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

Archive for the ‘Songs of 1945’ Category


This article is 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 :

3995 Post No. : 15089

There will hardly be a person who has not seen film Mughal E Azam or heard about it. The film was famous and the man who made it – K.Asif – became known to all because of this film. However, K.Asif was not a prolific film maker. In reality, K.Asif (14-6-1922 to 9-3-1971) directed only two and half films. His first film was Phool-45, second was Mughal E Azam-60 and his last attempt was the unfinished film Love and God ( aka Kaiz and Laila)-1986. This film was released as an unfinished film by his kins on 27-5-1986, 15 years after K.Asif died. Asif had produced a film, ‘Hulchul-51’, but he did not direct it.

K.Asif first conceived the film Mughal E Azam in 1944, after reading a play on Emperor Akbar (1556-1605). The film changed its story, MD, cast etc, several times, from what was planned originally and subsequently, but the director remained the same – K.Asif. However, he made another film, Phool in 1945, in normal period of making a film. Asif was an extraordinary person. He was fond of dreaming big and doing it big. Accordingly, even in his first film Phool-45, he took 14 famous stars of those times in his film. By far, it must have been a true Multi-Star film in those days.

The cast of the film almost ran like a list of leading stars. It consisted of Veena, Sitara, Suraiya, Prithwiraj kapoor, Yaqub, Wasti, Mazhar, Ashraf khan, Durga Khote, Majid, M.Ismail, Dikshit, Agha, Jillobai etc etc. The film was produced by K.Abdulla, screenplay was by Kamaal Amrohi and the music by Ghulam Haider. The film was made under the banner of Famous Films, Bombay.

Today’s song is from film Phool-45.

During the decade of the 40s, the struggle for India’s Independence had also heated up. As England was engaged in the second world war, it was thought to be the right time to increase pressure on them, so that after the war, India could get its Independence. By those times, it was very well known that there would be a Partition and a Muslim nation ” Pakistan” would be created by dividing India.

With this background suddenly, making films on Muslim life and culture gained momentum. From 1940 to 1947 as many as 19 films on Muslim culture were made. They were, Paak daman-40, Qaidi-40, Muslim ka laal-41, Masoom-41, Bulbul E Baghdad-41, Fashio-43, Najma-43, Salma-43, Bade Nawab Sahab-44, Bhaijaan-44, Ismat-44, Phool-45, Humayun-13, Rehana-46, Dil-46, Arab ka Sitara-46, Alibaba-46, Shalimar-46, and Mulaqat-47.

Actress Veena was the Heroine in film Phool-45. How she came into films is an interesting story. Veena was born as Tajwar Sultana, on 4-7-1926, at Quetta in Baluchistan (now in Pakistan). Her father was in Railways, so he was transferred many times and her education was done at various places, including Delhi. After her Matriculation, she was sent to a women’s college, with Hostel, in Amritsar. In those days, her brother Shehzada Iftekhar was an assistant Cameraman at Northern India Studios, Lahore. This studio advertised for a Heroine, for their new Punjabi film ” Gawandi “.

A Bangali lecturer from Veena’s college had applied. A few days later, a team (including her brother) from Lahore came to interview her, but she was rejected as she did not know Punjabi well enough. Veena was very keen to apply, but her brother warned her about the family resistance. She prodded him to give her photo to the visitors. Seeing her photo, she was called to Lahore for screen Test. All this was without letting the family know.

One Saturday, Veena left for Lahore. Next day she gave the screen test, mouthing dialogues written by Wali Saheb. She was selected and offered the role. One of the producers- Sheth Kishorilal, suggested to change her name for the screen as Veena ( it was his daughter’s name) and she became Veena.

She completed film ‘Gawandi-42’, opposite Hero Shyam, in just one month and in the next one month, she did another film ‘ Ravi Paar-42’, opposite Hero S.D.Narang. All this was without family’s knowledge, but she was aware of the impending storm. She returned to college. News about her film work had already reached the college. She was thrown out of the college and the hostel for this.

When she returned home, as expected there was a great scene. She was scolded and locked in a room. Her family wanted to get her married, which she vehemently opposed. Her family went to the producers and demanded that the films be destroyed. Of course, this was was not accepted. Meanwhile, Veena had received film offers from Mazhar Khan, Mehboob, Bombay Talkies and Rajneet. She left her house with brother and reached Bombay. Mazhar khan paid her Rs.2000 per month with a Bungalow and a Car. She did her first Hindi film ” Yaad “-42. Then came Najma-43 from Mehboob, Rajputani-44 from Ranjit etc etc. She earned One lakh rupees per film.

Veena did about 100 Hindi films in her career, till she retired in 1983. Even after her husband, Al Nasir’s death in 1957, she continued to stay and work in India with her children. Veena died on 14-11-2004. ( adapted from her interview in Shama, November 1981. Thanks to book ” ye un dinon ki baat hai” by Yasir Abbasi).

Film Phool-45 was written by Kamaal Amrohi. It was a story of lasting love, bravery and faithfulness. The film was released in Roxy Theatre in Bombay and it became a hit. There were good reviews in media and even Baburao Patel of Film India appreciated the director K.Asif’s work. However, the music of Ghulam Haider was criticised. None of the songs became very popular.

The story of film Phool-45 revolved around two families. Safdar and Akhtar are brothers. Religious minded Safdar has a beautiful daughter Shama (Veena). Together they want to build a Mosque. Lazy brother Akhtar and his arrogant wife have two sons-Zahid and Sharif. They want that Shama should marry useless Zahid. Shama is in love with Dr. Saleem who is Akhtar’s nephew. Saleem (Prithwiraj) has a Hindu sister- Rekha (Suraiya), who was an orphan.

On the day of marriage of Saleem and Shama, Dr. Saleem has to leave on duty abroad. Shama’s father Safdar dies with this shock. Shama and Rekha become very close friends. Dr. Saleem is lured by dancer Laila (Sitara), but he declines. Laila uses a medicine, by which Saleem loses his memory.Now he joins Laila’s troupe and they visit many cities.

Once they arrive in a city, where Shama lives. On information from people about Saleem, she goes to meet him, but he does not recognise her due to loss of memory. Next day Saleem falls from the stage accidentally and his memory comes back. He leaves Laila and comes back to Shama. Saleem and Shama get united. The evil son Zahid is killed by lightening. All is well that ends well. ( adapted from the book,” Forgotten movies on Muslim Culture 1933-1947, by Kamlakar Pasupuleti.)

Let us now listen to the chorus song. Lyricist’s name is not given in HFGK. Since the story, screenplay and dialogues are by Kamaal Amrohi, like the uploader-Sadanand Kamath ji, I too feel he must be the Lyricist also.


Song-Gori kar le ham se pyaar (Phool)(1945) MD-Ghulam Haider

Lyrics

Gori kar le
Gori kar le ham se pyaar
ho baalam ghar jaana aa
Gori kar le
Gori kar le ham se pyaar
ho baalam ghar jaana
arararaarar
baalam se jab aankhen ho jaayen chaar
hamko bhool na jaana
hamko bhool na jaana
Gori kar le
Gori kar le ham se pyaar
ho baalam ghar jaana aa
Gori kar le
Gori kar le ham se pyaar

nainanwa mein neend lagi hai
man mein uthhe tarang
haan chori chori manwa khele
baalamwa ke sang
gori zara hamse bolo
haan haan zara ghoonghat kholo
gori zara hamse bolo
haan haan zara ghoonghat kholo

man ki beena baaj rahi hai
goonj uthhe sab taar
chauraahe par khadi jawaani
arararara
le phoolon ke haar
hamko bhool na jaana
hamko bhool na jaana
Gori kar le
Gori kar le ham se pyaar
ho baalam ghar jaana aa
Gori kar le
Gori kar le ham se pyaar

raat suhaani bhari jawaani
masti ki rut aayi
haan chanda se mukhde par kaahe
ghor badariya chhaayi
gori zara hamse bolo
haan haan zara ghoonghat kholo
gori zara hamse bolo
haan haan zara ghoonghat kholo

roopnagar ki raani aayi
kar solah singaar
ang ang se joban barse
ararararara
nainan barse pyaar
hamko bhool na jaana
hamko bhool na jaana
Gori kar le
Gori kar le ham se pyaar
ho baalam ghar jaana
Gori kar le
Gori kar le ham se pyaar

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

Blog Day :

3966 Post No. : 15047 Movie Count :

4127

Today’s song is from film Bachpan-1945.

In the history of Hindi movies, there have been three films that had the title viz “Bachpan”. The first was of course Bachpan-1945, today’s film under discussion. The next one was made in 1963, in which Salim Khan- father of Salman khan and a member of the famous writer jodi of Salim-Jawed, was the Hero – opposite Menaka Irani. She was the eldest sister of the famous child stars Honey and Daisy Irani. She was also the wife of stunt film actor and director Kamran Khan. Their children are Choreographer and director Farah Khan and Compere cum director Sajid Khan. Incidentally Mrs. P.N.Irani was the mother of these Irani sisters and also the one who took away all their earnings.

The third film was made in 1970, with Sanjeev kumar and Tanuja.

Film Bachpan-45 had a cast consisting of Baby Madhuri, Mazhar Khan, Baby Shakuntala, B.Nandrekar, Chandraprabha, comedian Dikshit, Gulab, Dalpat, Shashi kapoor(sr.) and others. There were two actresses with prefix Baby, but only one Baby Madhuri had the main child role throughout the film. The other Baby-Shakuntala had a role of an invalid child, stuck to the wheelchair only.

Baby Maduri,whose real name was Mah Laqa, was the daughter of M. Ali Baksh,M.D. and Iqbal begum,a cine artiste. In other words Baby Madhuri was the youngest sister of actress Meena Kumari and her sister actress Khurshid Jr. Born in a family of film people,Baby Madhuri was good at acting and singing. She was picked up by Director Nazir of Hind Pictures and took her for his film ‘ Sandesa ‘. ( He is the same Nazir,whose first wife was Sitara Devi. He was the maternal Uncle of K. Asif ( Mughal-e-Azam fame ) i.e. Mama. He later divorced Sitara devi ( actually,she had eloped with k.Asif ) and married Swarnalata and both migrated to Pakistan. Nazir’s studio was burnt during the communal riots in Bombay. Author Manto has detailed all this in his book. )

In Wadia’s film Vishwas-43, the talents of Baby Madhuri in acting and singing flowered and she was appreciated much. Then she acted and sang some songs in films like Anjaan,Jungle princess,Muqabala,Ekta(sindhi),Andhera,Mahatma Vidur,paraya Dhan,Bachpan,Nai maa etc etc.

She was also called as Madhu. She was married to actor Mehmood. She was very fond of new fashions and western clothes. Due to this, she became a cleptomaniac and was caught many times stealing things and shop lifting. She knew Riding,cycling and swimming too. She spoke good English,though not much educated.( Thanks to shri Harish Raghuwanshi ji for info on Baby Madhuri).

Now let us see about the other ‘Baby’ of this film. Right from beginning of the films,child artistes were required to do roles in the films. In the initial stages and also in later periods too, girls used to do Boys’roles ( but never heard of vice versa ! ). We have the famous examples of Honey and Daisy Irani sisters. Many child stars acted in films till they became older or were not suitable for child roles. One such example was Junior Mehmood. It was quite natural that most of them wanted to continue acting in films as an adult too and many tried to become hero/ heroines. Unfortunately, only some of them could shine as heroes or heroines, while most child stars failed as adult Hero/Heroines.

Successful child artistes are few like Meena Kumari, Madhubala,Nargis, Shashi kapoor, Sachin etc, but you can count them on fingers, whereas the list of unsuccessful child artistes who tried to become adult Hero/Heroines is quite long.

Unlike Baby Tabassum, who could not become a successful adult Heroine in good films, there was another ‘Baby’who became quite successful as an adult Heroine opposite well known actors under famous banners and left halfway due to her marriage. Her name is BABY SHAKUNTALA.

Baby Shakuntala was born in a middle class Maharshtrian family of Poona, on 17-11-1932. Those days Prabhat film company had moved to Poona. One of the Prabhat founder partners, Mr. V.G.Damle was their close relative. Along with other children, she too used to go to Prabhat premises for playing there She was 8 to 10 year old when V.Shantaram spotted her and offered a role in film, ‘Das Baje’-42 ( Daha Wajta, in Marathi). The hero’s younger brother’s role was changed to Hero’s sister’s role for accommodating her in the film.

It was a routine matter at Prabhat that for child roles in all films, the children of the partners of Prabhat( Shantaram,Damle,Kulkarni,Fatehlal and Dhaiber) or near relatives were taken. In film Sant Tukaram or other films of Prabhat, all child artistes were from within the Prabhat family only. Shakuntala was very good in studies.She used to get up at 4 am. do school studies, then do household chores, attend school and lastly attend shootings.

Das baje was a hit film. Then came ‘Ramshastri’-44 ( Bilingual-H/M ) meanwhile Shantaram and others left Prabhat and moved to Bombay. After that her work too shifted to Bombay. Due to these changes, she could study only upto Matriculation. But she was proficient in English, Marathi, Hindi/Urdu, Gujarati and Kannada. At the time of shooting for film ‘Shikayat’-48, actor Shyam made her his “Mooh Boli”sister and till he died in an accident he was very close to her.

In 1949, she was 17 year old and she became a heroine in film “Maya bazaar”-49 opposite Balakram. Then came a string of films. She worked with well known actors like Kishore kumar, Bharat Bhooshan,Karan Dewan,Amarnath,Anant Marathe,Master Bhagwan, Abhi bhattachrya etc. She was also luck to have worked under ace directors like V.Shantaram, Bimal Roy,Homi Wadia, kishore Sahu, Raja nene, Gajanan Jahagirdar,Shahid lateef etc. This enriched the depth of her acting.

Kishore Kumar was her Hero in films like, Chham Chhama Chham- 52, fareb-53 and Lehren-53. They had a good tuning like a naughty brother and sister. once kishore kumar surprised her by visiting her in her Kolhapur house ( after her marriage) and spent one day with her family. The famous kishore Kumar- Lata mangeshkar song “aa muhabbat ki basti basayenge hum” from film Fareb-53 was filmed on kishore and Shakuntala only.

Lot of marriage proposals started coming for her and she finally was married in 1954 to Sardar Nadgonde of Kolhapur, a Royal family. After marriage she left films, though she had good demand and became Mrs. Umadevi Nadgonde. She had a son and a daughter. She lived a contented life of 82 years and died recently on 18-1-2015, at Kolhapur.

She had acted in almost 40 Hindi films ( including bi-lingual) and 20 Marathi films from 1942 to 1954. She also acted in famous Marathi dramas on commercial stage. 14 of her films celebrated silver Jubilees. Some of her films were- Das baje-42, Ramshastri-44,Piya Milan-45, Taramati-45, Bachpan-45, Bachhon ka khel-46 ( with Meena kumari), Phir bhi apna hai-46Moti-47, Tohfa-47, Shikayat-48, Seeta Swayamvar-4, maya bazaar-49,, kamal ke Phool-50, Pardes-50,Malti madhav-51 Nanhe Munne-52, Chham chhama chham-52, fareb-53, Lehren-53, Jhamela-53, bhagyawaan-53, Biraj bahu-54, pooja-54, Bindiya-55 etc. ( Bio based on her interview in ” chanderi Aathavani ” by Sulabha Ternikar and material provided by shri Harish Raghuvanshi ji, with Thanks.)

Film India magazine was quite popular in the 40s and the 50s. In its June-1946 issue, the editor Baburao Patel has reviewed this film. As per his judgement, the film was no good. Its story (story, dialogues and songs by I.C.Kapoor) had no life and the director Homi Wadia had spoiled the film by his inept handling and direction. No wonder. Baburao patel rarely praised any film,director or an actor, so this review was on expected lines only.
The film was based onthe ” theme of innocence teaching bitter experience to look at life with a smiling understanding” according to Patel. The story of the film was…

Bhairav (Mazhar Khan) is fed up of life, because his son married outside their cast and all his society criticized him no end. He became very bitter in life and lived in a house on top of a mountain- away from society. He is feared by the villagers around. One of his relatives (Kanta Kumari) sends her niece Madhu (Baby Madhuri) to live with him. Over a period, due to the good and helping nature of optimistic smiling Madhu, Bhairav starts changing and becoming a normal person.

Suddenly, the aunt kidnaps Madhu and sells her as a companion to a rich invalid kamla(Baby Shakuntala). Here too, Madhu wins everyone’s hearts. Envied by this, the Governess (Gulab) of kamla kidnaps Madhu. Meanwhile, Bhairav is also searching Madhu. He rescues her, but the Police detain him and Madhu in the Police station. The village school Teacher Ramesh(B.Nandrekar) and his beloved(Chandraprabha) give positive evidence and Bhairav and Madhu are released. All ends well in the end.

The role of teacher Ramesh was done by B.Nandrekar. This name must be totally unknown to the new generation readers. B.Nandrekar or babasaheb Nandrekar was one of the very few really handsome actors Hindi films ever had. He was born in 1910, in Sangli district of Maharashtra, near Kolhapur. Being a Muslim, he could speak Urdu/Hindi fluently. He completed his schooling from Kolhapur and joined films. Vishnupant Damle (one of the founder partners of Prabhat Films) was making silent film ‘Maharathi Karna’ (1928) for Maharashtra Film Co. He offered Nandrekar a role. Then he worked in other films like ‘Baji Prabhu Deshpande’ (1929), ‘Lanka’ (1930), ‘Kismet’ (1931) and ‘Dushman Ki Raat’ (1931).
His first talkie film was ‘Kurukshetra’ (1933). Prabhat gave him a role in ‘Sant Tukaram’ (1936) (its Hindi version came in 1948). He worked in ‘Amar Jyoti’ (1936) and became quite popular as a hero, opposite Shanta Apte. He was hero in ‘Baghbaan’ (1938) opposite Sitara Devi.

In 1939, he became the first actor to go abroad to shoot scenes in film ‘Africa In Hind’ – ‘हिन्द में अफ्रीका’ (1939). The shooting was done in Africa. Thus this became the first ever Hindi film to shoot in foreign country, and NOT film ‘Naaz’ (1954), as is popularly believed and also as mentioned in HFGK. Nandrekar had become very popular. The chappals he used in film ‘Baghbaan’ became fashionable by the name ‘Nandrekar Chappals‘. This alone is enough to prove his popularity.

His law suit against Prabhat Film Company was a topic of discussion in the industry. There were differences between him and Prabhat over his contract with them. His lawyers were Mr. Jinnah and Mr. Setalwad, who won the case for him. He was also the first actor to work as a freelancer.

Nandrekar appeared in 23 Hindi films. His films were ‘Kurukshetra’ (1933), ‘Amar Jyoti’ (1936), ‘Jaadugarin’ (1937) (UR), ‘Baghbaan’ (1938), ‘Africa In Hind’ (1939), ‘Qaidi’ (1940), ‘Hindustan Hamara’ (1940), ‘Alakh Niranjan’ (1940), ‘Chitralekha’ (1941), ‘Mamaji’ (1942), ‘Duniya Tumhari Hai’ (1942), ‘Nai Kahaani’ (1943), ‘Andhi Duniya’ (1943), ‘Swarn Bhoomi’ (1944), ‘Lady Doctor’ (1944), ‘Ismat’ (1944), ‘Bachpan’ (1945), ‘Kamla’ (1946), ‘Jeevan Sikho’ (1946), ‘Parshuram’ (1947), ‘Meri Amaanat’ (1947), ‘Khandani’ (1947), ‘Sant Tukaram’ (1948) and last film ‘Bihari’ (1948).

He passed away in 1949. No definite information is available about his demise.

With today’s song, film Bachpan-1945 makes its debut on the Blog.


Song-Bole re panchhi bole (Bachpan)(1945) Singers-Unknown female voice, unknown male voice, Lyrics- I C Kapoor, MD- S N Tripathi
Both

Lyrics

Bole re panchhi bole
Bole re panchhi bole
kya bole
Bole re panchhi bole

ambuwa pe baithha shor machaaye
ambuwa pe baithha shor machaaye
suno jee
haan
chhota sa dil mera
chhota sa dil
chhota sa dil mera ghabra jaaye
dole re dil mera dole
dole re dil mera dole
bole re panchhi bole
kya bole
Bole re panchhi bole

teri jawaani meri jawaani
teri jawaani meri jawaani
kehta hai wo to yehi kahaani
kehta hai wo to yehi kahaani
????

hmm
dinon ke ?? soye
?? soye

bole re panchhi bole
kya bole
panchhi to hai naadaan saanwariya
panchhi to hai naadaan saanwariya
patton ke bhi hai jaan saanwariya
baat wo ho bole haule
baat wo ho bole haule
sono je
hmm
?? uski bala se
?? uski bala se
karta hai wo to baat hawa se
jee mein jo aaye wo bole
jee mein jo aaye wo bole

bole re panchhi bole
bole re panchhi bole


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 : 3931 Post No. : 15003

Mukesh song ” Dil jalta hai to jalne de” actually introduced me to the film Pehli Nazar-45. Being a Muslim social film, it was quite popular in Hyderabad, which was Nizam state, with a considerable Muslim population in it.

When the Fazli Brothers-the Director brothers- decided to make their first Muslim social film, ” Qaidi” in 1940, they were not sure how the purists in their religion would accept a film on Muslim life.But the director-Hussanain Fazli- was very firm that come what may, he would produce a Muslim social film. Just to be on a safe ground, he chose to make the film in Calcutta- far off from Bombay to avoid any resistance from the fundamentalists. The film was made by Film Corporation of India, Calcutta.

Contrary to Fazli’s fears, film Qaidi-40 was received by the Muslim community with open arms. It was a Box office success wherever it was released. For first time perhaps, the community was treated with a film about their culture and social life. Film Qaidi-40 set the ball rolling. It gave a feeling of ” yes, we can do it” not only to Fazli Brothers but many other producers, like Mehboob, K.Asif, Mazhar Khan etc etc.

From the 40s to the 47, there was a line of Muslim social films lined with pride and confidence. Notable amongst them was Paak Daaman-40 by Rustom Modi, Masoom-41 by Fazli brothers, Muslim ka lal-41 by Mohan Pictures, Fashion -43 by Fazli Brothers, Najma-43 by Mehboob, Salma-43 by Nazir Ahmed, Ismat-44 by Fazli Brothers, Bade Nawab saab-44 by actor Kumar and Pramila, Bhaijaan-45 by United Films and Phool-45 by K.Asif.

With this background, the Actor, Producer and the Director Mazhar Khan decided to make a Muslim social film and he started ” Pehli Nazar’ in 1945. When he was thinking about the cast, one of his friends from Lahore told him about a new beautiful girl from Lahore who acted in film Khazanchi-41 in a small role of a Bar Girl-on whom a full song was filmed. She, though a Muslim, called herself “Asha”. Mazhar khan saw the film and decided to feature this girl as heroine of his film. he went to Lahore, met the girl and gave her such a lucrative offer that she accepted it immediately. She was Munawar Sultana.

We have often heard and read that in olden days, young film aspirants from far off cities and smaller towns, ran away from homes to the Maya Nagari-Bombay, to try their luck. Few of them succeeded. But mind you, not ALL stars came running away to Bombay. Many of them were brought honourably too, particularly from other film centres like Calcutta and Lahore. For example, Shamshad Begum was brought to Bombay, honourably from Lahore. Saigal was brought from Calcutta to Bombay, with attractive offer.

That, precisely, was the fame of Bombay, that careers are made in Bombay and opportunities are found in abundance for them who have Talent and Luck ! Munawar Sultana, was one such star, who was brought from Lahore with an offer of Rs. 4000 pm and rented furnished accomodation – by Mazhar Khan

Munawar Sultana was born on 8 November 1924, in Lahore, into a strict Punjabi Muslim family. According to an interview with son Sarfaraz and daughter Shaheen, conducted by Shishir Krishna Sharma, Munawwar’s father was a radio announcer. Munawwar wanted to become a doctor, but was side-tracked by an offer in films. This was a small role in the film, Dalsukh Pancholi’s Khazanchi (1941), where she played a barmaid, and had a song, “Peene Ke Din Aaye” picturised on her. She went by the screen name Asha for this period.
In 1945, she was visited in Lahore by producer-actor-director Mazhar Khan, who contracted her on a monthly fee of Rs. 4000 plus an apartment, and brought her to Bombay. Munawwar’s first film with Mazhar was Pehli Nazar, where she was cast opposite actor Motilal. In the popular song “Dil Jalta Hai Toh Jalne Do” (Let the Aflame Heart Burn) playbacked by singer Mukesh for Motilal, Khan focused on Munawwar’s close-ups during the picturisation.

Following Pehli Nazar, she was kept busy through 1947 to 1949 working in several films. Baburao Patel wrote in the cine-mag Filmindia 1949, about her being one of the most over-worked actresses along with Suraiya and Nargis.
In 1947, Munawar acted in four films Dard, Elaan, Andhon Ki Duniya and Naiyya. Dard was directed by Kardar under Kardar Productions. In spite of no big stars being in the film, it turned out to be a surprise “musical hit” at the box office. The hero of the film was Kardar’s brother Nusrat (Kardar). The song “Afsana Likh Rahin Hoon” became a big success. Elaan garnered positive reviews for Munawwar. A Muslim social, the film was praised for its “progressive attitude” towards the need of education.

A lot has already been written about Elaan-47,elsewhere,as well as on this blog too,earlier.

When Mehboob Khan heard the story initially,he spent few days thinking about it.He anticipated the adverse reactions of the Fundamentalists on this film. His team for this film included many Muslims, almost in every department. Major contributors like Naushad, Zia Sarhadi, Amirbai Karnataki and most important , Munawar Sultana,the Heroine,were all Muslims.Others at least were connected indirectly,but Munawar was the Heroine.

Mehboob Khan had a sitting with her and explained to her the entire story and the likely repercussions to the film.He gave her an option to opt out of the film. Munawar played very brave and firmly told Mehboob Khan that she was 100% with him and was ready to work and face,whatever happens as an aftermath.
This act of courage was loved and appreciated by Mehboob Khan very much and he remained indebted to her ever after.
1948 saw Munawar in four more films. Parai Aag, Sona, Majboor and Meri Kahani

1949 was Munawar’s busiest year with seven releases. Out of her four films released in 1950, Munawar’s most notable film was Babul (Father’s House). She acted opposite Dilip and Nargis in this love triangle. Directed by S. U. Sunny, the music was composed by Naushad The film became a major success at the box office. She acted in a few more films till 1956, with Jallad being her last appearance.

From 1950, Munawar’s career slowed down, and she acted in fewer films. She met her husband Sharif Ali Bhagat, a businessman, on the sets of a movie for which he provided furniture. He produced two films with Munawar in the lead, Meri Kahani (1948) and Pyar Ki Manzil (1950). Following the sudden death of her husband in 1966, Munawar managed her family of four sons and three daughters . In the last eight years of her life, Munawar suffered from Alzheimer’s disease. She died on 15 September 2007, at her home in Ambedkar Road. Pali Hill, Mumbai, Maharashtra, India.

For the second Heroine’s role, Mazhar had already signed actress Veena. He was impressed with her looks and style. Getting Veena for this film posed no problem.The Hero was to be Motilal. Anil Biswas too had been signed for its music. The shooting started in early 1945. In between Mazhar khan himself as well actress Veena were acting in K Asif’s film Phool-a Muslim social film again. This film was full of Top stars of those times, so even after completion of the shooting of the film Pehli Nazar, the film was not released in Bombay. The film was censored in the end of 1945. Then the film was first released in Lahore and then in major cities of Northern India. Finally Pehli Nazar was released in Bombay on 18-4-1947 at Minerva Theatre. Originally it was to be in Royal opera House, but the inordinate delay in Bombay release forced it to be in Minerva, another posh theatre of repute.

The film and the acting, particularly of Motilal and Munawar Sultana was appreciated by newspapers and film magazines. There were different opinions about the end of the film. Overall Mazhar khan was successful in fulfilling his dream of making a good Muslim social film, after all. The cast of the film was Motilal, Veena, Munawar Sultana, Baburao Pendharkar, Balakram,Bhudo Advani, Cuckoo, Parveen ( made her debut in this film), Nemo, Nafeesa Begum, Bibbo, Leela Pawar etc etc.

Nemo’s real name was M M Beg. Born at Calcutta on 27th December 1903. Passed Senior Cambridge exam and entered Film line. In 1933. He edited the periodical ‘ AKKAS’ for New Theatres, in English and Urdu. Wrote story of film “President”. Debut in film Yahudi ki Ladki-33 Mostly worked in NT films. till Kashinath-43. In all, he worked in 25 films, 17 of them with new Theatres only. I remember him in film Shri 420 as the seth who brings Police to stop the song and dance of the Basti.

The story of film Pehli Nazar-45 was….. Nasir Mirza and Akhtar Mirza were Lucknow based brothers. Due to a rift between them they lived separately in the same Haveli as neighbours. There was no talk between the brothers.

However Shahida ( Veena), daughter of Nasir and Husna (Munawar Sultana) daughter of Akhtar were bosom friends since childhood and were almost inseparable.

Nasir’s friend in Bareilly sends his son Mushtaq (Motilal) for studies in Lucknow. Mushtaq and Shahida become friendly and Nasir gets them engaged. But, as the brothers are not on talking terms this is kept secret.

One day Mushtaq happens to see Husna, she also sees him and love blooms between them. Mushtaq is so enamoured with Husna, that he breaks his engagement with Shahida. Upset Shahida feels guilty that she did not inform Husna about their engagement.

When Husna learns about the engagement of Shahida and Mushtaq, she feels guilty and perturbed. There is now a chaos in both families. Husna fears that her father may commit suicide to avoid humiliation. After lot of thinking Husna decides to end her life and consumes poison and dies.

The brothers are in shock and grief. They realise their follies and unite. Mushtaq finally marries Shahida only.

There are 10 songs in this film. 7 songs are already discussed. There are several stories about the recording of song ” dil jalta hai to jalne de”. which have been discussed earlier, so we bypass them today. Songs of this film have been discussed by Sadanand ji, Sudhir ji and Atul ji. With me presenting a song today, the film becomes Unique whose songs have been discussed by all 4 of us !

Today’s song is a song and dance, shot on Cuckoo and others. HFGK is silent on the names of singers. This is an issue which is unnecessarily magnified. One must understand that Harmandir ji did this colossal work of HFGK, with great hard work and used whatever information was available to him that time. In few cases no information was available, in some cases wrong information was used and in some case doubtful information was there. He added ” Addenda” to all volumes, with additional information correcting the gaps etc. So, even if singers are not mentioned for some songs, later on experts have rightly identified the voices and due credit is given. We did it on our Blog this, several times. So ” HFGK does not mention singer” need not be made into a big issue at all. In today’s case Sadanand ji-the uploader- has identified the main voice as that of Binapani Mukherjee. Some other expert has identified Naseem Akhtar as the second voice. I am considering both these names as singers.
Editor note- There is a third female voice in the song as well.

( I am thankful for some information used from ‘Forgotten movies on Muslim culture 1933-1947’ by Kamlakar Pasupuleti ji, The Filmdom-1946, Harish Raghuwanshi ji, and my notes ).


Song- Khan Kaabul se aaya ji wai wai (Pehli Nazar)(1945) Singers – Naseem Akhtar, Binapani Mukherjee, Unknown female voice, Lyrics- Dr. Safadar Aah, MD- Anil Biswas

Lyrics

hoy
khan kaabul se aaya ji
wai wai wai
pista chilgoza laaya ji wai wai

shawl lena ji pashmeena lena
ho na naqdi to kishton pe lena
shawl lena ji pashmeena lena
sasta sauda lagaaya ji
sasta sauda lagaaya ji
wai wai wai wai
wai wai wai wai
kaabul se aaya
haan maano(?) hamaari gali aana
hamaari gali aana
zara nainon se naina milaana
ji naina milaana

khan aaya ji
aaya ji
wai wai wai wai
wai wai wai wai
kaabul se aaya
chalo kaabul hamaare saath janiya(?)
ho janiya janiya (??)
chalo kaabul hamaare saath janiya(?)
mujhe maaregi teri pathaniya
mujhe maaregi teri pathaniya

main pathaani ko ghar se nikaaloon
main pathaani ko ghar se nikaaloon
paani paani(?)
phir to bainyyaan main tere gale daaloon
phir to bainyyaan main tere gale daaloon

tujhko ?? banaaya ji
aurat banaaya ji
bibi banaaya ji
wai wai wai

aayi meri pathaani hathheeli
kahin mujhko chhupa le chhabeeli
kahin mujhko chhupa le chhabeeli
zara mujhko nigode bata de
kya huye tere shaadi ke waade
kya huye tere shaadi ke waade

sab bhulaaya
sab bhulaaya
bhulaaya ji
wai wai wai wai
wai wai wai wai
kaabul se aaya
kyun aaya

khan ki ham to aurat pathaani
ae kaun shaitan ki tu hai naani
ae kaun shaitan ki tu hai naani
mard hamaara churaaya ji wai wai wai
mard hamaara churaaya ji wai wai wai
mard hamaara churaaya ji wai wai

jaan jaane de
jaan jaane de
hatt jaa deewaane
kyun re aaya thha naina ladaane
kyun re aaya thha naina ladaane
too ne isko bhulaaya ji
too ne isko bhulaaya ji wai wai wai
too ne isko bhulaaya ji wai wai wai
too ne isko bhulaaya ji wai wai wai


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3681 Post No. : 14577

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

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

Three of these songs have been covered in the past.

Here is the fourth song from “Naseeb”(1945) to appear in the blog. This song is sung by Khan Mastana and Hamida Bano. Rammurty Chaturvedi is the lyricist. Music is composed by Pt Govindram.

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


Song-Deewaani teri do din ki zindagaani (Naseeb)(1945) Singers-Khan Mastana, Hamida Bano, Lyrics-Rammurty Chaturvedi, MD-Pt Govindram

Lyrics

deewaani teri do din ki zindagaani
deewaani teri do din ki zindagaani
do din ki zindagaani
deewaani teri do din ki zindagaani
deewaani teri do din ki zindagaani
deewaani teri do din ki zindagaani

ghar mein teri maata rowe
baahar sakhi saheli
ghar mein teri maata rowe
baahar sakhi saheli
tu mahlon ki raani bankar
karti hai athhkheli

tu mahlon ki raani bankar
karti hai athhkheli
deewaani teri do din ki zindagaani
deewaani teri do din ki zindagaani

apna hua paraaya tera
hua paraaya apna aa
hua paraaya apna
apna hua paraaya tera
hua paraaya apna aa
hua paraaya apna
bhool gaye bachpan ke saathhi
ho gaye saare sapna

bhool gaye bachpan ke saathhi
ho gaye saare sapna
deewaani teri do din ki zindagaani
deewaani teri do din ki zindagaani


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3670 Post No. : 14548

“Ban Phool”(1945) was directed by Dhiren Lahiri for P R productions, Calcutta. The movie had Kanan Devi, Krishnkant, Debi Mukherji, Ahin Chaudhary, Roy Mohan, Shyam Laha, Dev Bala, Bijli, Hiralal etc in it.

This movie had nine songs in it. Three songs have een covered in the past.

Here is the fourth song from “Ban Phool”(1945) to appear in the blog.

This song is sung by Kanan Devi. Pt Madhur is the lyricist. Music is composed by Dhiren Mittar.

I have not been able to note down the lyrics to my entire satisfaction. I request our readers with keener ears to blanks/ help fill in the corrections wherever applicable.

With this song, 200 HFM songs from movies released in 1945 have been covered in the blog.


Song-Kali tu hi bata de hawa tu hi bata de(Ban Phool)(1945) Singer-Kanan Devi, Lyrics-Pt Madhur, MD-Dhiren Mittar

Lyrics

kali tu hi bata de
hawa tu hi bata de
chaman mein kaun aaya
kaun gaya aa aa
kali tu hi bata de
hawa tu hi bata de
kaise pyaar ho gaya
kaisi bahaar de gaya aa
kaise pyaar ho gaya
kaise pyaar ho gaya
kaisi bahaar de gaya aa
kali tu hi bata de
hawa tu hi bata de

aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa

hai pal mein badal gayi duniya
hain badal gayi pichhli kaliyan
aur naach uthhi jeewan ghadiyaan
ab chamak rahi mann phuljhadiyaan

mann phool raha
mann phool raha
mann pyaasa raha
mann doob gaya
mann phool raha
mann phool raha
mann pyaasa raha
mann doob gaya

paayal ki ab sun kar dum
tan man naache chham chham chham
duniya kehti tham tham tham
iqraar kiya to laaj hansi
inkaar kiya to pyaar hansa
iqraar kiya to laaj hansi
inkaar kiya to pyaar hansa


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3667 Post No. : 14540

“Ban Phool”(1945) was directed by Dhiren Lahiri for P R productions, Calcutta. The movie had Kanan Devi, Krishnkant, Debi Mukherji, Ahin Chaudhary, Roy Mohan, Shyam Laha, Dev Bala, Bijli, Hiralal etc in it.

This movie had nine songs in it. Two of these songs have een covered in the past.

Here is the third song from “Ban Phool”(1945) to appear in the blog.

HFGK mentions this song as sung by Kanan Devi and chorus. But listening to this song, it becomes clear that the song is a duet sung by a male voice and Kanan Devi, with the male voice in fact singing bulk of the song. Uploader of the song mentions this sopng as sung by Dhirendra Chandra Mittar and Kanan Devi, where the male voice is the same as the music director. I have gone with that name for the male voice. I request our knowledgeable readers to throw light on the picturisation of this song as well as on the identity of the male voice.

Pt Madhur is the lyricist. Music is composed by Dhiren Mittar himself.

I have not been able to note down the lyrics to my entire satisfaction and there are words that I feel need correction. I request our readers with keener ears to suggest corrections in the lyrics wherever applicable.


Song-Ye dil hai tumhen pukaare (Banphool)(1945) Singers-Dhirendra Chandra Mittar, Kanan Devi, Lyrics-Pt Madhur, MD-Dhirendra Chandra Mittar
Both

Lyrics

Ye dil hai tumhen aen aen aen aen pukaare
Ye dil hai tumhen pukaare
Ye dil hai tumhen pukaare
jis din tumse milna hoga
haan chamkenge andhiyaare
chamkenge andhiyaare
chamkenge andhiyaare
chamkenge andhiyaare

aandhi aur toofaan mein
shaayad ham tum honge saath
phoolon ki sundar duniya mein
ham tum karenge baat
phoolon ki sundar duniya mein
ham tum karenge baat
ham tum karenge baat

tumko roz bulaane jaate
tumko roz
tumko roz bulaane jaate ae ae
aashaaon ke taare
aashaaon ke taare
aashaaon ke taare
aashaaon ke taare
Ye dil hai tumhen pukaare
Ye dil hai tumhen pukaare

yahaan nahin to
wahaan milenge
milna hamen zaroor
milna hamen zaroor
nahar kinaare khojoon main ke
paar ho ya door
nahar kinaare khojoon main ke
paas ho ya door
paas ho ya door
jeet hamaari aakhir hogi
jeet hamaari aakhir hogi
chaahe duniya haare
chaahe duniya haare

Ye dil hai tumhen pukaare
Ye dil hai tumhen pukaare


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3663 Post No. : 14532

“Naghma e Sahra”(1945) aka Song of desert was directed by Bhagwan for Jagriti Pictures, Bombay. This Constume drama movie had Master Vitthal, Khursheed Junior, Bhagwan, amarnath, Bhagwandas, Kavita devi, Shanta Patel, Vasant, Nawaz etc in it.

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

Here is the second song from “Naghma e Sahra”(1945) to appear in the blog. HFGK is silent about the lyricist. The uploader (our own Mr Sadanand Kamath) identifies the singers as Hamida Bano and C Ramchandra, and I agree with this identification.

Ehsan Rizvi is the lyricist. Music is composed by C Ramchandra.

Only the audio of the song is available. assuming that Bhhagwan and Shanta Patel were the lead pair in the movie, it would appear that the song was picturised on them. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song.


Song-Kisi ki yaad kisi ko aayi (Naghma e Sahra)(1945) Singers-Hamida Bano, C Ramchandra, Lyrics-Ehsan Rizvi, MD-C Ramchandra
Both

Lyrics

kisi ki yaad kisi ko aayi
kisi ki yaad kisi ko aayi

mujhko to maaloom nahin
ye ulfat ke afsaane
yaad kisi ki chhalkaaye kyun
aankhon ke paimaane
ye kaisi baat sunaayi ee ee
ye kaisi baat sunaayi ee ee
kisi ki yaad kisi ko aayi
kisi ki yaad kisi ko aayi

kyun dil ka raaj chhupati ho
hmm hmm hmm
jab dil ka chor pakadta hai
duniya to ab jaan gayi
jo do dil ka afsaana hai
teri yaad yahaan tak laayi ee ee
teri yaad yahaan tak laayi ee ee
kisi ki yaad kisi ko aayi
kisi ki yaad kisi ko aayi

jo munh se baat nikalti hai ae ae
wo afsaana ban jaati hai ae
mast nazar chup rah kar bhi ee
apna bhed bataati hai

hai ulfat mein ruswaayi ee ee
hmm hmm
hai ulfat mein ruswaayi ee ee
kisi ki yaad kisi ko aayi
kisi ki yaad kisi ko aayi


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

Blog Day : 3657 Post No. : 14518

Today’s song is from an obscure film Kul kalank-45.

If one critically looks at the artistes’ mix in Hindi films from Talkie era beginning upto 1947, one would find that, if not a majority, a sizable number was of Muslim community. The 15 % section of Indian population was prominently present in the film world. Actors, actresses, directors, singers, Lyricists and Music directors… you name a department and they were there. In a way this community enriched the film and music by bringing Ghazals, Thumris etc into the Music and dance items like Mujra and qawalis became famous and popular part of the Hindi films.

After 1947, many Muslim artistes from almost all departments of film making migrated to Pakistan, making way for artistes who were waiting in the wings-so to say- to fill the void, in Indian film world. many Muslim artistes chose to stay in India. While many divided their families into both countries ( Rafi, Kardar, Mehboob etc), there were many who shifted Lock, stock and barrel to Pakistan.

Legends like Dilip, Meena Kumari, Mehboob, Naushad and Rafi etc stayed back and enriched the Indian film industry, beyond words. One of the major specialities of this industry was ( and is ) its Secular nature. While a team of Muslim Singer (Rafi), Muslim Lyricist (Shakeel) and a Muslim Composer (Naushad) gave us an evergreen Bhajan like “Man tadpat Hari darshan ko aaj (Baiju Baawra) “, a team of Hindu composer (CR), Hindu Lyricist (Shailendra) and a Hindu Singer ( Lata ) gave us a Devotional Naat “Duaa kar gham e dil, Khuda se duaa kar(Anarkali) “.

BOMBAY- the Mayanagari of films, attracted many aspirants from all over the country. One can understand, if those who wanted to make a successful career and become famous, flocked to Bombay, but sometimes even the famous ones with a bright career already in place, also were tempted to join this industry. Some names which come readily to mind are- Pt. Ravi Shankar, the International Sitar Maestro and a Bharat Ratna-1999. He became a Music Director and gave music to 5 films….Neechanagar and Dharti ke Lal-1946, Anuradha-60, Godaan-63 and Meera-79. The famous Sarod player Ali Akbar Khan gave music to 7 films. And then, the famous Tabla player All Rakha Khan Qureshi also had a stint in Hindi films. Today’s film Kul Kalank-45 had his music.

Ustad Allah Rakha, born as Allah Rakha Qureshi, was born in Jammu and Kashmir on 29-4-1919. He was an Indian tabla player, who popularised the art of tabla playing all over the world. Allah Rakha was born to a soldier, who later returned from the army and worked as a farmer after that to earn his bread and butter. Being the eldest of seven sons, his father did not expect him to learn music and opposed his idea of learning classical music.

Ustad Allah Rakha, as a young boy of 12 years, found the instrument fascinating while visiting his uncle in Gurdaspur. His inclination towards Indian classical music and the Performing Arts made him run away to Lahore for further learning, as he found little scope of learning the art-form in his home-town. Allah Rakha studied at the Punjab school of classical music (gharana) where he became a student of Ustad Mian Khadarbaksh Pakhawaji (Mian Quader Bakshi). He was trained to be a singer under Ustad Ashiq .

Allah Rakha was also associated to theater as he lived in Pathankot for sometime and worked for a theater company. In 1930, Allah Rakha worked at a radio station in Lahore. According to reports, he moved to Delhi after six years, in 1936, to work with All India Radio. In 1940, he moved to Bombay and worked with Pandit Ravi Shankar and again on All India Radio. He was the station’s first ever tabla solo player then. After which he even composed music for 40 Hindi films from 1943 to 1958. His first film as a MD was Mahasati Anusuya-43 and the last released film was Idd ka chaand-64. He even sang 14 songs in 7 films between 1942 to 1949

Ustad Allah Rakha had married twice. He was first married to Bavi Begum and had three sons, Zakir Hussain, Fazal Qureshi and Taufiq Qureshi and two daughters Khurshid Aulia née Qureshi and Razia. Razia served him in his later years and was like a constant companion to her father. She died after a routine cataract surgery and Allah Rakha could not cope with the shock of her death and immediately slipped into a coma and passed away within 24 hours on 3-2-2000.

Zakir Hussain is one of the most renowned tabla players of India.

Allah Rakha’s son Zakir Hussain grew up to be another legend in the country. Zakir Hussain has also been honoured with the Padma Shri in 1988 and the Padma Bhushan in 2002, by the Government of India. The honour that was bestowed upon his father by the Sangeet Natak Akademi came to him as well in 1990. Hussain has been working in films and on albums in India as well as abroad. Hussain owes his career to his father, who had made sure that he remained focused on the art-form.

Ustad Allah Rakha had established the Alla Rakha Institute of Music in Bombay in 1986 and imparted his knowledge of the instrument to all his disciples in the institute. Allah Rakha and sitar maestro Pandit Ravi Shankar brought classical Hindustani music to Western audiences as well. He was honoured with the Padma Shri Award by the Government of India in 1977 for his contributions to elevate the reach of tabla playing as an art form across the globe. Later on, Sangeet Natak Akademi also honoured him.

Ustad Allah Rakha and sitar maestro Pandit Ravi Shankar brought classical Hindustani music to Western audiences as well. Their partnership reached legendary heights with performances at the Monterey Pop Festival in 1967 and the Woodstock Festival in 1969. The two performed together in a lot many festivals and elevated the respect and popularity of tabla playing as an art form. Other than Pandit Ravi Shankar, he also worked with renowned Kathak dancers like Sitara Devi and Birju Maharaj.

Ustad Allah Rakha found fans not only in India but abroad as well. Reportedly, American percussionist, the Grateful Dead’s Mickey Hart, was his huge fan. Hart always tried to learn from him even from single visits that Ustad used to make to his country. Hart was also quoted saying, “Alla Rakha is the Einstein, the Picasso; he is the highest form of rhythmic development on this planet.”

Other than the Grateful Dead drummer, Mickey Hart, Ustad Allah Rakha inspired George Harrison from The Beatles as well. Both of them performed together for a Concert for Bangladesh in 1971. Mickey Hart also collaborated with him for Rolling Thunder in 1972. The picture we have here is of Hell’s Angels member Terry The Tramp with tabla player Ustad Alla Rakha as they were set to perform together at the Monterey International Pop Festival, June 17th, 1967. He had collaborated with many prominent rock groups.

While Ustad used to generally team up with Pandit Ravi Shankar for his performances, he once collaborated with jazz drummer Buddy Rich for an album, Rich à la Rakha in 1968. Some of his greatest works have been in the form of albums Improvisations, West Meets East, Album 3 (with Ravi Shankar, Yehudi Menuhin, Jean Pierre Rampel, Martine Gelliot), Angel (1976), Master Drummers with Zakir Hussain (1991), Tabla Duet, Chhanda Dhara (1994), Ultimate in Taal-vidya, Magnasound/OMI (1996),

The cast of film Kul Kalank-45 was Shanta Hublikar, Masood, Shehzadi, Maajid, Amirbai karnataki, Dulari, Protima Devi, W M Khan, Saroj Borkar etc etc. In this list we find names of Masood, Shehzadi and Majid, who are not well known to most people.

Masood Mohammed Ansari was born on 16-2-1921 at Lahore in a respectable family. After passing the Matriculation, he joined films with screen name Shyam, but as there were already 2 actors with that name, he retained his own name shortened to just Masood. He joined Bombay Talkies on a monthly salary, but even in one year, he did not get any role in a film, so he resigned.

He did small roles in Sitara and Gunehgar -39, but was noticed in Bahurani-40. Due to his good looks and personality, he got roles with leading ladies like Sitara, Swarnalata, Nurjehan, Mumtaz Shanti, Khurshid Jr. and Shamim. He acted in society-42,Aabroo-43,Naadan-43, Raahgir-43, Ishara-43, Nagad Narayan-43, Kul kalank-45, pujari-46, Nek parveen-46 and Bhanwar-47. he got married just before partition and migrated to Pakistan, with his family.

The other name we find is of Shehzadi. Now, there was another actress Shehzadi, who was the daughter of actress director and producer Fatima Begum and sister of Zubeida (Alam Ara) and Sultana. She had done films from 1926 to 1939 only. Zubeida and Sultana were married in 1936. She also got married and left films. Actress Shehzadi of film Kul Kalank-45 was different. She was born in Bombay and knew Urdu, Hindi, English, Gujarati and Marathi languages. She joined Bombay Talkies and her Debut film was Jhoola-41. In this film she did a dance and song item with Mumtaj Ali (father of Mehmood). The song was ” Main to Delhi se dulhan laaya re “. This became a hit song. She had learned Dancing before joining films. This came handy in films. She acted in 26 films from 1941 to 1947. In film ‘ Hanso hanso,aye duniyawalon’-42, she was Gope’s Heroine. In 1947, she started her own company Ratnakar productions and made a film ” Utho Jaago’ with Hero Ashiq Hussain. After Partition, she married the Hero and migrated to Pakistan.

The third name is Majid. His name was Abdul majid Syed. he was born at Farrukhabad in U.P. in 1915. His father was an Overseer. After matric in 1929, he started his business of Leather in Akola, Maharashtra. in 1935, actor, director and producer Nazeer of Hind pictures, introduced him to S.K.Daryani and he got a small role in Sher ka Panja-36 and Sangdil samaj-36. However, from film Bulldog-37, he got side roles and lead roles in films like Gentleman daku-37, insaaf-37, Rajkumari-38, Masterman-38, Zamana-38, Mud-40, Saubhagya-40, Swami-41, Swaminath-42, he also acted in more films like Najma-43, Babar-44 and Zeenat-45.

In all he did over 100 films till 1947. After Partition, he migrated to Pakistan with Nazeer and Swarnalata.

In film Kul kalank-45, there were 11 songs. Today’s song is a duet by Ameerbai karnataki and Rafi. Mind you, in 1945, Mohd. Rafi was still a new singer. Having started only in 1944, this song was just the 7th song in his career. from his style and voice itself, one can make out that this singer was a new one. That way, this is a rare song of Rafi and a song which is not easily available.

Film Kul Kalank was re-released as ” Jeewan Chhaya ” in 1946 again. Kul Kalank-45 makes a Debut on the Blog. Listen to Rafi’s rare song.
( Credits- A.I.Directory, pakfilms.com,, CITWF.com, Times of India back issue, HFGK, MuVyz, Flash back-Isak Mujawar, Asli Nakli Chehere-V.Pandya and my notes )


Song-Topiwaale babu ne dil chheena (Kul Kalank)(1945) Singers-Amirbai Karnataki, Rafi, Lyrics-Roopbani, MD-Alla Rakkha Qureshi
Both

Lyrics

Topiwaale baabu ne dil chheena
Topiwaale baabu ne dil chheena
dil chheena re mora man chheena aa
dil chheena re mora man chheena
haay dil chheena re mora man chheena
Topiwaale baabu ne dil chheena

tirchhi nazron se kar ke ishaara
tirchhi nazron se kar ke ishaara
Topiwaale baabu ne dil chheena
baanke nainon waali ne dil chheena
dil chheena re mora man chheena aa
dil chheena re mora man chheena
haaye dil chheena re mora man chheena
baanke nainon waali ne dil chheena
baanke nainon waali ne dil chheena
kaali zulfon ka de ke nazaara
kaali zulfon ka de ke nazaara
baanke nainon waali ne dil chheena
baanke nainon waali ne dil chheena

o o o
bhari bajariya mein khenche chunariya aa aa
bhari bajariya mein khenche chunariya
khenche chunariya mera
haay raam
khenche chunariya mera
haay raam
khenche chunariya aa
maare sharam meri doobi najariya
maare sharam meri doobi najariya
maathhe pe aaya paseena aa aa
maathhe pe aaya paseenaa
Topiwaale baabu ne dil chheena
Topiwaale baabu ne dil chheena

ho o o
bhari bajariya mein ghoonghat nikaale ae ae
bhari bajariya mein ghoonghat nikaale ae ae
chalti ho kyun tum aanchal sambhaale
chalti ho kyun tum aanchal sambhaale
dikhaati ho kyun apna seena aa
dikhaati ho kyun apna seena
baanke nainon waali ne dil chheena

topi waale baabu ne dil chheena
dil chheena
dil chheena


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

Blog Day : 3620 Post No. : 14429

98 years ago, this day, was born this exceptional artist – Hemant Kumar. A singing voice that is remembered and cherished for it depth and softness. His versatility with the lower octaves is a measure of wonder. And a pleasure to listen to the songs sung by him.

I was checking online today for news and articles on the occasion of his birth anniversary. I found some – new and less recent. What amazes me is the shallowness of research effort that people put into such endeavours. All articles talk about the beginning of his career in Hindi films – ‘Jaal’ (1952) and SD Burman’s “Ye Raat Ye Chandni Phir Kahaan” as a singer; and as a music director – “Nagin” (1954). One article, based on an interview with him, at least gets to the correct debut as a music director – ‘Anand Math’ (1952). But as a singer, the complete period of 1945 to 1951 is completely overlooked.

Not too many songs to list for this part of his career, but at least the correct information needs to be investigated and presented. His debut Hindi film as a singer is ‘Iraada’ from 1945. For the next 5 to 6 years, he is on record as having sung 2 to 3 songs per year, before reaching the early 1950s, and getting the popular acknowledgement.

For today’s remembrance, I present this wonderful song from the film ‘Banphool’ of 1945. The lyrics of this song are written by Narendra Nath Tuli and the music composition is by Dhiren Mitra. This song is a kind of ‘naat’ in the honor of the Almighty, telling about his qualities as a benevolent Master, and as an unforgiving Judge who would impartially impart justice for both the good and the bad deeds. The mukhda (title line) of this song is an exhortation to revere Him and to connect with Him in love and submission, for He is the true benefactor.

लगा उस से लौ तू
मददगार है वो

On this Holy day of Eid celebration, I present this song in the honor of the Almighty, who is essentially the Father figure for this entire creation. Praise Be Upon Him.

And wishing a very Happy Eid to all friends and readers.
Aameen.

 

Song – Laga Us Se Lau Tu Madadgaar Hai Wo  (Banphool) (1945) Singer – Hemant Kumar, Lyrics – Narendra Nath Tuli, MD – Dhiren Mitra (Dhirendra Chandra Mitra)

Lyrics

laga us se. . .
lau tu. . .
madadgaar hai. . . wo

laga us se lau tu
madadgaar hai wo
laga us se lau tu
madadgaar hai wo
laga us se lau tu
tu ban uska banda
ke ghamkhaar hai wo
laga us se lau tu
tu ban uska banda
ke ghamkhaar hai wo
laga us se lau tu

sitamgaar jis par na ye zulm dhaaye
jo sakhti ke aage na sar ko jhukaaye
sitamgaar jis par na ye zulm dhaaye
jo sakhti ke aage na sar ko jhukaaye
nadaar ho kar bhi khudgaar hai jo
nadaar ho kar bhi khudgaar hai jo
tu banda hai uska talabgaar hai wo
laga us se lau tu

haan. . aan
ghani aur muflis pe. . .
waa ik nazar hai. . .
keeneh ki badi ke ey. . .
mutaabiq ajar hai
wo samjhega us se gunehgaar hai jo
wo samjhega us se gunehgaar hai jo
badal uske khoo hai ki
jabbaar hai wo
laga us se lau tu
madadgaar hai wo
laga us se lau tu

laga us se. . .
lau tu. . .
madadgaar hai. . . wo

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
लगा उस से ॰ ॰ ॰
लौ तू ॰ ॰ ॰
मददगार है ॰ ॰ ॰ वो

लगा उस से लौ तू
मददगार है वो
लगा उस से लौ तू
मददगार है वो
लगा उस से लौ तू
तू बन उसका बंदा
के ग़मखार है वो
लगा उस से लौ तू
तू बन उसका बंदा
के ग़मखार है वो
लगा उस से लौ तू

सितमगार जिस पर ना ये ज़ुल्म ढाये
जो सख्ती के आगे ना सर को झुकाये
सितमगार जिस पर ना ये ज़ुल्म ढाये
जो सख्ती के आगे ना सर को झुकाये
नादार हो कर भी खुदगार है जो
नादार हो कर भी खुदगार है जो
तू बंदा है उसका तलबगार है वो
लगा उस से लौ तू

हाँ॰॰आँ
ग़नी और मुफलिस पे ॰ ॰ ॰
वा इक नज़र है ॰ ॰ ॰
कीन्हे की बदी के ए॰ ॰ ॰
मुताबिक अजर है
वो समझेगा उस से गुनहगार है जो
वो समझेगा उस से गुनहगार है जो
बदल उस के खू है की
जब्बार है वो
लगा उस से लौ तू
मददगार है वो
लगा उस से लौ तू

लगा उस से ॰ ॰ ॰
लौ तू ॰ ॰ ॰
मददगार है ॰ ॰ ॰ वो


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3605 Post No. : 14386

“Raaj Laxmi”(1945) was Premendra Mitra for M P Productions, Calcutta. The movie had Kanan Devi, Chhabi Vishwas, Natwar, Jahar, Poornima, Tandon, Ifthikhar Ahmad, Rai Mohan, Puri, Talat Mehmood etc.

The movie had seven songs in it. HFGK mentions eight songs but the eighth song is a private song.

One song from the movie has been covered in the past. Here is the second song from the movie to appear in the blog.

This song is sung by Kanan Devi. Suresh Chaudhary is the lyricist. The movie had two music directors, but the distribution of songs among them is not known.

Only the audio of the song is available. It is clear that the song was picturised on Kanan Devi herself.

I have not been able to get a few words right in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.


Song-Main sharmaayi kyun sharmaayi (Raaj Laxmi)(1945) Singer-Kanan Devi, Lyrics-Suresh Chaudhary, MD-Robin Chatterji, Dhiren Ghosh

Lyrics

Main sharmaayi
kyun sharmaayi
Main sharmaayi
kyun sharmaayi
jab paas thhe wo
main door rahi
kyon door rahi

ab chale gaye ae ae
man le ke gaye
o man le ke gaye
main pachhtaayee
kyun door rahi
Main sharmaayi
kyun sharmaayi

haan aan aan
ruki ghaat par
jab thhi naiyya
mujhe bulaaye ae
na wo khewaiyya
haan aan aan aan aan
wo chale gaye
main kyun na gayi
kyun door rahi

ujad gayi aasha ki bagiya
chhaayi ab sapnon pe duniya(?) aa aa
ujad gayi aasha ki bagiya
chhaayi ab sapnon pe duniya(?)
guzre dinon ki saari kahaani
guzre dinon ki saari kahaani
aansuon mein doob gayi
main door rahi
main sharmaayi
kyun sharmaayi


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What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has over 15100 song posts by now.

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

Total number of songs posts discussed

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Movies with all their songs covered =1172
Total Number of movies covered =4154

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