Archive for the ‘Songs of 1944’ Category
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in 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.
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Today’s song is from an obscure film from Calcutta,- Arzoo-1944.
It is my observation that barring very early Talkie films made by Madan Theatres, Calcutta, films made by other film makers of Calcutta – other than New Theatres – were, generally, not successful or popular in the Hindi belt. At the peak times in the 30’s, there were about 20+ film making companies in Bengal, but New Theatres alone had got the best of Hindi artistes in almost every department of film making and Music, available in the Eastern sector. Accordingly, even Arzoo, made by I.B.Films, Calcutta also did not create any ripples in the Hindi belt. It was directed by R N Vaidya (a successful Silent Film maker ) and M.Issa. The Lyricist was Khwaja Kidwai and the Music was by Subal Dasgupta. The cast of the film was, Dhiraj Bhattacharya, Panna, Pramod Gangully, Renuka Roy, Fazal, Shanta etc.etc.
In Hindi film arena, there were many brother pairs as Music Directors like Husnalal-Bhagatram, Kalyan ji-Anand ji etc. Most of them were prolific and successful too. But there were no cases worth noticing, where two brothers operated separately as MDs, in the same period but never worked as a Team. Two such cases were from Calcutta. The first was that of Timir Baran and Mihir Kiran and then Kamal Dasgupta and Subal Dasgupta. Neither Timir-Mihir nor Kamal-Subal worked as a pair and individually only one became famous in Hindi films. Mihir kiran gave music to only 1 film- Kaarvan e hayat-35 and Timir Baran did 11 Hindi films compsing 86 songs.Subal Dasgupta gave music to only 2 films Subah Shaam and Arzoo both in 1944, Kamal Dasgupta did 17 Hindi films and composed 157 songs.
Kamal Dasgupta ( 28-7-1912 to 20-7-1974) gave music to 17 Hindi films from Jawab-42 to Phulwari-51. Subal gave music to only 2 films as mentioned. He was, however, a prolific composer in Bangla films and NFS. The credit for composing music for Talat Mehmood’s First recorded NFS, ” sab din ek samaan nahi tha” goes to Subal Dasgupta. Some sites and You Tube erroneously mention Kamal Dasgupta’s name as its composer, but it is wrong. I quote here an excerpt from the book ” Talat Mehmood-The Velvet touch” a biography by Manek Premchand,
” His first recording happened in September 1941, the song being Sab din ek samaan naheen tha, Ban jaoonga kya se kya main, iska to kuchh dhyaan naheen tha, written by Fayyaz Hashmi and composed by Subal Dasgupta. Present at this recording was the great singer-composer-actor Pankaj Mullick, who patted the young émigré for a job well done. In Calcutta, the young man started learning Bengali. After six recordings for HMV in Calcutta, Talat returned in 1942 to complete his studies at Marris and in the next couple of years, he heard a lot of Gangubai Hangal, Fayyaz Khan and Roshanara Begum. ” pp 13
Not much information is available on Subal in books or on the net. Even Dr. J.P.Guha has no information on him. Here is something from a Bangladeshi site.
Subal Dasgupta was born at Kalia (Narail) of the old Jessore district in Bangladesh. His parents shifted to Calcutta long before the partition of 1947. His eldest brother professor Bimal Dasgupta was a gifted musician, while his elder brother Kamal Dasgupta also emerged as one of the most successful music directors of his times. His sisters Sudhira, Indira, Basanti—–all were talented singers in their own rights. All of them had recorded songs under HMV banner. He belonged to an immensely accomplished musical family. At a very tender age Subal Dasgupta took lessons in classical music from Ustad Zamiruddin Khan, a renowned maestro of Kheyal and Thumri. It was here, that he met Kazi Nazrul Islam, the great poet , who also started taking classical vocal lessons from the same master. The meeting between the two, later turned out to be of historic significance. This is all that could be collated about Subal Dasgupta.
Today’s song is sung by Jagmohan Sursagar. In older times, when when films had not yet become ” inevitable ” in the society, for the period 30s to 50s, Non Film Songs (NFS) ruled the nation. The A.I.R. regularly broadcast NF Bhajans, Geets and Gazals etc. These were extremely popular and their private records used to make a big sale too. Among the NFS male singers, the best was Jagmohan and in the female group, the best was Juthika Roy.
Somewhere in the late 2011 AK ji, of Songsofyore.com, had written on this Blog about the importance of NFS. After reading his views, I too wrote a rather lengthy comment supporting the inclusion of NFS on this Blog. Our contention was that, prior to the Hindi Film Music becoming popular all over India,it was those ghazals, Geets and Bhajans, privately sung and recorded by various artists which had ruled the tastes of music lovers. In fact many famous singers had recorded NFS in the beginning phase of their singing careers. Some names are Talat Mehmood, Saigal, Pankaj Mullick, Jagmohan and JUTHIKA ROY !
I do not think there was a single singer in those days who had not sung a Non Filmi geet of some type like Bhajan or ghazal etc. I am sure many senior readers from this Blog must have grown listening to these NFS Bhajans and Geets. In fact more than a filmi song, may be these people have some old geet or Bhajan embedded in their memories with some persons, events or places.
Today’s singer Jagmohan Sursagar was very well known and close to Rajnikumar Pandyaji and he has elaborated his Bio data in the book ” Aap ki Parchhainyan”. The following information is adapted from this. Born on September 6,1918,Jagmohan whose real name is Jaganmoy Mitra came from a conservative family of land-lords.Sometime before he was born,his father died of a stomach ailment, while his mother was still in her teens. Though Jagmohan had no problems in childhood,he was to grow up an ardent devotee of his mother.When she died in 1981,and was followed by the singer’s wife,in a few months time,Jagmohan felt a terrible void in his life,something that he appears to have been unable to fill ever.
There was an atmosphere of music in his maternal grandfather’s house where they went to live after Jagmohan’s father died.He literally grew up listening to dhrupad,khayal,thumri and tappa,surreptitiously learning from his uncle’s ustads ragas and raginis as also the tabla.It all paid off when after passing his matriculation examination, Jagmohan took part in all Bengal music competition ,topping the list in dhrupad,tappa,thumri,kritan and baul,religious folk music of Bengal.The year was 1937.In the same year,his professional singing career began at All India Radio.The next year,he stood first in khayal singing in an all India competition at Allahabad.
A music recording company, HMV,grabbed him for recording.Says Jagmohan: ” I had a tune and had been trying to compose a song to suit it.But,an acquaintance, Hembabu asked me to see Kazi Nazrul Islam,the great poet.Hembabu took me to him and left me with the poet.The poet was a very kindly man and my diffidence vanished after a while. I sang the few lines I had composed.He praised my tune and music but offered to write a song for me to fit them.I sang the tune several times as the Kazi sat writing stanza after stanza;his words, as if poured after,and there nary was a change or scratching out of a word here or there.That was the song Saaon Ratey Jadi…. on which my re-cording was made.” It was a great hit.Then,in 1940, came two songs of Rabindranath Tagore,both approved by the Nobel prize winning poet.Tagore permitted him to record two more of his songs.
In 1945,Jagmoohan was given the award of Sursagar (ocean of music) in Bengal.The award has not since been given to anyone else,and the singer was only the second recipient of the honour.( The other recipient was Himangshu Datta ). In fact, most people have forgotten that Mitra is Jagmohan’s real surname; it has just become Jagmohan Sursagar, a name under which he also wrote an auto-biography in Bengali. It has recently been translated into Gujarati and brought out under the title of one his more famous songs, Dil Dekar Dard Liya Hai Maine…
Gandhiji too had appreciated Jagmohan’s singing and the singer recorded Sapt Kand Ramayana in six minutes at the Mahatma’s suggestion.Another national leader fond of his singing was Jay Prakash Narayan.
Jagmohan toured abroad also extensive and has been to among other countries East Africa,the U.K.,the U.S.A.and Canada,earning vast fan following everywhere. Speaking at the Ontario College of Art in Toronto,Jagmohan held his audience spell-bound,claiming there essentially was no barrier to music.He sang a Bengali composition in Bhairavi and followed up with an English song ,rendered in the same raga.
He came to Bombay in 1950 to become a Playback singer, but the Bombay film world atmosphere did not impress him and he did not sing in any film. In fact after 1955, he did not cut any record for Hindi films. In 1955, he sang under his own baton, for the only Hindi film for which he was the composer. This movie was “Sardaar”(1955).
A dignified individual, Jagmohan never turned bitter,became more of an introvert,paying heed to the calls of none but his inner voice.After the deaths of his mother and his wife in 1981,feeling lonely,he had moved residence thrice– from Bombay to Delhi for two years while he was a member of Censor Board,then to Calcutta and to Ahmedabad.
He did not seem to regard his moving from one city to another as something of great importance. He declared :”I crave for affection ,respect and human warmth and go wherever my inner-self tells me to. I have followed the dictates of my inner-self only all my life.”
“I can go away from a city,but I cannot go away from music”,he said.
He had become so popular due to his NFS in Hindi and Bangla, that he had neither the time nor the desire to sing for films. However Jagmohan sang 23 songs in 12 films, The films were, Bhakta Kabeer-42, Bhaichara-43, Hospital-43, Arzoo-44, Subah Shaam-44, Ameeri-45, Meghdoot-45, Krishnaleela-46, Pehchaan-46, Zameen aur Aasmaan-46, Iran ki ek raat-49 and Sardar-55.
After many attempts, it became clear as to how many Non film songs or Geets he sang in Hindi and the number is 75 songs. However. his songs are few on this Blog.The generation born in the 40s grew on Saigal,Jagmohan and Pankaj Mullick songs. There was a period when Non film Geets were extremely popular, even in the presence of film music, but gone are those days now when record collection was a respectful hobby. With this, the decline of such songs too came fast and only memories lived on.
In his book, Aap ki parchhainyan, shri Rajnikumar Pandyaji has mentioned an incident when Jagmohan went all the way to a far off place, just so that a dying fan of his songs, could listen to him while on deathbed. This is how Rajnikumar Pandya ji described this incident -in an E mail sent to me after I posted above information earlier. ” The patient was Manubhai Trivedi,father of my writer friend Niranjan Trivedi, I was knowing that Manubhai was an ardent fan of Jagmohan but due to his serious ailment it was not possible for him to come down to my place to see Jagmohanda who just arrived by morning train from Bombay .
“I therefore requested to Dada to pay a visit to Manubhai . He reluctantly agreed to it,We went to Manubhais place which was just few minutes form my place, After seeing his serious condition he expressed hid desire to sing a Bhajan before him though Manubhai was not in his senses, Anyway he sang a Bhajan “Ab tim kab sumiroge Raam, Jeevn do din ka maehamaan,’There were tears in the eyes of all who were present there including me and my small daughter who is party seen in the photograph attached with this mail. ( he attached a photograph for me).
Manubhai passed away after a week of this incident. ” The family members of the fan became eternally obliged to Jagmohan’s noble gesture.
Jagmohan returned to Bombay, after almost 2 years in Ahmedabad. He died on 4-9-2003, in Bombay.
The Hero of film Arzoo was Dhiraj Bhattacharya ( 5-11-1905 to 1959 ) worked in 10 Hindi films, namely Radha krishna-33, Seeta-34, Chandragupta-34, Balaa ki raat-36, Mandir-37, Kumkum the dancer-40, Arzoo-42, Wapas-43,Shri Ramanuj-43 and Irada-44.
Today’s song is not only a very rare song, but also an excellent Gazal. In the NFS, there is no parallel to jagmohan and Pankaj Mullick. You too will fall in love with this song, when you hear it. With this song, film Arzoo-44 makes its Debut on the Blog.
(I thank Rajnikumar Pandya ji, Manik Premchand ji, wiki and my notes for information used in the above article. )
Song- Hai kaun dil nahin jo pareeshaan e Aarzoo (Aarzoo)(1944) Singer- Jagmohan Sur Sagar, Lyricist-Khwaja Kidwai, MD- Subal Dasgupta
Lyrics
Hai kaun dil nahin jo pareeshan e aarzoo
Hai kaun dil nahin jo pareeshan e aarzoo
ye zindagi hai asal mein saamaan e aarzoo
ye zindagi hai asal mein saamaan e aarzoo
murjhaati hai jo ye ke to khilti hai doosri
murjhaati hai jo ye ke to khilti hai doosri
kaliyon se yoon bhara hai gulistaan e aarzoo
uske karam se ae ae ae
badhhta hai har dil ka hauslaa
uske karam se badhhta hai
har dil ka hauslaa
har dil ka hauslaa
phaila hua hai is liye daamaan e aarzoo
phaila hua hai is liye daamaan e aarzoo
maayoosiyaan bhi deti hain ummeed ko janam
maayoosiyaan bhi deti hain ummeed ko janam
naakaam e aarzoo ki to jaan hai aarzoo
shaayad isi tarah se khule girah phaans(?) ki
shaayad isi tarah se khule girah phaans(?) ki
girah phaans(?) ki
ham chhodte hain baandh ke paimaane aarzoo
ham chhodte hain baandh ke paimaane aarzoo
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.
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Today’s song is from an obscure, unknown film, Bhagya Laxmi-1944.
The film had a good star cast like, Shanta Apte, Prem Adib,Vasanti, Rajkumari Shukla, Jagdish Sethi, Moni Chaterjee etc. The few songs of this film, which I have heard make me feel that music too was good. ‘Proof of the Pudding is in its eating’-listen to today’s song and you too will like this very melodious song. Shanta Apte can not be called a very good singer- she was OK. But the Lyrics and the tune of the song has taken her voice to a new height. It is genuinely an excellent song indeed.
Both the lead actors had tremendous track record of successful films. Additionally, the film was directed by Sarvottam Badami, a real quality Director, who rose from being an ordinary Motor mechanic to a person whom Vallabh Bhai Patel-India’s Home Minister requested for help in setting up a News Reel and Documentary section,in 1948. The songs and music was good, better than many other films of 1944. Even then, the film did not become a Hit. It is one of those films which did not become well known for whatever reasons.
Now, this is the LUCK factor in film industry. There is no fixed formula to make a film Hit. It is the very strong good luck of one of the members of the film, which makes it a successful film. This was the first film in which two successful artistes Shanta Apte and Prem Adib were acting together. After this film, they worked in film ” Subhadra”-46 again and it was the last time that the two were together in a movie. In this film Shanta was Subhadra and Prem was her brother Krishna.
When I heard Prem Adib’s name first time in my younger days, I thought that he was a Muslim, because Adib sounded like Abid. However, when I saw film Ram Rajya-43, I was impressed with his good looks and personality. Generally, most Kashmiri actors are good looking( except Jeevan, but his son Kiran Kumar was good looking). After film Ramrajya-43, his name and fame spread wide unbelievably. I remember, somewhere in 1948 or 49, we had received a Calender, with Prem Adib and Shobhana Samarth as Ram and Seeta, in multicolour photograph. Even after the year was over, that calender remained on the wall, till it got torn.
Prem Adib was one of those actors who leave an indelible mark on their generation due to an extraordinary portrayal of a film character. Prem and Shobhana ruled the hearts of their generation in the roles of Ram and Seeta. They worked together in 12 films, in all but they played Ram and Seeta only in 4 of these films. Just one Ram Rajya would have been enough, actually ! One may feel that Prem Adib specialised in Mythological films, but just about 30% of his films were religious. The rest were social, Historical and other genres.
Famous as Cine world’s Ram, Shiv Prasad Adib was born on 10th August, 1916 in a Kashmiri Brahmin family in Sultanpur (Audh, Uttar Pradesh). His father Pandit Ramprasad Dhar was a lawyer. Ramprasad’s forefathers were known in the field of Literature. Impressed by his Litterateur personality, Nawab Wajid Ali Shah had conferred him with the title of ‘Adib’ (meaning Pandit-Vidwaan). In future, this title became their family name (surname).
At the age of 13 years, after watching a silent film ANAARBALA, Prem decided to join films. After matriculating from Jodhpur in 1932, he studied for 2 years in college, but the passion for films had not reduced. So in 1934 he gave up studies and headed straight to Calcutta. For 8 months he went to different studios there, but with no luck. From there he went to Lahore. After failing to get work in Lahore also, he arrived in Mumbai. Finally his wish was fulfilled and he got a job in Rajputana Films.
Director Mohan Sinha (Grandfather of Vidya Sinha) gave Shiv Prasad a small role in the film ROMANTIC INDIA and gave him his film-name: Prem Adib. Prem also got some small roles in Dariani Productions films like: PRATIMA (Premmurti), FIDA-E-VATAN (Tasveer-e-wafa) and INSAAF (1937). He also acted in Minerva Movietone’s social films like KHAN BAHADUR (1937) and TALAAQ (1938).
His first film as a hero opposite Shobhana Samarth was NIRALA HINDUSTAN (Industrial India). This film had 3 music directors. Naushad was an assistant to one of those three, Mushtaq Hussain. He appeared once again as a hero in GHUNGHATWAALI, Sagar Movietone’s BHOLBHOLE and SADHANA (1939). In SAUBHAGYA (1940), again as a hero with Shobhana Samarth, Prem Adib also sang the songs. In this way, from 1936 to 1940, there were 11 films released with acting by Prem Adib.
In terms of popularity, the decade of the 1940s was his career’s best phase. In that decade, besides acting in 28 films, he also produced 3 films. These were: DEHAATI, KASAM (1947) and RAM VIVAH (1949). He was also the director of RAM VIVAH. In the early 40s, Prem Adib joined the prestigious organization Prakash Pictures. Prem Adib’s starting salary was fixed at Rs. 700 per month. Prakash Pictures films in which Prem Adib acted were: DARSHAN, BHARAT MILAP, CHUDIYAAN, STATION MASTER, RAMRAJYA, POLICE, VIKRAMADITYA and RAM-BAAN. Pleased with Prem Adib’s performance in BHARAT MILAP (BHARAT-BHET in Marathi), his salary per month was increased by Rs. 300.
When the film was awarded gold medal in Calcutta, Kanhaiyalal Munshi was also present at the ceremony. He suggested Vijay Bhatt to make LUV KUSH. Gandhiji was heading the independence struggle for the country and he repeatedly said that the independent India of his dream would be like Ram-Rajya. Keeping in mind Kanhaiyalal Munshi’s suggestion, Vijay Bhatt did make the movie about Luv Kush but instead of calling it LUV KUSH, he named it RAM RAJYA. Released at Super Cinema in Mumbai this film scaled the peaks of popularity. It ran continuously for 108 weeks.
People started worshipping Prem Adib as Ram after BHARAT MILAAP and RAM RAJYA. Even though Prem Adib used to smoke cigarettes and eat non-vegetarian food in real life, he gave them up while filming RAM RAJYA. During the shooting he also read Ramayan every day.
Gandhiji, who had talked about Ram Rajya, had never ever watched even one movie. Since the Art Director of Vijay Bhatt’s films, Kanu Desai was a Gandhian and as a result of his efforts Gandhiji agreed to see RAM RAJYA. Once when Gandhiji had come to Bombay to rest because of illness, his Doctor Sushila Nair gave him permission to watch the film for only 40 min. After this time was over, when the doctor asked that the film be stopped, Gandhiji signaled that the film be continued and saw the whole film.
During that time, Prem Adib got married to Krishnakumari (alias Pratima), the daughter of a leading citizen Rai Saheb Rajeshwarnath Kaul, on 26th February, 1943 in Lahore.
In the 1950s, Prem Adib had 28 film releases. Most of them were religious films. ANGULIMAL in 1960 was his last film. His film RAM BHAKTI (1958) was censored again as BHAKT RAAJ and released in 1960. Prakash Pictures also compiled (put together) scenes from its own earlier films BHARAT MILAAP, RAMRAAJYA and RAM BAAN and made a film RAMAYAN in 1954.
Prem Adib died in 1959 following a protracted illness which began in a car accident and a botched kidney surgery. On 25th December, 1959 Prem Adib had gone to a party with his wife Pratima. During the day he was healthy and fine, but after coming back he had an attack of brain hemorrhage due to high blood pressure. His wife fainted at his untimely and unexpected death. His last rites were taken over and completed by his relatives present at that time. When his fans came to know they complained that if they had been informed they would have given him a farewell befitting Ram.
Prem Adib did Ram’s role in 8 films- Bharat Milap-42, Ram Rajya-43, Raam Baan-48, Ram Vivah-49, Ram Navmi-56, Ram Hanuman Yudha-57, Ram Laxman-57 and Ram Bhakta Bibhishan-58. He worked in about 75 films, directed 1 film and sang 26 songs in 9 films.
Another interesting actor in this star cast was Vasanti.In Hindi films, male child actors rarely made it to adult Hero roles, with few exceptions. But many of the female child artistes became Heroines in their adulthood. Examples are Meena kumari, Nargis, Madhubala etc etc. Even Nanda and Shakuntala became adult Heroines, though, for a long time the prefix ‘Baby’ stuck to them.
One such child artiste was Vasanti- who was good in acting and singing. She was in great demand too.However, after 15 films and 56 songs in 14 films, she left film world, at the age of just 19 years, to settle as a housewife after her marriage. Had she continued, I am sure, she would have been a successful Heroine also.
Vasanti Vinayakrao Ghorpade,was born on 23-3-1925 in Kolhapur. her father’s sister Tanibai was a famous classical singer. Married to Bapusaheb Kagalkar,she was active in films till 1931 in Kolhapur.
Vasanti was trained by Pt. Vamanrao Sadolikar and Ustad Bamman Khan. She first acted in Dharmatma-35 as a child artist. Then came Amarjyoti-36 and Duniya na maane-37. Her songs in these films were popular. She left Prabhat in 1939 and joined Ranjit.
She did Sant Tulsidas-39, Aapki Marzi-39, Musafir-40, Diwali-40, Achoot-40, Beti-41, Sukh Dukh-42, Bhaktaraj-43, Kurbani-43, Meena-44, Bhagya laxmi-44 also. She sang 56 songs in 14 films. She did not sing in Bhagya Laxmi-44 and Meena-44, but sang in Holi-40.
In 1944, during the shooting of film Bhagya Laxmi-44, she married Indubhai Patel and settled in Bangalore. Her last film was Bachhon ka khel-46,which was the first film of Meena Kumari, as an adult.
Enjoy this melodious song in the voice of Shanta Apte. With this song, film Bhagya Laxmi makes its Debut on this Blog.
( Information for this post has been used from Harish Raghuwanshi ji’s Gujarati book ‘ Inhe na bhulana’ Screen play by Isak Mujawar, Cinema Diary by Padmakar Pathakji, maitrimanthan.com, Vidur Suri ji with thanks and my notes).
Song- Khaali hai Daaman-e-Muraad(Bhaagya Laxmi)(1944) Singer- Shanta Apte, Lyricist- Not known, MD- G M Durani
Lyrics
Khaali hai Daaman-e-Muraad
Khaali hai Daaman-e-Muraad
umr tamaam ho gayi
umr tamaam ho gayi
mujhko to ek haal mein
mujhko to ek haal mein
subah se shaam ho gayi
subah se shaam ho gayi
lab pe hua hai aah hai
lab pe hua hai aah hai
hasti e dil tabaah hai
raaz mein thhi jo daastaan
raaz mein thhi jo daastaan
aaj se aam ho gayi
aaj se aam ho gayi
aah se mujh ko kaam hai
aah se mujh ko kaam hai
mujhko ?? hai ??
meri tamaam zindagi
meri tamaam zindagi
dard ke naam ho gayi
dard ke naam ho gayi
gham ne bada maza diya
gham ke nisaar jaaun main
gham ne bada maza diya
gham ke nisaar jaaun main
hans ke jo do chapat pade
hans ke jo do chapat pade
rone pe shaam ho gayi
rone pe shaam ho gayi
Main duniya ki raani
Posted on: May 30, 2019
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.
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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
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
Suno suno hum tumhen sunaayen
Posted on: February 4, 2019
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.
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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
Phir aayi hai deewaali
Posted on: November 7, 2018
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
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