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

Blog Day :

4820 Post No. : 16593

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Audio Clip:

Video Clip (Bangla version)


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

Lyrics

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

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

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


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 :

4814 Post No. : 16584

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

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

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

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


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

Lyrics

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

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


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

Blog Day :

4805 Post No. : 16573

‘Main Kya Karoon’ (1945) was produced under the banner of Flora Films and was directed by Sudhir Sen. The star cast included Suraiya, Hansa Wadkar, Pahadi Sanyal, Bikram Kapoor, Anil Kumar, Agha, Shah Nawaz, E Billimoria, Gulab, Cuckoo, Sunetra, Motibai, Ratan Piya etc. The film was released on July 12, 1946.

It is interesting to note from the advertisement of this film (which I have included in the video clip of the song) is that Cuckoo’s name appears in the cast list as ‘Kukoo’. The name of the dance director, ‘Prof. More’ appears prominently in the advertisement which is bolder than that of names of the supporting actors like Pahadi Sanyal, Shah Nawaz etc. I guess, ‘Prof. More’ is the same person as K S More (also spelled as ‘Moray’ or ‘Morey’) who was also the Dance Director to whom Cuckoo had married.

‘Filmindia’ in its October 1946 issue, had written a favourable review. While noting that the film had an usual story of a marriage tangle, the review had commended the work of the dialogue-writer in making an ordinary story into a fast-paced narratives thus sustaining the audience interest in the film. The gist of the story is as under:

Two head-strong fathers (Shah Nawaz and Bikram Kapoor) get their boy and the girl married in their childhood. Soon the fathers start quarrelling eventually cutting off their relationship. The girl comes back to her father house.

Both the boy and the girl lose sight of each other over a period of time. They have grown up in their own environments. One day both of them meet each other without knowing that they were married in their childhood. The hero (Agha) falls in love with the heroine (Suraiya) who is a bit hesitant because she thinks that she was a child widow. However, the hero convinces her for the marriage.

In the meanwhile, there is another development. The hero’s friend is in love with his sister (Hansa Wadkar) who is the friend of the heroine. Multiple misunderstandings develop between all the four main characters resulting in some humorous situations. Finally, the marriage tangle is solved to the satisfaction of all.

The fact that the film was released on July 12, 1946 and the review was published after about 3 months indicates that the film must have run for at least 3 months.

‘Main Kya Karoon’ (1945) had 8 songs – written by D N Madhok (7) and Rammurti Chaturvedi (1) which were set to music by Ninu Mazumdar. The Blog has so far covered 5 songs from the film. I am presenting the 6th song, ‘baamna ki chhori dil le gayi, baniye ka poot jiya le gaya’ rendered by Ninu Mazumdar and Hamida Bano. The song is written by D N Madhok.

This is a love song as a tete a tete between lovers in which there is a bit of teasing as well as the assessment of the then prevailing situation in India where inter-caste marriages were frowned upon. The boy admits that his heart has been taken away by a daughter of a brahmin. The girl retorts that her heart has been taken away by a baniya’s (trader’s) son. Then they talk about how they lost their heart to each other. The girl says that her beloved’s magical eyes, his fair complexion and smiles cast spell on her. The boy reminds his beloved that they have yet to cross the stumbling block of the respective families as both of them belong to different castes. The girl is confident that more than the caste and the family, it is the mutual love for each other that matters the most in the marriage.

I heard this song for the first time only a couple of days back and I immensely liked both the tune and the orchestration. Both the prelude and interlude orchestrations enhance the mood of the song. Another innovative use of the orchestration is instead of the short ‘musical fillers’ in-between lines of the song, there is what I would call it as ‘extra interlude’ orchestrations after the first four lines of the antara of the song to avoid monotony of the repeat of the lines thereafter.

With this song, only two songs from the film remain to be covered on the Blog:

1. Mai-e-gulgun hai jawaani hai by Rajkumari Dubey and Hamida Bano

2. Jaaniyaan maano hamri rasiya maano hamri by Hamida Bano

Audio Clip:

Song-Baamna ki chhori dil le gayi (Main Kya Karoon)(1945) Singers-Ninu Mazumdar, Hamida Bano, Lyrics-D N Madhok, MD-Ninu Majumdar

Lyrics

baamna ki chhori dil le gayi
ho o o o
baniye ka poot jiya le gaya..aa

baamna ki chhori dil le gayi
ho o o o
baniye ka poot jiya le gaya

gaagri utaaye jaaye
gaagri utaaye jaaye
pag to le
o kamar do bal khaaye
jaadu bhari aankh rang hai gora
jaadu bhari aankh rang hai gora

ho o o o
hans hans ke moh liya man mora
ho o o o
hans hans ke moh liya man mora
sukh lekar dukh de gaya

haay
sukh lekar dukh de gaya
ho o o o
baniye ka poot jiya le gaya..aa

baamna ki chhori dil le gayi
ho o o o
baniye ka poot jiya le gaya..aa

jaat begaani biraadari ka dar
ho ham pe lagi hai jaani sab ki nazar
pyaar mein biraadari na jaat koi
ho neh laga liya jo wo kare so hoi

jaat begaani biraadari ka dar
ho ham pe lagi hai jaan sab ki nazar
pyaar mein biraadari na jaat koi
o neh laga liya jo wo kare so hoi
sukh lekar dukh de gaya

haay
sukh lekar dukh de gaya
ho o o
baniye ka poot jiya le gaya..aa
baamna ki chhori dil le gayi
ho o o
baniye ka poot jiya le gaya..aa


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

Blog Day :

4799 Post No. : 16563

Chal ri sajni ab kya soche kajra naa bah jaaye rote rote.

This is one of the immortals ‘bidaai songs’ in Hindi films. The song written by Majrooh Sultanpuri is composed by S D Burman and Mukesh has sung in a sombre mood as if he sang for his daughter’s ‘bidaai’. But many admirers of this song may not be aware (I was one of them until few months back) as to who played the prelude music of this song on Shehnai. Later on, I came to know that it was played on a Taar Shehnai. This prelude music must have facilitated the creation of appropriate mood for Mukesh to render the song.

In tumko to karodon saal huye batlaao gagan ghambhir, the poignant mood of the song is amplified in the interlude of Taar Shehnai.

In megha chhaaye aadhi raat bairan ban gayi nindiya, there are depiction of two moods in the interlude scenes – Shashi Kapoor with Rakhee (Kamini) in joyous mood represented by fast-paced music on electric guitar and Rakhee (Kanchan) alone in a melancholic mood represented by the music on Taar Shehnai.

The name of the Taar Shehnai player in all the three songs is Dakshina Mohan Tagore who was instrumental in introducing Taar Shehnai in Hindustani classical concerts as well as in Hindi and Bangla films.

Before I discuss more about Dakshina Mohan Tagore, let me briefly give some information about Taar Shehnai which I have gathered from the the internet including some videos made by classical musicians. Taar Shehnai is string and bow musical instrument, almost like a Dilruba (also called Esraj in Punjab and Bengal with round sound box) except that a mechanical amplifier in the shape of an old gramophone horn is attached to the sound box of Dilruba/Esraj with a needle touching one of the strings to produce the sound like that of shehnai. Dilruba/Esraj is the combination of Sitar like neck and frets with Sarangi like sound box, played with a bow.

The advantage of Taar Shehnai over traditional Shehnai is that the former has more piercing sound indicating grief and pathos than Shehnai. It is because of this quality of sound that probably Pandit Ravi Shankar decided to use Taar Shehnai for a piece of background music played by Dakshina Mohan Tagore for one of the immortal scenes in ‘Pather Panchali’ (1955). The scene towards the end of the film is that Harihar returns home after a long absence and shows to his wife, Sarbajaya among the purchases made, a saree for their daughter Durga for her marriage. Sarbjaya breaks down after seeing the saree and falls on the ground. At that point, the background music on Taar Shehnai played by Dakshina Mohan Tagore starts and continue to about 2 minutes during which Harihar gets to know that Durga is no more. Noble prize winning author, Saul Bellow calls this piece of Taar Shehnai as ‘hysterical death music’ in his novel ‘Herzog’ (1964). One can watch this heart-rendering scene in the video of the film which is available on video sharing platforms.

Not much information is available about Dakshina Mohan Tagore, one of the innovative musicians. I could get a brief profile of him in February 23, 1958 issue of ‘Aakashvaani Bulletin’ where his programme on the National Programme of Music was listed. Also, I recalled some tits bits which I had read, mainly from the interviews of those artists who had closely worked with him when I was preparing for articles on S D Burman about 2 years back.

Dakshina Mohan Tagore (1916-1986) was born in Kolkata in the illustrious Tagore family. His father was a freedom fighter and a colleague of Sri Aurobindo. After serving a long prison, his father became an ascetic and made the Himalayas his abode. Dakshina Mohan grew up in an environment of music and fine arts. He learnt singing from his mother and Sitar and Esraj from his grandfather and uncle, respectively. Later, he got training from Ustad Chhotey Khan and Suresh Chandra Chakravarty.

At the age of 16, Dakshina Mohan became a member of Indian Radio Orchestra in Kolkata. Gurudev Rabindranath Tagore invited him to Shantiniketan to work as an examiner in instrument music which he continued for many years. Sometime in early 1950s, he joined Aakashwani (All India Radio), Kolkata as a musician by which time he had become a concert player of Sitar, Dilruba/Esraj, Taar Shehnai and Tarit Veena.

S D Burman was instrumental in bringing Dakshina Mohan Tagore to Bombay film industry and making use of his Taar Shehnai in Hindi films – both for orchestration of the songs as well as for the background music. Dakshina Mohan Tagore played Taar Shehnai for S D Burman, O P Nayyar and later for R D Burman. He played Taar Shehnai for background music in Bimal Roy’s films. I had also read that he played Tarit Veena along with Santoor played by Pandit Shiv Kumar Sharma in the interludes of the song, hamne to dil ko aapke qadamon pe rakh diya for O P Nayyar. Note the piece of music which is a hybrid sound of Sitar and Sarod.

According to Pandit Shiv Kumar Sharma, Dakshina Mohan Tagore was known in Mumbai’s film musicians circle as ‘Dukhida’ because he played Taar Shehnai to give mournful and sad moods. Only S D Burman called him with full proper name.

In Mumbai, Dakshina Mohan became the disciple of Annapurna Devi and propagated the Maihar Gharana music in his concerts of Taar Shehnai, Dilruba/Esraj and Tarit Veena all over India. He was the first Hindustani classical musicians who played Taar Shehnai and Tarit Veena in concerts. Later, Pandit Vinayak Vohra (father of Neeraj Vora, actor- writer-director) continued to propagate Taar Shehnai in concerts.

Dakshina Mohan Tagore must be a person keen to develop or modify the traditional music instruments to produce a hybrid sound. He is credited with modifying Esraj to make Taar Shahnai by adding the sound amplifier. From the browsing of some of the issues of ‘The Radio Listeners/Aakaashwani’ fortnightly Bulletins, I observed that often Dakshina Mohan had given Tarit Veena recitals on AIR during 1943-59, a music instruments I heard for the first time. It appears that Dakshina Mohan preferred to play ‘exotic’ musical instruments like Taar Shehnai, Mandar Bahar and Tarit Veena.

Many Hindustani classical musicians like Pandit Ravi Shankar, Ustad Allah Rakha Qureshi, Ustad Akbar Ali Khan, Ustad Vilayat Khan etc, had been associated with Hindi films as music directors. Dakshina Mohan Tagore association with film industry as a music director was very marginal. ‘Ameeree’ (1944) was his sole released Hindi film for which he was the music director. Unfortunately, this film of the veteran director, P C Barua failed miserably at the box office. After few years, he got an opportunity to compose songs for ‘Ramdoot Hanuman’ (1960s). But this film remained unreleased. Later, six songs were released on records.

One song from ‘Ameeree’ (1945) has been covered on the Blog. I present the second song- ‘aao man bahalaayen saajan’ from the film to appear on the Blog. The name of the singer is not mentioned in HFGK. However, the name of the singer mentioned for this song in http://www.myswar.co is Neelima Banerjee. On the basis of a few of her Bangla songs I have heard, the voice in the song under discussion appears to have some similarity with Bangla songs of Neelima Banerjee. The name of the lyricist of all the 9 songs of the film is unknown.

The tune and the orchestration of the song have typical Bengali flavour.

Audio Clip:

Song-Aao man bahlaayen saajan (Ameeree)(1945) Singer-Neelima Bannerjee, MD-Dakshina Mohan Tagore

Lyrics

aao man bahlaayen
saajan
aao man bahlaayen
aao man bahlaayen
saajan
aao man bahlaayen
tum man veena ko chhedo
tum man veena ko chhedo
ham raag manohar gaayen
tum man veena ko chhedo
ham raag manohar gaayen
aao man bahlaayen
saajan
aao man bahlaayen

apne man ka sundar vaati(??)
hara-bhara hai aur bedaag
apne man ka sundar vaati(??)
hara-bhara hai aur bedaag
aashaaon ke phool chunen
ham kaanthon mein kyun jaayen
aashaaon ke phool chunen
ham kaanthon mein kyun jaayen
aao man bahlaayen
saajan
aao man bahlaayen

kaliyon ne li angdaayi
phoolon pe masti chhaayi
phoolon pe masti chhaayi
jhoom jhoom ke mast hawaayen
hampe kaise chhaayen(??)
jhoom jhoom ke mast hawaayen
hampo kaise chhaayen(??)
aao man bahlaayen
saajan
aao man bahlaayen


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

Blog Day :

4785 Post No. : 16541 Movie Count :

4502

The history of Hindi film songs indicates that, by and large, singers who have been formally trained (gandabandha disciples) as Hindustani classical/semi-classical vocalists had the marginal presence in the Hindi films as playback singers. They mainly concentrated on their career as public or private concert singers. Some of them like Mukhtar Begam, Begam Akhtar, Indubala, Angoorbala, Kamala Jharia etc who were actor-singer during the early phase of the sound films, later concentrated on their career as vocalists in Hindustani classical and semi-classical genres.

In the Bombay (Mumbai) film industry, after the system of playback singing was firmly established, some of the singers who had been trained as Hindustani classical vocalists, had a tryst as playback singers/actor-singers. They included Roshanara Begam, Sureshbabu Mane, Mallika Pukhraj, Wahidanbai, Khan Saraswati Rane, Menakabai (Shirodkar), Manik Dadarkar (Varma), Nirmala Devi, Nalini Mulgaonkar etc in the late 1930s to 1940s. While Wahidanbai died in harness in 1942, rest of them almost gave up the career of singing in Hindi films during the subsequent years and concentrated on their career as vocalists in Hindustani classical music.

Well-established Hindustani classical vocalists like Pandit D V Paluskar, Ustad Bade Ghulam Ali Khan, Ustad Amir Khan, Pandit Bhimsen Joshi, Hirabai Barodekar, Pandit Krishnarao Chonkar, Kishori Amonkar etc very sparingly did playback singing in Hindi films and that too for the raag-based compositions. The main reason seems to be that they were more concerned about retaining their identity as Hindustani classical vocalists than being branded as playback singers in films. The other reasons could be that in playback singing, singers are required to sing ‘made to order’ songs set to tune by the music directors while in concert the singers have lots of freedom in show-casing their creativities.

Kolkata-born Roshanara Begam (1917 – 05/12/1982) was one of the formally trained Hindustani classical vocalists who got associated with Hindi films as actor-singer in early 1930s without being her intention to do so. In Kolkata, she was trained in Hindustani classical music by Ustad Laddan Khan among others. But after listening to the renditions of Ustad Abdul Karim Khan, the doyen of Kirana Gharana, she was keen to become his disciple. With this intention, Roshanara Begum shifted to Mumbai in early 1930s.

It took some time for her to be accepted as his disciple by Ustad Abdul Karim Khan as he was based in Miraj and used to travel on his concert tours. In the meanwhile, the makers of ‘Watan Parast’ (1934) were looking for good singers to act as hero and heroine in the film. After listening to her renditions, Roshanara Begum got the role of a heroine in the film along with Professor Ramanand Sharma as a hero who was also a good singer. Incidentally, she was given a new name, Roshanara which was derived from her name, Roshan Jahan, the name given to her by a Fakir. However, her real name was Wahidunnisa.

‘Noor-E-Islam’ (1934) was her next film in which she again paired with Professor Ramanand Sharma as singer-actor. Although a few internet sites indicate that Roshanara Begum worked in about dozen films as singer-actor, in her TV interview, she revealed that she worked in only 3-4 Hindi films. This may be true as sometime in 1935, she was formally inducted as a disciple of Ustad Abdul Karim Khan and he had put a condition that during her training period, she should not work in films. She was trained under him for less than 2 years as Ustad Abdul Karim Khan passed away on 17th October 1937.

Roshanara Begam continued her training in Hindustani classical music with Ustad Abdul Wahid Khan, the brother-in-law of Ustad Abdul Karim Khan. By 1940, Roshanara Begam has become an established vocalist in Hindustani classical music and was getting invitations from all over India. During one of such concerts in Mumbai, a police officer from West Punjab who was on a transfer to Mumbai heard her singing and he fell in love with her. She married the police officer on the condition that after the marriage, she would continue her career as a vocalist.

After the partition, Roshanara Begam shifted to her husband’s place in Lalmusa in West Punjab in 1948. For about one year, she did not sing either in concert or on Radio as her in-laws were against her singing. However, after a lot of persuasion from a senior official of Radio Pakistan, she was allowed to sing on the radio. Later she also started participating in Lahore Musical Conferences and also on Television. Like in India, Roshanara Begam occasionally sang in a few films in Pakistan as a playback singer.

Roshanara Begam sang in almost all genres of Hindustani classical and semi-classical music – Khayaal, Tarana, Bandish, Thumri, Ghazal, Bhajan but her preferred genre was Khayaal. Two factors inhibited her career growth in Pakistan, First, the Hindustani classical music was losing ground in Pakistan and the semi-classical genres such as thumri and ghazal were in demand. Secondly, she was staying in a small town which was far off from the Lahore, the main cultural centre of Pakistan. Roshanara Begam kept the flag of Kirana Gharan afloat along with her ‘Guru Behan’ Hirabai Barodekar and Pandit Bhimsen Joshi.

Roshanara Begam passed away on December 6, 1982 at the age of 65 leaving behind her two adopted children, her pet dogs and cats.

In the midst of her busy schedule as a concert singer, Roshanara Begam occasionally sang in a few Hindi films as a playback singer such as ‘Pehli Nazar’ (1945), ‘Neelam’ (1945), ‘Hamjoli’ (1946), ‘Jugnu’ (1947) etc.

I was not aware that Roshanara Begam had sang a couple of songs in an obscure film, ‘Neelam’ (1945) until I came across videos of two songs uploaded by Girdharilal Vishwakarma on a video sharing platform about 3 years back. The film was made under the banner of A H Productions and was directed by Ahmed Essa. The star cast included Harish, Meena, Yashodara Katju, Jagdish Sethi, Kalyani Bai, Mehdi Raza, Satya Rani, Kanhaiyalal etc.

There were 9 songs in the film all written by C M Hunar which were set to music by Khan Mastana. I am presenting the first song, ‘aaj bas mein nahin dil mera’ a solo sung by Roshanara Begam from ‘Neelam’ (1945) to appear on the Blog. The song is written by C M Hunar which is set to music by Khan Mastana.

The song is a reflection of a girl who has just fell in love with someone for the first time. There is excitement as well as fear in the new relationship, reasons for which are unknown to her.

With this song, ‘Neelam’ (1945) makes its debut on the Blog.

Audio Clip:

Song-Aaj bas mein nahin dil mera (Neelam)(1945) Singer-Roshanara Begam, Lyrics-C M Hunar, MD-Khan Mastana

Lyrics

hmm hmm hmm hmm
hmm hmm hmm hmm
aaj bas mein nahin dil mera..aa aa
mera..aa
na jaane kyun
kyun

aaya thhaa raate sapna suhaana
sapna suhaana..aa
ek bulbul ka gul ko sataana
ek bulbul ko gul ko sataana
gul ka shabnam mein munh ko chhipaana
gul ka shabnam mein munh ko chhipaana
chhipaana….aa aa
na jaane kyun
kyun
chutkiyaan leta hai
hmm hmm hmm hmm
chutkiyaan leta hai dil mera..aa
mera
naa jaane kyun
kyun
aaj bas mein nahin dil mera
mera
na jaane kyun
kyun

aur kehta hai dil mera
chupke chupke he he he
aur kehta hai dil mera
chupke chupke
nahin achchaa hai sapna bataana
nahin achchaa hai sapna bataana
bataana..aa aa
na jaane kyun
kyun
rokta hai mujhe
hmm hmm hmm hmm
rokta hai mujhe dil mera..aa
mera..aa
na jaane kyun
kyun
aaj bas mein nahin dil mera…aa
mera..aa
na jaane kyun
kyun
kyun


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

Blog Day :

4782 Post No. : 16536 Movie Count :

4500

I have come across 3 Hindi films on the story of ‘Krihsna-Arjuna Yuddh’. I had never heard of the story of war between Krishna and Arjun in Mahabharat. How could they be at war with each other when Arjun and Lord Krishna were not only great friends but they were also relatives. Then how did the story of ‘Krishna-Arjuna Yuddh’ emerge? I could not get the slightest indication of the story even as a sub-plot in Mahabharat. A search on the internet revealed that there was indeed a story of Krishna-Arjun war. I came across at least two such stories with some minor variations though the main theme (the reasons for the war) remained the same in both the stories. There may be a few more versions of this story.

The first version of the story of Krishna-Arjuna Yuddh’ which I read is based on a fictional work written by a Telugu author, Chilakamarti Lakshminarasimhan with a title ‘Gayapakhyanam’ (1890). Based on this story, the Telugu drama ‘Sri Krishnarjuna Yuddham’ was staged in early 20th century. Later, the film, ‘Sri Krishnarjuna Yuddham’ (1963) was made in Telugu. The timeframe in the story was pre-Mahabharat war. The full story can be read here and here.

The first film on Krishna-Arjuna war was a silent film ‘Krishna Arjuna Yuddha’ (1923). With the advent of talkies, the same was made into a sound film in 1934 in Hindi. This was again remade as ‘Shri Krishnarjuna Yuddha’ (1945) and ‘Shri Krishna Arjuna Yuddh’ (1971), both in Hindi. Going by the synopsis of the 1934 talky film, I feel that all these films were based on the second version of the story for which the timeframe for this story was post-Mahabharat war. I will also not be surprised if the story writers of each of these films may have added sub-plots to the main story to make the films interesting to watch.

The story of ‘Krishna-Arjuna Yuddh’ in Hindi films seems to have been adapted from the second version which I have read in an article in Punjab Kesari. I have paraphrased the story to make it concise:

Once Maharshi Gaalav was making a divine offering to Sun God in the early morning when he saw Gandharva king, Chitrasen travelling in his aviation chariot in the sky. However, while travelling, Chitrasen’s spit fell in the Gaalav’s offerings. He was terribly annoyed with Chitrasen. He was about to give him a curse when he realised that his cursing would result in nullifying his years of meditation. So, he went to Lord Krishna with a complaint against Chitrasen. After hearing, Lord Krishna at once took a vow that before the sunrise the next day, he would kill Chitrasen. Gaalav returned to his hermitage satisfied.

After Gaalav had left, Devrishi Narad reached Lord Krishna’s house. Observing Lord Krishna in a serious mood, Narad asked him as to what was the reason for his serious face. Lord Krishna revealed about Gaalav’s visit and his vow to kill Chitrasen before the sunrise the next day. After hearing this, Narad rushed to meet Chitrasen and apprised him of the danger to his life with Lord Krishna’s vow. Chitrasen got panicky and proceeded to Lord Indra and Lord Shiva with a request to protect him from Lord Krishna. His requests went in vain as they would not like to interfere with Lord Krishna’s matter.

A disappointed Chitrasen came back to Narad and requested him to find a way out to get his life protected. Narad gave him a solution by advising him to visit a particular place on the banks of Yamuna River in the midnight and cry loudly. After listening to his cries, a lady would come to him and enquire as to the reasons for his crying. He would have first get her commitment for the protection from his impending death without revealing as to who was his potential killer. Once the lady gives the promise to protect him, he can reveal the name of Lord Krishna as his potential killer. Chitrasen had no other option but to agree to Narad’s advice.

In between, Narad made a hasty visit to Arjun’s palace and met Subhadra. He told her that the day was the most auspicious one to take a bath in Yamuna River in the midnight and if she gets an opportunity to help a needy person, she would get ‘akshya punya’. That night, Subhadra visited the banks of Yamuna River along with her friends for the auspicious bath, After her bath, she heard a loud cry for help. She thought it as an opportunity to help a person in distress for ‘akshya punya’ and visited the person who was none other than Chitrasen. He told his problem to Subhadra without revealing the name of Lord Krishna. Once he got the firm commitment from her that she would protect him, Chitrasen revealed the name of his potential killer as Lord Krishna. Subhadra was now in a piquant situation. On the one side, Lord Krishna’s promise to Gaalav has to be met. On the other side, it was her commitment to save Chitrasen from a sure death,

Subhadra returned to her palace with Chitrasen and presented him to Arjun who turned out to be his friend. Arjun was ready to protect Chitrasen to fulfill the commitment Subhadra made to him. Arjun gave refuge to Chitrasen in his palace. Now it was Narad’s turn to meet Lord Krishna and to apprise him that his close friend and brother-in-law, Arjun had given protection to Chitrasen. He suggested to Lord Krishna to think twice before planning his next move. Lord Krishna requested Narad to convince Arjun to release and bring Chitrasen to his place.

Narad met Arjun with Lord Krishna’s proposal which Arjuna flatly refused to comply with. He said that having given promise to Subhadra to give protection to Chitrasen, it was not correct on his part to deviate from his promise as per the teachings of Lord Krishna. Narad went back to Lord Krishna and conveyed Arjun’s decision. Now a war was eminent between Lord Krishna and Arjun. Lord Krishna comes with his army of Yadavas and Arjuna with the army of Pandavas. A pierce war broke out between them exhausting all their conventional weapons without any result. At last, Lord Krishna took out his Sudarshan Chakra for which Arjun’s response was through his Pashupatashtra. Knowing that these two potent weapons were capable of destroying the whole world, Arjun invoked Lord Shiva who appeared at the war scene. After taking control of both these potent weapons, Lord Shiva reached out to Lord Krishna and reminded him that there were several instances where he had not fulfilled his vows in difference to his devotees. Lord Shiva ordered them to stop the war at once. Lord Krishna stopped the war by hugging Arjun and freed Chitrasen from his vow to kill him.

Maharshi Gaalav was disappointed. He felt that Lord Krishna, Arjuna, Subhadra and Chitrasen had played pranks with him. He told them that he was going to burn them with his power. So, he took some water on his hand to pour on the ground so that all the four are destroyed by burning. But before he could do so, Subhadra said loudly that if she was an ardent devotee of Lord Krishna and her devotion to Arjun was complete, the water from the hands of Gaalav would not fall on the ground. That was what exactly happened when Gaalav attempted to pour the water from his hand.

Maharshi Gaalav was ashamed of his act. He took leave of Lord Krishna and returned to his hermitage.

I like this fictional story because there is lot to be learnt from it. Firstly, one should never give commitment to anyone without ascertaining the facts in full. Second, one should not unilaterally act based on the information provided by a third party. Thirdly, the punishment should be in commesurate with the offence. Lastly, there should be timely intervention by the superiors before the matter goes out of hand.

‘Shri Krishnarjuna Yuddh’ (1945) was produced under the banner of Murari Picutures and was directed by Mohan Sinha. The star cast included Prithviraj Kapoor, Shobhana Samarth, Shahu Modak, Maneka Devi, Kanaiyalal, Rattanbai, Trilok Kapoor, Vasant Pehalwan, Nand Kishore, Shyam Sundar etc.

The film had 10 songs of which Y N Joshi and Dr Safdar Aah Sitapuri wrote 6 songs and 2 songs, respectively. Lyricists for the remaining 2 songs are not known. All the songs were set to music by Jagannath Prakash. This was the only film for which he was the music director.

I am presenting the first song, ‘vandan karo ri sakhi vandan karo’ from ‘Shri Krishnarjuna Yuddh’ (1945) to appear on the Blog. The song is written by Y N Joshi. HFGK is silent on the singers of the song. The song’s mp3 clip mentions the name of the singers as Hameeda Bano and Geeta Roy which I am inclined to agree.

With this song, ‘Shri Krishnarjuna Yuddh’ (1945) and the music director, Jagannath Prakash make debut on the Blog.

Audio Clip:

Song-Vandan karen ree sakhi vandan karen (Shri Krishn Arjun Yudhh)(1945) Singers-Hameeda Bano, Geeta Roy, Lyrics-Y N Joshi , MD-Jagannath Prakash
Chorus

Lyrics

vandan karen ri sakhi vandan karen
vandan karen ri sakhi vandan karen
vandan karen ri sakhi
vandan karen ri sakhi
vandan karen
vandan karen ri sakhi
vandan karen ri sakhi
vandan karen

vandan karen ri sakhi vandan karen ae ae
vandan karen ri sakhi vandan karen ae ae
vandan karen ri sakhi vandan karen
vandan karen ri sakhi vandan karen
Shri Ram kaa
Shri Ram kaa
Shri Ram kaa
Shri Ram kaa

maaya apaar inki mahima apaar
maaya apaar inki mahima apaar
shobha apaar inki leela apaar
shobha apaar inki leela apaar
rishi muni swaami??
haar gaye ree ee
rishi muni swaami ??
haar gaye ree ee
paaya na koi paar
koi paar
paaya na koi paar
koi paar
chalo milkar sakhi naman karo sakhi naman karo
chalo milkar sakhi naman karo sakhi naman karo
o sakhi naman karo
o sakhi naman karo

Shri Ram kaa
Shri Ram kaa
Shri Ram kaa
Shri Ram kaa

aise Gopal ko mere Gopal ko
man mein bithhaaungi aaj
aise Gopal ko mere Gopal ko
man mein bithhaaungi aaj
aise Gopal ko mere Gopal ko
man mein bithhaaungi aaj
aise Gopal ko mere Gopal ko
man mein bithhaaungi aaj
mangal Yashoda nandan karen ree sakhi
vandan karen
mangal Yashoda nandan kare ree sakhi vandan karen
vandan karen
o sakhi vandan karen
o sakhi vandan karen
Shri Ram kaa
Shri Ram kaa
Shri Ram kaa
Shri Ram kaa

ham karm par datey rahen
ham dharm par adey rahen
ham karm par datey rahen
ham dharm par adey rahen
inne sikhaaya hai hamen
anyaay se bhidey rahen
ham karm par datey rahen
ham dharm par adey rahen
ham karm par datey rahen
ham dharm par adey rahen
inne sikhaaya hai hamen
anyaay se bhidey rahen

mangal Yashoda nandan karen ri sakhi
vandan karen
mangal Yashoda nandan karen ri sakhi
vandan karen
o sakhi vandan karen
o sakhi vandan karen
Shri Ram kaa
Shri Ram kaa


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

This article is his 1000th post in the blog.

Blog Day :

4779 Post No. : 16531

POST NO. 1000
——————————-

I had never imagined that in my life I would ever write 1000 articles on old films and music. When I retired from my regular service in 1998, I had many offers from the Pharma Industry, because of my 35 years’ successful track record. I had joined the Pharma giant – Glaxo Laboratories as a Medical Representative and retired as the General Manager – Marketing.

Instead of doing another job, I started my own Consultancy and ran it till 2008. Then I got fed up of doing the same thing for so many years and closed the consultancy. I spent 2 years travelling all over the country with my wife. In 2010, I decided to learn Computer. My enthusiastic grandchildren became my teachers and I learnt the basics soon. Initially I found fun downloading old film songs and making CDs. I had crossed my 70 years by that time.

Then one day while surfing the Net, I discovered atulsongaday.wordpress.com and I was very glad to see the way songs were discussed here. I became a regular visitor. At that time I remembered about several diaries and notebooks, in which I had written about the films I had seen from the 40’s to the 60’s. I opened those boxes and cleaned the notebooks. Some had been damaged by white ants and few were torn and had become old with faded ink.

With whatever was remaining, I started commenting on the posts of the Blog and soon I was a known person to other regulars. Even at that time, I did not think of writing posts myself. After about 2 years, once Atul ji suggested that i write posts and he himself posted my write up on a song of 1937 sent to him along with the song, so that it could be used for the Blog. The post was published the next day on my name and I was welcomed by all regulars. Enthused with the acceptance, I continued writing regularly from 1-10-2012 onwards and today I am at this stage, with 1000 posts here and some more on other Blogs and sites. I published interviews of relatives of old time actors and also wrote one book, which was published in July 2018.

My journey in this field has been unbelievable. From a Nobody to a person well known in the Cyberworld of old films and music, whose name is mentioned in several books by other authors, national and international. All these accolades and recognition is because of one person, who helped me from the beginning and continues to do so even now. That person is ATUL JI. I thank him wholeheartedly for supporting, encouraging and motivating me throughout. Thank you, ATUL JI.

I also thank all other ATULITES of our group here who have been very appreciative and helpful. Thanks to each one. ATUL JI is not very expressive about the good he does to people, so I express my feelings about him, whenever the occasion comes. I also wish, one day I meet him on one of his visits to Mumbai.

In the journey of the last 10 years, I have devoted a lot of effort to dig out information on the unknown and the less known artistes, films and songs of the yore. I think my best contribution to the history of old films is about the ” SAME NAME CONFUSIONS “. I had found that this was one problem which troubled every student of film history (like me) and no work has been specifically done on solving this problem. My tireless efforts have clarified the SNC cases of about 80 film personalities so far.

Digging up History is a continuous process. None of the writerson old films were present when things took place in the 30’s and the 40’s. At least no one was in the age of understanding matters of films or writing about films. So, all historians have to depend on existing documents like old books, old papers and magazines and similar materials to get credible information. Since old information keeps on cropping up at several intervals, the film history keeps on updating itself. In some cases, new information proves the existing old information wrong. So sometimes old statements are proven wrong in view of the new evidence. Thus you will find that no book on film history is without a mistake.A MISTAKE TODAY WAS THE TRUTH TILL NEW INFORMATION NULLIFIED IT. It does not and should not reduce the credibility of the author in any way. Some of my own comments made in 2011 and 2012 were found to be wrong when new information became available. It happens to all. The readers must understand this.

In my last 9 years, i have written about hundreds of people, films and songs. In my Laptop, I have stored information of more than 1600 people and films. In the last 1000 psots here, i have never written a post without giving some information. I feel the reader must gain something when he spends time reading my post. I don’t claim that my posts had no mistakes…they had, but never intentionally. I also make it a point to credit the source whenever I have taken information from somebody or somewhere. It is possible that I forgot sometimes but never knowingly. I do not feel ashamed to accept my mistakes. A mistake is a mistake, anyway. I never wrote on popular and well known artistes like Dilip, Raj , Dev, AB, Meenakumari etc etc. I hope I have always given something new to readers in my post.

So, what next ?

I can only repeat the verse of Robert Frost………..

The woods are lovely, dark and deep
But I have promises to keep
and miles to go before I sleep
and miles to go before I sleep……

Thank you Atul ji, Sudhir ji, my friends in the ATULITE group, my co-travellers in this journey and guides like Rajni Kumar Pandya ji, Dr Surjit Singh ji, Shishir Krishna Sharma ji, AK ji of Songs of yore,  Gopal Pillai ji and many others.

I can not end this without thanking wholeheartedly the help and encouragement given to me at every stage by Shri HARISH RAGHUWANSHI JI, without whom my work would be incomplete. Thank you Sir !

For today’s occasion, I have selected a song from a film which has music by my favourite MD- C. Ramchandra. Film Naghma E Sahra-1945 had a special importance in the lives of Master Bhagwaqn and C. Ramchandra. Master Vithal was the idol for both of them. Though Master Bhagwan himself worked in, produced and directed stunt films, he was keen that his idol Master Vithal should work in his film and that he should do the direction . By 1945, master Vithal was losing his popularity in Hindi films and he was also not getting many films, so he was thinking of concentrating on Marathi films and to go and settle in Kolhapur, where he had bought a big Chawl. So his income from its rent was also guaranteed.

When Bhagwan came to know this, he became panicky, thinking that his dream would remain incomplete. He gathered courage and contacted Master Vithal and offered him a role in his film. To Bhagwan’s delight Master Vithal almost readily accepted the offer. Until then Bhagwan had no idea about his film. He started work along with Ehsan Rizvi, his favourite writer, on the story of the new film. He also contacted C.Ramchandra to give the news. Untill then, C. Ramchandra gave music to Bhagwan’s films, but used other names than C.Ramchandra. For this film, he decided to use his real name. Thus their dream of working with master Vithal was fulfilled.

This way the film was made. As luck would have it, this film really became the last film Master Vithal did in Hindi in Bombay. He left Bombay and went away to Kolhapur. However, he regretted his hurried shift, later in life. I would have written more about Master Vithal, but the post has already become a long one. Maybe some other time.

Today’s song is a duet sung by Khan Mastana and Hamida Bano. Enjoy…..


Song-Bahaar hai Baahar (Naghma e Sahra)(1945) Singers- Chitalkar, Khan Mastana, Hamida Bano, Lyricist- Ehsaan Rizvi, MD- C Ramchandra
Both

Lyrics

bichhdi hui bahaar
galey daalti hai haar

aa aa aa aa aa
aa aa aa aa aa

ba..haar hai bahaar
ba..haar hai bahaar

hai raab e shokhiyaan
phoolon pe hai nikhaar
ba..haar hai bahaar
ba..haar hai bahaar

na husn ko hai guroor
na ishq ko hai nayaaz
mil ke gale se aa aa aa
karte hain donon naaz
ab baj rahe hain saaz
ab baj rahe hain saaz
ab mil gaye hain taar
aa aa aa aa aa aa
aa aa aa aa aa
ba..haar hai bahaar
ba..haar hai bahaar

aankhon mein hai sharaab
ehsaan mere gulaab
chhoo kar na ho bata
aa aa
ab jee apne hi kharaab
do do jiyen chiraa
do do jiyen chiraa
ab kiska intezaar
aa aa aa aa aa
aa aa aa aa aa
ba..haar hai bahaar
ba..haar hai bahaar

deewaana main tera
dil ko kiye hoon
tu mere liye hai
main tere liye hoon
aa ae dil ki aarzoo
armaan hain beqaraar
aa aa aa aa aa
aa aa aa aa aa
ba..haar hai bahaar
ba..haar hai bahaar

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

बिछड़ी हुई बहार
गले डालती है हार

आ आ आ आ आ
आ आ आ आ आ

बा..हार है बहार
बा..हार है बहार

है राब ए शोखियाँ
फूलों पे है निखार
बा..हार है बहार
बा..हार है बहार

ना हुस्न को है गुरूर
ना इश्क़ को है नयाज़
मिल के गले से आ आ आ
करते हैं दोनों नाज़
अब बज रहे हैं साज़
अब बज रहे हैं साज़
अब मिल गए हैं तार
आ आ आ आ आ
आ आ आ आ आ
बा..हार है बहार
बा..हार है बहार

आँखों में है शराब
एहसान मेरे गुलाब
छू कर ना हो बता
आ आ
अब जी अपने ही खराब
दो दो जीएं चिरा
दो दो जीएं चिरा
अब किसका इंतज़ार
आ आ आ आ आ
आ आ आ आ आ
बा..हार है बहार
बा..हार है बहार

दीवाना मैं तेरा
दिल को किए हूँ
तू मेरे लिए है
मैं तेरे लिए हूँ
आ ए दिल की आरज़ू
अरमां हैं बेक़रार
आ आ आ आ आ
आ आ आ आ आ
बा..हार है बहार
बा..हार है बहार


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

Blog Day :

4773 Post No. : 16522 Movie Count :

4496

Today’s song is from a stunt film-Ji Haan aka Yes Please-1945. Made by Gautam Chitra, Bombay, it had a pair of Directors-Babubhai Mistri and Ramnik Bhatt. All songs were written by Pt. Indra and the music was composed by S N Tripathi. The cast was full of the usual members of stunt films… Master bhagwan, Agha, Shanta Patel, Meera, Gulab, Azeem, Anant Prabhu etc.etc.

The 8 songs of this film give us some idea about the film. Out of the 8 songs, 5 are Comedy songs. 5 songs are sung by Shanta patel, 2 are by Meera and 1 is a chorus song Shanta Patel or Meerawere really not singers by any standards. getting them to sing for the movie clearly indicated a measure to save on cost of the production. All these stunt films were made on a tight budget. Because of this, the investment was less and profits were more. As there was a fixed audience in almost every town for such films, the distributors did not mind to invest or buy the rights for various circuits.

Nowadays, one film costs around 5 to 10 crores to make it. If some A+ grade star is featured, then the cost can go up to 25 to 30 crores also. In this context, if I were to tell you that in the 40’s decade a stunt film was made within just one Lakh, would you believe it ? You ought to, because thats what was required, according to Master Bhagwan-the stunt film expert of those days. During the first decade i.e. the 30’s, the cost was about 40 to 50 thousand rupees only, inclusive of everything.

As the decade of the 50’s was a Gold mine for Mythological and Religious films (124 films in 10 years), the 40’s was a storehouse for stunt films. The Cast, Director and the Production House were fixed. Lyricist and the MD depended on availability at cheaper cost or those who wanted an opening to films. Sometimes in the 60’s and the 70’s, the C grade films were the last resort for even the one time well known MDs. Composers like Anil Biswas, C. Ramchandra, Chitragupta and few others gave music to such films, for survival.

Names of stunt film actors is an interesting matter. Some common and regular names one found in Action/Stunt films are, Nadia, Boman Irani, Sayani,Bilimoria bros, Cooper sisters, Zohra Khatun, Ameena Khatun, Khatun Bai, Prakash, Adjania, Noorjehan (sr.), Moosa Pehelwan, Vasantrao Pehelwan, Baburao Pehelwan, Marutirao Pehelwan, Azim bhai, Basheer, Ali, Bachha, Chandra Rao,Harishchandra Rao, Shankar Rao,Master Bhagwan, Mirajkar, Jamshed ji, John Cavas, Lalita Pawar, Navin chandra…and many such names.

Kamran, Afghan Sandow,Habib, Ismail,, Dalpat, Dilawar, Leela Pawar, Leela Gupte, Shanta Patel, Usha Shukla, Madhuri, Dhondu, Shaikh, Nazi, Nishi, etc were a guarantee of 2-3 hours of exciting times. Forget the music or a coherent sensible story. Fighting, Fencing, Riding and a mix of Comedy and Dance was an assured entertainment.

In addition to all this, actors with odd and weird names were to be always found in stunt film casts. Have you ever heard actors with names like Bajarbattu, Phool Kumari, Maruti pehelwan, Batata, Mitthoo Miyaan, Fatty Prasad, Boken Chattu, Minu the Mystic, Manchi Tuthi, Gareeb Raja, Kurbaan Jaoon, Pandit Dukhi, Vilayatu, Loveji Lavangiya, Adam Sandow, Sandow Safar, Dunlop, Chic Chak and a very strange name CHEMIST ! This name is found in 5-6 films.

In the cast you will find a name Meera. This is aname for ‘ Same Name Confusion.’ At the same time, in the same period, there were 2 actresses named Meera. The Meera who acted in this C grade stunt film lasted a longer time. Meera’s real name was Muriel Alexander. She was born on 10-11-1919. She was from a respectable family. her father was Superintendent-local Audit in AG’s office. Brother E. Alexander was an All India level cricketer. She passed her Inter Science exam from Benaras Hindu University. It was through one Mr. Seal, who was a manager in Adarsh Chitra, she got her first break in film Dolti Naiya-34 and Shah E Iran-34 but film Dhuwandhar-1935 was released first.. This was the Debut film of Leela Chitnis also. It is not known if she sang any song in that film,as no records are available. My guess is that,besides acting,she must have sung a few songs in that film.

Her name later appears as an actress and singer in the film Bhabhi-38,in which she sang 3 solo songs. from 1935 to 1938,she must have sung many songs,but singers names are not mentioned. Thus many singers’ credit must have been lost in those years.Same case was with Amirbai Karnataki also. After Bhabhi,her name appears in Nirmala-38 and vachan-38 in which she sang 1 solo and 3 duets. She acted and sang songs in films of Ranjit, Prakash and Minerva Movietone.

She was married to Mr. R.N.Singh, Revenue Minister of Charkhari state.

As per information available, Meera acted in Shah E Iran-34,Dolti Naiya-34, Dhuandhar-35, Bhabhi-38, Vachan-38, Adhoori Kahani-39, Tatar ka chor-40, Paak Daman-40, Chingari-40, Darshan-41, Armaan-42, Meri Duniya-42, Mauj-43, Dr. Kumar-44, Krishna bhakta Bodana-44, Ji haan-45, Sham Savera-46, Ye hai Duniya-48, Sansar-51, Ilzam-54 and Hanuman Janma-54. She only sang in Nirmala-38 and Ulti Ganga-42. She sang 17 songs in 7 films.

Then there is also an actress named Gulab in the film cast. The First actress from Kashmir to work as a Heroine in Hindi films was GULAB. Her real name was Saraswati Devi. She was born on 10-6-1908 at Jammu. She joined Krishna Film Company in 1924. Her first silent film ‘Krishna kumar’ came in 1925. She worked in 60 silent films. Her last silent film was ‘Dagabaz Dushman’-32, made by East India Film co.Bombay.

Her first Talkie film was Suryakumari-33, made by Vishnu Cinetone. It was directed by Dhirubhai Desai. She sang one song ‘more preetam jab ghar aaye’ composed by Kikubhai Yagnik. Then came Baburao Patel’s ‘Bala Joban’-34, Sewa Sadan-34 and Nai Duniya-34 ( Debut film of Rajkumari and Jayant). In this film Gulab sang 2 songs.

Gulab was very beautiful and quite popular in the film industry. Some of her films were Bambai ki sethani-35, Challenge-37, Bharosa-40, Pyas-41, Ek Raat-42, Station master-42, Gaali-44, Rattan-44, Mann ki jeet-44, Mirza Sahibaan-47, Lahore-49, Badi Behan-49, stage-51, Post Box 999-58, Chhabili-60 etc etc. She acted in 160 films. Her last film seems to be Haqeeqat-64. She also sang 22 songs in 11 films.

Today’s song is also a comedy song. With this song, the film Ji Haan-1945 makes its Debut in the Blog.


Song- Haaye mora sainya to sattebaaz hai (Jee Haan)(1945) Singer- Meera, Lyricist- Pt. Indra, MD- S N Tripathi

Lyrics

Haaye mora sainya to
ho mora sainya to
sattebaaz hai
Haaye mora sainya to
sattebaaz hai
chhakke panje ka
ghar mein hi raaj hai
chhakke panje ka
ghar mein hi raaj hai
Haaye mora sainya to
ho mora sainya to
sattebaaz hai

ghar mein na tel na chaawal na genhu
ghar mein na tel na chaawal na genhu
aaj khatre mein handiya ki laaj hai
haay khatre mein handiya ki laaj hai
Haaye mora sainya to
ho mora sainya to
sattebaaz hai
chhakke panje ka
ghar mein hi raaj hai
chhakke panje ka
ghar mein hi raaj hai
Haaye mora sainya to
ho mora sainya to
sattebaaz hai

sainyya to motor mein pam pam kare hai
sainyya to motor mein pam pam kare hai
haan pam pam kare hai
haan pam pam kare hai
aur ghar mein
aur ghar mein choohon ki aawaaz hai
haay ghar mein choohon ki aawaaz hai
Haaye mora sainya to
ho mora sainya to
sattebaaz hai
chhakke panje ka
ghar mein hi raaj hai
chhakke panje ka
ghar mein hi raaj hai
Haaye mora sainya to
ho mora sainya to
sattebaaz hai

mehndi lagaa kar main naihar se aayi
mehndi lagaa kar main naihar se aayi
haan naihar se aayi
haan naihar se aayi
aur aaj
mere gobar bhare haathh aaj hain
mere gobar bhare haathh aaj hain
Haaye mora sainya to
ho mora sainya to
sattebaaz hai
chhakke panje ka
ghar mein hi raaj hai
chhakke panje ka
ghar mein hi raaj hai
Haaye mora sainya to
ho mora sainya to
sattebaaz hai

sakhiyon to pahnen
sona aur chaandi
sakhiyon to pahnen
sona aur chaandi
haan sona aur chaandi
haan sona aur chaandi
aur yahaan
yahaan peetel ke hi
saare saaz hai
haay peetel ke hi
saare saaz hai
Haaye mora sainya to
ho mora sainya to
sattebaaz hai


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

Blog Day :

4747 Post No. : 16474

Today’s song is from the film Mazdoor-1945, made by Filmistan. The film was directed by Nitin Bose (26-4-1897 to 14-4-1986).

After leaving New Theatres, Calcutta due to a dispute with B.N.Sircar, he decided to shift to Bombay. His dispute with Sircar was so bitter that Nitin Bose did not even see his last directed film ” Kashinath”-1943, till the end of his life. Before he came to Bombay, his name had already become famous here and many big studios were eager to employ him.

His first film in Bombay was Mujrim-44, made under the banner of Vishnu Cinetone, owned by V.M.Vyas. The film did average business. He was then invited to Filmistan, by S. Mukherjee, who was known to him, being a Bengali. The film was Mazdoor, based on the problems of labourers. This was his second film in Bombay. After this film Nitin Bose was called by Bombay Talkies, another studio which gave opportunities to capable Bengalees.

The cast of the film Mazdoor-45 was full of new actors. The Music Director was also a B grade one- Hari Prasanna Dass. The Lyricist was G.S.Nepali. The cast of the film consisted of Indumati, Veera, Nasir khan, K.N.Singh, Radhakishen and others.

Nasir Khan (1-10-1924 to 1-5-1974) was making his Debut in this film. He was known as the younger brother of Dilip Kumar- who himself Debuted with the film Jwar Bhata-1944, just an year back. Indumati became a Heroine for the first and last time. Later she did only character roles. Veera was a Parsi girl. She too was Debuting in this film as a second Heroine. That meant that all the leading actors were new and were making their Debut. In this case, Nasir Khan, unknowingly emulated his elder brother who too debuted with a Debutante heroine- Mrudula, in the film Jwaar Bhata-1944.

There were 6 songs in the film. I have heard all the songs and I find them good songs.

The Music Director HARI PRASANN DASS (1905-1989) was born in Chittagong in 1905. He became a well known Bengali Composer. His 26 Bengali films made his name known in the music circle in Calcutta in late 30s and 40s. He was assistant to Pankaj Malik in films Dushman and Kapal Kundala-1939.

Hemant Kumar Mukherjee was his assistant in Bengali film ‘Byabdhan’-1939. It was H P Dass who gave his FIRST Bengali film song to Hemant Kumar in the film ‘Nimai Sanyas’-1941. Till that time Hemant had only private songs to his credit.

In 1952, H P Dass gave music to NAGORIK , along with Ustad Bahadur Khan, a complete English film-an art film for international audiences-made by the legendary filmmaker Ritwik Ghatak. This was a film even before Satyajit Ray’s Pather Panchali, but due to some reason this film was released only on 20-9-1977, after the death of Ritwik Ghatak. It is said that despite ill health, H P Dass went to New Empire Theatre in Calcutta to see this film.

K.C.Dey was a good friend of HP Das and sang many Bengali songs and Bhajans for him. On his recommendation, H P Dass took Manna Dey as his assistant in Hindi films Veerangana-1947,Sati Toral-1947 and Hum bhi Insaan Hai-1948. It is believed that after hearing Manna Dey’s music and songs in this film, Raj Kapoor invited him to sing for his films later on.

His first Hindi film as a MD was New India Films’ Blood Feud (or Josh-E-Inteqam)- 1935. His other films were Mohabbat-43, Meena-44, Kadambari-44, Mazdoor-45, Begum-45, Insaaf-46, Veerangana-47, Sati Toral-47 and Hum bhi insaan hai-48.

He died on 26-9-1989.

Now let us know something about the leading ladies, since they are new names for most.

INDUMATI LELE (Born 18 December 1927 – Died 11 September 2013), forgotten Yesteryears Indian Theatre and Film Actress turned Folk Artiste.

Indumati and Kumudini Lele who were once famous as ‘Lele Sisters’ in Hindi and Marathi Theatre and Cinema fields, have been forgotten today. Indumati Lele, died at the age of 86, when she was still working as an examiner for the television program ‘Dum Damadam’.

Kumud and Indumati, were both known as ‘Lele Sisters” in the fifties. Both of them originally hailed from Ujjain in Madhya Pradesh. Their father Girdhar Lele was in Government job as Director of Agriculture, at Indore. From an early age, the two sisters loved acting and dancing. Both were involved in dance and dance related activities in their school. Prithviraj Kapoor saw the two at one of the school events and talked to their father and brought them straight to Mumbai. For the next two years, both sisters worked as artists in Prithviraj Kapoor’s ‘Prithvi Theatres” until the company closed. They played different roles in several of his Plays and had the fortune of touring India all along with Prithviraj Kapoor.

While Kumudini acted in Bimal Roy’s ‘Parivar’, ‘Bandini’ etc. and in few Marathi films like ‘Ram Ram Pauna’ etc., Indumati Lele acted in Prithviraj Kapoor’s’ Shakuntala’ and other plays. She also acted in some films while working in ‘Prithvi Theaters’, like Mazdoor-45, ‘Shehnai’ (1947), ‘Aag’ (1948), ‘Sunahare Din’ (1949), ‘Gauna’ (1950), ‘Chaudhwin ka Chand’ (1960), ‘Budtameez’ (1966), ‘Man Mandir’ (1971), to name a few. In Raj Kapoor’s ‘Aag’ (1948), she acted as his mother. She also appeared in two English films, ‘Householder’ with Leela Naidu and ‘Shakespearewallah” both with Shashi Kapoor.

Veera was from a Parsi family. Her full name was Veera Ankaleshwaria. Obviously, her family came from Ankaleshwar, a small industrial town(now), in Gujarat. She started her career in films as a Heroine opposite Nasir khan in the film Mazdoor-1945. Then came Shikari-46 and later Eight days-46, both had Ashok Kumar as the Hero. Both the films were from Filmistan. Her last film as Heroine was Tohfa, opposite Rehman and Leela opposite Agha , both films from 1947. Then she stopped getting Heroine roles and shifted to side roles. In all she did 22 films.

Her other films were, Veena, Ziddi, Chanda ki Chandani- all 48, Sanwaria-49, Hamara Ghar and hamari beti- 1950, Hamari shaan, Ramjanma and Sagar-1951, Aasmaan, izzat, Moti mahal, Sanskar and Shin shinaki boobla boo-all1952, Dana Pani-53, Boot polish and Sheeshe ki deewar both 1954.

She married Mohsin Abdulla, who had worked in Bombay Talkies as a writer. He was the younger brother of actress Renuka Devi ( Begum Mirza). After the marriage, both migrated to Pakistan in 1955. No news after that.

About Nasir Khan, I have written about him in my earlier posts, so I will not repeat it.

The Film India magazine issue of June 1946 gives a review of this film. Surprisingly, Baburao patel has some good words about this film, though mostly the review is critical of Direction and the story. The story of the film revolves around Hero and his 2 loves, with a background of Labourer’s problems. The film has taken inspiration from the Hollywood film ” How green is my valley”-1941. The story, in short, is….

Nasir khan is in love with a village girl-Indumati. He leaves for the city to get a job. He saves a mill owner’s(K.N.Singh) daughter-Veera from a car accident. He is taken to her house as he is wounded in this process. He recovers and is made Manager of the mill. Veera falls in his love. Meanwhile Indumati and her mother-Moti, suffer in the village. They too come to the city and Indumati gets a job in the same Mill. There are Labour problems in the Mill and 2 groups compete with each other. Finally there is confrontation between the Unions and the Mill owner. Nasir khan, at the end, exposes the Mill owner and joins the Union leader, thus uniting with Indumati.

The film was released on 18-5-1946 in the Roxy Theatre of Bombay. It seems the film did reasonable business. Today’s song is sung by Amirbai Karnataki. This is the second song from this movie to appear in the blog.


Song- Chhaaye hain kaale megh to bauchhaar bhi hogi (Mazdoor)(1945) Singer- Amirbai Karnataki, Lyricist-G S Nepali, MD- Hari Prasanna Das

Lyrics

Chhaaye hain kaale megh to bauchhaar bhi hogi
Chhaaye hain kaale megh to bauchhaar bhi hogi
kabhi to apne baagh mein bahaar bhi hogi
kabhi to apne baagh mein bahaar bhi hogi
Chhaaye hain kaale megh to bauchhaar bhi hogi

o rone waale ae ae
ae ae ae ae ae ae
o rone waale raat mein
tu bhool na jaana
tu bhool na jaana
aayega yahaan bhor mein
badlega zamaana
hansi khushi mein ye gali
gulzaar bhi hogi
kabhi to apne baagh mein bahaar bhi hogi

hamse bichhad ke saajna pardes gaye hain
hamse bichhad ke saajna pardes gaye hain
unse bichhad ke ae ae
aaj ham khaamosh huye hain
unse bichhad ke ae ae
aaj ham khaamosh huye hain
khaamoshi bhi aaj ye
gulzaar bhi hogi
kabhi to apne baagh mein bahaar bhi hogi

?? ae ae ae ae
?? dhaar mein
lahron se bahaaron
jo sabka maaji hai bada
tum usko pukaaro
jo sabka maaji hai bada
tum usko pukaaro
majhdhaar mein hai naao
majhdhaar mein hai naao
to paar bhi hogi
kabhi to apne baagh mein bahaar bhi hogi
Chhaaye hain kaale megh to bauchhaar bhi hogi
kabhi to
kabhi to
kabhi to apne baagh mein bahaar bhi hogi


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

Blog Day :

4711 Post No. : 16417

MUSIC is an integral part of every Indian. From birth to death, we are drenched in music. During Vedic times, the Rishis used to teach their students verses in Taal and Sur, so that the students would remember them easily. You will have observed that whenever there is a Mahapooja or an Yadnya, the Purohits will recite the Mantras in a typical rhythm and sur.

In our school days, teachers used to literally force us to learn poems by heart in a tune, so that it was easier to remember. Not only poems, even the Maths teacher taught us the ” Pahade ” (Paadhe or the Tables) in a particular tune. That is how we remember the difficult tables of 1/4, 1/2, 3/4, 1-1/2,or the 1-1/4 etc even today. In these days of calculators and Mobiles, the tables are nowhere now !

In ancient times, Fine Arts like Dance, Drama and Music were the exclusive preserves of the Royalties and the Rich. Over a period, the commoners too found pleasures in village arts like Folk dances and Folk songs. In every festival and during the Harvesting times, there used to be musical entertainments.

Record making came to India in 1902, when a song by a professional singer ( read Tawayaf) Gauhar Jan was recorded by a German technician in a Hotel in Calcutta. A factory was set up in Dumdum,Calcutta in 1908 by the gramophone company-UK to make records in India. There was no looking back ever since. There was a spate of records of songs and geets, Bhajans and Gazals etc, by noted singers and classical gurus. By 1925, Electrical recordings started. Gramophones became popular and singers also multiplied. Records of geets, Thumris, ghazals, natya sangeet, Bhajans, Naats,love songs, sad songs etc became available and the songs became popular quickly.

In 1930, All India Radio started and in 1931 the films started talking. However, records of film songs were in general not made those days, though the first film song record came in 1932. Until about 1939-40, records of all film songs were not made from every film. So, people continued to enjoy the NON FILM SONGS by famous singers. This trend of making records of NFS was so popular that most Film singers started their careers by recording NFS. Examples are Talat Mehmood, Hemant Kumar, S D Burman, Lata, Asha, Mukesh, Rafi etc.

Those of our readers, who were young in the 40s…50s….60s, will remember the melodious NFS played on Radios and in homes. Songs of Saigal, Jagmohan, Pankaj Mullick, Kamla Jharia, Juthika Roy, Paluskar, Talat, Mukesh, Hemant etc were played in many Hotels and restaurants too.

NON FILM SONGS played a very vital role in entertaining people and in giving opportunities to singers to become famous. As Radio became popular, these songs reached millions of Indians, and the singer’s names became famous all over India. Singers like Jagmohan, Pankaj Mullick and Talat Mehmood were invited to sing their NFS on stage shows and they toured countries all over the world for these shows.

As Radio Ceylon became more and more popular after 1950 and the Vividh Bharati after 1957, film songs started getting extensive exposure and slowly they stole the limelight from the NFS. However some NFS were immortal and are remembered even today.

There is a popular equation that Non Film Songs means Talat, Jagmohan, Pankaj mullick, Juthika Roy, Hemant etc. But the fact is from 1930 onwards, almost every Film singer sang Non Film songs, because NFS had a special place in people’s heart then.

Today we are about to enjoy one such famous and very very melodious NFS by Hemant Kumar- ” Kitna dukh bhulaya tumne pyari “, which was recorded somewhere in early 40s, when Hemant Kumar started recording Bangla and Hindi Geets, prior to his involvement in film music.

Poet Lyricist Faiyaz Hashmi and composer Kamal Dasgupta were regularly churning out wonderful melodies on 78 RPM every month and listeners all over India were enjoying them fully.

Actually,in 1985,Jagmohan Sursagar wrote in his Autobiography…..

” In the initial stages Kamal Dasgupta was influenced by Rabindranath Tagore. Tagore’s songs and compositions(Rabindra sangeet) were extremely popular, but were limited to Bangla people only. Ghazal, qawwali, Dadra, Naat, Thumri, Hori, Kajari etc used to come to market but had a very limited listenership. These never reached the top.

” The fusion of Gazal,Dadra and Qawali with Bangla Geet style gave birth to Hindi Hindi Non Film Songs or geets. As such Geet had a known and accepted place in Literature, but not in Music. To establish this new Genre, Kamal babu used lyrics by Pt.Madhur, Pt. Anjum and Faiyaz Hashmi, got them sung by Jagmohan, Hemant, Talat, Juthika etc. Their records were inscribed with ‘ Hindi Geet (Hindustani Song) ‘. What thus started as NFS Geet from 1936 continued upto next 20 years non stop. “

Let us know about Faiyyaz Hashmi first……Fayyaz was born on 18-6- 1920 at Calcutta. His father, Syed Muhammad Hussain Hashmi Dilgeer was a very famous poet and writer of stage drama. He was director at the top class theater of that time named “ MADAN THEATER LTD.” He knew 8 languages.

Senior lyricist, Faiyyaz Hashmi, passed away in Karachi on Nov 29 th 2011. He shot to fame after penning lyrics for such non-film songs as ;Ye Raatein Ye Mausam; (Pankaj Mullick), ;Tasveer Teri Dil Mera; (Talat Mehmood), ;Dil Ko Hai Tum Se Pyar Kyun; (Jagmohan), ;Bhala Tha Kitna Apna Bachpan; (Hemant Kumar), and so many more rendered by the likes of Juthika Roy and Feroza Begum.

Mr. Fayyaz Hashmi is a legendary song and dialogue writer and above all a true loving person. He is by himself an institution and a common asset of the Indo-Pakistan film-world. His admirers as ever are not confined in national frontiers. Those fond of Hindi / Urdu songs anywhere in the world have affection for him. The emergence of this bright star was evidenced much before independence of India, when Fayyaz Hashmi, still a teenager wrote the most famous song “Tasveer Teri Dil Mera Behla Na Sakhe Gi”. It was recorded in the voice of Talat Mehmood and music was composed by Kamal Das Gupta. This song brought “Talat” to limelight. Music for most of the Fayyaz Hashmi’s songs recorded at Calcutta was composed by Kamal Das Gupta.

The dynamic achievements of young Fayyaz Hashmi and his clarity of expression by using simple words were greatly appreciated by Qazi Nazrul Islam -“Tum mann main doob kar mann ka bhed nikaltey ho. Aasan shubdoon mein mushkil baat kehna buhut mushkil hay”. His unique combination of Urdu, Hindi and Sanskrit words to produce a harmonious song thus became a guideline for the future poets of geets. The transformation of some traditional Bangla songs was also facilitated. He has also written songs in Brij Bhasa and Purbi. His pre-independence songs total to about 1000.

Fayyaz Hashmi wrote his first verse “Chaman main Ghuncha-o-gul ka tabassum dekhne walo – Kabhi tum ne haseen kalyoon ka murjhana bhi dekha hai” when he was in 7th class. As a student of 9th class, he was participating in regular “mushairas”. He got an assignment in the British owned Gramophone Company at DumDum (now called Jessore Road, Kolkotta) India. He served there during 1943 to 1948 period. At that time the average monthly production of record was only 16. Once all the records (16) issued in a month were written by Mr. Fayyaz Hashmi- a record by itself. Some of the evergreen hit songs of Mr. Fayyaz Hashmi are quoted here:

1- Honton se gulfishan hain who – Aankhoon se ashkbar hum Talat Mahmood
2- Do Kafir Aankhoon ne mara Talat Mahmood
3- Dil ko hai tum se pyar kyoon Jag Mohan
4- Aaj use phir dekha hai Jag Mohan
5- Bhala tha kitna apna bachpan Hemant Kumar
6- Yeh Raaten yeh mausam yeh hansa hansana Pankhaj Mallick
(Also re-sung by Lata Mangeshkar as a tribute to the legendary Pankhaj Mallick)
7- Tasveer teri dil mera behla na sake gi Talat Mehmood
8- Ab yad hamein kyoon aati ho Hemant Kumar
9- Kitna dukh bhulaya tum ne Hemant Kumar
10-Maloom hay mujhko – ban Jao gi tum ek din taqdeer hamari Jag Mohan.

While in India, he wrote 48 songs in 9 Hindi films, namely-Subah Shyam-44, Meghdoot-45, Zameen Aasmaan-46, Pehchan-46, Krishna Leela-46, Arabian Nights-46, Giribala-47, Faisla-47 and Iran ki ek raat-49

He chose to migrate to Pakistan after the Partition.

In 1948, he was posted as recording Manager at Dhaka Center of the Gramophone Company and thereafter in 1951 at Lahore. He promoted many talents like Farida Khanum, Saeen Marna, Saeen Akhtar and Saeen Budha. He diverted towards the writing of film songs in 1956. “Kunwari Bewa” was the first film in Pakistan with his songs. He wrote more than 2000 songs for films and Gramophone Recording Company. He had also written stories, dialogues and scripts of many hit films like AULAD, ZAMAN KIYA KAHE GA, NEHLEY PE DEHLA, INTEKHAB, PEHCHAN, KHUDA AUR MUHABBAT, GHAREEBON KA BADSHAH etc. including “ HUM AIK HAIN” which was also directed by him. It was the first Pakistani film with 5 songs filmed in colour and as such a record in Pakistan film industry.

Every film, songs of which were written by Mr. Fayyaz Hashmi became super hit like SAHELI, AULAD, ASHIANA, SUHAGAN, HONAHAR, PEGHAM, SARTAJ, SHAREEK-E-HAYAT, EID MUBARAK, SHABNAM, LOVE IN JUNGLE, TOBA, SAWAL, LAKHOON MAIN AIK, DEWAR BHABI etc.

He received Graduate Award 3 times and also Nigar award for the best song in 1978 on “Chalo Achha Hua Tum Bhool Gaye” film “Lakhoon Main Aik”. He received International award in 1986 and another Nigar award in 1988 for the best dialogue of film “ Ghareebon Ka Badshah”. In addition to these he recounts about 11 Silver Jubilee Awards and 17 Golden Jubilee**. “Deewane Tere Pyar ke” is the latest film all songs of which have been written Fayyaz Hashmi.

The first compilation of his poetry was published as “ RAG RANG” in 1944 in India. His poems were published in various journals and magazines like Adbi Duniya, Adbe Lateef, Alamgeer, Beesveen Sadi, Shama (Delhi), Chitrali (Dhaka), Nigar (Karachi), Amar Jadeed and Amrit Bazar Patrika (Calcutta, India). He wrote many Naats and Qawwalis. He also wrote many National songs like (Ae Quiad-e-Azam tera ehsan hai ehsan” & “ Suraj Kare Salam – Chanda kare Salam”.

On the publication of his mystic verses, Mr. Raees Amrohi commented that “History of Sufi poets is indicative of a glorious future for them and Mr. Fayyaz.

(Based primarily on the article by Nadeemur Rehman, courtesy shri Rajnikumar Pandya ji and my own notes. )

Today’s NFS by Hemant kumar – my favourite singer – is very melodious and had become very popular in the 40s, 50s and the 60s. Enjoy…..


Song- Kitna dukh bhulaaya tumne pyaari (Hemant Kumar NFS)(1945) Singer-Singer- Hemant Kumar, Lyricist- Fayyaz Hashmi, MD- Kamal Dasgupta

Lyrics

kitna dukh bhulaaya tumne pyaari ee
kitna dukh bhulaaya tumne pyaari ee
mere zakhmi dil pe rakhkar apna komal haath
mere zakhmi dil pe rakhkar apna komal haath
preetam kyun ghabraaye ho
preetam kyun ghabraaye ho
bas chhed ke itni baat
sab dard mitaaya tumne ae pyaari
sab dard mitaaya tumne ae pyaari

apni bal khaayi zulfen seene se mere bichha ke
apni bal khaayi zulfen seene se mere bichha ke
apne gulaabi honthon ko
apne gulaabi honthon ko
mere honthon se milaa ke ae
amrit ras pilaaya tumne pyaari
amrit ras pilaaya tumne pyaari

ham tum chup baithhe hain
ham tum chup baithhe hain
dil kahta hai kisse dil ke
churaa liyaa hai hosh hamaara
churaa liyaa hai hosh hamaara
chaar aankhon ne milke
kismat ko jagaaya tumne pyaari
kismat ko jagaaya tumne pyaari
kismat ko jagaaya tumne pyaari


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

This is a labour of love, where “new” songs are added every day, and that has been the case for over THIRTEEN years. This blog has over 16500 song posts by now.

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

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