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

Archive for the ‘Songs of 1945’ Category


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.

“Vikramadiyta”(1945) was directed by Vijay Bhatt for Prakash Pictures, Bombay. The historical movie had Prithviraj Kapoor, Ratnamala, Baburao Pendharkar, Prem Adeeb, Ranjana, Bhagwandas, Jillo etc in it.

There were nine songs in this movie.

One song from the movie has been covered in the past.

Here is the second song from “Vikramadiyta”(1945) to appear in the blog. The song is sung by Rajkumari and Manna Dey. Ramesh Gupta is the lyricist. Music is composed by Shankarrao Vyas.

Only the audio of this song is available. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song. My guess is that this song is picturised on the lead pair.

I have not been able to get the lyrics of this song right at one place. I request our readers with keener ears to help fill in the gaps/ suggest corrections in the lyrics wherever applicable. The lyrics of this romantic song are in chaste Sanskritised Hindi, which to mind is quite appropriate and extremely suitable for a song of this nature. It is a rare song that deserves to be better known among music lovers. To those who may be wondering, this song is about a ras ka lobhi bhanwra getting trapped inside a flower. The lady is wondering why the lotus flower is swaying despite there being no breeze, and the gentleman (King Vikramaditya most probably) explains that is a bhanwra, trapped inside the flower that is trying to come out. Very nice imagination from the poet.


Song-Hain gagan mein baadal thahre huye(Vikramaditya)(1945) Singers-Rajkumari, Manna Dey, Lyrics-Ramesh Gupta, MD-Shankar Rao Vyas

Lyrics

aa aa aa
aa aa aa aa aa
aa aa aa aa
aa aa aa aa aa
hain gagan mein baadal thahre huye
hain gagan mein baadal thahre huye
aur pawan bhi chal chupchaap raha
aur pawan bhi chal chupchaap raha
hain stheer aaj ban bel vraksh
koi pankhhi na raag alaap raha
koi pankhhi na raag alaap raha

sundar prabhat sheetal kirnen
sundar prabhat sheetal kirnen
tere mann mein sama kya paap raha
tere mann mein sama kya paap raha
hain shaant sarowar ki lahren
hain shaant sarowar ki lahren
yoon kamal bata kyun kaanp raha
phir kaho kamal kyun kaanp raha

sun ri
sun ri bholi
is mein koi
sun ri bholi
is mein koi
kar paap ka paschhataap raha
kar paap ka paschhataap raha
is mein madhukar madhu ka lobhi
is mein madhukar madhu ka lobhi
sandhya ko aa chupchaap raha
sandhya ko aa chupchaap raha
laalach mein bandiwaan hua
laalach mein bandiwaan hua
ab shakti hai apni naap raha
ab shakti hai apni naap raha
hai tadap raha wo mukti ko
hai tadap raha wo mukti ko
is liye kamal hai kaanp raha
is liye kamal hai kaanp raha

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

आ आ आ
आ आ आ आ आ
आ आ आ आ
आ आ आ आ आ
हैं गगन में बादल ठहरे हुए
हैं गगन में बादल ठहरे हुए
और पवन भी चल चुपचाप रहा
और पवन भी चल चुपचाप रहा
हैं स्थीर आज बन बेल वृक्ष
कोई पंखी ना राग अलाप रहा
कोई पंखी ना राग अलाप रहा

सुंदर प्रभात शीतल किरणें
सुंदर प्रभात शीतल किरणें
तेरे मन में समा क्या पाप रहा
तेरे मन में समा क्या पाप रहा
हैं शांत सरोवर की लहरें
हैं शांत सरोवर की लहरें
यूं कमल बता क्यों काँप रहा
फिर कहो कमल क्यों काँप रहा

सुन री
सुन री भोली
इस में कोई
सुन री भोली
इस में कोई
कर पाप का पश्चाताप रहा
कर पाप का पश्चाताप रहा
इसमें मधुकर मधु का लोभी
इसमें मधुकर मधु का लोभी
संध्या को आ चुपचाप रहा
संध्या को आ चुपचाप रहा
लालच में बंदीवान हुआ
लालच में बंदीवान हुआ
अब शक्ति अपनी नाप रहा
अब शक्ति अपनी नाप रहा
है तड़प रहा वो मुक्ति को
है तड़प रहा वो मुक्ति को
इस लिए कमल है काँप रहा
इस लिए कमल है काँप रहा

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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 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 law.

Today’s song is from a rare and less known film ‘Lakharani’ from 1945.

Although this was a film made by the great Prabhat Film Company of Poona, unlike earlier Prabhat films this movie never became famous or a landmark film. The reasons were many. The main reason was that it was was made in the period when the company had become very weak after V Shantaram left Prabhat Studios along with some of his chosen people from various departments. Secondly, the storyline of this film was far away from the type of films Prabhat had made in the past. True to its tradition, however, the film had a central theme of “open entry for all castes into Hindu temples“. But it was told through a story of tribal folks and allied jungle people, with whom probably, the audience could not  identify themselves.

Thirdly, the songs and music of this film was below average. The music director, Master Krishnarao Phulambrikar (1891-1974) had a reputation of being an Orthodox Sangeet Natak classicist. His songs never became popular except perhaps the multi-language song of Shanta Hublikar in the film ‘Aadmi’ (1939) (‘Manoos’ in Marathi). Even his contemporary Keshvrao Bhole gave more popular songs. His only film giving good music was Rajkamal’s ‘Mali’ (1944), wherein he himself was the hero opposite Ameerbai Karnataki.

The film was directed by Vishram Bedekar – more famous as a playwright and a script writer. His scripts used to be quite complex. He wrote the story of ‘Lakharani’, in addition to directing it. Vishram Bedekar (b. 1906), Marathi and Hindi film director, best known as a writer, was born in Amravati, Eastern Maharashtra. He started his career with the Sangeet Natak company Balwant Sangeet Mandali as a playwright-lyricist. From there, he moved to film-making when the theatre group expanded its box-office draw by producing ‘Krishnarjun Yuddha’, starring the group’s writer-actor Chintamanrao Kolhatkar. Unlike other films produced by Sangeet Natak companies (e.g. Lalitkaladarsh), the film succeeded commercially and he co-directed three more with the group’s owner-producer Vamanrao N Bhatt. He scripted the mythological ‘Pundalik’ (1936) and, according to his autobiography, he also co-directed the film with VN Bhatt.

He briefly studied film-making in the UK in 1938. In that same year, he published his first novel, ‘Ranangan’  on his return to India. He joined Prabhat Studios briefly to write Shantaram’s ‘Shejari’ / ‘Padosi’ (1941). In 1944, he returned to the studio to script ‘Ramshastri’, a re-edited version of which, credited to him, was later released as a children’s film entitled ‘Ramshastri Ka Nyay’. In 1945, he directed ‘Lakharani’ which incidentally is Guru Dutt’s début film. He went on to make classic melodramas for Baburao Pendharkar’s New Huns, Baburao Pai’s Famous Pics and Minerva Movietone. He wrote the script for Shantaram’s ‘Amar Bhoopali’ (1951). Later he directed the early productions of Ramsay Brothers, viz. ‘Rustom Sohrab’ (1963) and ‘Ek Nannhi Munni Ladki Thi’ (1970).

Vishram Bedekar worked in modernist frame defined by K Narayan Kale’s generation and GB Shaw. Most of his literary and film works recast stereotypes of pre-WW I Marathi social reform novels into the declamatory style of prose melodrama with increasingly complex storylines. As a playwright, his works include ‘Brahmakumari’, ‘Vaje Paool Apule’ and ‘Tilak Ani Agarkar’ (1980). In 1985, he published his autobiography – ‘Ek Jhaad Ani Don Pakshi’.
(Note: The above bio sketch of Vishram Bedekar is adapted from Encyclopedia of Indian Cinema.)

‘Lakharani’ is important for one reason – Guru Dutt made his acting debut with this film. Guru Dutt (9-7-1925 to 10-10-1964) did the role of Lachman, brother of the heroine Lakharani, in this film. After doing a basic course in dancing from the dance academy of the famous dancer Uday Shanker, in Almora, he joined Prabhat Studios as a choreographer. However, in his first film he was only an actor and an assistant director to Vishram Bedekar. In his second film ‘ Hum Ek Hain’ (1946), he worked as the choreographer and as an assistant to PL Santoshi, the debutant director of the film. Later he was assistant director to Anadinath Bannerjee for the film ‘Mohan’ (1947), to Amiya Chakravarty for the film ‘Girls School’ (1949) and to Gyan Mukherjee for the film ‘Sangram’ (1950). His first stint as an independent director came with iconic film ‘Baazi’ (1951).

Another actor Ramsingh had a major role in the film ‘Lakharani’. Earlier he had done a small role in the film ‘Ramshastri’ (1944). Ramsingh’s name is not very famous or well known, but in his times, he appeared as a hero and also in villain’s role in many films. Information about him was not available anywhere on the internet till today. For the first time, this information is appearing here today. His entry in films and his life story makes a very interesting read.

During the 1942 ‘Quit India’ movement, there was a riot in Allahabad. Police opened fire and along with several other people, Secretary of All University Students Union also was killed. Fearing a backlash from college students, the Government closed down all colleges and vacated the hostels. As a result of this, two persons became homeless. One was Ramchandra Thakur – later to become famous as Kavi Pradeep; and the other was Ramsingh – who became an actor.

After the riots, instead of informing his family about his welfare, Ramsingh left for Bombay and then went on to Poona, to become an actor. He was tall, fair and handsome. V Shantaram hired him as an assistant in the studio. Because he never returned home, his family thought that he must have been killed in the riots and grieved.

One day one of the villagers came to their house and told excitedly, that he had seen a Hindi film and in that film, an actor looked exactly like Ramsingh. The family went to the town and saw the film. Lo and behold ! there he was. Looking just like Ramsingh. Anxiously a group of elders reached Prabhat Studio in Poona and enquired. The officials brought them face to face with their own son – Ramsingh !! Everyone was happy. It seems he did not contact his household just to avoid the police investigations, as he too was an active participant in the agitation.

Ramsingh was born into a rich zamindar family of village Ishanpur in Pratapgarh (UP), in 1920. After graduating, while still doing his MA, he joined films. His first film was ‘Ramshastri’ (1944), then came ‘Chand’ (1944), ‘Lakhrani’ (1945) and ‘Hum Ek Hain (1946) – all Prabhat films. While with Prabhat Studios, he became friendly with Dev Anand and Guru Dutt. In his later years, they would give him a role in almost every film they made.

In his other films, Ramsingh worked with heroine Ranjit Kumari (real name Ranjit Kaur), to whom he got married later on. He was already married while in school and also had 3 children from his first wife. From the second marriage he got 4 children.

Ramsingh played hero, villain and character roles in 69 films. Some of his notable films, besides the four films from Prabhat Studios are, ‘Gaon’ (1947), ‘Shaheed’ (1948), ‘Khidki’ (1949), ‘Aparadhi’ (1950) – he was the hero, opposite to Madhubala, ‘Sargam’ (1950), ‘Sangram’ (1950), ‘Shrimati ji’ (1952),  ‘Jaal’ (1952), ‘Baaz’ (1953) etc. In the latter part of his career, he only got insignificant roles in B and C grade films and mythologicals. His last films were ‘Sati Sulochana’ (1969), ‘Veer Chhatrasaal’ (1971) and ‘Mere Bhaiya’ (1972); the last two being released after he retired from films.

When film ‘Jaal’ (1952) was imported into West Pakistan (on the East Pakistan quota), the Pak film industry started an agitation against Indian films, demanding a total ban on Indian films in Pakistan, as they believed the Indian films were killing their business. Leader of this agitation was WZ Ahmed, once a successful director/producer in India (from the erstwhile Shalimar Films of Poona and the mentor and husband of actress Neena). Consequently, Indian films were banned in Pakistan, at a later stage.

Ramsingh returned to his native place with Ranjit Kumari and children in 1970 and started doing agriculture. The then UP Chief Minister HN Bahuguna was his classmate and a very good friend. Ramsingh approached him. To help him, Bahuguna established the UP Film Corporation and made Ramsingh its chairman. However, due to political turmoil in the country, Bahuguna left congress and joined the off shoot party Congress For Democracy, against Indira Gandhi. As a result the film corporation was wound up and Ramsingh returned to the agriculture business again. He started drinking heavily, against medical advise and died in 1984, in his village.
(Note: The above bio sketch of Ramsingh is adapted with thanks, from Javed Hamid’s forthcoming book ‘हिन्दी सिनेमा के कुछ जाने अंजाने फनकार’.)

The spelling of film title – ‘Lakharani’, was an enigma. In many places, including the Encyclopedia of Indian Cinema, the film is spelt as LAKHRANI, while the HFGK says LAKHARANI. To get the correct information, I wrote to Shri Harmandir Singh ji. He promptly sent me a copy of the film booklet and confirmed that the correct name is LAKHARANI only. Thanks, Hamraz ji. The cast of the film is Durga Khote, Monica Desai, Azuri, Sapru, Ramsingh, Guru Dutt, etc. The story of this film is,

Bichwa (Durga Khote) is the queen of a devout untouchable community, which is not permitted to enter any temple. Her daughter Lakharani marries the prince from a community of atheists and hence is excommunicated by her own tribe.The devout group has their devotion tested by economic setbacks and a major conflict erupts between them and the atheists’ community. But God materialises on earth, thus solving the problems of belief and its attendant conflicts. Untouchability is abolished and they all can enter temples and worship also.

The film has 6 songs. Though the record numbers are given by HFGK, the name of singers is not mentioned for any song. The lyricist is Qamar Jalaalabaadi and the composer is Master Krishnarao Phulambrikar. No songs were found on the net or the You Tube, so I turned to our in-house collector, Sudhir ji. He promptly informed me that he has 4 songs of this film. On my request he not only sent me 2 songs, but also uploaded today’s song on my request. Thank you Sudhir ji, you are a great help indeed.

Lakharani makes her debut on this Blog today. Enjoy its first ever song. . .

(Ed Note: The title line of this song is modified, after listening to the song. In the Geet Kosh, this song corresponds to the song at sl. no. 6, which is listed as “Ab Moti Giraane Lagi Saawan Ki Ghataayen”. After listening to the song, it is observed that the refrain “Ik Gori Ki Aankhon Se. . .” is repeated after each antaraa, and is the more appropriate title line for the song.)


Song – Ik Gori Ki Aankhon Se Mujhe Pyaar Hua Hai (Lakharani) (1945) Singer -Unidentified Male Voice, Unidentified Female Voice, Lyrics – Qamar Jalaalabaadi, MD – Master Krishna Rao
Unidentified Male + Female Voices
Female Chorus

Lyrics 

ab moti giraane lagi saawan ki ghataayen
bagiya mein bikharne lagi bulbul ki sadaayen

ha ha ha haha

khilne ke liye phool bhi taiyaar hua hai
khilne ke liye phool bhi taiyaar hua hai
mujhe pyaar hua hai
mujhe pyaar hua hai

ik gori ki aankhon se mujhe pyaar hua hai
mujhe pyaar hua hai
sunder meri aashaon ka sansaar hua hai
mujhe pyaar hua hai

o koel duniya ko sunaao ye fasaana
o panchhio gaao meri duniya ko jagaana
o panchhio gaao meri duniya ko jagaana
ab haath pakad haath se iqraar hua hai
mujhe pyaar hua hai
ik gori ki aankhon se mujhe pyaar hua hai
mujhe pyaar hua hai

o gori ki paayal zara jhankaar suna de
ye bhed mere dil ka zamaane ko bataa de..ey..ey
abaad mere phoolon ka sansaar hua hai
mujhe pyaar hua hai
ik gori ki aankhon se mujhe pyaar hua hai
mujhe pyaar hua hai

o nadiya ke lehro ye kinaare ko bata do
toofaan ki maujon ko mera haal suna do..oo..oo
do lehron mein mil jaane ka iqraar hua hai
mujhe pyaar hua hai
ik gori ki aankhon se mujhe pyaar hua hai
mujhe pyaar hua hai

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

अब मोती गिराने लगीं सावन की घटाएँ
बगिया में बिखरने लगीं बुलबुल की सदाएं

हा हा हाहा

खिलने के लिए फूल भी तैयार हुआ है
खिलने के लिए फूल भी तैयार हुआ है
मुझे प्यार हुआ है
मुझे प्यार हुआ है

इक गोरी की आँखों से मुझे प्यार हुआ है
मुझे प्यार हुआ है
सुंदर मेरी आशाओं का संसार हुआ है
मुझे प्यार हुआ है

ओ कोयल दुनिया को सुनाओ ये फसाना
ओ पंछीओ गाओ मेरी दुनिया को जगाना
ओ पंछीओ गाओ मेरी दुनिया को जगाना
अब हाथ पकड़ हाथ से इक़रार हुआ है
मुझे प्यार हुआ है
इक गोरी की आँखों से मुझे प्यार हुआ है
मुझे प्यार हुआ है

ओ गोरी की पायल ज़रा झंकार सुना दे
ये भेद मेरे दिल का ज़माने को सुना दे॰॰ए॰॰ए
आबाद मेरे फूलों का संसार हुआ है
मुझे प्यार हुआ है
इक गोरी की आँखों से मुझे प्यार हुआ है
मुझे प्यार हुआ है

ओ नदिया की लहरों ये किनारे को बता दो
तूफान की मौजों को मेरा हाल सुना दो॰॰ओ॰॰ओ
दो लहरों में मिल जाने का इक़रार हुआ है
मुझे प्यार हुआ है
इक गोरी की आँखों से मुझे प्यार हुआ है
मुझे प्यार हुआ है


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

Today’s song is from the film Hamrahi-45, a remake of Bangla film ‘Udayer Pathey’-44, made by New Theatres, Calcutta and a maiden Directorial Debut by Bimal Roy, both for Bangla and Hindi.

This film was clearly based on Leftist Philosophy, wherein the oppressed classes are up against the richer classes. Bengal has always been a hub of political activities. Bangla people breathe in and breathe out politics. Every Bengalee is perpetually against the establishment, be it a Capitalist or even their own Government. No wonder the Left Front Ruled West Bengal from 1977 to 2011 and then collapsed due to their own people !

Story of this film was written by Jyotirmoy Roy, who later married the Heroine of this film, Binota Bose ( and restricted her work only to Bangla films wherein he was associated some way). He also wrote the dialogues. The lyrics were by Munshi Zakir Hussain. Two Bangla songs remained in the Hindi version also.Both were written by Gurudev Rabindranath Tagore. One of them was “Jana Gana Mana “, which became our National Anthem after Independence. This is already discussed in the Blog. The other Bangla song is sung by Hemant Kumar and Binota Bose.

The cast of the Bangla and Hindi versions was almost same, except few actors who replaced the Bangla actors. These were Bhupendra Kapoor,Hiralal,Deen Dayal Luthra and Ramesh Sinha. The lead pair of Radha Mohan Bhattacharya and Binota Bose was the same in both versions. Other cast included Tulsi Chakravarty,Meera Datta, Maya Bose, Manorama etc etc. Music was by the great Raichand Boral in both versions.

Binota Bose Roy proved to be a one film wonder in Hindi films, though she sang songs in films Wapas-43 ( 3 songs ) and Hamrahi-45. Binota Basu was born in a Brahma family in 1925 on Kojagari Lakshmi Purnima Tithi and was therefore called Lakshmi. Her father Satya Sundar Basu was an advocate in Patna High court. Binota was one of his six daughters.

Satya Sundar was a lawyer by profession but his music was his first love and after court hours his routine was to sing and play musical instruments like the Sitar, the organ and many others. Binota’s mother was a good singer too. So Binota had music in her blood and she entered films as a playback artiste in Dikshul (1943).

Raichand Boral had introduced her to Pankaj Kumar Mallick, the music director of the film. This happened after the family shifted to Calcutta. While in Calcutta, Binota along with her sisters came in close touch with cousin Chinmohan Sehanbish , who in turn introduced them to the legendary Debabrata Biswas from whom Binota got some early training in music. Under Raichand Boral’s guidance her first major success was in Wapas (1943), where she sang “Albela Mastana”, “Jeevan Hai Bekar” and “Bhool Na Jana”. All the songs became popular.

The next year Binota became a star with her acting and singing in Bimal Roy’s Udayer Pathey (1944) and with the Hindi version Humrahi got an all India exposure. Her popularity touched the sky but soon she got married to Jyotirmoy Roy, who had written the story of Udayer Pathey.
After marriage she was allowed to work mostly in films associated with her husband. These included Abhijatri (1947), Diner Parey Din (1949), Shankhabani (1951), Nagardola (1956), Taka Ana Pai (1956), Kancha Mithhey (1957).In Abhijatri she was paired with her first hero Radhamohan Bhattacharya again.

After her husband’s death in 1961 she withdrew from the film world but came back later to give memorable performances as character artiste in Tapan Sinha’s Jatugriha (1964), Mrinal Sen’s Calcutta 71 (1971), Chhayateer (1972) and finally Hangsharaj (1976). She won the best actress and best supporting actress awards from the prestigious Bengal Film Journalists’ Association a number of times. Binota Roy was inspired to write by her writer husband. She is credited with several short stories which were published in popular Bengali magazines. A collection of her stories was first published as a book titled Mayamukur in 1964. Binota Roy died on the twenty eighth day of July, 1978 and was survived by sons Ramya and Samya and daughter Suchita.( adapted from Dr. J.P.Guha, with thanks.)

With this film, the great Bimal Roy made his debut as an independent Director. A lot has been written on him, so here is a short synopsis of his life. Bimal Roy was one of the greatest ever directors of Indian cinema. In his films we see a romantic idealist to whom any form of exploitation – social, religious or economic was unacceptable. He is particularly noted for his realistic and socialistic films like Do Bigha Zamin, Parineeta, Biraj Bahu, Madhumati, Sujata, and Bandini, making him an important director of Hindi cinema. He won a number of awards throughout his career, including eleven Filmfare Awards ( 7 for Best Director and 4 for Best film), 6 National Film Awards, and the International Prize of the Cannes Film Festival.

Born on 12-7-1909 , Bimal Roy came from a well to do Bengali family and entered films as a cameraman with New Theatres Pvt. Ltd. where he photographed films like “Devdas” (1935) and “Mukti” (1937). His first film as Director was “Udayer Pathey” (1944) in Bengali. The film was a big critical success.

Bimalda migrated to Bombay after the collapse of New Theatres. His first film there was “Maa” (1952) for Bombay Talkies. He then formed his own production unit and made his breakthrough film, “Do Bigha Zamin” (1953). It was both a commercial success and a critical success, winning an International Prize at the 1954 Cannes Film Festival. The film’s success paved the way for the Indian New Wave cinema. This followed three adaptations of Sarat Chandra Chatterjee, “Parineeta” (1953), “Biraj Bahu” (1954) and “Devdas” (1955). In between Bimalda also directed the emotional “Baap Beti” (1954) and the sensitive “Naukri” (1954). He always preferred either Salil Chaudhari or S D Burman as his Music Directors.

Bimalda’s last production before he died was “Benazir” (1964) directed by S Khalil. He was working on a project to star Dharmendra and Sharmila Tagore when he passed away on 8-1-1-1966 after a long illness.

The story of film Hamrahi was….

Anup(Radhamohan Bhattacharya) is a poor literary man. Sumitra( Rekha Mitra) is his sister. . A rich friend of Sumitra, Gopa ( Binta Bose), invites her to a party at her house. Sumitra had to come back from her friends house with the stigma of a thief. Anup sees his editor friend. The friend gives Anup a tip for a job. Anup takes it and accepts the job of a publicity officer under Rajendranath, a millionaire. Anup has to write speeches for Rajendranath( Ramesh Sinha), the very first of which brings him great acclaims.

Rajendranath craves for more fame and name. Anup meets Gopa at Rajendranath’s library while writing a speech. He learns that Gopa belongs to the house where his sister Sumitra was insulted. He leaves the job then and there. Rajendranath cannot do without Anup. He sees Anup at his house and somehow manages to get him back to write a presidential speech for him. He also promises to publish Anup’s forthcoming novel and takes the manuscript from him. Gopa sees the manuscript and starts reading it half heartedly but by the time she finishes the manuscript she is over-whelmed. She feels a deep sense of respect for the authour Anup. The novel deals with the lives of the workers and their problems in life. Gopa becomes deeply interested in the subject. She visits workers cottages in the bustees with Anup, and see things first-hand. She feels herself a stranger amongst the labourers but feels that Anup belongs to them. He is one of them.

Gopa attends labour meetings incognito. Rajendranath comes to know about Gopa’s recent movements and is worried. Meantime, he publishes Anup’s novel claiming the authorship for himself. Gopa gets the shock of her life at Rajen’s conduct. Rajendranath receives great ovations from all sides for writing such a masterly novel. The day of the big labour meeting. Gopa, while passing by the library hears her brother speaking on the phone. Rajen is instructing Ambika a man of the mill, to break the meeting, even at the cost of physical injury to Anup the leader. Gopa rushes to the meeting site. She reaches just a bit too late. Anup is assaulted. He is lying on the ground bleeding profusely. Gopa with tears in her eyes kneels down and tries to get back Anup to consciousness. While she is busy rendering first aid to Anup, Rajen appears on the scene and takes Gopa back home by force.

Next morning News papers flash the news about the dispersed labour meeting. Gopa gets headliness as the millionaires daughter siding with the workers cause. The drama in the life of Gopa takes quick and peculiar turns. she forsakes her pride of birth and wealth and goes with Anup to fight for the down-trodden millions.

The last scene of the film shows Anup and Gopa walk towards the rising Sun, hoping to start a new life together, while her father Rajendranath watches them with wet eyes, from his balcony !

In the film’s remake Naya Zamana-1971, Dharmendra and Hema Malini leave the house in millionaire father Ashok kumar’s Limousine. Satyajit Ray in his version of this film, Mahanagar-1963, shows Hero and Heroine walk out and merge into the moving crowd outside.

True to the cinematic branding of actors, Hamrahi Hero Radha Mohan Bhattacharya who played the incorruptible ‘Bhadralok’Hero Anup, repeated his role in Kabuliwala-56 (Bangla film) and Akaler Sandhaney-80. Hamrahi-45 writer Jyotirmoy Roy was an IPTA worker. He was honoured by IPTA for his dialogues of the film, which depicted the Bengali melodrama between inherited and earned wealth.
The film had 7 songs. Today’s song is the 4th song to be posted.

(some of the information used here is from Ency.of Ind.Cinema by Ashish and Paul, with thanks.)


Song-Din hain bahaar ke aaye (Hamraahi)(1945) Singer-Binota Bose, Lyrics-Zakir Hussain, MD-R C Boral

Lyrics

bahaar ke din aaye
din hain bahaar ke aaye
ik naya
ik naya sandesa laaye ae

jhoome hai daali daali
hanste hain phool bhi khil ke ae ae
jhoome hai daali daali
hanste hain phool bhi khil ke
rut badal gayi gulshan ki
purva
purva ban mein lahraaye
rut badal gayi gulshan ki
purva ban mein lahraaye

ranj-o-gham dil ke saare ae ae
ranj-o-gham dil ke saare ae
kya jaane kahaan sidhaare ae
ranj-o-gham dil ke saare ae ae
kya jaane kahaan sidhaare
van jhoome man bhi jhoome
khud apni kahi bhulaaye
din hain bahaar ke aaye
ik naya sandesa laaye

tanhaai mein chupke chupke
tanhaai mein chupke chupke
pardesi preetam se ae ae ae
pardesi preetam se
birha ki bechain kahaani
jaa ke kaun sunaaye ae ae
birha ki bechain kahaani
jaa ke kaun sunaaye ae
sunaaye ae
din hain bahaar ke aaye
ek naya sandesa laaye ae
din hain bahaar ke aaye


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.

“Naseeb”(1945) was directed by Vedi for Silver Films, Bombay. The movie had Pramila, Kumar, David, Krishnkant, Sunetra, Jillo, Nazma, Leela Mishra, Chandabai, Moone Agha, Agha Jaan, Ghori etc in it.

This “social movie”, also called “Can’t help it” had nine obscure songs in it that were penned by three lyricists and the songs were sung by at least four singers.

Two of these songs have been covered in the past.

Here is the third song from “Naseeb”(1945) to appear in the blog. This song is sung by Rajkumari. I C Kapoor is the lyricist. Music is composed by Pt Govindram.

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

The song, talking about “guzra zamaana” certainly evokes feelings of nostalgia among the listeners.


Song-Unhen yaad aaye guzra zamaana (Naseeb)(1945) Singer-Rajkumari, Lyrics-I C Kapoor, MD-Pt Govindram

Lyrics

unhen yaad aaye
unhen yaad aaye
haan unhen yaad aaye
unhen yaad aaye
unhen yaad aaye guzra zamaana
ho mere angna mein chupke se aana
unhen yaad aaye

chori chori se karte thhe baaten
chori chori se karte thhe baaten
unki galiyon mein meri mulaakaaten
ho mere sapnon ki duniya basaana
unhen yaad aaye
unhen yaad aaye
haan unhen yaad aaye
unhen yaad aaye

hare kheton mein peepal nishaani
do dilon ki wo meethhi kahaani
hare kheton mein peepal nishaani
do dilon ki wo meethhi kahaani
tera bansi baja ke bulaana
tere bansi baja ke bulaana
hamen yaad aaye
hamen yaad aaye
haan hamen yaad aaye
hamen yaad aaye

mere dil mein sada tum rahoge
mere dil mein sada tum rahoge
wo karoongi baja(?) tum kahoge
ho tumhen meri kasam na bhulaana
tumhen yaad aaye
tumhen yaad aaye
haan tumhen yaad aaye
tumhen yaad aaye
tumhen yaad aaye guzra zamaana
ho more angna mein chupke se aana
tumhen yaad aaye


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.

“Parinde”(1945) was produced and directed by Acharya Atre for Atre Pictures, Bombay. The movie had Surendra, Vanmala, Dixit, Babu rao Pendharkar, Sitara, Sunalini Devi, Balwant Parchure, D R Gokhale, Chandabai, Lallu, Vasant sawkar, Jairam Desai etc in it.

The movie had eight songs in it. Two songs from this movie have been covered in the past.

Here is the third song from “Parinde”(1945) to appear in the blog. This song is sung by Surendra and Parul Ghosh (credited as Shrimati Ghosh in the credits). Rammurty Chaturvedi is the lyricist. Music is composed by Pt Govindram.

The song is picturised on Suendra and Vanmala.

Video


Audio

Song-Oopar ho chaand taara neeche jahaan saara(Parinde)(1945) Singers-Surendra, Parul Ghosh, Lyrics-Rammurty Chaturvedi, MD-Pt Govindram
Both

Lyrics

oopar ho chaand taara
neeche jahaan saara
upar ho chaand taara
neeche jahaan saara
beech mein hum tum pyaar karenge
haan
beech mein hum tum pyaar karenge
pyaar karenge
hum vihaar karenge
pyaar karenge
hum vihaar karenge

hum tum mil kar pyaar karenge
haan
hum tum mil kar pyaar karenge

ek oar dolye parindon ki toli
ek oar taare khelen aankh michauli
ek oar doley parindon ki toli
ek oar taare khelen aankh michauli
kirnon ka hum tum singaar karenge
kirnon ka hum tum singaar karenge
upar ho chaand taara neeche jahaan saara
upar ho chaand taara niche jahaan sara
beech mein hum tum pyaar karenge
haan
beech mein hum tum pyaar karenge

udte udte unche unche jaayenge hum dono
udte udte, unche unche jaayenge hum dono
sota hua suraj jagaayenge hum dono
sota hua suraj jagaayenge hum dono

jag mein savera bataayenge
gaayenge
jag me savera jagaayenge
gayenge
meethe suron se hum gulzaar karenge
haan
meethe suron se hum gulzaar karenge
gulzaar karenge
ham vihaar karenge
gulzaar karenge
ham vihaar karenge
jag mein ham tum pyaar karengen
haan
jag mein ham tum pyaar karenge

udte udte sajan kahin baadal jo chhaayen
udte udte sajan kahin baadal jo chhaayen

manzil humaari hamen nazar na aaye
manzil humaari hamen nazar na aaye
phir
phir
haathon mein haath liye himmat ka saath liye
haatho me hath liye himmat ka sath liye
manzil ko apni hum paar karenge
haan manzil ko apni hum paar karenge
paar karenge hum vihaar karenge
paar karenge hum vihaar karenge
jag mein hum tum pyaar karenge
haan jag mein hum tum pyaar karenge


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.

The most common milestone in this blog is century of songs in the blog. Then we also have some associated milestones viz centuries by artists, contributors etc.

After this blog touched the five figure mark of songs on 20 july 2014, some of the regulars began to point out some “special” numbers that the blog was approaching. Though not round figures like centuries, these numbers held arithmetic significance and we in the blog decided to associate these numbers with special writeups.
Read more on this topic…


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.

“Pratima”(1945) was directed by P Jairaj for Bombay Talkies, Bombay. The movie had Swarnlata, Dilip Kumar, Jyoti, Mumtaz Ali, Pithawala, Mukri, Zebunnissa, Shahnawaz etc in it.
Read more on this topic…


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.

“Shirin Farhad”(1945) was directed by Prahlad Dutt for Pancholi Art Pictures, Lahore. The movie had Raagini, Jayant, Ghulam Mohamad, Gyani, Zahoor Shah, Ata, Ishaq, Nafees Begam, Wazir Begam etc in it.
Read more on this topic…


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.

Today’s song is from film ‘Ratnavali’ (1945). The film has 8 songs tuned by Pt. Gobind Ram. Two songs of this film are already discussed on our blog. This is the third song, sung by Rajkumari. The film was made by Amar Pictures and the director was Surendra Desai.
Read more on this topic…


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.

Today’s song is from film ‘Chaand Taara’ (1945). This song is sung by Noor Mohammed ‘Charlie ‘ and chorus. Today (30th June) is the anniversary of Charlie’s passing away in 1983. This song is in his memory. This song also happen to be a parody song. No, no, I am not doing a series on parody songs. It is just a coincidence that I got hold of a second rare song which is also a parody song.
Read more on this topic…


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What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for more than nine years. This blog has over 13800 song posts by now.

This blog is active and online for over 3400 days since its beginning on 19 july 2008.

Total number of songs posts discussed

13806

Number of movies covered in the blog

Movies with all their songs covered =1031
Total Number of movies covered =3767

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Blog Start date: 19 july 2008

Active for more than 3250 days.

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