after 5 years and joined Agha Hashr’s drama company. When the company was closed, he joined The Burma Imperial Film Company at Rangoon. After few small roles, he came down to Bombay.

After working in some smaller companies, he joined Minerva Movietone. Starting with ‘Khan Bahadur’ (1937), he worked in Minerva’s ‘Pukar’ (1939), ‘Sikandar’ (1941), ‘Phir Milenge’ (1942), ‘Prithviraj Sanyogita’ (1943), ‘Parakh’ (1944) (only directed by Modi) and ‘Ek Din Ka Sultan’ (1945). In all he acted in 23 films. His last film was ‘Ever Ready’ (1946). After partition, he migrated to Pakistan. Unfortunately, he got killed in a riot in Karachi in 1947 itself.

Let us now enjoy the song from this film.

(Credits- Listener’s Bulletin no.s 58 and 59, Prof. Yadav’s book, Film Directory, HFGK, and my notes)


Song-Saajan wo din kaun thhe (Parakh)(1944) Singer-Ira Nigam, Lyrics-Pt Sudarshan, MD-Khursheed Anwar

Lyrics

saajan. . .
wo din kaun the
jab tum veena hum ta..aar
kismat phooti veena tooti
taar hui bekaar

bin saajan ke kaise nikle
mann ka meetha geet
bin saajan ke kaise nikle
mann ka meetha geet
samay tu jaldi jaldi beet
jaldi jaldi beet
samay tu jaldi jaldi beet
samay tu jaldi jaldi beet

sukh mein tu pal bhar na thehre
laakh bithaaye tujh par pehre
dukh mein tu kaise dat jaave
dukh mein tu kaise dat jaave
kaisi teri reet
samay tu jaldi jaldi beet
samay tu jaldi jaldi beet

[kuchh kehne](?) ko dar dar bhatkun
piya ki nagri le chal mujhko
[kuchh kehne](?) ko dar dar bhatkun
piya ki nagri le chal mujhko
jis nagri mein jaa ke basaa hai
jis nagri mein jaa ke basaa hai
sunta(?) ho mann meet
samay tu jaldi jaldi beet
samay tu jaldi jaldi beet
jaise bhi tu beet
samay tu jaldi jaldi beet

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

साजन॰ ॰ ॰
वो दिन कौन थे
जब तुम वीणा हम ता॰॰आर
किस्मत फूटी वीणा टूटी
तार हुई बेकार

बिन साजन के कैसे निकले
मन का मीठा गीत
बिन साजन के कैसे निकले
मन का मीठा गीत
समय तू जल्दी जल्दी बीत
जल्दी जल्दी बीत
समय तू जल्दी जल्दी बीत
समय तू जल्दी जल्दी बीत

सुख में तू इक पल ना ठहरे
लाख बैठाएं तुझ पर पहरे
दुख में तू कैसे डट जावे
दुख में तू कैसे डट जावे
कैसी तेरी रीत
समय तू जल्दी जल्दी बीत
समय तू जल्दी जल्दी बीत

[कुछ कहने](?) को दर दर भटकूँ
पिया की नगरी ले चल मुझको
[कुछ कहने](?) को दर दर भटकूँ
पिया की नगरी ले चल मुझको
जिस नगरी में जा के बसा है
जिस नगरी में जा के बसा है
सुनता(?) हो मन मीत
समय तू जल्दी जल्दी बीत
समय तू जल्दी जल्दी बीत
जैसे भी तू बीत
समय तू जल्दी जल्दी बीत


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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 15100 song posts by now.

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

Total number of songs posts discussed

15120

Number of movies covered in the blog

Movies with all their songs covered =1172
Total Number of movies covered =4153

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