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 :

4376 Post No. : 15718

Today’s song is from the film Amrapali-1945. The film was made by Murlitone. This historical film was directed by Nandlal Jaswantlal. The music was composed by Saraswati devi, who had left Bombay Talkies, after the exit of Devika Rani. The 11 songs of the film were written by Miss Kamal, B.A.. Most readers who are knowledgeable about the vintage films of the 40’s know that Miss Kamal, B.A. was a pseudonym of Kavi Pradeep. At that time, he was under contract with Bombay Talkies and could not use his real name . Under this Pen name, he wrote lyrics for four films, namely Kadambari-44, Amrapali-45, Sati Toral-47 and Veerangana-47. Incidentally, all these films were directed by Nandlal Jaswantlal.

Nandlal was born on 15-3-1907 at Bardoli in Surat. His father was Admin. Officer in Kohinoor films. He started his career by joining it in 1924. He assisted Chandulal Shah(1926-29) and also directed silent and Talkie films for Ranjit from 1929 to 1933. Nandlal left the job and went to Europe on tour. On his return he joined the Imperial company(34-36) and directed some remakes of silent films of Sulochana into Talkie films. For one year-1937- he went to Madras and ran a Laboratory also.

His first Talkie film as a Director was Pardesi preetam-33 and last was Akeli mat jaiyo-63. Both were Ranjit films. Due to his death in 1961, Akeli mat Jaiyo was delayed and completed by Chandulal Shah himself. Best known for his later Filmistan musicals: Anarkali (with Bina Rai and music by C. Ramchandra) and Nagin (with Vyjayanthimala), one of the biggest post-Independence musical hits. Admired for his sophisticated lighting (with cameraman Pandurang Naik). Used extreme close-ups and unusual angles creating disjointed but dramatic and sensual spaces (e.g. the beginning of Anarkali). Last film Akeli Mat Jaiyo was completed by Chandulal Shah. Apparently filmed many of the famous song sequences of M. Sadiq’s musical Taj Mahal (1963).

FILMOGRAPHY: 1929: Jawani Diwani; Pardesi Saiyan; 1930: Pahadi Kanya; 1931: Premi Jogan; Ghunghatwali (all St); 1933: Pardesi Preetam; 1934: Indira MA; Kashmeera; 1935: Pujarini; 1936: Bambai Ki Billi; Jungle Queen; 1939: Jeevan Saathi; 1941: Kamadhenu; 1943: Pratigya; 1944: Kadambari; 1945: Amrapali; 1945: Sati Toral; Veerangana; 1951: Sanam; 1953: Anarkali; 1954: Nagin; 1956: Taj; 1957: Champakali; 1963: Akeli Mat Jaiyo (1963). (Thanks to Encyclopedia of Indian Cinema.)

In film Amrapali-45, the film story was by Ramchandra Thakur. Actually, this was based on Thakur’s own famous novel Amrapali. The dialogues were by Munshi Dil. The film, made under the banner of Murli Cinetone, was shot entirely in the Andheri studios of Lakshmi productions. The story of Amrapali is a real story, which took place in the times of Gautam Buddha. Although the original novel of Tamchandra Thakur depicted the reality in his book very nicely, the film story was twisted and under the guise of taking ‘ Cinematic liberty’, the main events of the story were drastically changed, twisting the history. Comparatively, the film ‘Amrapali’ made later in 1966 was much better. At least it did not change the original story. Amrapali or Ambapalika’s story is mentioned in old Pali language Texts and Buddhist literature.

The cast of the film was Prem Adib, Sabita Devi,Jeevan, Arun Ahuja, Jagdish Sethi, Badri Prasad, Sankatha Prasad, Gulab etc.etc. This film was special for its Heroine, because it was her last film as an actress. In the silent era, many Anglo Indian, Jew and European girls acted in films. They were preferred too, for their free uninhibited acting. Kissing and hugging was no problem for them. However, when the Talkie films arrived, most of these girls had to leave films, because they could not speak Hindi or sing a song. Only some few dedicated actresses from the lot like Sulochana (Ruby Meyers), Sabita Devi (Irina Gasper) etc, continued in films, because they learnt Hindi and singing, with great efforts.

The real name of Sabita Devi was IRINA GASPER. She was an Anglo-Indian,born in an affluent family of Calcutta, in 1914.

After completing education she wanted to join films, but her family objected. Without the family’s knowledge, she sent her resume and Photo to British Dominion Film Co., owned by Dhiren Ganguly in Calcutta. When they informed their consent the family resisted and kept her locked in the house. She fell ill and finally, the family conceded to her wish.

Her first Silent film was Flames of Flesh-1930. Then came Kanthahaar, A touch of Love, After the death, Aparadhi, Money makes what not and Bhagyalaxmi as silent films.

When the talkie came, she determinedly learnt Hindustani and Urdu and also Music.
Her first Talkie film was Radhakrishna-33, in which she sang 16 out of 23 songs in the film, but no records were made. Next was Ek din ka Badshah-33. She shifted to Bombay for better opportunities. In 1934,came Shahar ka Jaadu,with Motilal as a debut actor and this film was a Hit. Later she and Motilal became a popular pair.

She did many films. Her some films were-
300 days and after, Apki marzi, kokila, Kulvadhu, Amrapali, Ladies only, Chandragupta, Chingari, Dr.madhurika, grihalaxmi, holiday in bombay, Jeevan Lata, King for a day, Lagna bandhan, Manmaani, , Phantom Of the hills, Silver king, vengeance is mine, Village Girl etc etc. In all, she acted in 23 Talkie films and sang 15 recorded songs in 7 films.

She was a good Piano and Harmonium player. In later days in 1943 onwards, she stopped singing herself. Her last picture was Amrapali-45.

In 1946, she got married and left for England. She came back again only to die in Calcutta in 1965.

The story of Amrapali or Ambalika as per history and the Pali literature is.. Amrapali was a Nagarvadhu (Public Courtesan) in the kingdom of Vaishali (present day Bihar), and the king of the neighbouring Magadha kingdom fell in her love. To get her, he attacks Vaishali and wins. However, before he approaches Amrapali, she has transformed into an Arihant (a female Monk), after her encounter with Gautam Buddha.

This simple story was twisted and many side plots were added to it, thereby making the filma drab one, without evoking any excitement. Sabita devi in her 30’s and Prem Adib’s growing in size, after his own marriage and huge success of film Ram Rajya in 1943, were not suitable anymore for Romantic roles. All in all, the film was not a successful one. According to Baburao Patel’s review of the film,the technical aspects of the film were excellent. These are, in any way, not of any cognisance by the audience. The film was released on 2-11-1945 at Roxy theatre, Bombay.

Today’s song is a very good Marching song. This must be at the time of motivating Vaishali’s people when Magadh sena attacked them. It reminded me of the Marching song ‘ Zindagi hai pyar se’ from the film Sikandar-1941. This is the third song Aamrapali (1945) to appear on this Blog.


Song-Aaj apne ghar mein lagi aag re (Aamrpaali)(1945) Singer-Ameerbai Karnataki, Lyrics-Kavi Pradeep, MD-Saraswati Devi
Chorus

Lyrics

Aaj apne ghar mein lagi aag re
aag re
naujawaan jaag re
jaag re
jaag re
Aaj apne ghar mein lagi aag re

apne desh ka wo jal raha hai baag re
apne desh ka wo jal raha hai baag re
apni maata ka
apni dharti ka lut raha suhaag re
naujawaan jaag re
Aaj apne ghar mein lagi aag re
aag re
naujawan jaag re
jaag re

jaag re
jaag re
jaag re

?? jo aag chaaron oar
??
takraane do
takraane do
maidaan mein talwaar se talwaar

hey karmveer jaago
hey shoorveer jaago
ranbheri baj rahi hai
praanon ka moh tyaago
aazaadi ke matwaalon
shamsheer ab uthhaalo
aazaadi ke matwaalon
shamsheer ab uthhaalo
apni izzat pe lag na jaaye daag re
naujawaan jaag re
Aaj apne ghar mein lagi aag re
aag re
naujawan jaag re
naujawaanjaag re
naujawaan jaag re

(jaag re
jaag re
jaag re)

hey ae ae
kisi ke aage jhukna mat
jhukna mat
jhukna mat
kadam badhaa ke rukna mat
rukna mat
rukna mat

o naujawaan
naujawaan
desh maangta hai aaj tera balidaan
o naujawaan
desh maangta hai aaj tera balidaan
tera balidaan
tu khud ko mita de
sarwasw lutaa de
aaj dushman se khul ke khel phaag re
naujawaan jaag re

aaj apne ghar mein lagi aag re
aaj apne ghar mein lagi aag re
aag re
naujawaan jaag re
aag re
naujawaan jaag re

aaj apne ghar mein lagai aag re
aaj apne ghar mein lagai aag re
aag re
naujawaan jaag re
aag re
naujawaan jaag re


This article is written by Arunkumar Deshmukh, a fellow enthusaist 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 :

4321 Post No. : 15608

Today’s song is from an obscure film Hamara Sansar-45. It was a film made by Prakash Pictures, whose 2 Mythological films – Bharat Milap-42 and Ram Rajya-43, had become super duper hit films of that era. This branded Prakash Pictures as experts in Mythological films. Film Hamara Sansar-45 had actually followed another social film Police 44, but both films failed to continue the Hit parade of the two earlier successes. Prakash never wanted to be stamped or labelled as a film company of any particular Genre, so they decided to continue making social films, till they made the 3rd of the ” Shri Ram” series film few years later. They made film Raam Baan-48, with the same lead pair, but this film failed miserably due to various reasons.

Film Hamara Sansar-45 was directed by Dr. Shanti Kumar – not to be confused with Music Director Shanti Kumar Desai. In spite of several attempts, I could not get any information on this director since about 8 years. Film’s music was given by Pt. Gobind Ram, who was one of the major composers from among the Punjabi school of film composers in the 40s. His songs did not have exactly the Punjabi rhythm, but the style was exclusively Punjabi. His songs were sweet to ears. The cast of the film was Jeevan, Ranjana, Sumati Gupte, Jilloo, Umakant, Rajkumari Shukla, Susheel Kumar and many more.

When the film industry started growing, in the initial stage there were very few film making centres. By 1931, they were Calcutta, Bombay, Madras, Lahore and Kolhapur. It was but natural that in Calcutta, most artistes and technicians were Bengali. Nearby states like Assam, Dhaka,Orissa and Bihar also supplied manpower. Similarly in Madras, Tamilians, Andhrites, Kannada and Malayalam people were more in the industry. In Lahore, Muslims, Punjabis and Sindhis worked in films there.

In Bombay, two communities – Marathi and Gujarati played prominent roles in this growing industry. Bombay being the ‘ Mayanagari’ which provided work to everybody and anybody, who was ready to do work, no wonder people from every corner of India gathered here. Take the case of India’s first Talkie film Aalam Ara-1931. The producer and the screenplay writer-Ardeshir Irani, as well as the Music Director Phirozshah Mistry were Parsees, Dialogue writer Joseph David Penkar was a Bene Israeli Jew from Coastal area of Konkan, Hero Master Vithal was from Kolhapur of Maharashtra, Heroine Zubeida was from Gujarat, Jilloo was a tawayaf from Delhi, Prithviraj Kapoor was from Peshawar, W M Khan was from Western Frontier area, Jagdish Sethi was from Punjab, Elizer was from Tamilnadu, L V Prasad was from Andhra and Omkar Devaskar was from Madhya Pradesh.

However, the financial strings of film industry were in the hands of Gujarati people (including Parsees) and the actual work of acting, direction, music, singing, make up, costume and other technical aspects were done mostly by Marathi people. As the times moved on, the regional film centres anf films became stronger enough to provide opportunities to artistes etc and Marathi, South and others’ participation in Bombay became thinner. However, on and off Marathi artistes kept on coming to Hindi films in various departments-mainly acting and music. One such artiste was Sumati Gupte, about whom, hardly any information is available in English or Hindi books or on internet sites. For the first time, here are her details, for our readers.

Sumati Gupte was born on 11-5-1918 in a small town, Vai, in Satara District of Maharashtra. However, her education took place in Baroda, Gujarat, from where she completed her graduation and obtained B.A. degree. She was keen to work in films.

She joined Prabhat Film company to work in its Bilingual film Sant Dnyaaneshwar-40. The film was released on 21-5-1940 in Central cinema, Bombay. It became a hit film. She sang 2 songs also in this film. She started getting film offers in Marathi. She acted in several films like Thoratanchi kamala, Navardeo and Chimukala Sansar. The last film was directed by a young man-Vasant Joglekar. They fell in love and soon got married in 1943. Sumati became Sumati Gupte Joglekar. In due course, the couple had 3 daughters- Meera, Chanda and Madhushri.

Sumati acted in many Marathi films, but at the same time she also acted in Hindi films. She acted in Sant Dnyaneshwar-40, Sharbati Aankhen-45, Hamara Sansar-45, Santan-46, Veer Ghatotkach-49, Nand Kishore-51, Shiv leela-52, Samaj-54, mausi-58, Kareegar-58, Keechak Vadh-59, Waqt-65, Pariwar-68, Adhikar-71, jalte Badan-73, Paise ki Gudiya-74, Sajjo Rani-76 and Aadmi Sadak ka-77.

Sumati also sang 4 songs-2 each- in film Sant Dnyaneshwar-40 and Panghat-43. Vasant Joglekar’s family had very close relationship with actor Ashok kumar. Joglekar produced 10 films and directed 20 films. In most of them, Ashok kumar had acted. When film Kareegar-58 was to be made, Ashok kumar had already 30 films on hand, but he agreed to work in his film. Ashok kumar always took only 50% fees in his films. His only condition used to be that Sumati Gupte should bring lunch box of her cooked food on the sets. He was very fond of her cooking. No wonder, Sumati was a CKP by birth-a fish eater and Bangali babu liked Fish dishes very much !

Besides films, Sumati loved to work in Marathi stage dramas. She worked in many famous and popular dramas. The drama advertisements used to highlight her name, to attract the audience. Sumati got many awards like Rasrang magazine’s Phalke award, V. Shantaram award and Chitrabhushan, Life time achievement award from Maharashtra Govt.

Her husband Vasant Joglekar died in 1993.They had tried to promote their elder daughter Meera in Hindi films. She acted opposite Joy Mukherjee in film “Ek Kali Muskayi”-68. Neither she nor the film succeeded. She left films and got married to Ajit Gulabchand, a famous businessman of Mumbai. However, after few years, they divorced and she married Achyut Vaze, a stage Producer.

Sumati Gupte Joglekar died on 31-10-2009. After her death, their was a court dispute about her estate. Meera’s sister Chanda filed a case in court against her, but Meera won the case and the estate, in crores, was evenly divided between 3 sisters.

There was another Marathi actress in this film – Ranjana. The Heroine of this film was Ranjana. Now, hardly anyone knows about this actress who had worked as a Heroine with Dilip Kumar also in his early career. One can not get any information about her in any book or on the internet. Here is some information about her.

Ranjana’s real name was Ratan Shantaram Deshpande. She was born in Nagpur on 20-10-1927. While studying in St. Ursula High School, she learnt dancing and music from well known ustads. After passing her 6th standard examination, she came to Bombay to her elder sister, Kusum Deshpande, who was already working as actress with Minerva Movietone films. Kusum married Vasant Thengadi, a handsome actor in Hindi films of those times.

Kusum arranged for specialised dancing for Ratan in the holidays. later Ratan was taken to Vijay Bhatt of Prakash pictures for an interview. She was immediately selected and got a role in the famous film Ramrajya-1943. In this film she was Chitralekha, Sita’s sakhi. Vijay Bhatt also changed her name to Ranjana. She was on pay roles of prakash for Rs. 2000 pm. She acted in films like police-44, Vikramaditya-45 and Hamara Sansar-45. Next films were Nai Maa-46 and Zamin Asman-46.

Ranjana was called by Bombay Talkies to do Heroine’s role opposite Dilip kumar in film Milan-46. This film was based on Bangla film Nauka Doobi written by Tagore. She did the role of Hem Nalini in this film’s Hindi version. The same role was done by Meera Sircar in the Bangla film Nauka Doobi.

After this film, Ranjana was in great demand, but she wanted to quit films and get married to live a simple life. She married a young and handsome writer Arvind Shukla. But after few months he fell sick and there was no income. So, she had to continue working in films till 1975. She also worked in many Marathi films. In all, she worked in about 35 films or so. Ranjana worked with many big stars of her times like, Prem Adeeb, Prithviraj Kapoor, Jairaj, Dilip kumar, Jeevan, Umakant etc etc

It is interesting to note that her sister and her brother in law acted with her in few films. Some such films were Zamin Asman-46 and Shadi se pehle-47. In film Saajan ka Ghar-48 all three had worked together.

We have many families like this in Hindi films. I remember Zubeida and her mother and sisters, Sitara Devi and her 2 sisters, Nargis,her mother and brothers, Kapoor family, Dilip kumar, his brother and sister in law, many film couples and families of several film people are examples. Ranjana was perhaps one early example.

Thank God this Ranjana was not around when yet another Ranjana came to Hindi films. She was Ranjana Deshmukh, niece of actress Sandhya(nee Vijaya Deshmukh). This Ranjana, however , worked mainly in Marathi films and did only 6 Hindi films starting with the Rajkamal Pictures’film “Ladki Sahyadri ki”-66. She was just 11 year old then.Her other films were Chaani-77, Jai Mahakali-79, Navratri-83, Jhanjhar-86 and lastly Upraant-87. Unfortunately, she first met with a car accident and then died of Heart attack at the age of just 44 years or so, on 3-3-2000.

The film’s Music Director Gobind Ram was a good composer, but he never got enough fame in the industry. There is a very good, but very long article on him in apnaarchieve.com, written by Vidur Suri. Here is an adapted short version for our readers.

In the pre-partition period of Hindi films, there were many schools of music directors, many times on a regional basis, but some were just unique. The Punjabi school of film composing was a very important and innovative school among these. This school gained popularity in the 1940s, which also resulted in the immense popularity of Punjabi folk music. Ghulam Haider was considered to be the most important of these, but equally great were Pandit Amarnath , Shyam Sundar , Husnlal – Bhagatram , G. A. Chishti , and Pandit Gobindram .

Pandit Gobindram Ji was a trained musician from Lahore, and was equally popular in both Hindi and Punjabi films. Unlike other music directors of the Punjabi school, music composed by him did not typically reflect native Punjabi trends, but instead lay firmly in the category of mainstream 1940s’ music. One could very well say that he played a crucial part in shaping the music of the 1940s. His music is truly melodious and varied, with a unique combination of highly expressive tunes, yet very fun and foot tapping and rhythmically catchy. He is one of the music directors who used a very large number of singers, only second to Gyan Dutt, one of his worthy contemporaries. He excelled equally in composing happy, sad, romantic, serious, comical, classical, just any kind of songs. It is a pity that he has never received the attention that he deserved.

Among his landmarks are the introduction of and enormous contribution to making Shamshad Begum and Zohrabai the top singers in Hindi films. He recorded the maximum number of Hindi film songs with Shamshad Begum – 86 songs in 19 films. He was also one of the foremost music directors to encourage and bring forward great veteran Rafi , and also introduced great singer Zeenat Begum to films. He has about 30 films to his credit and each one had equally superb music. Most popular singers of that period have graced his songs. His use of light music, Ghazals, Thumris and various popular music forms in films, provide a ready insight into the uniqueness of 1940s music, and with a slightly unique flavour of both his compositions as well as a tiny tinge of Punjabi style.

Pandit Gobindram Ji started his career with Jeevan Jyoti (1937), but his first Hindi film in the 1940s was Himmat (1941). Today, it is remembered for being the second ever Hindi film of veteran singer Shamshad Begum Ji, where she beautifully sang the traditional Dadra ‘Inhin Logon Ne Le Leena Dupatta Mora’ , in her young, sweet but powerful voice. The famous song with the same lyrics in Pakeezah (1972) is largely a copy of this song. This was the first song composed by Gobindram that helped him gain recognition. Other songs from this film included a beautiful duet by Ghulam Haider and Umraozia Begum , ‘Main Hoon Rani Ek Sunehri Nagri Ki’.

His last film was Naqaab-55. Gobindram worked with more than 30 lyricists during his career. With 56 songs in 8 films, his collaboration was the highest with Ishwar Chandra Kapoor. Some of the other prominent lyricists he worked with include Bharat Vyas , Ram Murti Chaturvedi , Ramesh Gupta , and Qamar Jalalabadi . (adapted from an article by Vidur Sury, with thanks).

Today’s song is sung by Shamshad Begum. It is 4th song from this film to be posted on this Blog.


Song-Ham kis’se karen shiqwa rona hai muqaddar mein (Hamaara Sansaar)(1945) Singer-Shamshad Begam, Lyrics-Ramesh Gupta, MD-Pt Govindram

Lyrics

hum kis’se karen shiqwa
rona hai muqaddar mein
hum kis’se karen shiqwa
rona hai muqaddar mein
kashti bahi jaati hai
toofaanon ke manjar mein
kashti bahi jaati hai
toofaanon ke manjar mein
hum kis’se karen shikwa
rona hai muqaddar mein

har taraf mere chhaayi hai
gham ki ghata kali
har taraf mere chhaayi hai
gham ki ghat kali
armaanon bhari duniya
kismat ne mita daali
armaanon bhari duniya
kismat ne mita daali
dil toot gaya mera
bas ek hi thokar mein

gulzaar e chaman n n n n n
ab to
ujda nazar aata hai
hai ae ae ae
gulzaar e chaman n n n
ab to
ujda nazar aata hai
ummeedon ke nakshe par
parda nazar aata hai
ummeedon ke nakshe par
parda nazar aata hai
mallaah bhi kehta hai
toofaan hai samandar mein
mallaah bhi kehta hai
toofaan hai samandar mein
kashti bahi jaati hai
toofaanon ke manjar mein
hum kis’se karen shiqwa
rona hai muqaddar mein


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. 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:

4309 Post No. : 15584

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Regional language songs in Hindi movies- 1
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I had heard of ‘Rabindra Sangeet’ many years back in the context of our national anthem. Without knowing much about Rabindra Sangeet, in my younger days, I used to think that like Hindustani classical music, Carnatic classical music, folk music, Western classical music etc, Rabindra Sangeet was a different genre of music. (Now that I know it, I was not off the mark then). When I got associated with our Blog about 10 years back, I started looking at the Hindi film songs in a wider perspective encompassing, among other things, the genres of and the artists behind the Hindi film music. It was during the course of writing articles for the Blog covering songs of the golden period of Hindi film music, singers, lyricists and music directors that I came to know much about Rabindra Sangeet and its influence in Hindi film songs.

Rabindra Sangeet (Tagore songs) refers to over 2000 Bangla songs which were penned and set to music by Gurudev Rabindranath Tagore. During the course of my search on Rabindra Sangeet, I had come across a very informative website, http://www.geetabitan.com, dedicated to Rabindra Sangeet. The website is the repository of around 2200 songs written and composed by Gurudev during his life time. The website gives the main features of each of song with lyrics in Bangla and English with English translations wherever available. The songs are also classified in 6 main themes – Devotion, Patriotic, Love, Nature, Ceremonial and Amazement. In addition, other features of the songs such as raag, taal, and background history etc are also given. I also found that Rabindra Sangeet is complete with swarlipi (notations) which indicates that the system of notations in Indian music may have started with Rabindra Sangeet.

With the help of the lyrics in English, I have listened to many songs on the video sharing platform with the support of English translations. I am aware of the limitation of translation in English of the original Bangla songs or for that matter of any language. But for a non-Bengali like me, translation serves the purpose of understanding something about the song rather than not knowing at all. In a nutshell, Rabindra Sangeet is the amalgam of Hindustani classical music, Bangla folk music, and Western classical music. What attracts a non-Bengali like me to listen to Rabindra Sangeet is the unique sounding melody embedded in the song even though the full understanding of the meaning of the song would have enhanced the listening pleasure. Nevertheless, I feel like listening to Tagore songs again and again. They are soothing to my ears and they sounds like prayers.

It is well known fact that some of Mirza Ghalib’s ghazals can be interpreted differently by different persons. Based on the English translation of Tagore songs, I feel that some of these songs may have multiple interpretations. Probably, the interpretation of Tagore songs could be one of the debating issues for ‘bhadralok’ in the poetic soirees or even in the Coffee House. Hence, like Mirza Ghalib’s ghazals, Rabindra Sangeet would always remain one of the topics for discussion among the musicians. It is because of such interests and the spirituality in Tagore songs that Rabindra Sangeet retains its popularilty even after nearly hundred years when the songs were written and composed.

It is believed that Gurudev Rabindranath Tagore started writing and composing songs since 1875. But his songs were rendered mostly in the confines of Shantiniketan by his students of music and his plays. The credit for making Rabindra Sangeet popular among the masses goes to Pankaj Mullick. ‘Mukti’ (1937) was the film in which Tagore songs featured for the first time.

During the making of the film ‘Mukti” (1937), Pankaj Mullick, the music director for the film, had gone to meet Gurudev Rabindranath Tagore to seek his permission to use the song ‘diner sheshey ghumer deshey’ in the film. Pankaj Mullick was not sure whether he could get the nod from Gurdev as till then, Tagore songs were not used in the films. Moreover, Gurudev had not yet set the music for the song under consideration. Pankaj Mullick rendered the song which was set to music by him, in the presence of Gurudev who was so much impressed by his rendering of the song that he not only allowed Pankaj Mullick to use the song with his music in the film but also allowed him to set to music those Tagore songs which Gurudev had not find time to set to the tune. In the event, Pankaj Mullick got a rare distinction of being the only composer allowed by Gurudev to set tunes to his songs. [Based on http://www.pankajmullickfoundation.org/%5D. Later on, Pankaj Mullick devoted his efforts to make the Rabindra Sangeet popular by singing them on All India Radio and in the concerts.

On the basis of the number of song clips of Rabindra Sangeet available on the video sharing platforms, I feel that among the old stalwarts, Hemant Kumar, Debabrata Biswas, Dwijen Mukherjee, Kanika Banerjee, Suchitra Mitra, Sroboni Sen etc have immensely contributed to to make Rabindra Sangeet popular among the masses.

The popularity of Rabindra Sangeet influenced some of the music directors, especially of Bangla and Hindi films. Just like we say that a song is based on folk music, similarly, it has become common to say that song is influenced by Rabindra Sangeet. There are instances where Hindi films songs have been inspired from Rabindra Sangeet especially under the music direction of Pankaj Mullick, Anil Biswas, Salil Chowdhury. Hemant Kumar, S D Burman, R D Burman etc who hail from Bengal. There are many Hindi film songs inspired from Rabindra Sangeet but here, I will give only few examples:

Anil Biswas: Raahi matwaale (Rabindra Sangeet: ore grihobashi khol dwaar khol)

S D Burman: naina deewaane ek nahin maane (Rabindra Sangeet: shedin dujone dulechhune bone)

Hemant Kumar: mann mera udta jaaye (Rabindra Sangeet: man mor meghe sangi)

Salil Chowdhury: saawan ki raaton mein aisa bhi hota hai (Rabindra Sangeet: jete jete akla pothe)

Kishore Kumar: panthhi hoon us path kaa (Rabindra Sangeet: pather shesh kothay)

Rajesh Roshan: bandan khula panchhi udaa (Rabindra Sangeet: pagla hawaar baadol dine)

Some of the music directors seems to have used some parts of the tunes from Rabindra Sangeet which for a lay man it is difficult to pin point. I can only get some feel of Rabindra Sangeet in some of the songs composed by Anil Biswas like in ‘Anokha Pyaar’ (1948) and ‘Aaraam’ (1951). Some songs of R D Burman’s last film ‘1942 – A Love Story (1994) gives the shades of Rabindra Sangeet. Some of the other songs composed by S D Burman have some traces of Rabindra Sangeet. I found an interesting trivia about a small part of the tune taken from Rabindra Sangeet in jaane wo kaise log thhe jinko pyaar se pyaar mila :

In a conversation between S D Burman and Pulak Bandhyopadhyay, the Bangla film lyricist, S D Burman had revealed that the second verse of the mukhda of the song i.e., hamne to jab kaliyaan maangi kaanthon kaa haar mila’ was inspired from the second verse of our national anthem ‘Punjab Sind Gujarat Maratha Dravid Utkal Banga’. [Source: S D Burman – The Prince Musician – Anirudha Bhattacharjee and Balaji Vittal (2018).]

Rabindra Sangeet has a special place in ‘Hamraahi’ (1945) which had two Tagore songs in Bangla. One Tagore song, jan gan man adhinaayak jaya he has been covered in the Blog. The second Tagore song is ‘modhu gandhe bhara mridu snigdho chhaaya’ which are rendered by Binota Bose (Roy) and Hemant Kumar. The song was written and composed by Gurudev Rabindranath Tagore.

‘Hamraahi’ (1945) was a Hindi remake of Bangla film ‘Udayare Pathe’ (1944). It was a debut Bangla feature film for Bimal Roy as a director who also directed its Hindi remake. Both the versions of the film had, more or less the same star cast which consisted of Radhamohan Bhattacharya, Binota Bose (Roy), Rekha Mallik (Mitra), Maya Basu, Tulsi Chakraborty, Dev Bala, Parul Kar, Manorama etc. Interestingly, the Tagore song under reference was not there in the Bangla version of the film.

Since the song under discussion is in Bangla, I have taken the lyrics in English as well as the English translation from http://www.geetabitan.com. I know that the feelings expressed in Bangla in Tagore songs are difficult to replicate in English translation. The words are in Sanskritised Bangla. The song seems to convey the emotion through nature.

Anil Biswas used the complete tune of this Tagore song for mere chanchal naina madhur ras ke bhare in ‘Angulimaal’ (1960).

Audio Clip:

Song-Modhu gandhe bhara mridu snigdho chaaya (Humraahi)(1945) Singers-Binota Bose, Hemant Kumar, Lyrics-Rabindranath Tagore, MD-Rabindranath Tagore

Lyrics
(Sourced from http://www.geetabitan.com)

modhu gandhe bhaara
mridu snigdho chhaaya
nipo kunjo tale
shyamo kaantimoyi kon swapnomaaya
phire brishti jale
ae ae ae ae
gandhe bhaara
phire rakto aloktako dhouto paaye
dhaara sikto baaye
ae ae ae ae
phire rakto aloktako dhouto paaye
dhaara sikto baaye
ae ae ae ae ae ae
megho mukto sahasyo shashanko kaala
snithi praante jwaale
megho mukto sahasyo shashanko kaala
snithi praante jwaale
ae ae ae ae
gandhe bhara
mridu snigdho chhaaya
nipo kunjotale
shyamo kaantimoyi kon swapnomaaya
phire brishti jale
ae ae ae ae
gandhe bhara

piye uchchhalo tarol prolayo modira
un mukhoro tarongini dhaay adhira
piye uchchhalo tarol prolayo modira
un mukhoro tarongini dhaay adhira
kaar nirbhiko murti tarongo dole
kalo mandro role
kaar nirbhiko murti tarongo dole
kalo mandro role
ae taarahaara nihsimo andho kare
ae ae ae ae
kaar taroni chole
ae taarahaara nihsimo andho kare
ae ae ae ae
kaar taroni chole
modhu gandhe bhara
mridu snigdho chhaaya
nipo kunjotale
shyamo kaantimoyi kon swapnomaaya
phire brishti jale
ae ae ae ae
gandhe bhara…aa

————————————-
English translation (source: http://www.geetabitan.com)
———————————————-

Passionate is languor,
That roam about in the dripping wetness,
Like a dark silhouette of a veiled maid
Under the arbour of kadam trees,
Delightfully fragrant and sombre.
Treading on red-alta washed feet,
Heading the gentle breeze, moist;
Sporadic flashes on forehead,
Smiling crescent peeping through clouds.
She swirls amuck, gurgling,
Having taken elixir of catastrophe.
Emerges from the roaring streams
A face of a valour, unknown.
In this star-less darkness of the night
Who sails his raft all alone.
_____________


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 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 :

4288 Post No. : 15539

Saga Of Sleepless Nights – 7
– – – – – – – – – – – – – – –

kal raat sapne mein aaye thhey tum
mere mehboob mere mehboob

Sound of a temple bell – that is how the renowned music director OP Nayyar once described the voice of Shamshad Begum. The clear sound of the tinkle, the chime and the ringing – the quality of sound that can maybe best described with the word ‘खनकती हुई’ – I could not locate a commensurate word in English. I am sure friends and readers who have heard her songs will easily relate with what I am getting at.

Remembering Shamshad Begum today on the 101st anniversary of her birth. She was born in 1919, this day, just one day after Baisakhi, and the horrific massacre at Jalianwaala Bagh in the nearby city of Amritsar. She was born into a traditional and conservative family of limited means. One of the eight children in the family, her father was a mechanic with limited income and a large family to feed.

Shamshad was not formally trained in singing or music. She had a natural flair for it. When she was five, her singing came to the attention of her teachers at primary school. The principal of the school was so impressed, she asked her to lead the daily morning prayers. By the time she was 10, she began singing at religious functions and at family functions and marriage events. One of her father’s brother, Ameer Khan, was interested in listening to music, especially ghazals and qawwaalis. In 1931, when she was twelve, he secretly took her to the offices of Jenophone Music Company. He personally knew the resident music director incharge – Ghulam Haider. At the initial audition, the young Shamshad sang a ghazal of Bahadur Shah Zafar – “Mera Yaar Mujhe Miley Agar”. Duly and thoroughly impressed, Ghulam Haider Sb immediately offered a contract to record some songs and ghazals for the Jenophone label. Her father was quite upset when he discovered this subterfuge, but Ameer Khan Sb convinced him to give permission. Her father finally agreed, albeit on one condition – that she would not be photographed, and that she would sing from behind the burqa. For the next 5 to 6 years, Shamshad made a very large number of recordings, all under the baton of Ghulam Haider Sb. Her recordings became very popular with the listening public.

Her next major break came in 1937, when she came on to the rolls of the recently organized institution of All India Radio. Earlier known as the Indian State Broadcasting Service, this was renamed as All India Radio in 1936. Shamshad started to make singing appearances at the Lahore and Peshawar stations. While at the AIR, her singing caught attention of sarangi maestro and musician Hussain Bakshwale Saheb. She accepted him as her guru, and he imparted to her training in classical music.

Her popularity grew well enough to catch the attention of Dalsukh Pancholi, owner of the Pancholi Art Films in Lahore. He was starting work on ‘Yamla Jatt’, the first Punjabi film. The film became the launch vehicle for many – Pran as actor, Ghulam Haider as film music director, Shamshad Begum as a playback singer, and of course, the formal organization of the Punjabi film industry in the north.

A side anecdote here that was new for me also. Pancholi Sb wanted her to act in the film also. She agreed, gave the screen test, and was selected for some role. However, when this information reached her father, he put his foot down and threaten to even stop her singing career. Young Shamshad relented, and gave up the idea of becoming an actress. Her father reinforced his edict that she would not allow herself to be photographed, a promise that she dutifully kept all her life. Her photo images are so rare, and earlier I used to wonder why.

‘Yamla Jatt’ became a musical hit, especially the songs “Cheechi Wich Pa ke Chhalla”, “Mera Haal Vekh Ke” and “Kankaan Diyaan Faslaan”. The next film by Pancholi – ‘Chaudhry Saab’ was also a big hit. Ghulam Haider and Shamshad Begum became established names in the fledgling Punjabi film industry. The next step was only logical. Pancholi Sb went on to produce Hindi films – ‘Khazaanchi’ (1941), ‘Khandaan’ (1942), ‘Zameendaar’ (1942), ‘Poonji’ (1943), ‘Dhamki’ (1945), ‘Kaise Kahoon’ (1945), ‘Shirin Farhad’ (1945) and ‘Patjhad’ (1948). In 1947-48, he shifted based from Lahore to Bombay (now Mumbai).

Ah yes, an important interlude from her life – her marriage. At the age of 13, in 1932, the young lass got friendly with Ganpat Lal, a little older boy in her neighborhood. The alliance was bound to create huge friction, being an inter-religion choice. The families from both sides were dead against this relationship. But the young lovers stuck to their stand, and they got married in 1934. They were outcast from their families for some time, but slowly the relations were established again. The couple had one daughter, she is named Usha. She got married to Lt Col Yogesh Ratra of the Indian Army. Sh Ganpat Lal passed away unexpectedly in 1955. He had been a great supporter and a driving force in managing her career. After his passing away, although she continued to be active, but she became more and more reclusive. In her later years, she stayed with her daughter and her family.

Today’s song is from the 1945 film ‘Ratnavali’. The film is produced under the banner of Amar Pictures, Bombay and is directed by Surendra Desai. The star cast of the film is listed as Surendra, Ratanmala, Usha Mantri, Maya Bannerji, KN Singh, Nand Kishore, Leela Mishra, Ansari, Jani Babu, and S Nazeer.

There are eight songs listed for this film in the Geet Kosh. The songs are written by three songwriters – Brajendra Gaud, Ishwar Chandra Kapoor, and Ram Murti Chaturvedi. Today’s song is from the pen of Ram Murty Chaturvedi. The music is by Pt Gobind Ram.

This song is another one in the series of the sleepless nights saga.

kal raat sapne mein aaye thhey tum
mere mehboob mere mehboob

The lady is telling her saheli about the dream that came to her when she was trying to sleep a night. And in the dream, her beau had visited, keeping her company and keeping her awake, as she swung in his arms.

Again, sundry outcomes of a young heart being in love. When this emotion comes to reside in the heart, then the eagerness and the longing to meet, to see and to be able to touch is so intense within, that the mind plays out these emotions in the dreamland of sleep. The waking hours are full of conscious thoughts of the beloved, and the night hours of sleep are full of his dreams. The mind is not able to make up its mind 🙂 whether it is a dream in sleep or is it a lively thought of wakeful eyes. Be in love, and you will grasp. And I am quite sure, all of us have been through such a life. And some may still be living it.

Enjoy this lovely song of a restless and sleepless heart.

And remembering Shamshad Begum as the singer with this ‘खनकती हुई आवाज़’. Thank you ji, for all the wonderful music and the songs.

Song – Sapnon Mein Koi Aaya  (Ratnavali) (1945) Singers – Shamshad Begum, Lyrics – Rammurty Chaturvedi, MD – Gobind Ram

Lyrics

sapnon mein koi ayaa
sapnon mein koi ayaa
sajaniya..aa sapnon mein koi ayaa
sapnon mein koi ayaa
sajaniya..aa sapnon mein koi ayaa

naach rahi thi madhur chaandni
gaate gaate prem raagini
naach rahi thi madhur chaandni
gaate gaate prem raagini
neend bhari akhiyan mein meri
aa ke koi samaaya
aa haa haa haa
aa ke koi samaaya
sapnon mein koi ayaa
sapnon mein koi ayaa
sajaniya..aa sapnon mein koi ayaa

jab un ki bahiyan mein jhooli
tan man ki sab sudh budh bhooli
jab un ki bahiyan mein jhooli
tan man ki sab sudh budh bhooli
ik pal ke is madhur milan ne
ik pal ke is madhur milan ne
pagli hamen banaaya
aa haa haa haa
pagli hamen banaaya
sapnon mein koi ayaa
sapnon mein koi ayaa
sajaniya..aa sapnon mein koi ayaa

naach rahi thi madhur chaandni
gaate gaate prem raagini
neend bhari akhiyan mein meri
aa ke koi samaaya
aa haa haa haa
aa ke koi samaaya
sapnon mein koi ayaa
sapnon mein koi ayaa
sajaniya..aa sapnon mein koi ayaa

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

सपनों में कोई आया
सपनों में कोई आया
सजनीया॰॰आ सपनों में कोई आया
सपनों में कोई आया
सजनीया॰॰आ सपनों में कोई आया

नाच रही थी मधुर चाँदनी
गाते गाते प्रेम रागिनी
नाच रही थी मधुर चाँदनी
गाते गाते प्रेम रागिनी
नींद भरी अखीयन में मेरी
आ के कोई समाया
आ हा हा हा
आ के कोई समाया
सपनों में कोई आया
सपनों में कोई आया
सजनीया॰॰आ सपनों में कोई आया

जब उनकी बइय्यन में झूली
तन मन की सब सुध बुध भूली
जब उनकी बइय्यन में झूली
तन मन की सब सुध बुध भूली
इक पल के इस मधुर मिलन ने
इक पल के इस मधुर मिलन ने
पगली हमें बनाया
आ हा हा हा
पगली हमें बनाया
सपनों में कोई आया
सपनों में कोई आया
सजनीया॰॰आ सपनों में कोई आया

नाच रही थी मधुर चाँदनी
गाते गाते प्रेम रागिनी
नींद भरी अखीयन में मेरी
आ के कोई समाया
आ हा हा हा
आ के कोई समाया
सपनों में कोई आया
सपनों में कोई आया
सजनीया॰॰आ सपनों में कोई आया


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 : 4206 Post No. : 15397

“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. Four songs have been covered in the past.

Here is the fifth 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.

It is clear that the song was picturised on Kanan Devi herself.


Song-Tu sun le kahaani (Ban Phool)(1945) Singer-Kanan Devi, Lyrics-Pt Madhur, MD-Dhiren Mittar

Lyrics

tu sun le kahaani
tu sun le kahaani
ae meri munni
ae meri raani
sun le kahaani
jis roz gaya bachpan
aayi jawaani pancham
aankhon mein hansa gulshan
aankhon mein
aankhon mein hansa gulshan
phir udne laga ye man
Ye man
phir udne laga ye man
ye ?? na jaane
sun le kahaani
tu sun le kahaani

is raah ?
?? se bachaaya
Main bani uski chhaaya
main bani uski chhaaya
?? hanse ??
hansi ka ??
rulaani
sun le kahaani

kuchh ko gayi manaane
dukh dard gham bhulaane
zakhmon ki dawa laane
zakhmon ki dawa laane
usne kiye bahaane
?? deewaani
sun le kahaani
tu sun le kahaani
ae meri munni
ae meri raani

ab raat nahin baaqi
ab aah nahin baaqi
man ?? hai
par raah nahin baaqi
ab raah nahin baaqi
baaqi hai ye nishaani


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 : 4040 Post No. : 15165

Today’s song is from film Gulami-45. It was a film made by Shalimar Pictures, Poona. Directed by M.Wadhwani, its music was by S.K.Pal. Songs were written by Bharat Vyas, Josh Malihabadi, Akhtar-ul-iman and Majaj. Film Gulami aka Rape of Burma-45 was not a great film. The cast of the film was Renuka Devi, Masood Pervez, David, Tiwari, Bharat Vyas, H. Prakash, Kathana, Balraj Mehta, Neelam etc etc.

The Heroine Renuka Devi was an extraordinary woman, considering the times in which she was living. Renuka Devi ( Begum Khursheed Mirza) was perhaps one of the most educated, upper class, sophisticated and highly cultured Muslim lady, who ever joined the film industry then. One more striking feature of Renuka Devi was that she was one of the very few actresses, who joined films after their marriage. The other such examples I remember off hand are those of Meenakshi Shirodkar (Bramhachari-38 fame), Shobhana Samarth and actress Neena ( real name Shahida-wife of Mohsin Abdulla, brother of Renuka Devi).

Renuka Devi (4-3-1918 to 8-2-1989) had studied up to Masters degree in English Literature, from Aligarh Muslim University. The only other nearest example I remember off hand is that of actress Vanmala (real name Susheela Devi Pawar), who had done B.A., B.T. and was a Teacher in the college before joining films,at the behest of writer, journalist and Director P.K.Atre.

Back in the Thirties, acting in films was not considered an honourable profession for anybody. And for a married woman from a well-educated and respectable upper-middle class Muslim family, it was forbidden to even think about it. But Khurshid Mirza, the daughter of the founders of the Aligarh Women’s College, the wife of a police officer and already a mother of two, was too free-spirited to be tied down by any social norm. She took the plunge and soon a star named Renuka Devi was born.

In those days,popular actresses used to earn quite a lot. For example, Shobhana Samarth earned 36000 ( about 18 lakhs at today’s rate) rupees every year. Other actresses like Shanta Apte, Naseem Bano, Sardar Akhtar, Madhuri etc got about 30000 or so. This was a time when a Chiffon Saree was for Rs.9 and a brand New Studbaker car was for Rs. 5000 only. Renuka Devi also was interested in earning money. However Renuka Devi did only few films in her career. She worked with Bombay Talkies, New Theatres, Shalimar and such big banners. Her films are Jeevan Prabhat-37, Bhabhi-38, Badi didi-39, Naya Sansar-41, Shri Ramanuja-43, Sahara-43, Samrat Chandragupta-45, and Gulami-45 .

After partition, her family migrated to Pakistan. In Pakistan, though in demand, she refused to do any films. Instead, she decided to devote her time for women’s uplift, education, welfare and social work. She also did some work on Pakistan Radio,and Pakistan TV.

She published 9 instalments of her autobiography in the popular magazine ” Herald ” from August 1982 to April 1983, under the title ” The uprooted sapling”. This was,later on edited and published by her daughter Lubna as a Book, in 2004, titled- ” A woman of substance- the memoirs of Begum Khursheed Mirza “.

In her book she included a chapter of 24 pages ” Renuka Devi-my celluloid identity”, in which she has described many interesting anecdotes. Her detailed description of the times of the 30s and 40s is a lovely chronicle of the history of Bombay film industry.

Renuka Devi died on 8-2-1989 at Lahore after a prolonged illness. ( As her bio has already been given earlier in this Blog by me and Sadanand Kamath ji, I am not repeating it here).

Film Gulami-45 was a film without the regular Heroine of Shalimar pictures-Neena- real name Shahida. She was Mohsin Abdulla’s wife before W.Z.Ahmed lured her in his net. Abdulla was Renuka Devi’s younger brother. it is said that during the shooting of the film in the studio, Neena never ever visited the studio, as she was too embarrassed to face her sister-in-law.

Bharat Vyas (18-12-1918 to 5-7-82) -who wrote the story,songs and even acted in it, was spotted by W. Z.Ahmed and he offered Vyas a lucrative salary which was hard to refuse, to join Shalimar. Vyas was happy to join because, in Shalimar, he had the company of Josh Malihabaqdi,Akhtar-ul-iman, Kishen Chander, Ramanand Sagar and Sagar Nizami-all employed by Shalimar.He started by writing all 12 songs for film Prem Sangeet-43.Then came Mann ki jeet-44 and Prithwiraj Sanyogita-46. His last film here, Meerabai-47, was also the last film of Shalimar. His job was to adapt Meera bhajans in song form.

After Partition,Neena and Ahmed migrated to Pakistan, taking along with them all the prints of their films and Shalimar became an orphan. Vyas went to Madras to work for S S Vasan for his film ‘ Chandralekha’-48. When he came back, he was approached by some ex-workers of Shalimar. They wanted to revive Shalimar by completing the incomplete film ‘ Rangila Rajasthan. Actually, in 1946 itself, Ahmed had entrusted this film’s direction to Bharat Vyas and some shooting was also done. However due to several reasons, this film was stopped and Meerabai was completed.

They wanted like minded ex-employees to work free to produce the film.Bharat Vyas agreed.He not only wrote songs,but also composed few songs, along with MDs S K Pal and B S Kalla. Further he directed film ‘Rangeela Rajasthan’-49.However, despite all efforts, the film flopped and Shalimar closed down for ever.

In film Gulami, Vyas wrote some songs and aslo sang a duet and a solo song, besides acting in it.Bharat Vyas wrote 1247 songs in a85 films. He acted in 3 films- Gulami-45, Prithviraj Sanyogita-46 and Maa-52. He sang 8 songs in 6 films- Prem sangeet-43, Mann ki jeet-44, Gulami-45, Chandralekhs-48, Navrang-59 and Bharat ki santan-80.

A very odd name in the cast can be seen- Balraj Mehta. I am sure,hardly anyone has ever heard his name, but he was a very active person in his life. Born on 22-4-1918 at Lahore, he was the son of Sukh Dayal Mehta – Superintendent in the Commissioner’s office at Lahore. He completed Matriculation from Central Model High School and B.A. from Dayal Singh College of Lahore in 1939.

He was active in Students’ union and held General Secretary’s post of Punjab University Students’ Union, in 35-37. He organised All India Student Federation conference in 36/37. He was a born Leader. He was interested in acting on stage. In 1944, he founded Indian National Theatre (I.N.T.), which is a very famous institution in India now also. He wrote, directed and produced its first stage drama ” Aawaaz’ in 1945.

By now he was married and needed to earn money. He joined film line. He acted first in ‘ Dulla Batti’ in 1939-40. Then came Sajjan-41,Panna-44, Parakh-44, Patharon ka Saudagar-44, Gulami-45 and lastly Pul-47.In the period 1944-45, he also became Secretary of Film Artistes’ Association and served it for a long time. In 1947, he entered Politics. After Independence, he became a journalist. There is no information about him after this.

Though, film Gulami-45 was completed and certified by Censors in 45, it was released somewhere in the mid 46, as per news item found in Film India magazine. Though the magazine did not publish its full review, a short note, as usual, criticised the lead pair’s acting and praised the direction. It had no good words about the music also. Some readers’ comments also criticised the film.

It was pointed out by one reader that the film was a copy of Hollywood film ” Dragon Seed “-1944. The film ,in its advertisement, described it to be a ‘ Thrilling Patriotic story’. The parallel title of the film was ” Rape of Burma”, indicating a love story in Burma with the war background. However,when the film was released in or around May 1946, the War had ended long back and the film had lost its advantage of Topicality. Baburao Patel also ridiculed showing the married and a mother of 2 kids (Renuka Devi) as an 18 year old girl in the movie.

Renuka Devi was not a singer, nor is there any evidence that she received training is Music. Same case was with Bharat Vyas. Still,they sang this duet in a well balanced way. Though the songs of this film ( I have 4 songs of this film with me) are not that well tuned to remain in memory, but they were of average standard. Even otherwise the MD-S.K.Pal ( nephew of Ramchandra Pal,MD with Bombay Talkies), was not famous to have created any memorable song in his career.

So, here is the duet of Bharat Vyas and Renuka Devi.

(Some information in this article is used, with thanks, from the book ” A woman of substance” by Renuka Devi, webly.com, Who’s who in Film Industry-46, issues of Film India for 1945 and 1946 and my own notes.)


Song-Aajaa aajaa aajaa re O Geeta ke Bhagwaan (Ghulaami)(1945) Singers-Bharat Vyas, Renuka Devi, Lyrics-Bharat Vyas, MD-S K Pal
Both

Lyrics

aaja aaja aaja re
aaja aaja aaja re
aaja aaja aaja re
aaja aaja aaja re
o geeta ke bhagwaan
wo apna vachan nibha ja re
o krishn shiv aajaa aajaa re
aaja aaja aaja re

kab se naina pyaase hain
pal bhar to pyaas bujha jaa
kab se naina pyaase hain
pal bhar to pyaas bujha jaa

ham laakh baar aayen mohan
tu ek baar to aa jaa
ham laakh baar aayen mohan
tu ek baar to aa jaa
aaja aaja aaja re
aaja aaja aaja re

ek baar phir braj mein raas racha ja
bansiwaale
ek baar phir braj mein raas racha ja
bansiwaale

sang tumhaare naachen ham
ban kar gokul ke gwaale
sang tumhaare naachen ham
ban kar gokul ke gwaale

bas ek baar phir braj ki wo
bas ek baar phir braj ki wo
jhaanki dikhla jaa re
?? dikhlaa jaa re
phir usi baansuri ki sundar wo
taan suna jaa re ae ae
seeta ke bhagwaan wo apna
vachan nibha jaa re
o krishn phir aaja aajaa re
aaja aajaa aajaa re

brij baalaayen roti hain
rote hain gokul waale
brij baalaayen roti hain
rote hain gokul waale

jamuna ki lahren roti hain
kyun roothhe bansi waale
bansi waale ham roton ko
kuchh dheer bandhaa jaa re ae
bansi waale ham roton ko
kuchh dheer bandhaa jaa re

hamen ye to samjha jaa re
kya bhool huyi jo bhool gaya
kya bhool huyi jo bhool gaya
ye bhed bataa jaa re
geeta ke bhagwaan ho apna vachan nibha jaa re
o krishn phir aajaa aajaa re
aajaa aajaa aajaa re


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


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


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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 ELEVEN years. This blog has over 15700 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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