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

Archive for the ‘Songs of 1945’ Category


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

Blog Day :

5074 Post No. : 16995

Today’s song is from the film Phool-1945.

The film was directed by K.Asif. I think there will not be a single person in India where Hindi is understood and spoken, who has either not seen or has not heard about the film and k.Asif, its maker. Though Asif was only its director, the film was his dream for 15 years and he had spent the best years of his life dreaming, shaping, planning and making this film.

K.Asif was a Dream merchant. He never bothered about people around him. He lived in his own world. His ideas were big, dreams were big and even his loans were big. But most important was his self confidence was King sized and he knew he could do what he dreamt ! Once upon a time a boy working in the Costume section of Atre pictures, sewing dresses on the sewing machines, lived life royally. He thought big – in Lakhs. His first condition to talk to a Financer was ” No Budget”. A millionaire like Shiraz Hakeem poured lakhs only on his words alone !

When Mughal E Azam ( called MEA,henceforth) began initially, there was Chandramohan as Saleem, Madhubala as Anarkali and Sapru as Akbar. After Chandramohan died and Shiraz-his financer migrated to pakistan, Asif waited patiently, but he did not leave his dream. Taking new actors and MD (Naushad instead of Anil Biswas), he did complete his dream project. On 5 th August 1960, MEA was released in 100 theatres all over india at a time. After Chandralekha-1948, it happened only now. Thousands of posters were painted by G.Kamble for this film. Asif bought all colours and all Brushes from the market and for the next few days the Bombay markets were dry !

Meanwhile Asif made a normal film ” Phool”-1945, with 14 Top stars of those times. The giant Drum Dance (नगारा नृत्य ) was the first ever in this film. Chandralekha – 1948 famous for it came second. But it became more famous. In 1951, he made the film Hulchul,but it was not directed by him, only produced by his own company K.Asif productions.His film Love and God remained incomplete with 75 % shooting done. He used to announce big budget films like, Ramayan, Mahabharat, Tajmahal, but none of them even started. Film janwar having Dilip Kumar and Suraiya and Sasta Khoon Mehanga Pani remained incomplete. With all this K.Asif was called ” Movie Mughal” , only due to Mughal E Azam !

In personal life also he lived as he wished. He first married Sitara Devi ( she was living as a consort with his Mama), then one of his cousins in his village. During the making of MEA, he married Nigar Sultana. (Sitara, in one interview had said ” I recommended Nigar’s name for MEA. She came back as my Sautan” ) and lastly he married Akhtar – sister of Dilip Kumar. Dilip never pardoned him for doing this. He died too early or we would have seen more adventures from him.

Asif was born Asif Karim in Etawah, Uttar Pradesh, on 14-6-1922 to Parents Dr. Fazal Karim and Bibi Ghulam Fatima- sister of versatile Actor/Director/Producer Nazir Ahmed Khan. Asif was the youngest of his siblings with Sikander Begum being the Eldest and Masood Karim, the first Muslim President of Sindh Club second in line. Asif Karim went to Bombay to his uncle (Mama) Nazir Ahmed Khan and later took the name K. Asif.
Nazir, in order to help him, opened a Tailor’s shop for him in Bombay, but he was not made to become a Tailor. He had big dreams of making a big film as a Director. Meanwhile, he eloped with Sitara Devi, the mistress of Nazir. However, Nazir traced them to Delhi and they came back to Bombay, as husband and wife.

His directorial debut, Phool (1945), did very well at the box-office. In 1944, Asif planned to make a film called Mughal-e-Azam based on the life and times of Mughal Emperor Akbar the Great’s court dancer, based on a Urdu novel ‘Anarkali’ written by Syed Imtiaz Ali Taj, with Chandramohan in the male lead and the then upcoming actress Nargis in the female lead. However, in 1946, before the production of the film could begin, the male lead, Chandramohan, died. At that time, Asif temporarily shelved the film until further notice. He produced the film Hulchul and released it in 1951.
At that time, Asif recast Mughal-e-Azam with Dilip Kumar in the male lead and Madhubala in the female lead and began the production of the film in the same year. In 1960, after twelve years in production, Mughal-e-Azam was released and became a huge hit at packed cinema houses across India.

After the release and success of Mughal-e-Azam, Asif planned yet another motion picture called Love and God, his first directorial venture to be made completely in color, and began production. The film was to star Guru Dutt in the male lead and Nimmi in the female lead. However, in 1964, when lead actor Guru Dutt died, shooting came to a halt. Asif recast Sanjeev Kumar in the male lead and resumed production of the film. During the production of the film, K. Asif died on 9 March 1971 at the age of 48 and the film was abandoned. In 1986, Asif’s widow, Akhtar Asif, released the film in an incomplete form.

He directed 2 films- Phool-1945 and Mughal E Azam-1960. His third film ” Love and God” was half made. He produced Hulchul-1951 and Mughal E Azam-1960. He also wrote the screenplay of Mughal E Azam-60. One film “Sasta khoon mehnga pani-86” was never completed.

He won the Best Director, Best film and President’s Silver medal for Mughal E Azam-1960.

K.Asif was a person who understood the value of a talented person and he honoured them always. There is a story about Asif, Dilip kumar and Sajjad Hussain.

This is a story of 1951.

SANGDIL was being made.shooting had stopped before next shot and all the artists were chitchatting.Dilip kumar was humming a tune Sajjad has made for a song of Sangdil.Suddenly Dilip stopped.turned to Sajjad,who was sitting nearby and said,”If you make this tune this way,I tell you,it will become a much better song.” And he hummed some tune.

There was pindrop silence because everyone knew what Sajjad was !
Sajjad got up,went to Dilip Kumar and tapping his chest said acidly,”this is the last time you are saying any such thing to me,remember.Main itnaa bhi nahi giraa hoon abhi,jo tum se salaah loon.'( I have not yet reached such low level as to take improvement suggestions from you )

The atmosphere became tense.Dilip was insulted in front of everybody.This was not digested by him.He went to K.Asif later.Hulchul,produced by Asif had music by Sajjad.Asif was Dilip’s friend and Dilip wanted Asif to throw away Sajjad from Hulchul.Dilip was the Hero of Hulchal also.Asif listened to Dilip coolly and then said,”Sajjad did the right thing.He has not done anything wrong.Why did you poke your nose in his work ? Does he ever tell you how to act ? Acting is your field,Music is his,so never do it again.”
For once Dilip had met his match !

Few years back I had read a book” Rahen na rahen hum” by Shantaram Mankikar.I had made some notes from this book. One of the notes is about Jamal Sen and K.Asif.

When K. Asif announced Sasta Khoon Mehnga Paani, which had a Rajasthani backdrop, he-asked Jamal Sen to be an advisor to bring authenticity to Naushad’s compositions. But luck once again played truant with him and the project never saw the light of the day.
Jamal Sen knew Producer Director K.Asif for many years.Once they met somewhere and Asif took Jamal to the sets of Mughal-E Azam. There a dance sequence was to be shot and Gopikrishna was rehearsing the steps. Jamal saw everything but did not comment anything. As Asif knew him well, he suspected something and asked Jamal what was wrong. Jamal told him that the sets are absolutely appropriate but the dance steps and the ‘Bol’ were not commensurate with the period when Akbar was reigning. Asif asked him then and there to make new Dance steps,prepare the ‘Bol’ and make music for that sequence.
Jamal Sen did that and Asif was more than happy.
However that piece of Dance and music was not used by Naushad in the film.

Then there is the story how K.Asif got Bade Ghulam Ali khan to sing a song for his dream film Mughal E Azam-1960.

For the song ‘Prem Jogan Ban Ke’, director K Asif expressed the desire of having legendary classical singer Ustad Bade Ghulam Ali Khan as the playback singer. Music director Naushad told K Asif that the singer doesn’t sing for films. Yet, K Asif took a chance.

He and Naushad met Ustad Bade Ghulam Ali Khan at the latter’s residence. K Asif told him that he’ll pay him whatever that he asks for. Ustad Bade Ghulam Ali Khan quoted Rs. 25,000, which was an insane amount of money in those days to be paid to a singer. As per some reports, singers were barely paid around Rs. 500-1000 per song at that time. Yet, K Asif, without hesitation, agreed and even paid him an advance of Rs. 10,000 on the spot.

Ustad Bade Ghulam Ali Khan then turned up on the day of recording at Mehboob Studio. The singer threw a fit when he saw that there was no gadda, chaddar or takiyas laid out for him. Immediately, K Asif gave the studio the setup of a baithak.Ustad Bade Ghulam Ali Khan then began the recording. K Asif didn’t seem impressed with his rendition. He told the singer that his rendition was a bit too heavy and doesn’t go with the song’s soft, romantic mood. An angry Ustad Bade Ghulam Ali Khan stormed out of the studio and said that he’ll return only when he had seen the scene on which the song will be played.

K Asif had not shot the said scene till then. With no other option, he quickly filmed the sequence of his lead actors Dilip Kumar as Salim and Madhubala as Anarkali romancing each other in the palace garden. The filmmaker then quickly edited, cut a print and screened it for the singer. According to Naushad, Ustad Bade Ghulam Ali Khan saw the whole scene in silence. At the end, he nodded in approval and remarked that both Salim and Anarkali look ‘khoobsurat’! He then recorded the song as per the scene’s mood and K Asif’s guidance. He gave three more takes too. Each time he sang, the scene was played in front of him. When Ustad Bade Ghulam Ali Khan was leaving, he asked K Asif to use whichever version he liked and to make sure it sounded good!

Today’s song from Phool-1945 is a chorus song. It is a rare song given to me by friend Abhay jain-USA and uploaded by our own Sadanand Ji-India ! Thanks to both.

(I have used information from book Ye un dinon ki baat hai by Yasir Abbasi, Rahen na rahen hum by Shantaram Mankikar, Yaadon ki baaraat by Shirish Kanekar , wiki, HFGK, muVyz and my notes)


Song-Ae bahaaduron ae Mujaahidon (Phool)(1945) Singers- Chorus, Lyricist- Not known, MD- Ghulam Haider

strong>Lyrics

Ae bahaaduron
ae mujaahidon
Ae bahaaduron
ae mujaahidon
badhe chalo badhe chalo
aage badhe chalo
badhe chalo badhe chalo
aage badhe chalo

khuda tumhaare sar pe hai
khudi tumhaare paanv mein
badhe chalo kadam uthaaye
rahamaton ki chhaaon mein
Ae bahaaduron
ae mujaahidon
badhe chalo badhe chalo
aage badhe chalo
badhe chalo badhe chalo
aage badhe chalo

?? hai maut se
?? dil jawaan
buland aaj jinke dam se
hai hilaal e nishaaniyaan
?? aaj is tarah
dushmanon ke darmiyaan
?? bastiyaan
yahi madad ka waqt hai
yahi hai waqt e imtehaan
ye hai waqt e imtehaan
Ae bahaaduron
ae mujaahidon
badhe chalo badhe chalo
aage badhe chalo
badhe chalo badhe chalo
aage badhe chalo

?? jawaan ho
abhi tum imtihaan do
?? mulk o kaum par
kaul do zabaan do
Himalay ki chotiyon pe
chadh ke tum azaan do
azaan do
tumhaare zor ki gawaah
karbala ki khaak hai
?? aasmaan tak
abhi tumhaari dhaak hai
tumhaari jeet har tarah
?? ki jaaan do
jiyo to ??
maro to tum shaheed ho
shaheed ho
maro to tum shaheed ho o o o


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 :

5056 Post No. : 16970

Today’s song is a special song. It is special because it is sung by an almost unimaginable actor who was a famous villain and we could never imagine that he would have sung a solo song and a record was brought out for that song ! But then life is like that only. It has routinely presented surprises, shocks, puzzles and inconceivable situations. That’s why LIFE is interesting ! Speaking about show business, it is all the more pertinent. There are umpteen number of cases where men became actors when it was not planned and from actors they went into something totally different, unconnected activity. Let us see some examples.

Is it not a game of Fortune, when an ordinary Laboratory Technician becomes a famous and popular actor overnight and is known as Ashok Kumar ? How does one explain the conversion of a choreographer, trained by Uday Shankar, for the film Lakharani-1945 into famous director Guru Dutt ? Hari Shivdasani started as a film director with Yasmin-1935, but became an actor in 110 films. Motilal-a Navy aspirant and a casual onlooker of a shooting is invited to directly become a Hero and for next 31 years became a popular actor. Likewise Ramnarayan Venkatraman Sastry who was an M.Sc.,Ph.D. in Physics, knew 12 Indian and 4 Foreign languages, who edited a Dance and Drama Magazine, who earned a Fellowship of New York University, A grade Flier, Swimmer, Painter, a trained magician, Shooter, A.I.R. Singer and who was invited by European and American Universities for giving lectures, one fine morning was invited and became a Tamil Film Hero in 1941. He was named Ranjan and acted in 58 Hindi films, wrote film stories like Munimji-1955 and did Choreography.

The Film Industry is replete with other side examples too – like how successful actors left films and did something totally different… like Shashi Kapoor Sr. who left a blooming film career as a Child artiste of 21 films, did M.Sc.Ph.D and became a Mathematics professor in an American University. The case of Ashraf Khan is too weird to be believed. He was an actor-singer in 31 films and 59 songs, left films and became a Sufi Saint ! Mukund Rai Trivedi- one of the Frank- Rai pair of Music Directors left films, joined family beusiness of Mining, became a Billionaire and a Lok Sabha M.P. Madholal Master left films after 34 films as an MD and purued his hobby of making Puppets. He became internationally famous and was honoured by the international Puppetary Association. His ” JOKER ” puppet was used by Raj kapoor in film Mera Naam Joker. Saigal was a Typewriter salesman before becoming a singer-actor.

In these examples add one more name B. M. VYAS. The famous villain of 174 films was a stage drama actor, a singer and a Music Teacher to Mahendra Kapoor and his brother, to start with. He was a trained musician and singer. Today’s song is sung by him for the Drama ” Deewar”- staged by Prithvi Theatres in 1945. Let us take a look at his journey from a singer to a villain….

Actor Brij Mohan aka B.M.Vyas was one artiste who started as a singer, became a drama actor and then ended up as a villain, character actor. B.M.Vyas was born as Brijmohan Vyas on Vijayadashami (22 October) day of 1920 in Churu, Rajasthan. He is the younger brother of the well-known poet and lyricist, Bharat Vyas. He was married at the age of 17 when his wife, Jamna was just 11. They had 71 years of marital bliss before Jamna passed away in 2008. They had six daughters and a son. After acting in over 200 films in various languages, Vyas quit acting in the early 1990s. Then he moved to his residence in Kalyan. Having seen various shades of life, Vyas lived a contented life with his children and grandchildren.

On 15 January, 1944, actor Prithviraj Kapoor realised his dream when Prithvi Theatre, his own drama company came into being. Mahakavi Kalidas’ classic Shakuntala was chosen to be their first performance. The play’s cast included Uzra Mumtaz (younger sister of Zohra Segal) to play Shakuntala, Prithviraj Kapoor to play Dhushyant, K N Singh was cast as Rishi Kanva, Shakuntala’s foster father, Sati Devi (Bijoya Ray’s sister, Ruma Guha Thakurta’s mother) as Gautami, caretaker of Kanva Ashram who raises Shakuntala, and Hemavati (Daya Kishan Sapru’s wife) to play Shakuntala’s friend Priyamvada, among others. A young, 24 years old, B M Vyas was recruited as a singer by the drama company to sing songs in their play at a monthly salary of 75 Rupees.

Once when rehearsals for their maiden show were in progress and Vyas was done with his singing rehearsals, he was watching rehearsals of the cast. One of his songs for the play was “Bitiya Rani Kahan Kahan Tapasvi Log, Milna Julna Rehgaya Nadi Naav Sanjog”. The cast was rehearsing for a scene which needed Rishi Kanva to recite a mantra in Sanskrit, but actor K N Singh was having trouble reciting it. Prithviraj was trying to help him but was also faltering in saying it perfectly. Vyas , an expert in Hindi and Sanskrit, having immense knowledge of Ved Mantra was witnessing the proceedings for two days. It was possibly the blessing of Goddess Saraswati that inspired him to say the mantra aloud. On hearing him intone the mantra with such Brahminical precision, Prithviraj was very impressed and asked him to help K N Singh in saying the mantra correctly. But soon K N Singh informed Prithviraj ji that he will not be able to speak Devbhasha (Sanskrit) and that he should look for another artiste for the role. Prithviraj asked Prithvi Theatre’s manager Ramesh Saigal to approach Vyas for the role. Vyas , who had already acted in a Rajasthani play Ramu Chanana earlier, readily agreed and stepped into the role and thus started his journey as an actor.

While the rehearsals were still on, Vyas suffered a personal tragedy and had to go back home in Bikaner, Rajasthan. There he fell sick with typhoid. Here rehearsals were in full swing as the play was to premiere on 9 March, 1945 at the Royal Opera House. The final date was about a month away so Prithviraj asked him to come back as soon as possible. Vyas returned with his wife though he was still unwell. On the day he resumed his rehearsals he couldn’t do much due to frequent blackouts. The medication he was on did not seem to help him much. He remembers the doctor from Kalbadevi who treated him for free; with his medication, Vyas ji’s health improved considerably in just three days.

The final round of rehearsals was done and finally the day of Prithvi Theatre’s first play to be staged, arrived. For the first performance of Shakuntala, many known names of the film industry were present at Royal Opera House. In the scene where Rishi Kanva makes an entry on stage he was required to raise his hands for blessing but Vyas was still weak and his hands started shaking. He tried a lot to control them but to no avail. He then remembered that he had seen many old people whose hands and heads would involuntarily shake, so he started to shake his head too. The end result was so effective that during the play’s interval Prithviraj came and hugged him. He asked him how he developed that body language, Vyas told him about his genuine problem. Prithiviraj told him that he did a wonderful job and should continue with the same every time the play was staged.

Vyas had a long association with Prithvi Theatre, from 1944 to 1955. During this period he toured with the group to various cities and got an opportunity to showcase his singing and acting skills in various plays like – Deewar, Pathan, Aahuthi, Gaddar, Kalaakar, etc.

After Vyas joined Prithvi Theatre as a singer, he had to do regular riyaz at home. A music teacher who often heard him sing once asked if he would be willing to give music tuitions. Since his monthly salary was 75 Rupees then, Vyas agreed as this would give him additional income. The teacher took him to meet Jaichand Kapoor and soon Vyas started giving music tuitions to his elder son, Brijmohan. However his younger brother seemed more inclined and started learning music from Vyas . This youngster was none other than our legendary playback singer, Mahendra Kapoor who always acknowledged that B M Vyas was his first Guru.

Vyas had been interested in music since childhood. He is a self-taught singer. In the early 1940s Bharat Vyas called his younger brother to Mumbai. Soon Vyas ji got the opportunity to act and sing as many as twenty songs for the Rajasthani play Ramu Chanana written by Bharat . Music Director Naushad Sahab’s assistant Ghulam Muhammad who hailed from Rajasthan was very impressed when he heard Vyas’s voice in the play. He took him to meet Naushad Sahab who was working on the soundtrack of the film Pehle Aap (1944). Vyas got an opportunity to sing a group song “Hindustan Ke Hum Hain, Hindustan Hamara; Hindu Muslim Dono Ki Aakhon Ka Tara” with established singers G. M. Durrani and Shyam Kumar along with a new singer Mohammed Rafi. Since this song was supposed to be sung by soldiers on screen, Vyas and Rafi Sahab had to wear heavy boots and do a rhythmic march while singing to give an effect of an army troop. Such effects could not be added to a song with the technology available then; it all had to be done in real time. However the first ever song Vyas sang for a film was “Alakh Niranjan, Jai Jai Jai Manaranjan” from Bhartrihari (1944) which was picturized on Arun Ahuja (Govinda’s father).

Vyas gave playback in four films – Bhartrihari (1944, MD: Khemchand Prakash), Pehle Aap (1944, MD: Naushad), Maharana Pratap (1946, MD: Ram Ganguli) and Naulakha Haar (MD: R C Boral) before destiny took him on a different path. He remembers meeting Rafi Sahab years later who sweetly said “Pandit ji you changed our line (singing)” to which Vyas admitted that he did not see much of a future for himself in singing and hence switched to acting.

After Prithvi Theatre’s first play Shakuntala was staged, Devika Rani (owner of Bombay Talkies) was keen to know who played Rishi Kanva. When she saw the 24 yrs old Vyas she was surprised, she never expected to see such a young man. She offered him a role in a Bombay Talkies film to be directed by actor Jairaj but the film was never made.

When Ramesh Saigal moved away from Prithvi Theatre, he joined Chetan Anand’s company India Pictures as Production Manager. They were working on their next film Neecha Nagar (1946) when Ramesh Saigal offered Vyas a small role (protagonist’s elder brother) in the film. Prithvi Theatre never laid any restrictions on their actors; they could take outside work while working in their plays. Vyas was eager to face the camera and accepted the role with open arms. He is credited as ‘Vyas ji’s in this film. Soon he played a small role in Raj Kapoor‘s Aag (1948) where he is credited as ‘Brijmohan’. But the role that gave him recognition in the film industry was in Barsaat (1949) where he played actress Nargis’ father. For this film he is credited as ‘B. M. Vyas’. Thus Vyas ji’s film career took off and he never looked back.

He has had a long and very successful career of more than four decades and has been part of many memorable classics. He has always been a character artist who started his career with portraying old characters. His last film most probably was Maa (1991).Vyas was very keen to work with the great filmmaker V Shantaram and approached him for work. Shantaram was planning Do Aankhen Barah Haath (1957) and was busy casting actors to play six prisoners in the film. He did not tell him that he is Bharat’s younger brother who was the lyricist of the film. When Vyas approached him, Shantaram was initially a bit apprehensive due to his height but soon cast him as one of the prisoners, Jalia Nai. They had a month-long schedule in Kolhapur. When the reels were sent to Rajkamal Studios for processing, it was found that due to dirt particles on the lens there were lines all across the frame in all the reels and the whole month’s hard work had gone to waste. They had to reshoot the entire thing. Vyas had a tough time managing schedules due to this re-shoot as he had other films in hand too. My favourite scene of this film is where Jalia comes with an intention to kill the Jailor played by Shantaram himself. That scene showcases Vyas’ ability as a performer, his entire body language, facial expressions, use of eyes and voice in this scene is a class act, beyond words.

About the classic scene from Sampoorna Ramayan (1961) Vyas said when he was offered the role of Ravan he was thrilled, being Shastri in Sanskrit he had read so much about this mythological character. Hence he was really keen to play the part but Ravan is expected to have a powerful physique while Vyas ji had a lean frame. To overcome this hurdle he got cotton padded clothing made for the role to look fuller. The rising temperature due to lights in addition to studio heat, he would sweat profusely in those cotton padded clothes but he did not let it hinder his performance. That innovative scene where Ravan is interacting with his nine heads was a collective brainchild of Babubhai Mistry and Homi Wadia. Vyas had to enact from a fixed position in front of a stationary camera for fifteen days but the end result was very effective.

B M Vyas acted in 175 films. His first film was Neecha Nagar-46 and last film was Oh,Darling ! yeh hai India-95. Vyas ji left for a better world on 11 March, 2013. (Adapted from articles from Maitri Manthan and Blog beete hue din, with thanks.)

This is the second song from the drama Deewar-45. The first was sung by Raj kapoor, but since this was sung by an unexpected actor singer, I thought our Blog must have this song also.


Song- Iss andheri raat mein (B M Vyas NFS)(1945) Singer- B. M. Vyas, Lyricist- Saraswati Kumar Deepak, MD- Ram Ganguli

Lyrics

Iss andheri raat mein
aansuon ki barsaat mein
kaun hai mera
Iss andheri raat mein
aansuon ki barsaat mein
kaun hai mera
????? mera
bhookha hoon main
pyaasa hoon main
???
aas dikha jaa ke raaja
???
aas dikha jaa ke raaja
???

—————————-
andar aajaao bhai
nahin baba main andar na aaunga
kyon

main ?? leka padta hai
maalik

yahaan de jaao
nahin to ?? bhook se kaat chuka hoon

—————————–

Iss andheri raat mein
aansuon ki barsaat mein
kaun hai mera
aas dikha jaa ke raaja
???


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 :

5051 Post No. : 16964

A singing Hero is not a novelty for those who are old film lovers, because in the initial era of Talkie films, most actors sang their own songs in the films. Though the Playback singing was introduced in 1935 in Calcutta and in 1937 in Bombay, it took a few more years to become fully prevalent in all films.

When the Talkie films started in 1931, one of the conditions for the newcomers to join as an actor/actress for lead roles, was that he/she should be able to sing properly. Since most actresses came from singing families (read Tawaifs), just a reasonably good face and a figure was good enough as they knew how to sing. But not all males knew how to sing. So, almost all heroes sang their own songs and so you will find songs by actors like W.M.khan, Kashinath,Khaleel,Master Mohammad, Master Nissar, master Shiraz, Ashraf Khan, Govindrao Tembe, Saigal, panchotiya, Shahu Modak, Marutirao pehelwan etc etc in the films from 1931 to 1937. Many times if the Hero is not able to sing, roles for the Music directors were created and he would act and sing songs in the films for his roles. After this, genuine singers like Surendra, Motilal, Ashok kumar started acting and singing and by the end of the 30’s decade playback was firmly established in all films.

However few popular heroes never sang any songs-like Master Vithal, Jairaj, Prithviraj kapoor etc. Amongst these Non-Singer Heroes of the early era, the story of Jairaj is very interesting. Paidi Jairaj or P. Jairaj ( 28-9-1909 to 11-8-2000 ) was a very handsome and well built young man,when he joined films. After doing 11 silent films,he made his first Talkie,’ Shikari” in 1932. It was produced by a Hyderabad company-Eastern Films.He acted in 170 films and had received the Phalke award and Padma Bhushan in 1980.

In the early phase of Talkie films,there used to be,on average 15 to 20 songs in every film. It was compulsory for every Hero and Heroine to sing their own songs live( playback came in 1935 and became common in 38-39 only). To help the non-singer actors,studios used to keep trained classical experts. Otherwise also most MDs in those days were classical singers themselves.

Thus,Jairaj too was expected to sing songs. He did not like singing,because he was horrible at singing. The MD of film Patit pawan-33 was Prof.B.R.Deodhar,who was a classical singer himself.(Later on he settled with running a musical school). he was determined to make Jairaj sing a song. Finally a song was recorded and filmed-“prem magan sakhi”. Jairaj had sung it so bad,that the song was removed from the film from the second show itself. Jairaj is a Hero of those days who never sang in films. Even after playback was used regularly,in his 170 films,Jairaj has sung less than 20 songs on screen !

This was the case of all Genre of films except Stunt films For stunt films, heroes were required to have a Muscular body, ride Horses, fight criminals, Jump from heights, drive Car / Motorcycles, do fencing etc. C. Ramchandra, the famous Music Director , started his film career as an actor and in his first film itself he became the hero of film Naganand-1935. The film was a great flop in its First day First Show itself where only 6 people came to see the film ! He lost the job and started visiting studios to get a job. One day, he was called by JBH Wadia for an interview. CR was very lean. Though good looking, he did noit have good clothes, so he appeared for an interview in Shirt and Pyjama only.

Wadia saw him and asked,” Any experience ?”
CR gave him the Naganand film booklet and said proudly,” I have worked as a Hero”.
Wadia did not even touch the booklet and asked,” Can you ride a Horse ?’
” No”
” Can you fight with 10 goons ?”
” No”
” Can you jump from 20 feet ?”
” No”
” Then what sort of a Hero you were. Get out .” The interview ended. Wadia was famous for making Stunt films. Same CR became a popular composer and a successful singer later on !

I am telling all this to emphasize that actor-singers were first a necessity and later an utility, till playback took over. Today’s song is a song sung by Raj kapoor (14.12.1924 to 2.6.1988), when he was just 21 year old budding actor in his father’s Drama Company.

Prithvi Theatre was founded in 1942, by Prithviraj Kapoor, as a travelling troupe with 150 members, which staged productions across India. Its maiden performance was Kalidasa’s classic “Shakuntala”. In subsequent years the theatre staged more than 2,600 plays such as “Deewar” (Wall), “Pathan” (a community comprising Hindus and Muslims of North India), “Ghaddar” (Traitor), “Aahuthi” (Offering), “Kalaakar” (Artist), “Paisa” (Money) and “Kisaan” (Farmer). Prithviraj starred as the lead actor in every show. His work in the Indian film industry funded the activities of the company .

Prithviraj Kapoor’s dream was to have a permanent place for his theatre company. In 1962 he managed to lease a plot of land in Juhu on which to create a theatre space. Unfortunately his ill-health and subsequent death in 1972 delayed his dream turning into reality. The year he died the lease on the land expired and was offered on sale to his family. Shashi Kapoor and his wife Jennifer decided to make Prithviraj’s dream a reality by buying the land, and setting up the ‘Shri Prithviraj Kapoor Memorial Trust & Research Foundation’ in his memory with the intention of building a space to promote Hindi theatre and the performing arts.

Prithvi Theatre was inaugurated on 5 November 1978 in Mumbai. “Udhwastha Dharmashala”, written by G P Deshpande, staged by Naseeruddin Shah, Om Puri and Benjamin Gilani was Prithvi’s first play. This was followed by a play by the Indian People’s Theatre Association (IPTA), a political satire, “Bakri”, directed by actor-director M. S. Sathyu.

Music had a dominating influence on Raj Kapoor. As Prithviraj’ s son, he had an opportunity to come close to K L Saigal and the master composer Rai Chand Boral, when Prithviraj worked in New Theatres.. Even while in Bombay, Saigal was his neighbour at College Street in Matunga.

His ambition to be a filmmaker did not allow Raj Kapoor to pursue his passion for music, though he did learn its rudiments from Pt Jagannath Prasad who was closely associated with Khemchand Prakash and K L Saigal and also taught music to Premnath, Mukesh and the members of the Kapoor clan.While visualising a song situation Raj Kapoor showed remarkable judgement in selecting the right tunes. He never hesitated to adapt tunes (such as ‘Is libe dis, I love you’ and ‘Dost dost na raha’, both in ‘Sangam’) which had appealed to him, without worrying about the sources from where they came.

If Raj Kapoor had not been a filmmaker he would have been an excellent composer and a good singer as well. He proved his ability as a singer early in his career, when he sang ‘Hum babu naye nirale hain'(Music: Ram Ganguli/N 2666 1) in Prithvi Theaters’ stage-play ‘ ‘Deevar ‘. He displayed an admirable sense of rhythm and melody in the song. With a little more effort he could have been a successful singer.
He also sang in ‘Chitod Vijay’ (1947/S D Burman)’Jail Yatra’ (1947, Ninu Majumdar),’Dil Ki Rani'(1947/S D Burman),Neel Kamal'(1947/B Vasudeo) and ‘Gopinath'(1 948/Ninu Maiumdar/record not released).Eventually Raj preferred the sonorous voice of Mukesh from ‘Aag'(‘Zinda hoon is tarah ki ghame’/ 1948) to ‘ Mera Naam Joker’ (‘Jane kahan gaye woh din’/1970).

Raj Kapoor used to do all sorts of work in Prithvi Theatres. He acted in few dramas and even sang a song in the drama Deewar in 1945. The song became very popular and HMV took out a Gramophone record of the song. The song was written by Saraswati Kumar Deepak, who generally wrote all dialogues and songs of Prithvi dramas. For a long time this record was not available on YouTube. Last week, a kind soul, a generous Record Collector Syed Zafar Shah posted this song on RMIM and YT. When I complained to him that the song had too much disturbance, he very kindly sent me a cleaned and improved song on my personal Whatsapp account. He also uploaded it on YT. I sincerely thank Zafar Bhai for his generous posting of this and many other rare songs on YT for the music lovers. May God bless him. May his tribe increase !

Raj Kapoor understood music and was deeply involved in his film’s music. After Shankar-Jaikishan , Laxmikant Pyarelal pair came to him, but his interference was not acceptable to them and so they too parted. Raj Kapoor wanted not only a good composer but one who will listen to him and tolerate his interference in the music selection. With Ravindra Jain, it was accomplished. Anyway that is besides the point.

The song is very good and firmly establishes Raj Kapoor as one who understood music and as a good singer !
(I have used some information from Nalin Shah’s article on Raj Kapoor’s Music, in July 1988 issue of ” Playback and Fast Forward” issue, wiki, C Ramchandra’s Marathi autobiography and my notes)


Song- Hum baabu naye niraale hain (Raj Kapoor NFS)(1945) Singer- Raj Kapoor, Lyricist- Saraswati Kumar Deepak, MD- Ram Ganguly

Lyrics

hahahaahha
hahahahaa
wawawa
wawawa
wawawa

sun re
ae ae ae ae ae ae
hum baabu naye niraale hain
baabu naye niraale
hum baabu naye niraale hain
baabu naye niraale
ab rang naye
ab dhang naye
ab ye sansaar naya apna
aa aa aa
baabu naye niraale
hum baabu naye niraale hain
baabu naye niraale
sun re ae
ae ae ae ae ae ae
hum baabu naye niraale hain
baabu naye niraale

ghar ke saare rang jo badle
ghar ke saare rang jo badle
apne bheetar dhang jo badle
hey ae
ab mahal naya ab gali nayi
ab badal gayi poshaak(?) dekh lo
badal gayi poshaak
?? ke jagah ab pyaale hain
hum gitpit bolne waale hain
Darling
How sweet
hum gitpit bolne waale hain
hum gitpit bolne waale hain
hum baabu naye niraale hain
baabu naye niraale
hum baabu naye niraale hain
baabu naye niraale
sun re ae
ae ae ae ae ae ae ae ae
hum baabu naye niraale hain
baabu naye niraale
hum baabu naye niraale hain
baabu naye niraale

maalik badlaa aa aa aa
maalik badlaa
naukar badlaa
badal gaya gharbaar
maalik badlaa
nakar badlaa
badal gaya gharbaar
jo meri wo Lakshmi badle
to jaanoon sarkaar
ke ham bhi kismat waale hain
hey jo meri wo jorua badle
to jaanoon sarkaar
ke ham bhi kismat waale hain
hum baabu naye niraale hain
baabu naye niraale
hum baabu naye niraale hain
baabu naye niraale
sun re ae ae


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

Blog Day :

5042 Post No. : 16953

Today’s song is from the film Devadasi-1945.

The custom of Devdasi has been in India since the 6th Century. Devdasi means- a female artiste dedicated to the worship and service of God in Temples or a Deity for life. She is said to be married to God. (sounds similar to Nuns in Christian Churches, who are also supposed to be married to God). These Devdasis learned the art of dance and music. Initially their status in the society was very high during the period from the 6th century to 13th century. Devdasis used to be quite rich too, due to large donations and gifts from the kings and the Royalties. However, later on Devdasis were used for personal purposes by the Nobles and the kings and their status became worse than prostitutes. They became poor and dependent on their patrons. They bore children too. Their daughters became traditionally Devdasis again.

The British brought the ” Devadasi protection Act” in 1934. However the Devdasis continued to be used unabated. The system continued like other social ills like Dowry system and Child marriage etc. After independence, all state governments made laws abolishing Devadasi custom, but even now – after 75 years of independence -this custom is followed in villages in some or the other form.

Unlike the other social ills, not many films were made on the plight of Devdasis. I found only 1 film -today’s film- on this subject. A film on similar subject was ” Jogan”-1950, but not on Devdasi custom. Pity that Indian filmmakers opted for several versions, in all Indian languages, to make films on Devdas, but none on Devdasis ! So much for Women’s Emancipation !

Film Devadasi-45 was made by New Maharashtra Productions. It was directed by C.S.Bose and the music was by the first blind composer-K.C.Dey. The 11 songs were written by Narottam Vyas. Except prithviraj Kapoor, majority of the cast and singers were Bangla artistes. The other cast members were Monica Desai, K C Dey, Vikram Kapoor, Suman, Kamla, Dar Kashmiri, Prasannat Kumar etc.etc.

The heroine Monica Desai (sister of actress Leela Desai) was talented and an interesting person. Her entry into Bombay’s Hindi films, courtesy Kidar Sharma, was sensational but strange enough to put the owners of Ranjit and her Mentor Kidar kapoor on the edge of anxiety !. It so happened that…..

For film Gauri-1943 Kidar Sharma insisted to Ranjit owners that the Hero’s role of Khumar- the Idol Maker be done only by his friend Prithviraj kapoor. His name was of course agreed upon. However, Goharbai queried as to who Sharma had in his mind to do the sensitive Heroine’s role. Sharma ji replied that he needed someone who looked fresh and innocent. He asked for some time. Actually he had thought of Monica Desai- the younger sister of famous actress Leela Desai. Monica worked as a school teacher in Calcutta. She had done a small role in his film ‘ Chitralekha’-41. In those days Sharma was impressed with her and had assured her that when he gets stabilised as a Director and has a suitable script, he will give Heroine’s role to Monica.

Next day, Sharma ji told Chandulal Shah about her selection. Chandulal had confidence in his judgement. The big hearted Shah gave Rs. 5000/- to Sharma to send to Monica for coming to Bombay comfortably in First Class. Kidar Sharma sent the money to her and asked her to travel only by First class to Bombay, to get down at Dadar, keep the luggage in Cloak room and freshen up in the waiting room. She was asked to wear a silk saree also. Sharma asked her if she understood all the instructions and she confirmed. She was to visit Ranjit Studios at 2.30pm, when Sharma would introduce her to Sethji.

On the afternoon of her arrival day, the Shah couple and others waited anxiously for Monica’s arrival. In the afternoon, Monica arrived at the gates of the studio looking tired and untidy, along with all her luggage. Seeing her, Chandulal became nervous, but asked Sharma ji to arrange for her stay and food etc. Chandulal Shah was not only upset with Monica’s looks but also annoyed. Still without commenting, he left the studio immediately with Goharbai. Sharma as well as Prithviraj felt humiliated with the foolish Monica who came to the studio, not following Sharma’s instructions. This she did to save some money, but put everyone in an awkward situation. Anyway, Sharma made her staying etc arrangements.

Next day, Chandulal called him to his office and said that he will continue making film Gauri, as promised, but he will not participate in any shootings, recordings or other matters till the film is completed. He will, however, see the finished movie before it goes to Censors. It was too obvious that both the Shahs were upset about the ordinary looking and childish, immature Monica as Heroine.

Kidar Sharma gulped all this quietly and started work on the film quickly. The team went to Calcutta also and came back. When the film was completed, Sharma invited Chandulal and Goharbai to see it. Actually whenever such a preview was done all other Directors of Ranjit also attended it, but this time there were only the two of them-Chandulal and Goharbai. The entire team of the film was also present. Sharma had known that when Chandulal did not like the film, he usually abused loudly and sometimes even threw his chappals at the screen. With bated breath, Sharma showed him the film Gauri and waited for his reactions, expecting fireworks. Instead, Chandulal and Goharbai left the room and went to their office. Everyone,including Sharma was sure that Sharma has to leave the company now.

With great courage, Sharma went to their office to know their opinions. To his great surprise, Chandulal dug into his pocket and removed whatever money was there and gifted it to Sharma. He said,” this is my gift to you for making a sublime movie.” Gohar too appreciated it heartily. Both of them were spellbound with Monica’s performance. Shah offered Monica a 3 year contract, furnished house and a new car with a driver etc. Shah also increased Sharma’s salary to Rs.5500/pm.

Thus Monica Desai’s first film was a great success. ” GAURI” was a winner. Kidar Sharma was the winner.

One film old Heroine Monica Desai- was called from Calcutta by Kidar Sharma. He knew her well earlier,from Calcutta.
Monica Desai was a famous Indian actress during the 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 was 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 films ‘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 the 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 among the top seven grossing films 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 Yashodhara.

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.

One name Dar Kashmiri appears in the cast. He was the eldest brother of actor Jeevan (Narad roles and later on comic villain roles). When Jeevan came to Bombay he was called O.K.Dar. Since some confusion arose between these names, here is the explanation to clarify. Om Prakash Dar was born into a large family, he had 23 siblings. His grandfather was the Governor of Gilgit in Gilgit-Baltistan. He lost his father when the youngest- Jeevan- was 3 years old and his mother died at childbirth. Being the eldest,he came to Bombay in search of jobs and entered films. Instead of his original long name,he was called Dar Kashmiri.

Actually, When Jeevan came to Bombay in search of film roles, Om Prakash Dar aka Dar kashmiri, his elder brother, was already working in films. Jeevan appeared for the first time in Fashionable India-35. Since his name was Onkar nath, he was billed as O.K.Dar (and not Dar kashmiri-please note).
His elder brother Dar Kashmiri worked in some films like –

Noor Mahal-34, Watan parast-34, yaad rahe-40, Abla-41, Saugandh-42, Angoori-43, Naya Tarana-43, Devdasi-45, Room No.9-46, Hua savera-48, Kundan-55 and Ayodhyapati-56. and many other films. Every film, he was billed as Dar Kashmiri only.

Jeevan was billed as O.K.Dar (Jeevan) from film Romantic India-36 onwards and then on as Jeevan only-except still a few films where he was billed as O.K.Dar(Jeevan).

In the film Patit pawan-1955, both brothers acted and they were individually billed as Jeewan and Dar Kashmiri. This settles their name issue completely.

Here is the second song from the film Devadasi-45, sung by Parul Ghosh.


Song- Tum hi sab kuchh ho meri maa Main aur kisi ko nahin jaanoon (Devdasi)(1945) Singer- Parul Ghosh, Lyricist- Narottam Vyas, MD- K C Dey

Lyrics

Tum hi sab kuchh ho
meri maa
main aur kisi ko nahin jaanoon
main aur kisi ko nahin jaanoon
meri maa
main aur kisi ko nahin jaanoon
tum hi sab kuchh ho
bin rain magan man tum mein
bin rain magan man tum mein
main aur na koi sukh maanoon
meri maa
main aur kisi ko nahin jaanoon

ek tumhi to ?? mein hamne
ek tumhi jag ke rab ne
sone mein sab mein(?)
ek tumhi jab ?? rab ne to ?? mein
jidhar dekhti udhar tumhi ho
jidhar dekhti udhar tumhi ho
aur kya gun main bakhaanoon
meri maa
main aur kisi ko nahin jaanoon

?? aankhon ke anjan
?? ke bol tum
kaanon ke kundal
?? gahne aankhon ke anjan
baani ke bol sun kaanon ke gunjan
tumhen chhod sab saare jagat mein
main nahin kise pahchaanoon
tumhen chhod sab saare jagat mein
main nahin kise pahchaanoon
main aur kisi ko nahin jaanoon
meri maa
main aur kisi ko nahin jaanoon
tum hi sab kuchh ho
meri maa
main aur kisi ko nahin jaanoon
main aur kisi ko nahin jaanoon
meri maa
main aur kisi ko nahin jaanoon
tum hi sab kuchh ho


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 :

4995 Post No. : 16890

———————————————–—————————————
Blog 10-Year Challenge (2012-2022) – Song No. 34
————————————————————————————–

This date ten years ago (viz 22 March 2012) saw six songs rom six different movie getting covered in the blog. Here are the details:-

Blog Post number Song Movie (Year) Remarks
5673 Dil yaad mein kisi ki zara rone laga re Begam(1945) 4 songs covered so far out of 9
5674 Raahi chal sambhal sambhal kar Detective (1958) 7 songs covered out of 8 so far. Final song not available
5675 Baaten kahin aur banaao Batwaara(1961) Movie YIPPEED by now
5676 Jawaab de ya na de bewafa salaam to le Bambai Ka Chor (1962) Movie YIPPEED by now
5677 Yahaan main ajnabi hoon Jab Jab Phool Khile(1965) Movie YIPPEED by now
5678 Mere soone jeewan ka aasraa hai tu Aasraa (1966) Movie YIPPEED by now

Four out of 5 movies whose songs were covered on this day ten years ago have since been YIPPEED. Another movie is conditionally YIPPEED because one remaining song of the movie is not available.

That leaves us with only one movie that is eligible for Blog Ten Year Challenge today on 22 March 2022.

This movie is “Begam”(1945).

“Begam”(1945) was directed by Sushil Majumdar for Tajmahal Pictures, Bombay. It had Naseem Bano, Ashok Kumar, V H Desai, Vikram Kapoor, Prabha, Puri, Raj Biswas, Harun, Mehar Bano, Sharda, Indu etc in it.

The movie had nine songs in it. Five of these songs have been covered in the blog in the past.

Here is the sixth song from “Begam”(1945). The song is sung by Naseem Bano. Gpal Singh Nepali is the lyricist. Music is composed by Hari Prasanna Das.

Only the audio of the song is available. It is clear that the song was picturised on Naseem Bano herself.

Lyrics of the song were sent to me by Prakashchandra.

audio link:

Song-Aayi jawaani pagli aayi re (Begam)(1945) Singer-Naseem Bano, Lyrics-Gopal Singh Nepali, MD-Hari Prasanna Das

Lyrics(Provided by Prakashchandra)

aayi jawaani pagli aayi rey ae
aayi
aayi jawaani pagli aayi rey aey ae aayi
aayi jawaani pagli aayi rey
ho o o o o
duniyaa ne lee angdaayee rey
hho aayee
aayi jawaani pagli aayi rey

aankhein karti hain dil se baatein
haan dil se baatein
aankhein karti hain dil se baatein
haan dil se baatein
hanstey hain din aur gaati hain raatein
hanstey hain din aur gaati hain raatein
chor nigaahein chupke chupkey ae ae
chor nigaahein chhupke chhupke
ho o o oo
ghooghat mein sharmaayee rey ho o
aayi jawaani pagli aayi rey ae ae ae
aayi
aayi jawaani pagli aayi rey aey ae ae

masti mein chaar chaand lagaati hain ghataayein aen aen
hoo ooo oo ho o o
masti mein chaar chaand lagaati hain ghataayein aen
ho o o o ho o o
ho loriyaan deti hain inn aankhon ko hawaayein
hoo ooo oo ho o o o
hho loriyaan dethi hain inn aankhon ko hawaayein
hoo ooo oo hho o
ho o o dil mein umangein chhaayee rey aey ae ae
dil mein umangein chhaayee rey ho o o
duniyaa ne lee angdaayee rey
ho aayi
aayi jawaani pagli aayi rey ae
aayi jawaani pagli aayi rey aey ae ae


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

Blog Day :

4901 Post No. : 16706

Today’s song is from the film Badi Maa-1945.

No wonder that the word Maa is one of the favorites of our film makers. There were 5 films called Maa and its varieties like Badi Maa, Chhoti Maa. Then there were Maa films with Baap, Beta, Beti, Behen,Biwi, Mamata, Aanchal, Pyaar, Aansoo, Saugandh, Shakti, and Qasam. Additionally, Durga and Santoshi Maa were also made. Almost 30 films about Maa at one place in the index book. I did not try other letters of the alphabet to see more films with the word maa – like Naani Maa etc !

BADI MAA-1945 was a film of Prafull Pictures of Master Vinayak (Father of actress Nanda).It was produced and directed by Master Vinayak with music by K.Datta or Datta korgaonkar or D.P.Korgaonkar.The story was by V.S.Khandekar,noted Marathi writer,who was ,later,the First Marathi recipient of Gyanpeeth Award for his novel “YAYAATI”.The lyrics were by Anjum Pilibhiti,Zia Sarhadi and Raja Badhe,who was a noted Marathi poet.

Master Vinayak was forced to produce this war effort movie to save his company,because the Govt. At that time desperately needed public support for their war efforts.Such pictures were given grants for production also.if they refused,the consequences were dire. The word Badi Maa,in this film meant Motherland-India.

Today’s song is one of Lata’s early songs in Hindi films. Being brought up in a Marathi atmosphere, initially, she had to struggle very hard to learn Hindi / Urdu word pronunciations, which, like a good learner, she picked up fast. Entering Film world was not so easy, but Master Vinayak played a vital role in establishing her in films or at least in bringing her to the notice of other stalwarts, because he himself died quite early in 1947 itself.

After Deenanath Mangeshkar’s death, Lata was adopted by Master Vinayak. In 1942, vinayak directed his last film for navyug Films “Pahili Mangalagaur”. he gave a small role and one song to her in that film. Then he, with the help of friend Vasant joglekar got her a song in Marathi film ” Kiti Hasaal’. However it was removed from the film before its release. In 1943, Vinayak launched his own Prafulla Pictures and madr 6 movies – 3 Marathi and 3 Hindi.

In the film Gajabhau-44 he gave Lata a hindi song. Then in the film Subhadra, Lata got 3 songs. In 1945, he directed ‘Badi Maa’. Lata and Asha got acting roles and Lata got 2 songs. In Jeevan yatra-46, she sang one song. And finally in 1947, Lata sang her first Hindi playback song in the film ” Aap ki Sewa mein”.

Vinayak died almost immediately after our Independence, but he had done the basic ground work to give a beginning to Lata’s career. Lata was later helped by Ghulam Haider, Khemchand Prakash and Anil Biswas. Then she never looked back.

The story of the film Badi Maa-45 was written by V.S.Khandekar. In those days there were Bangla, Gujarati, Hindi and Marathi writers with almost all film companies to assist in stories and dialogues. V. S. Khandekar was a very popular and famous writer in Marathi.

Vishnu Sakharam Khandekar (11 January 1898 – 2 September 1976) was a Marathi writer from Maharashtra. He was the first Marathi author to win the prestigious Jnanpith Award.

Khandekar was born on 11 January 1898 in Sangli, Maharashtra. His father was a munsif (a subordinate official) in Sangli principality where he spent his childhood and completed his early education. In his early life, he was interested in acting in movies and staged various dramas during school days.
After passing his matriculation exam in 1913, Khandekar joined Fergusson College, Pune. In 1920, he started working as a school teacher at a school in Shiroda.

Khandekar’s writing career began in 1919 when Shrimat Kalipuranam, his first work, was published, and continued to 1974 when his novel Yayati was published.

In 1920, Khandekar started working as a school teacher in a small town, Shiroda, in the present-day Sindhudurg district of the Konkan region in Maharashtra. He worked in that school until 1938. While working as a teacher, Khandekar produced in his spare time abundant Marathi literature in various forms. In his lifetime, he wrote sixteen novels, six plays, around 250 short stories, 50 allegorical stories, 100 essays, and over 200 critiques. He worked and founded Khandekari alankar in Marathi grammar.

In 1941, Khandekar was elected as the president of the annual Marathi Sahitya Sammelan (Marathi Literary Conference) in Solapur. In 1968, the Government of India honoured him with a Padma Bhushan award in recognition of his literary accomplishments. Two years later, he was also honoured with the Sahitya Akademi Fellowship of the Indian Sahitya Akademi. in 1974, he was awarded the Jnanpith Award, country’s highest literary recognition, for his novel Yayati. Shivaji University at Kolhapur, Maharashtra conferred on him an honorary degree of D.Litt. In 1998, the Government of India issued a commemorative postage stamp in his honour.

Khandekar’s novel Yayāti (ययाति) received three prestigious awards: A Maharashtra State Award (1960), a Sahitya Akademi Award (1960), and a Jnanpith Award (1974).

Films on his novels were made in Marathi (5), Hindi (3 – Chhaya-36, Jwala-38 and Amrut-41) and in Telugu and Tamil (1 – Dharm Patni-41). He wrote stories, lyrics and dialogues for Marathi and Hindi films too.

Here is his Filmography as per the Indian Cinema Encyclopedia-

1936: Chhaya (Writer, Lyricist), 1938: Dhruva (Lyricist), Jwala (Writer, Lyricist), Jwala (Writer, Lyricist), 1939: Devata (Writer, Lyricist, Screenplay, Dialogue), Mera Haq (Writer, Lyricist), Sukhacha Shodh (Writer, Lyricist), 1940: Lagna Pahave Karun (Writer, Lyricist, Screenplay), 1941: Amrit, Amrit (Writer, Lyricist), Dharma Patni (Writer, Story), Dharmapatni (Writer, Story), Sangam (Writer, Lyricist), 1942: Sarkari Pahune, Tuzhach (Writer, Lyricist), 1943: Mazhe Bal (Writer, Lyricist), 1945: Badi Maa, 1946: Subhadra, 1948: Mandir, 1953: Soneri Savli, 1960: Antaricha Diva (Writer, Lyricist), 1961: Mansala Pankh Astaat (Writer, Lyricist, Story, Screenplay, Dialogue), 1962: Sunbai (Lyricist)

The cast of the film Badi Maa was Noorjahan, Ishwarlal, Yaqub, Jog,Meenakshi, Sitara, Leela Mishra, Damuanna, Lata Mangeshkar and others. The story of the film Badi Maa-45 was…..

In Dinapur,Durgadas(Salvi) was worried about his son Dinesh(Ishwarlal) studying in London,due to attacks by Germans.Moneylender Ghanashyam(Girish)agrees to write off his loan,if his daughter Usha(Meenakshi) marries his son Rajendra(Yakoob).But Rajendra and Mona(Sitara Devi) are Japanese spies in India.When Durgadas refuses ,his house is confiscated,sold and he is on road. Ghanashyam’s daughter Hema(Noorjehan) does not like this as she loves Dinesh.Dinesh comes back to find father poor and destitute.SuddenlyJapanese attack the village and Rajr=endra helps them .Usha urges Rajendra to fight for Badi Maa i.e. Motherland and dies due to bullets.Rajendra repents and saves his village,along with Dinesh.In this,Rajendra dies for the motherland or Badi Maa.

Dinesh and Hema marry.

Let us now listen to this song by Lata, Meenakshi Shirodkar and chorus.


Song- Janani Janmabhoomi (Badi Maa)(1945) Singers- Meenakshi Shirodkar, Lata Mangeshkar, Lyricist- Anjum Pilibhiti, MD- Datta Korgaonkar
chorus.

Lyrics

Janani Janmabhoomisch
swargdapi gariyasi
swargdapi gariyasi
Janani Janmabhoomisch
swargdapi gariyasi

tum maa ho
badi maa
tum maa ho
badi maa
nyaay ke jag mein
deep jala do
o o o o o
soye huye hirday ko jaga do
nyaay ke jag mein
deep jala do
soye huye hirday ko jaga do
dharti ko
aakaash bana do
bana do
aakaash bana do
tum maa ho
badi maa
tum maa ho
badi maa
tum maa ho
badi maa
tum maa ho
badi maa

chhote baalak bilakh rahe hain
aen aen aen
nange bhookhe sisak rahe hain
nange bhookhe sisak rahe hain
daulatwaale ae ae
daulatwaale
hulas rahe hain
julam sitam ka raaj mita do
tum maa ho
badi maa
tum maa ho
badi maa
tum maa ho
badi maa
tum maa ho
badi maa

badli gham ki aisi chhaayi
chhaayi
dushman hua hai
bhai ka bhai
dushman hua hai
bhai ka bhai
hindu musalmaa sikh isaai
hindu musalmaa sikh isaai
ab tum sabko
galey mila do
o o o o
o o o
ab tum sabko galey mila do
o o o o
o o o o
tum maa ho
badi maa
tum maa ho
badi maa
tum maa ho
badi maa
tum maa ho
badi maa
tum maa ho
badi maa


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

Blog Day :

4881 Post No. : 16677

Songs from Artiste Name Films….Second Season….No. 3
———————————————————————

What is Beauty ?

Everybody’s definition of Beauty is different. It all depends upon individual likings. Some like good eyes, some like long hair, some like a round and attractive face….long nose…good smile… etc etc. Because of this, Shakespeare ended this debate by saying ” Beauty lies in the beholder’s eyes”. In other words, to each his own. However, there are many who go by the majority.

There have always been debates in the film industry as to who is the most beautiful actress and as expected there was no common answer. In the early times of cinema neither the audience nor the filmmakers ever bothered about the beauty of the actresses. In the 30’s, the stress was on film producing company names and the story of the film. It was in the 1940s that the point of beauty of the film heroine took prominence. When one sees the magazine and newspaper advertisements of that time, one notices this point.

During the 40’s decade two actresses were declared beautiful. One was Naseem Bano- who was called ‘ Pari Chehra” (face of the Fairy), and the other was Ragini- who was called “Aahoo Chashm” (Magical Eyes). Ragini’s eyes were Brown, which is a rarity. in all those years, there have been only three actresses, who had brown eyes. One was Vanmala, the second was Kamla Kotnis and the third was Ragini. However, it was only Ragini, who was given extraordinary publicity through newspapers, Hoardings and magazine articles, of being the ” Aahoo Chashm ” !

Ragini was born Shamshad Begum, on 11-12- 1923, at Gujranwala, in a bazaar, where, to quote that great sage, Agha Hashr, “Days are dormant and nights wide awake.” Her mother named her Shamshad Begum, and her father, Seth Diwan Parmanand, happily allowed a Muslim name. But, her mother died during her childhood, and Diwan took this young girl from Gujranwala to Lahore.

Even this early, Ragini had the looks that made her noticeable. In those days, the classical sense of beauty was quite different. Large, sparkling eyes and a fair complexion was enough for any girl in the films to be termed beautiful. Aahoo Chashm Ragni and Pari Chehra Naseem (Saira Bano’s mother) were both considered the epitome of beauty, although young people question those attributes today as “just average”. Ragini had Brown eyes. In Indian cinema there were only 3 Heroines who had such Brown eyes. Ragini was one, Kamla Kotnis was second and the third was Vanmala.

Ragini was not able to go to school for undisclosed reasons, although she had a happy childhood. Diwan Sahab’s good friend, Roop K. Shorey was a well known film maker, and one day, while visiting his house, he noticed the girl child. “Isn’t she cute?” he said. “She has the looks of a fine film actress.” Although Diwanjee had some reservations about allowing the girl to join the industry, Shorey pledged that he would look after her at every step of the shootings. In those days, there were very few girls in the industry. To find a seventeen year old girl as the heroine meant that you had hit the jackpot.

Shorey cast Shamshad as Ragini, in Kamla Movietones’ Punjabi film, Dulla Bhatti in 1940. M.D. Kunwar was the hero, while Ragini played Nooran in the film. It was a hit and people were spellbound by her charm. Her next film, Sehti Murad did not make such a bang. She also did ‘himmat’ and ‘Raavipaar’. Later, she worked in many films before Partition, including her first Hindi film,Nishani-42,,naila,Anarkali,Poonji, Kaise Kahoon, Dasi, Shirin Farhad,farz and others. In Kardar’s film, Shahjahan, Ragini played Mumtaz Mahal, while her first hero, M. D. Kunwar, who had done Dulla Bhatt’s role, characterized Shahjahan with great aplomb. Kunwar was so enamoured of Ragini that he had requested Kardar for the role, to be close to Ragini. Unfortunately, Ragini did not respond to his romantic advances, and Kunwar sank himself in perpetual drunkenness, which led to his getting infected by tuberculosis and his death soon after that.

After Kardar’s Shahjhan, Ragini did a few more films before Partition, namely Nek Parveen, Farz, etc. Amongst these, director Niranjan’s film, Farz was Sudhir’s first film too, and Ragini played the lead with him. Ragini acted in 14 Hindi films, before her migration. Ragini got married to mian Mohd. Aslam in 1945 and took a break to raise a family. After Partition,she migrated to Pakistan and was welcomed with open arms in Pakistan. She worked as the heroine in films like Mundri, Akeli, Nazrana, Beqarar, Shararey, Mumtaz and Zanjeerin Pakistan. Radio Pakistan , during its creative days, used to play the hit songs of Beqarar, Naukar and Bedari in the 1960s. The song from producer S. Gul and director NazeerAjmeri’s 1950 film, Beqararis, still played on the radio. Dil ko laga ke kaheen thokar na khana. It was sung by Ali Bux Zahoor and Munawwar Sultana, and remains one of the earliest hit duets of Pakistani films.

Ragini was an expressive character actress, who did a variety of roles in films like Husn o Ishq, Anarkali, and Aab e Hayat She made a perfect Mumtaz Mahal in Naseem usSaqlain’s Taj Mahal, although she wore a half veil in some of the scenes. It was a remarkable spectacle, but flopped because the local audience could not understand its historical significance. A huge expense to uplift it, with superb costumes, apart from the details taken care of during the royal procession shown in the film, are its high points. Ragini was able to use her arching eyebrows and expressive eyes brilliantly in Taj Mahal. Much has been written about her intimacy with famous producer, S. Gul, but he always maintained and proved by his actions that he had sympathy and reverence for her and shared her grief and heart felt fondness for the good times she had spent in the undivided India.

Ragini was invited to India to do two films,Chamkee-52 and Insaan-52. She completed these and went back to Pakistan. Later she divorced her first husband and married producer Gul. Her last days in Pakistan were very sad. She was thrown out of her house by her Son in Law,as he did not want an actress in his house. She spent her last days in a small room in Lahore and died unsung on 27-2-2007 at the age of 85 years. (information collated from various sources like pak.mag, cinerang by Isaq Mujawar, muVyz, HFGK,Flashback, Chanderi Smriti Chitre by Samant, upperstall with thanks and my notes)

Today’s song is from the film Ragini-1945. Actress Ragini was not in the film. The film cast consisted of Smriti Biswas, Najam ul Hasan, Pran, Aruna Devi, Gyani ji, Roofi and many others. The film was made by Maheshwari Pictures, Lahore and was directed by Shankar Mehta. He directed only 4 films in his career-Pagli -43, Ragini-45, Aai Bahar-46 and Rokshawala–60 ( for which he was also one of the producers). The music was by Pt. Amarnath – the eldest brother of Pt. Husnlal and Pt. Bhagatram.

The Hero of the film Ragini (RAGNI, as per the HFGK)-45 was Najam, who was (in)famous for eloping with Devika Rani of Bombay Talkies. Najmul Hasan was born on 5-9-1910, into a noble family of Lucknow. He was tall and very handsome and was bitten by the urge to act in the films. He left his Law studies and headed for Bombay. He met Sarojini Naidu, who was a family friend. She strongly recommended his name to Himanshu Rai. His Screen test was taken in which he passed. Though at first sight, Himanshu Rai was not impressed with his manner of behaviour, he still selected him for the First film of Bombay Talkies, opposite Devika Rani in Jawani ki Hawa-1935.

During Jawani ki Hawa-35- which was loosely based on Agatha Christie’s “Murder On The Orient Express”, published in 1934 only- Devika Rani fell in love with Najmul Hasan and they decided to elope. Their second film- Jeewan Naiyya-36 went on floor and the love birds flew to Calcutta. There was a great commotion in Bombay Talkies. Shashdhar Mukherji the production manager was close to his Bengali Boss Himanshu Roy. Mukherjee traced the couple to Calcutta, met Devika Rani and convinced her to return to Himanshu. Devika Rani returned, Himanshu Roy pardoned her, but not Najmul Hasan.

Najmul Hasan did not come back to Bombay. He joined the New Theatres in Calcutta and did films like Anath Ashram-37,Dushman-38,Kapal kundala-39,Jawani ki Reet-39, and Nartaki-40. Even in Calcutta, Najmul Hassan had a rocking affair with superstar Jahan Ara Kajjan. After doing the film Meenakshi-42, Najmul Hasan did some films like Daasi-44 , Ragini-45 and kaise Kahoon-45 in Lahore and then he decided to migrate to Pakistan in 1947. In Pakistan he did some films like Eid-1951, Ashiyana, Doctor, Mirza Jatt, Taxi Driver and Heer Ranjha etc.

Najmul Hasan, a very bitter man for the treatment he received in Pakistan, died in 1980 in Pakistan. (Based on information from सुंदर ती दुसरी दुनिया by Ambarish Mishra,pak.mag, The magical world of Bombay Talkies by Lalit Joshi with thanks and my notes)

Today’s song is sung by Zeenat Begum, who was not only a find of Pt. Amarnath, but also his main singer for many of his films.


Song- Ik hook si uthhti hai dil mein baar baar kyun(Raagini)(1945) Singer- Zeenat Begum, Lyricist- not known, MD- Pt. Amarnath

Lyrics

Ik hook si uthhti hai dil mein baar baar kyun oon
aankhon ne baandh rakkha hai ashkon ka taar kyun oon
ik hook si uthhti hai dil mein baar baar kyun oon
maatam hai jiski aarzuon ka jahaan mein aen
maatam hai jiski aarzuon ka jahaan mein aen
har cheez mein gar ho rahi hai sogwaar kyun
aankhon ne baandh rakkha hai ae ashkon ka taar kyun oon
ik hook si uthhti hai dil mein baar baar kyun oon

hook uthh raha hai dil mein janaaza ummeed ka
taar taar samne sab ro karaar kyun oon
aankhon ne baandh rakkha hai ae ashkon ka taar kyun oon
ik hook si uthhti hai dil mein baar baar kyun

barbaad ho chuka hai mera aashiyaan ??
barbaad ho chuka hai mera aashiyaan ??
bijli chaman mein kaundhhti hai baar baar kyun oon
aankhon ne baandh rakkha hai ae ashkon ka taar kyun oon
ik hook si uthhti hai dil mein baar baar kyun oon


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 :

4822 Post No. : 16599

“Hamraahi”(1945), a New Theatres, Calcutta production was the Hindi remake of Bangla movie “Udayer Pathe”(1944) by the same production house, with virtually the same team that worked in the Bagla movie. The movie, directed by debutant director Bimal Roy, had Binota Bose , Radhamohan Bhattacharya, Tulsi Chakraborty, Rekha Mullick, Debi Mukherjee, Hiralal, Ramesh Sinha, Manorama, Maya Bose, Devbala etc in it.

The movie had seven songs in it. Six songs have already been covered.

Here are the details of the songs covered in the blog so far:-

Song Date of post Remarks
Jan gan man adhinaayak jay he 15 August 2013 written and composed by Rabindranath Tagore . This song was part of movie before in became Indian national anthem
Gaaye ja tu apna geet 10 may 2014
Jigar ke daag naye gul khilaaye jaate hain 23 may 2014
Din hain bahaar ke aaye 26 november 2017
Modhu gandhe bhara mridu snigdho chhaaya 5 May 2020 Bangla language song composed by Rabindranath Tagore
Hansi chaand ki aaj niraali 28 September 2021

One can see that the future national anthem of India was present as a song in this movie, with Rabindranath Tagore duly getting credited as the composer ! He was the composer of another song (a Bangla song) in the Hindi version movie as well.

Other songs were composed by R C Boral.

The seventh and final song from “Hamraahi”(1945) is an “inspirational” song. It is sung by male and female chorus. Munshi Zakir Hussain is the lyricist. Music is composed by R C Boral.

With this song, all the songs of “Hamraahi”(1945) are covered in the movie and the movie joins the list of movies that have been YIPPEED in the blog.


Song-Badhte chalo badhte chalo badhte chalo jawaanon(Hamraahi)(1945) Singers-Male Chorus, Female chorus, Lyrics-Munshi Zakir Hussain, MD-R C Boral
All chorus

Lyrics

Badhte chalo badhte chalo badhte chalo jawaanon
Badhte chalo badhte chalo badhte chalo jawaanon
ae desh ke sapooton
mazdoor aur kisaanon
ae desh ke sapooton
mazdoor aur kisaanon

hai raasta meelon tak
aur saamne hai manzil
himmat se kaam lo to
aasaam hogi mushqil
hai raastaa meelon tak
saamne hai manzil
himmat se kaam lo to
aasaam hogi mushqil
karke use dikhaa do
jo apne dil mein thhaano
karke use dikhaa do
jo apne dil mein thhaano

badhhte chalo badhhte chalo
badhhte chalo jawaanon

aa ha ha ha
aaha
aa ha ha ha
aa ha ha
aa ha ha ha
aa ha ha
ha ha ha

?? lon ne
?? lon ne
ye rakkhe hain idaare ??
jinke sitam se laakhon
phirte hain maare maare
bhookhe mahaajanon ne
ye rakkhe hain idaare
jinke sitam se laakhon
phirte hain maare maare

ye desh ke hain dushman
inko na dost jaano
ye desh ke hain dushman
inko na dost jaano
tum inko na dost jaano
karke ise dikha do
jo apne dil mein thhaano
karke ise dikha do
jo apne dil mein thhaano
tum jo apne dil mein thhaano

tum jo apne dil mein thhaano
Badhte chalo badhte chalo badhte chalo jawaanon
ae desh ke sapooton
mazdoor aur kisaanon
ae desh ke sapooton
mazdoor aur kisaanon

Badhte chalo badhte chalo badhte chalo jawaanon


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

Blog Day :

4820 Post No. : 16593

In the early 1940s, New Theatres (NT) was going through some lean period as some of its films like ‘Meenakshi’ (1942), ‘Saugand’ (1942), ‘Kashinath’ (1943), ‘Waapas’ (1943) etc could not garner box office success. During this period, there were exodus of some of the artists and technicians from NT to Bombay. In this background, NT produced ‘Udayer Pathe’ (1944) in Bengali with some new artists, new technicians and also with a new director, Bimal Roy who was the Cinematographer and the Editor with NT. The film became a big box office success, recouping to some extent the lost glory of NT.

Buoyed by the fresh success, NT decided to remake Hindi version, ‘Hamraahi’ (1945) with more or less the same star cast that were in the Bangla version. The star cast included Binota Bose (her first and the last Hindi film as an actress) and Radhamohan Bhattacharya in the lead roles, supported by Tulsi Chakraborty, Rekha Mullick, Debi Mukherjee, Hiralal, Ramesh Sinha, Manorama, Maya Bose, Devbala etc.

Incidentally,as reported in The Daily Telegraph’s E-paper, the lead actor, Radhamohan Bhattachraya’s 100th birth anniversary was on September 27, 2021. Bangla film fraternity gathered in Kolkata to pay tribute to him especially by actors who had worked with him. At the end of the gathering, one of his film, ‘Udayer Pathe’ (1944) was screened for the audience.

‘Hamraahi’ (1945) did not get the same success at the box office as was with its Bangla version. DVD of ‘Hamraahi’ (1945) is not available for viewing on any of the video sharing platforms. So, I watched the Bangla version, ‘Udayer Pathe’ (1944) with English sub-titles. The story of the film is the theme of rich-poor conflicts. The idea of making the film on rich-poor conflicts may have come when NT produced a documentary film on the Bengal famine of 1943 which was directed by Bimal Roy. The story of the film is as under:

Anup (Radhamohan Bhattacharya) is a middle-class journalist staying with his mother and a sister, Sumitra (Rekha Mullick). Anup gets a job at industrialist, Rajendranath’ office as a as a Publicity Officer. He also writes speeches for Rajendranath (Ramesh Sinha in Hindi version) which are well appreciated and Rajendranath attains a status of an intellectual.

Anup meets Gopa (Binota Bose) in a library where he comes to know that Gopa is the daughter of Rajendranath whose wife had falsely accused his sister, Sumitra of stealing from his house when she attended a party on the invitation of her school friend, Gopa, Anup decides to leave the job. After some persuasion by Rajendranath’s son, Souren (Debi Mukherjee), Anup agrees to complete the speech he was writing for Rajendranath. Souren in return agrees to get Anup’s novel printed.

Gopa gets hold of the manuscript of Anup’s novel. After reading it, she is impressed with the viewpoints he has about the rich-poor class struggles. She starts meeting Anup quite often. In the meanwhile, the novel is printed and released but instead of Anup’s name, the novel carries the name of Sauren as the author. Anup is not in a position to prove the wrong-doing of Souren, Instead, he decides to take up the issues of the workers in factories of Rajendranath. Gopa also gets involved with workers’ union to understand their problems. Anup becomes popular among the workers and becomes the leader of the workers’ union.

Souren is not happy with this development. He hires goons to to disturb the workers’ meeting during which Anup gets hurt. Gopa arrives to take care of him. The next day, the photograph of Gopa with Anup becomes a scandalous news. Rajendranath bars Gopa from meeting Anup. He also visits Anup’s house requesting him not to meet Gopa in future which Anup agrees under the impression that Gopa regretted her decision to join him as told to him by Gopa’s father. But it was not true as Gopa decides to leave her father’s house to join Anup for the betterment of underprivileged.

It is interesting to note that the film ends with Gopa driving a car to catch-up with Anup who has decided to leave the place. As soon as she locates him walking on the road, she abandons the car and walks with Anup for ‘udayer pathe’ (new path of dawn). In a way, the film became ‘udayer pathe’ for Bimal Roy as well as a renowned director. Later, he directed ‘Do Beegha Zameen’ (1953) with more or less the similar theme of rich-poor conflicts.

Generally, in the films with the story of rich-poor conflicts, capitalists have been mostly shown as a ruthless exploiters of the working class. The leaders representing the working class have often been shown with militant attitude. In ‘Udayer Pathe’/Hamraahi’, Bimal Roy has shown the characters representing the capitalist and the labourer in a restraint manner. There are no rhetoric dialogues for one-upmanship. Even the romantic relationship between Anup and Gopa have been kept in a very restrain fashion. In the film, they meet mostly in the context of understanding and solving the problems of workers with an undertone of liking for each other.

The story of ‘Udayer Pathe’/Hamraahi’ was written by IPTA writer, Jyotirmoy Roy. After the tremendous success of ‘Udayer Pathe’, Jyotirmoy Roy wrote a full-fledged novel in Bengali on the subject which became among the best seller novel.

‘Hamraahi’ (1945) had 7 songs (including one song in Bangla) of which 5 songs have been covered in the Blog. I am presenting the 6th song, ‘hansi chaand ki aaj niraali’ sung by and picturised on Binota Bose. The song has been written by Munshi Zakir Hussain which is set to music by R C Boral. Actually, the tune of this song is almost the same as that of the Bangla version of the song, chander hasir bandh bhengechhe which was written and composed by Gurudev Rabindranath Tagore and used in ‘Udayer Pathe’ (1944).

I have watched the Bangla version of the song which is available in the film ‘Udayer Pathe’ (1944). The song has been beautifully picturised in a full moon light setting. I have given below the link to the Bangla version of the song just to get an idea as to how the song was picturised in Hindi version of the film. The background behind the song picturization is as under:

After attending the workers’ meeting, Gopa and Anup are on their way to return to their respective homes. On the way, they find moonlit path. Gopa desires to spend some time to enjoy the nature in the midst of moon light. It is at this point, Anup reminds her of the commitment she had made to sing a song for him. He says that it is a perfect setting for singing a song. She sings the song full of description of the nature (prakriti varnan) which is Gurudev Rabindranath Tagore’s one of the favourite themes. Munshi Zakir Hussain’s lyrics for Hindi version retains some parts of the ‘prakiriti varnan’ with some different imageries, probably to fit words in the pre-composed tune of Gurudev Rabindranath Tagore.

I heard both the versions of the songs only a few days back. But the songs often linger in my mind for the beautiful nature poetry woven with melodious tune.

Audio Clip:

Video Clip (Bangla version)


Song-Hansi chaand ki aaj niraali (Hamraahi)(1945) Singer-Binota Bose, Lyrics-Munshi Zakir Hussain, MD-MD-R C Boral

Lyrics

hmm hmm hmm hmm
hmm hmm hmm hmm
man ko lubhaanewaali ee ee
hansi chaand ki aaj niraali
man ko lubhaanewaali
andhere ko door hataa ke
phailaaye ujiyaali ee ee
hansi chaand ki aaj niraali

daudi hawaa chaman mein aaye ae
ye nahin jaane kaun bulaaye
ae ae ae ae ae ae
phool phool par man bharmaaye
phool phool par man bharmaaye
phirti daali daali ee ee
hansi chaand ki aaj niraali

aasmaan bhi jhoom rahaa hai
chandan tilak lagaaye ae ae
aasmaan bhi jhoom rahaa hai
chandan tilak lagaaye ae ae
phire magan hanson kaa jodaa
apne pankh milaaye
swarg desh ki kaun ye baalaa aa aa
dhoondh rahi phoolon ki maalaa aa aa aa aa
aaj ye kaise deep jalaati
kaisi ye deewaali ee ee
hansi chaand ki aaj niraali
man ko lubhaanewaali ee ee
hansi chaand ki aaj niraali


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Blog Day :

4814 Post No. : 16584

“Champa”(1945) was directed by Barkat Mehra for Shorie pictures, Punjab. This movie had Manorama, Asha Posle, Hari Shivdasani, Majnu, Salma, Zahoor Shah wtc in it.

The movie had nine songs in it. One song has been covered in the past.

Here is the second song from “Champa”(1945) to appear in the blog. HFGK mentions Anupam Ghatak as the music director of the song. No other details are mentioned in HFGK. According to the uploader, this song is sung by Zeenat Begam and Gulrej. Lyricist is not known.

I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Man achcha ke nain saajna (Champa)(1945) Singers-Zeenat Begam, Gulrej, Lyrics-, MD-Anupam Ghatak

Lyrics

hayee ho o
haiyya ho o
Itni baat bata do sainyya
man achcha ki nain saajna
man achcha ki nain
man achcha ke nain
haan
man achcha ke nain saajna
man achcha ke nain
man
nainon se pal mein aake
apne sukh mein aag lagaa ke
man
nainon se pal mein aake
apne sukh mein aag lagaa ke
dheemi dheemi aag mein tapna aa
dheemi dheemi aag mein tapna
jalta hai ?? saajna
man achcha ki nain saajna
man achcha ki nain

sainyya
sainyya ho
nain baawre jab mil jaayen ae
nain baawre jab mil jaayen ae
dukhi banaayen man chhalkaayen aen
ho o
dukhi banaayen man chhalkaayen
ik baar ?? aur khojo
ik baar ?? aur khojo
jeewan bhar ka chain saajna
man achcha ke nain saajna
man achcha ke nain


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over THIRTEEN years. This blog has over 17000 song posts by now.

This blog is active and online for over 5000 days since its beginning on 19 july 2008.

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(© 2008 - 2022) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

17014

Number of movies covered in the blog

Movies with all their songs covered =1325
Total Number of movies covered=4609

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Active for more than 5000 days.

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