Archive for the ‘Songs of 1945’ Category
Jab tum yahaan hum wahaan
Posted on: March 18, 2023
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5356 | Post No. : | 17564 |
#the Decade of Forties – 1941 – 1950 #
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In this post we listen to a song from the movie ‘Dhamki’ of ‘1945’.
“Dhamki-1945” was directed by Ravindra Dave for ‘Pancholi Art Pictures, Lahore’.
It had Ragini, Al Naseer, Smriti, Ajmal, G.N. Batt, Kalawati, Om Prakash, Ghulam Qadir and others.
This movie has nine songs (as mentioned in HFGK Vol-II (1941-1950)) written by Dina Nath Madhok.
Music for this movie was composed by Pandit Amarnath.
Three songs from this movie have been posted earlier on the blog. And the today’s song is the fourth song from this movie to be presented on the blog. So, out of nine songs we will be having four songs on the blog from this movie with the posting of the today’s song on the blog.
Let us have a look on the ‘list of songs’ this movie has, since it has not been presented in the earlier posts on the blog.
| SNo | Song Title | Singer/s | Posted On |
|---|---|---|---|
| 01 | Jawaani mastaani hai… | Munawwar Sultana | – |
| 02 | Phir barsan laage haan nainaa matwaale | Zeenat Begam | – |
| 03 | Milaa ke ankhiyaan, ankhiyaan na churaana | Zeenat Begam | 31.12.2017 |
| 04 | Apne kothhe main khadi, khili chaandni raat | Munawwar Sultana, Dhaniram | |
| 05 | Kat gayi waaydon mein kuchh … | Not known | |
| 06 | Yaad mein raat kati, din huaa, phir yaad aayi | Zeenat Begam | 04.06.2017 |
| 07 | Dard e muhabbat aah se kah de, dil mein rahe… | Zeenat Begam | 02.04.2016 |
| 08 | Jab tum yahaan ham wahaan, tum yahaan | Munawwar Sultana | Being covered in this post |
| 09 | Aankh milaa ke koyi re … | Zeenat Begam |
Today’s song is sung by Munawwar Sultana and it is a ‘missing the beloved’ category song with ‘sweet and simple lyrics’ by Dina Nath Madhok.
As mentioned above music for the songs in this movie is composed by Pandit Amarnath.
Only the audio of the song is available.
I would request knowledgeable readers to throw more light on this movie and its songs.
Let us now enjoy the song sung by Munawwar Sultana …
Song-Jab tum yahaan hum wahaan (Dhamki)(1945) singer-Munawwar Sultana (singer), Lyrics-D N Madhok, MD-Pt Amarnath
Lyrics
jab tum yahaan
ham wahaan
tum yahaan
ham wahaan
kaise bajegi baansuri
jab tum yahaan
ham wahaan
tum yahaan
tere bin kaise din
beetenge
kaise beetengi ratiyaan
tere bin kaise din
beetenge
kaise beetengi ratiyaan
chham chham neer
bahaaungi main
yaad aayengi jab batiyaan
chham chham neer
bahaaungi main
yaad aayengi jab batiyaan
jee bhar aaye ghadi ghadi re
jab tum yahaan
ham wahaan
tum yahaan
kaise bajegi baansuri
jab tum yahaan
ham wahaan
tum yahaan
dekho ji bhool naa jaanaa aa
dard paraaya
kar degi(?) haaye ae
dekho ji bhool naa jaanaa
dard paraaya
kar degi (?)haaye ae
dil ka papeehaa
ye bolegaa piyaa jiyaa
tere binaa kachhu naahin bhaaye
dil ka papeehaa
ye bolegaa piyaa jiyaa
tere binaa kachhu naahin bhaaye
ji bhar aaye ghadi ghadi re
jab tum yahaan
ham wahaan
tum yahaan
kaise bajegi baansuri
jab tum yahaan
ham wahaan
tum yahaan
kaise bajegi baansuri
jab tum yahaan
ham wahaan
tum yahaan
Neele gagan per laali chhaayee
Posted on: September 9, 2022
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5166 | Post No. : | 17133 |
Today’s song is a melodious song from a less known film on a well known historical name – ‘Panna Dai’ (1945). The film was made by Pradeep Pictures, Bombay. Directed by Ram Daryani, its MD was Gyan Dutt and the songs were written by Dina Nath Madhok. It had a very sparkling star cast of Durga Khote, Chandra Mohan, Meenakshi, Mubarak, M Ismail, Master Vithal, Gope, Gulab, Leela Mishra, Nana Saheb Phatak, Azuri, Baby Nalini, Ratan Piya and many others in a long list suitable for such a historical movie.
When silent films started in India in the first decade of the previous century, by the time the films became an All India attraction in subsequent years, people were attracted to this new medium of entertainment. The Radio had also started during this period – around 1923 or so – first in Bombay, then Calcutta and finally in Madras in 1924. The organised broadcasting started on 23-7-1927. However it was only audio entertainment and available only in bigger towns and with wealthy people. Films gave the visual satisfaction and from 1931 films became ‘talkie’, providing audio and visual pleasures. No wonder this medium became popular more quickly. With portable equipment, films reached nooks and corners of the entire country.
As the talkie films started, well known artistes in different fields like literature, singing, music performers and stage actors wanted to join this industry. This applied to even the most respected and well known people. The industry was also keen to get such well known artistes and hence some such people did join the industry- albeit for a short period.
Initially, Bombay being the major center for films, the local famous artistes from the Marathi community represented a sizable number in this industry. No wonder then that the famous and well known authors, stage actors, singers and musicians contributed their share in films. Famous stage actors like Bal Gandharva, Bapurao Pendharkar, Hirabai Badodekar, Sureshbabu Mane, Govindrao Tembe, PL Deshpande, GN Joshi etc. sang, gave music and acted. Writers like VS Khandekar, NS Phadke, PK Atre, HN Apte etc. wrote stories, songs and screenplays in Marathi and Hindi films.
It was not only the Marathi bigwigs from stage and literature but even from the Hindi and Urdu famous artistes came to films to give their bits. People like Narayan Prasad Betab, Pt Sudarshan, Agha Hashra Kashmiri, Pt Narottam Vyas, Amritlal Nagar, Kanhaiyalal Munshi, Safdar Aah Sitapuri, Kazi Nazrul Islam, Jigar Muradabadi etc. did some work in films.
From Gujarat too such contributors like Master Vasant, Raghunath Bramhabhatt etc. came and from Bengal a host of writers and stage actors flooded the film industry. (Names of all language artistes are only indicative and not exhaustive).
All these ‘outsiders’ contributed, enriched the films and left for their own respective fields again. One such highly respected and well known stage actor from Marathi dramas was Nana Saheb Phatak. He acted only in 4 Hindi films including today’s film ‘Panna Dai’ (1945). (Bal Gandharva did only 2 Hindi films). Here is a short bio data of Nana Saheb Phatak. it is very difficult to get such information.
‘Nana Saheb’ Phatak was a great actor in Marathi theater who left a memorable impression with his deep voice and powerful dialogue interpretation. Born Gopal Govind Phatak on June 24, 1899, he was drawn to the stage at a very young age. He is believed to have been initiated into Marathi theatre through the play ‘Raksha Bandhan’, in which he played the role of Giridhar. One of his earliest performances was in Yashwant Tipnis’s ‘Matsyagandha’ in 1919 as the old king Shantanu.
With the help of his guru, Shri Ganpatrao Joshi, a veteran actor popularly known as ‘The Garrick of Maharashtra’, Phatak reached the height of his career during his time with the Lalitkaladarsha Natak Mandali – from 1921 to 1936. The Lalitkaladarsha Natak Mandali was founded by veteran singer-actor Sangeet Surya Keshavrao Bhosale. On September 20, 1913, the mandali (troupe) premiered a new play, ‘Rakshasi Mahatvakanksha’ (‘Demonic Ambition’), written by the highly respected playwright Veer Vamanrao Gopal Joshi, at the Bombay theater. The play established Lalitkaladarsha Natak Mandali as a reputed company in the industry, and prominent playwrights began to hand over their plays to be staged by the troupe. Keshavrao Bhosle also pioneered the use of red velvet curtains in Marathi theater. During his tenure with the mandali, Phatak gained tremendous popularity performing in plays including ‘Rakshasi Mahatvakanksha’ in 1914, Warerkar’s ‘Sanyasyacha Sansar’ (‘Sanyasi’s Life’) in 1919, and ‘Sonyacha Kalash’ (‘Golden Spire’) in 1932.
Phatak also performed in films, and his major screen credits include the silent movie ‘Bajirao-Mastani’ in 1925, his role as the evil Kamsa in ‘Akashvani’ in 1934, the hero Mansingh in ‘Rajput Ramani’ in 1936, the rival poet in ‘Pratibha’ in 1937, in ‘Panna Dai’ and Shivaji in ‘Thoratanchi Kamala’ in 1941. (Only Marathi)
In 1945, he played the role of Sudhakar, the drunkard in Gadkari’s ‘Ekach Pyala’, which set a new standard for other Marathi theater performers. Phatak played this role for over 15 years. His ability to embody a variety of characters led him to perform across genres in drama, ranging from historical to mythological and social to Shakespearean. In 1954, the eminent Marathi writer Vishnu Vaman Shirwadkar, popularly known by his pen name Kusumagraj, adapted Shakespeare’s ‘Macbeth’ for the Mumbai Marathi Sahitya Sangh as ‘Rajmukut’ in Marathi. The play was directed by Herbert Marshall, a British director, and starred Nana Saheb Phatak as Macbeth and Durga Khote as Lady Macbeth. Despite stellar performances by these veteran actors, the production did not go well. Art and theater critic Dhyaneshwar Nadkarni would later attribute this failure to ‘the Indianising of Macbeth’.
Phatak continued to be interested in Shakespeare. Shirwadkar said that Phatak once asked him to write a play to suit old-school actors, so he adapted Shakespeare’s ‘King Lear’ as ‘Natasamrat’ (‘The Actor-Emperor’) in 1970 with Phatak in mind. Unfortunately, Phatak could not act in it.
Nana Saheb Phatak remained a dominant figure on the Marathi stage for over 35 years. He was bestowed with the Akademi Award for Marathi Stage Acting in 1959. He passed away 15 years later on April 8, 1974.
[Thanks to articles from map.sahpedia.org, http://www.marathifilmdata.com, and Natya kalawant from Rasrang.]
Panna Dai’s name is famous in Indian History for her personal sacrifice. She substituted her own son to save the life of the heir of the Kingdom. Her son was killed before her eyes mistaking him for the heir. Here is some information about her.
Panna Dai was a 16th century nursemaid to Udai Singh II, the fourth son of Rana Sanga. She was a Khinchi Chauhan Rajput.
In Hindi, Panna means ’emerald’ and Dai means ‘nurse’. Udai Singh was left in care of Panna, after Rani Karnavati committed Jauhar in 1535. When Udai was attacked by his uncle Banvir, Panna Dai sacrificed her own son’s life to save him.Panna Dai was the nurse of Rani Karnavati, who was the wife of Rana Sanga. In 1531, Vikramaditya, the second son of Rana Sanga, succeeded the throne after his brother Rana Ratan Singh II. He was known for being insolent and arrogant. In 1535, Chittor was attacked by Bahadur Shah, causing Karnavati to call nobles and ordinary soldiers to defend Chittor. Those who were forced to leave Mewar or were disgruntled, joined. Unfortunately, the battle was lost, leaving Chittor sacked. However, Rajputs occupied the fort as soon as Bahadur Shah left. With the fort back in Rajput control, Vikramaditya came back from Bundi to rule again.
After the defeat, Vikramaditya’s temperament didn’t improve, causing him to physically abuse a respected chieftain at the court. In this situation, Banvir (Rana Sanga’s nephew), who was the son of a non Rajput concubine of Prithviraj, joined the court. Banvir was ambitious and in 1536, he assassinated Vikramaditya. To remove all obstacles of his claim to the throne, Banvir attempted to assassinate Udai Singh. However, Panna was alerted of the situation, and she was assisted by a woman of Bari caste, who smuggled out Udai Singh from Chittor, carrying him in a basket, while Panna placed her own son, Chandan, in Udai’s place. Banvir came soon after, asking for Udai. Panna pointed at the bed, now occupied by her son, and watched as he was murdered. Banvir arranged a meeting of the court and informed the chiefs that both the heirs were deceased. He then claimed his right to the throne and appointed himself king of Mewar. Panna and Udai fled to Kumbhalgarh, where the governor was a Maheshwari Mahajan, Asa Depura, who agreed to grant Udai protection. Udai Singh was nearly 15 years of age then.
When the rumours of Udai Singh being alive reached Banvir, he called him impostor, but since Udai Singh was around 15 years of age and his maternal relatives from Bundi could recognize him, Udai Singh started getting more and more support. In 1540, Udai and a considerable force from Mewar, marched into Chittor to reclaim his throne. Banvir sent out an army to repel the attack, but he was defeated. Udai Singh was crowned the 12th Rana of the Sisodia Dynasty. His eldest son and successor Maharana Pratap was born in the same year.
[Adapted from ‘History of Rajputana’ by Raja Rajwade and wikipedia, with thanks.]
This film was the last film for Master Vithal. After this film, he retired from Hindi films (which he regretted later) and settled in Kolhapur till his death.
Let us now enjoy the second song from this film on this Blog.
Song- Neele gagan par laali chhaayee (Panna Dai)(1945) Singer- Raj Kumari, Lyricist- Deena Nath Madhok, MD- Gyan Dutt
Chorus
Lyrics
neele gagan par laali chhaayee
holi ka din aaya hai
neele gagan par laali chhaayee
holi ka din aaya hai
satiyaan tilak laga len
sooraj thhaal mein kesar laaya hai
thhaal mein kesar laaya hai
satiyaan tilak laga le
sooraj thhaal mein kesar laaya hai
thhaal mein kesar laaya hai
neele gagan par laali chhaayee
holi ka din aaya hai
neele gagan par laali chhaayee
holi ka din aaya hai
maa bete ko choom rahi hai
kaan mein uske kahti hain
maa bete ko choom rahi hai
kaan mein uske kehti hain
bhoomi ka dena kab denge
bhoomi ka dena kab denge
aaj wo shubh din aaya hai
neele gagan par laali chhaayee
holi ka din aaya hai
neele gagan par laali chhaayee
holi ka din aaya hai
tod rahi hain jag se naata
nirmal jal ki dhaara mein
tod rahi hain jag se naata
nirmal jal ki dhaara mein
bahte paani mein satiyon ne
bahte paani mein satiyon ne
man ka moh bahaaya hai
neele gagan par laali chhaayee
holi ka din aaya hai
neele gagan par laali chhaayee
holi ka din aaya hai
ek sotk se hain parwaane ae ae ae ae
ek saath jal jaayenge haan
ek saath jal jaayenge haan
ek saath jal jaayenge haan
ab tak inhi patangon ne
ab tak inhi patangon ne
jyoti ko amar banaaya hai
neele gagan par laali chhaayee
holi ka din aaya hai
neele gagan par laali chhaayee
holi ka din aaya hai
satiyaan tilak laga len
sooraj thhal mein kesar laaya hai
thhaal mein kesar laaya hai
neele gagan par laali chhaayee
holi ka din aaya hai
neele gagan par laali chhaayee
holi ka din aaya hai
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Hindi script lyrics (Provided by Sudhir Kapur)
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नीले गगन पर लाली छाई
होली का दिन आया है
नीले गगन पर लाली छाई
होली का दिन आया है
सतियाँ तिलक लगा लें
सूरज थाल में केसर लाया है
थाल में केसर लाया है
सतियाँ तिलक लगा लें
सूरज थाल में केसर लाया है
थाल में केसर लाया है
नीले गगन पर लाली छाई
होली का दिन आया है
नीले गगन पर लाली छाई
होली का दिन आया है
माँ बेटे को चूम रही है
कान में उसके कहती है
माँ बेटे को चूम रही है
कान में उसके कहती है
भूमि का देना कब देंगे
भूमि का देना कब देंगे
आज वो शुभ दिन आया है
नीले गगन पर लाली छाई
होली का दिन आया है
नीले गगन पर लाली छाई
होली का दिन आया है
तोड़ रही हैं जग से नाता
निर्मल जल की धारा में
तोड़ रही हैं जग से नाता
निर्मल जल की धारा में
बहते पानी में सतियों ने
बहते पानी में सतियों ने
मन का मोह बहाया है
नीले गगन पर लाली छाई
होली का दिन आया है
नीले गगन पर लाली छाई
होली का दिन आया है
एक सोत्क से हैं परवाने ए ए
एक साथ जल जाएंगे हाँ
एक साथ जल जाएंगे हाँ
एक साथ जल जाएंगे हाँ
अब तक इन्हीं पतंगों ने
अब तक इन्हीं पतंगों ने
ज्योति को अमर बनाया है
नीले गगन पर लाली छाई
होली का दिन आया है
नीले गगन पर लाली छाई
होली का दिन आया है
सतियाँ तिलक लगा लें
सूरज थाल में केसर लाया है
थाल में केसर लाया है
नीले गगन पर लाली छाई
होली का दिन आया है
नीले गगन पर लाली छाई
होली का दिन आया है
- In: Devnagri script lyrics by Sudhir | expression of love | Feelings of heart | Geeta Dutt songs | Guest posts | Lyrics contributed by readers | Post by Arunkumar Deshmukh | Rare song | SN Tripathi Song (as a Singer) | Songs of 1940s (1941 to 1950) | Songs of 1945 | Yearwise breakup of songs
- 4 Comments
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5149 | Post No. : | 17111 |
Today’s song is from the film ‘Aadhaar’ (1945).
This film was made by Geeta Pictures, Bombay. It was directed by Ramanlal Desai and this social film had music by SN Tripathi. The lyricist was MA Razi and the film cast was Umakant, Kokila, Yaqub, Shehzadi, Firoza, Ramesh, Usha , Ahmed and many others.
When film making started in India with silent films in the first decade of the last century, the filmmakers faced an unexpected difficulty. The difficulty was in getting actresses for films. No women were ready to act in the films, as it was considered a very low level profession. Dadasaheb Phalke wrote in his reminiscences how he tried to invite even prostitutes to work in the films and how even they refused saying it was a lower job than even being a prostitute !
Sensing an opportunity in this field, many European, Anglo-Indian and Jew girls joined films as actresses. Since the films were silent, their zero knowledge of Hindi or any regional language was not an obstacle. The dialogues were shown as strips of typed sentences on the screen. The girls also had no objection to giving romantic scenes or even kissing on the screen. Some actresses in those days were Ruby Meyers (Sulochana), Marcia Solomon (Vimla), Rachel Sofaer (Aarti Devi), Miss Rose, Iris Gasper (Sabita Devi), Susan Solomon (Firoza), Effie Hippolet (Indira Devi), Bonnie Bird (Lalita Devi), Esther Abraham (Pramila), Renee Smith (Seeta), Beryl Classen (Madhuri), Winnie Stewart (Manorama), Florence Ezekiel (Nadira), Muriel Alexander (Meera) and many others.
In the second part of the second decade i.e. from 1915 onward, some Indian girls from tawaif families also joined and as a result the count of ‘white skin’ girls started diminishing. After the advent of talkie films, speaking Hindi and singing – if needed, became a requirement for the actresses and automatically the Jew, Anglo-Indian and the European girls disappeared from films. Only a few, who learnt Hindi and singing, survived for a few more years, like Sabita Devi, Meera, Pramila, Sulochana, Madhuri and Firoza etc. Those who left early had no problem, but those who continued had to face the competition with the newer and younger local artistes and one by one they too ended their careers. However, not all ended happily. There was one Jew actress whose life in the last part of her career ended pathetically, in penury and she died unsung. We all know of such ends of many actors like Master Shiraz, Master Nissar, Bhudo Advani etc., but the sad story of the once famous actress is not known much. She acted in this film and her name was FIROZA.
Firoza (real name Susan Solomon) was born in a village in Konkan, Maharashtra on 30-7-1905, into a Bene Isareli Jew community. By the time she finished her education, she was proficient in Hebrew, Marathi, Hindi and English. In spite of opposition from family, she started working in silent films and soon became popular. Some of her films also became famous and hits. She continued working in silent films till 1934, when silent films stopped being made. Due to the family’s opposition, she had to leave her house. She stayed in Bombay.
With the advent of talkie films, she naturally entered talkie films, with ‘Noor E Yaman’ (1935), in a small role. She acted in films like ‘Bhikaran’ (1935), ‘Aansuon Ki Duniya’ (1936), ‘Bharat Ke Laal’ (1936), ‘Jeevan Jyoti’ (1937), ‘Dukhiyari’ (1937), ‘Veerbala’ (1938) etc. Due to her success in films, she fell a prey to false promises and dreamt of working in Hollywood films. She wasted 3 years in this and dejected, started working in films again here with ‘Ek Raat’ (1942), ‘Circus Girl’ (1943), ‘Duniya Diwaani’ (1943), ‘Bhagta Bhoot’ (1943), ‘Andhi Duniya’ (1943), ‘Din Raat’ (1945), ‘Aadhaar’ (1945), ‘Lal Batti’ (1947), ‘Daulat Ke Liye’ (1947), ‘Haatimtai’ (1947), ‘Dilwaale’ (1948) etc.
She became an alcoholic and a chain smoker. She made the mistake of refusing offers from Bombay Talkies and other big banners. Meanwhile she fell in love with actor Chandra Mohan and wished to marry him, but he became a drunkard and died in 1949. Her financial condition became worse. She did small roles in Marathi and Hindi films. ‘Yasmeen’ (1954) was her last film.
She lost her parents and lived alone in a single room, where she died unnoticed one day in early 70s. She was one of the top 5 Jew actresses, included in the Documentary ‘Shalom Bollywood’ made by Danny Ben-Moshe in 2003. Thus ended a talented artiste !.
[Note – There was another Firoza Begum, wife of music director Kamal Dasgupta. She is different. She was a Bangladeshi singer.]
[Ack: Information culled from ‘Beete Kal Ke Sitare’ by S Tamrakar, ‘The Untold Story of Jews in Indian Cinema’ in Sunday Guardian, ‘Women in Hindi Cinema’ by Bhavna, Jigna and Supriya, theoneminute.com and my notes.]
The lead pair of the film ‘Aadhaar’ was Umakant (Desai) and Kokila. Despite my efforts I could not get any information on this actress. First I thought that she is Nirupa Roy, because the real name of Nirupa Roy was Kokila. But this Kokila has been in films since 1937 when Nirupa Roy was only a 6 year old girl. First film of this Kokila was ‘Meri Bhool’ (1937). She also acted in films like ‘Gentleman Daku’ (1937), ‘Dukhiyari’ (1937) in which she sang 1 song also, ‘Prem Sagar’ (1939), ‘Gareeb Ka Laal’ (1939), ‘Wayda’ (1940), ‘Jagat Mohini’ (1940), ‘Meri Khwahish’ (1941). ‘Aadhaar’ seems to be her last film. She appeared like a flash and disappeared like a comet !
Let us know something about the director Ramanlal Desai. There were 2 directors in the film industry- Ramanlal (Lalbhai) Desai and Ramanlal (Bhimbhai) Desai. Both operated in almost the same period. Luckily Ramanlal Bhimbhai Desai was known as ‘The King of Mythologicals’ and the other Desai directed all types of films. Ramanlal Lalbhai Desai was born on 6-9-1915 at Ahmedabad (some sources indicate different year and place). His father was a station master in the BBCI Railway (Bombay-Baroda and Central India Railway). He was educated in Bombay and he studied up to Inter-Arts. He soon left his studies to work as an assistant cameraman and assistant director for ‘Thief of Baghdad’ (1934). In 1935 he shifted to Ganesh Movietone but then came back to Paramount. He was assistant director in ‘Fairy of the Flute’, ‘Guru Ghantal’, ‘Black Ghost’, ‘Burqawali’, ‘Aladdin’, ‘Vagabond Lover’, ‘Madhur Bansari’ etc. He co-directed films like ‘Patriot’, ‘Darpan’ and ‘Mere Saajan’, in Rex Pictures. He was a good editor and a musician.
He became a full fledged director with ‘Daughter of the Jungle’ (1942), ‘Muhabbat Ki Jeet’ (1943), ‘Circus Girl’ (1943), ‘Bhagta Bhoot’ (1943), ‘Rangeela Dost’ (1944), ‘Aadhar’ (1945), ‘Kismat Ka Dhani’ (1946), ‘Jadui Putli’ (1946), ‘Tiger Man’ (1947), ‘Naqali Heera’ (1948), ‘Dhanwale’ (1948), ‘Dilwale’ (1948), ‘Roshni’ (1949), ‘Sangeeta’ (1950), ‘Aab e Hayaat’ (1955), ‘Hum Bhi Kuchh Kam Nahin’ (1958), ‘Minister’ (1959) and ‘Zalim Tera Jawab Nahin’ (1960). He turned to Gujarati films and directed ‘Sole Saaj Singar’ (1977) and ‘Kul Deepak’ (1978). He was working as a Production Supervisor for the film ‘Nastik’ (1954) (credited).
[Thanks to Shri Harish Raghuwanshi ji for allowing me to use some info used here].
Film ‘Aadhar’ was unique, because it featured 4 artistes falling in the category of ‘same name confusion’ – namely, Ramanlal Desai, Shehzadi, Firoza and Kokila. Today’s song is a duet sung by Geeta Dutt and SN Tripathi – the MD himself.
Song- O mere man ke meet aa gaayen suhaane geet (Aadhaar)(1945) Singers- Geeta Roy, SN Tripathi, Lyricist-M A Razi, MD-SN Tripathi
Geeta Roy + SN Tripathi
Lyrics
o mere mann ke meet
aa gaayen suhaane geet
aa gaayen suhaane geet
aa gaayen suhaane geet
o mere mann ke meet
aa gaayen suhaane geet
aa gaayen suhaane geet
aa gaayen suhaane geet
ye mann karta hai gaa re
ye mann karta hai gaa re
cham cham ye chamakte taare
cham cham ye chamakte taare
chanda bhi kare ishaare
chanda bhi kare ishaare
aapas mein kitni preet
aapas mein kitni preet
saawan mein kitni preet
o mere mann ke meet
aa gaayen suhaane geet
aa gaayen suhaane geet
aa gaayen suhaane geet
ye nadi taraane gaaye
ye nadi ee ee
ye nadi taraane gaaye
ulfat ke saaz bajaaye
ulfat ke saaz bajaaye
kyun mann mein aag lagaaye
kyun mann mein aag lagaaye
ye lehron ka sangeet
ye lehron ka sangeet
ye lehron ka sangeet
o mere mann ke meet
aa gaayen suhaane geet
aa gaayen suhaane geet
aa gaayen suhaane geet
o mere mann ke meet
————————————————
Hindi script lyrics (Provided by Sudhir Kapur)
————————————————
ओ मेरे मन के मीत
आ गायें सुहाने गीत
आ गायें सुहाने गीत
आ गायें सुहाने गीत
ओ मेरे मन के मीत
आ गायें सुहाने गीत
आ गायें सुहाने गीत
आ गायें सुहाने गीत
ये मन करता है गा रे
ये मन करता है गा रे
चम चम ये चमकते तारे
चम चम ये चमकते तारे
चंदा भी करे इशारे
चंदा भी करे इशारे
आपस में कितनी प्रीत
आपस में कितनी प्रीत
सावन में कितनी प्रीत
ओ मेरे मन के मीत
आ गायें सुहाने गीत
आ गायें सुहाने गीत
आ गायें सुहाने गीत
ये नदी तराने गाये
ये नदी ई ई
ये नदी तराने गाये
उल्फ़त के साज़ बजाए
उल्फ़त के साज़ बजाए
क्यों मन में आग लगाए
क्यों मन में आग लगाए
ये लहरों का संगीत
ये लहरों का संगीत
ये लहरों का संगीत
ओ मेरे मन के मीत
आ गायें सुहाने गीत
आ गायें सुहाने गीत
आ गायें सुहाने गीत
ओ मेरे मन के मीत
Raakhi ka din aaya bhaiyya aaya
Posted on: August 11, 2022
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5137 | Post No. : | 17095 |
“Piya Milan”(1945) was produced by J B H Wadia and directed by S M Yusuf for Wadia Movietone, Bombay. This movie had Motilal, Nirmala, Najma, Mirza Musharraf, S.Aalam, Leela Mishra, Wazir Muhammad Khan etc in it.
“Piya Milan”(1945) had 11 songs in it. Two songs have been covered so far. Today on the occasion of Rakshabandhan, here is a Rakhi song from “Piya Milan”(1945). This is one of earliest (if not the earliest) Rakshabandhan song in the blog. It is sung by Zohrabai Ambalewaali and chorus. An unknown female voice also sings a few lines.
Lyricist of this song is not known. Music is composed by Feroz Nizami.
Lyrics of this song were sent to me by Prakashchandra.
I request our knowledgeable readers to throw light on the picturisation of this song.
Audio link:
Song-Raakhi ka din aaya bhaiyya aaya (Piya Milan)(1945) Singer-Zohrabai Ambalewaali, Lyrics-Unknown, MD-Feroze Nizami
Unknown female voice
Chorus
Lyrics
raakhi kaa din aayaa bhaiyyaa aayaa
hhaan aayaa bhaiyya aayaa
raakhi kaa din aayaa
chaand si sundar kiranein lekar
chaand si sundar kiranein lekar
raakhi main banwaavoon
aashaaon ki maalaa banaakar
bhaiyyaa ko pehaaoon
behnon ne hai maan badhaayaa
maan badhaayaa maan badhaayaa
behnon ne hai maan badhaayaa
maan badhaayaa maan badhaayaa
raakhi ka din aayaa bhaiyyaa aayaa
hhaan aayaa bhaiyya aayaa
raakhi kaa din aayaa
aaa aaa aaa
aa aaa aaa aaa
aan..aaan…aaan…aaa
aan..aaan…aaan…aaa
sab behnon ke bhaiyyaa hai npar
main hoon ek akeli ee
sab behnon ke bhaiyyaa hain par
main hoon ek akeli
is bhaiyya ko baandh ke raakhi
bharoongi apni jholi..ee
is bhaiyya ko baandh ke raakhi
bharoongi apni jholi..ee
is chintaa ne mann ko khaaayaa
is chintaa ne mann ko khaayaa aayaa
raakhi kaa din aayaaa
ho gayi door ab chintaa meri
mann ki kali muskaayee..eee
ho gayi door ab chintaa meri
mann ki kali muskaayee
aaj se behnaa hoon main teree
aaj se behnaa hoon main teri
tum ho mere bhai
raakhi ne kya rang dikhaayaa
raakhi ne kya rang dikhaayaa
behnon ne hai maan badhaayaa
maan badhaayaa maan badhaayaa
behnon ne hai maan badhaayaa
maan badhaayaa maan badhaayaa
raakhi kaa din aayaa bhaiyyaa aayaa
hhaan aayaa bhaiyya aayaa
raakhi kaa din aayaa
bhool ke pichhli baatein bhaabhi
bhool ke pichhli baatein bhaabhi
donon ek hon jaayein aen
ant prem kaa hai qurbaani
ant prem kaa hai qurbaani
ant prem kaa hai qurbaani
jag ko ye samjhaayein aen
ant prem kaa hai qurbaani
jag ko ye samjhaayein aen
tum ne hai ye bhed bataayaa
tum ne hai ye bhed bataayaa
behnon ne hai maan badhaayaa
maan badhaayaa maan badhaayaa
behnon ne hai maan badhaayaa
maan badhaayaa maan badhaayaa
raakhi kaa din aayaa bhaiyyaa aayaa
hhaan aayaa bhaiyya aayaa
raakhi ka din aayaa
————————————————
Hindi script lyrics (Provided by Sudhir Kapur)
————————————————
राखी का दिन आया भैया आया
हाँ आया भैया आया
राखी का दिन आया
चाँद सी सुन्दर किरणें ले कर
चाँद सी सुन्दर किरणें ले कर
राखी मैं बनवाऊँ
आशाओं की माला बनाकर
भैया को पहनाऊँ
बहनों ने है मान बढ़ाया
मान बढ़ाया
मान बढ़ाया
बहनों ने है मान बढ़ाया
मान बढ़ाया
मान बढ़ाया
राखी का दिन आया भैया आया
हाँ आया भैया आया
राखी का दिन आया
आ आ आ
आ आ आ आ
आ आ आ आ
आ आ आ आ
सब बहनों के भैया हैं पर
मैं हूँ एक अकेली
सब बहनों के भैया हैं पर
मैं हूँ एक अकेली
किस भैया को बांध के राखी
भरूँगी अपनी झोली
किस भैया को बांध के राखी
भरूँगी अपनी झोली
इस चिंता ने मन को खाया
इस चिंता ने मन को खाया॰॰आ
राखी का दिन आया
हो गई दूर अब चिंता मेरी
मन की कली मुस्काई
हो गई दूर अब चिंता मेरी
मन की कली मुस्काई
आज से बहना हूँ मैं तेरी
आज से बहना हूँ मैं तेरी
तुम हो मेरे भाई
राखी ने क्या रंग दिखाया
राखी ने क्या रंग दिखाया
बहनों ने है मान बढ़ाया
मान बढ़ाया
मान बढ़ाया
राखी का दिन आया भैया आया
हाँ आया भैया आया
राखी का दिन आया
भूल के पिछली बातें भाभी
भूल के पिछली बातें भाभी
दोनों एक हो जाएँ
अन्त प्रेम का है कुर्बानी
अन्त प्रेम का है कुर्बानी
अन्त प्रेम का है कुर्बानी
जग को ये समझाएँ
अन्त प्रेम का है कुर्बानी
जग को ये समझाएँ
तुमने है ये भेद बताया
तुमने है ये भेद बताया
बहनों ने है मान बढ़ाया
मान बढ़ाया
मान बढ़ाया
बहनों ने है मान बढ़ाया
मान बढ़ाया
मान बढ़ाया
राखी का दिन आया भैया आया
हाँ आया भैया आया
राखी का दिन आया
Mera piyaa tram chalaawe
Posted on: July 17, 2022
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5112 | Post No. : | 17055 |
Today’s song is from a stunt film Ji Haan aka Yes please – 1945.
This film was made under the banner of Gautam Chitra, Bombay. It was directed by a pair of Babubhai Mistry and Ramnik Bhatt. All the 8 songs were written by Pt. Indra and the music was by S.N.Tripathi…who was initially for stunt films and later was famous for Mythological movies. The cast consisted of Agha, Bhagwan,Shanta Patel, Meera, Gulab, Raziya,Azeembhai, Anant Prabhu etc etc.
Based on the major chunk of films made, the first 3 decades of talkie films can be easily named accordingly. For example, the 1930’s decade was the “experimental Decade’ because being a new medium, the filmmakers had no idea as to which type of films would attract the audience. Hence there was a mix of all Genres like Historical, Mythological, Folk stories, stunts, family and what not. The 1950’s decade can decisively be called a ” Mythological and Religious films decade” as 124 such films were made in this period. And the 1940’s decade can be said to be a Gold mine for B and C grade action/stunt and costume films. The contribution of Master Bhagwan in this Genre is incomparable to any other filmmaker in the first 30 years of Talkie era. He was not the ‘ initiator’ but surely a ‘developer’ of action films.
An American -Mike Barnum – runs 2 Blogs on B and C grade Hindi action/stunt films of India. Don’t be surprised. There are a few more foreigners who have extraordinary interest in Indian cinema of the yore and they have their own Blogs. One more example is ” memsaabstory.com’n run by Greta Kemmer. Then there is Tom Daniels too. Mike Barnum writes about Master Bhagwan thus…
” Known to his fans as a comedic sidekick in countless Bollywood films of the Golden Era, Bhagwan (Bhagwan Abaji Palav)played the lead and sometimes also directed numerous B grade comedy-action films throughout the 40’s and the 50’s decade. Bhagwaqn often worked opposite former wrestler Baburao pehelwan. With Bhagwan’s short, stubby stature and Baburao’s handsome physique, they made a popular pair.
Bhagwan entered films during the silent era. After a few years, doing bit parts and supporting roles, he tried his hand at Directing with the 1938 stunt film Bahadur Kissan, starring popular action star Chandrarao. Bhagwan co starred in the film with Hansa Wadkar, Sunetra and Vasantrao pahelwan-another former wrestler who was often seen in his films.
Bahadur kissan-38 was quickly followed by Criminal-39, Vanmohini-40 and Raja Gopichand-41 in which the comedian again acted and directed. Bhagwan’s comedy-stunt film combination became quite popular, but is little remembered today, mostly due to the fact that no prints seem to have survived.
Along with the stunt genre, Bhagwan took his brand of comedy and incorporated Horror in House of Mystery(Bhedi Bangla)-49 and spoofed Tarzan pictures with The Jungle man-50. While the masses enjoyed these little B films, it was not until Albela in 1951 that Bhagwan managed to impress the critics. This little musical comedy (produced under his banner-Bhagwan Art productions) also starred Geeta Bali and Baburao Pehelwan and it struck gold at the box office. Bhagwan tried to duplicate Albela’s success with rangeela and Jhamela-51, but both films flopped.
Sadly, of Bhagwan’s dozens of starring roles, only Albela and the comedy Damaad are currently available to see. Thankfully we can at least enjoy the ads and posters from many of his lost or missing films….. and who knows someday a few of these old classics will be unearthed for all to see ! Some of his films were madadgar, Pyar ki raat, Bahadur kissan, criminal, vanamohini, raja gopichand, Rooplekha, Achhajee, Bhedi bangla, Jungle man, Albela, damaad, Actor, Bhole piya, Joker, Bhoole bhatke, Dushmani, Daughter of the Sea, gunehgar, Sukhi jeevan, Badla, Nagma e sahra, Ji haan, Dosti, Shake hands, matwale, laalach, jalan, Jigar and others. “
Master Bhagwan was unique. He was a very hard working person. In the real sense, he brought in the wave of stunt films in the late 40s. After the films of Master Vithal and Fearless Nadia waned in their popularity by 1944-45, it was Master Bhagwan, who established his own Production house-Jagriti Films and produced several stunt films. he had a set of actors and actresses, which included Baburao pehelwan, Vasantrao pehelwan, Azeem Bhai, Shanta Patel, Chanchal, Leela Gupte, Usha Shukla and Vitha Lokare.
The storyline for most of his films was also fixed. Two young vagabonds-Baburao pehelwan and Bhagwan, come to Bombay in search of employment. One Sethji (Azeembhai ) appoints them to protect him from the local criminal (Vasantrao pehelwan). Sethji has a good looking daughter ( one of the stock Heroines), who has a maid (another girl from the stock). Baburao loves Seth ji’s daughter and Bhagwan loves the maid. After a lot of stunts and fighting scenes, the end would be happy. The same story with changed names and other minor changes was used in almost all his films like Badla, Bahadur, Jalan, Madadgaar, Dosti, Shake hand, Matlabi,Bach ke rehna,Bhole bhale, Jeete Raho or such other films. The audience did not mind . They were happy with the stunts. (Did Nasir Hussain and Manmohan Desai get inspiration from Bhagwan in this matter ?).
There was a time when most Indian heroes of the 60’s and the 70’s were great fans of Bhagwan’s action films. Examples are Kishore kumar and Sanjeev kumar. Actor Shyam was his good friend C.Ramchandra, Raj kapoor, P L Santoshi, Shashdhar Mukherjee and many others were his fans. I can not be counted among these famous ones, but I and Greta memsaab simply love Bhagwan’s action films.
Today I am presenting a fun song from the film Ji Haan-45. Out of 8 songs of the film, 5 were comedy songs. One comedy song is already discussed on this Blog. This will be the second song. Let us now enjoy this song.
Song-Mera piya tram chalaawe (Jee Haan)(1945) Singer-Meera, Lyrics-Pt Indra Chandra, MD-S N Tripathi
Lyrics
Mera piya tram chalaave
maayee re mose ticket maange
Mera piya tram chalaave
maay ree mose ticket maange
mere bachche ki laaj na aawe (?)
mere bachche ki laaj na aawe (?)
maayee re mose ticket maange
Mera piya tram chalaave
maay ree mose ticket maange
saajan mera thumka deta
saajan mera thumka deta
dete dhuaan udaawe
maaye re
dete dhuaan udaawe
mera sainyya afeem khaawe
mera sainyya afeem khaawe
Cheen des ko jaawe ae
Cheen des ko jaawe
baalam mera ??
baalam mera ??
tabla roz bajaawe
maaye re
tabla roz bajaaye
preetam mera charas chadhaawe
preetam mera charas chadhaawe
bhor bhaye ghar aawe ae
bhor bhaye ghar aawe
aate hi ?? bajaawe
maayee re
aate hi ?? bajaawe
maayee re mose ticket maange
mera piya tram chalaawe
maayee re mose ticket maange
mere bachche ki laaj na aawe
mere bachche ki laaj na aawe
maayee re mose ticket maange
mera piya tram chalaawe
maayee re mose ticket maange
mere ghar mein saas ??
mere ghar mein saas ??
jhaadu mujhe bataawe
maayee re
jhaadu mujhe bataawe
nanad akeli chugli kaate
nanad akeli chugli kaate
ik ut aag lagaawe ae
ik ut aag lagaawe
dewra mera bada chorta?
dewra mera bada chorta?
jhumka bech ke khaawe
maayee re
jhumka bech ke khaawe
sainyya hamra bada anaadi
sainyya hamra bada anaadi
munh pe ??
munh pe ??
bolo to aankh dikhaawe
maayee re
bolo to aankh dikhaawe
maaye re mose ticket maange
mera piya tram chalaawe
maaye re mose ticket maange
mere bachche ki laaj na aawe
mere bachche ki laaj na aawe
maaye re mose ticket maange
mera piya tram chalaawe
maaye re mose ticket maange
Ae bahaaduron ae mujaahidon
Posted on: June 9, 2022
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws
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Blog Day : |
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
Is andheri raat mein
Posted on: May 22, 2022
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
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
???
Hum baabu naye niraale hain
Posted on: May 17, 2022
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
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
Tum hi sab kuchh ho meri maa
Posted on: May 8, 2022
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Today’s song is from 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
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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