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

Archive for the ‘Songs of 1947’ Category


This article is written by Peevesie’s Mom, 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 :

4351 Post No. : 15665 Movie Count :

4315

Hullo Atuldom

Today 16th June is the 68th birthday of Gourang Chakraborty. He was born as the eldest son to Basantakumar Chakraborty and Santimoyee Chakraborty in East Bengal (modern day Bangladesh). He is an entrepreneur, social worker, television presenter, actor, producer, former Rajya Sabha member who has sung one song in his career that began in 1976 with the art film which was directed by Mrinal Sen’s National Award winning “Mrigayaa”.

Post “Mrigayaa” he was seen in a guest appearance in Raj Tilak directed Sanjeev Kumar -Shashi Kapoor- Vidya Sinha- Bindiya Goswami starrer “Mukti” (I saw it in his filmography, have seen the movie a few times but don’t remember seeing him there, I must have blinked at that instant).

1978 saw him in 2 Bengali and 3 Hindi films one of which was a small blink and miss role “Phool Khile Hain Gulshan Gulshan”. Of the three Hindi movies “Hamara Sansaar” and “Mera Rakshak” were remakes of South Indian movies.

1979 had him as Gunmaster G9 in Ravikant Nagaich directed “Surakshaa”; a special appearance in “Tere Pyar Mein”; a guest appearance in Rajesh Khanna starrer “Amardeep” as Rajesh Khanna’s sister’s boyfriend; a regular Basu Chatterjee hero in “Prem Vivah” alongside Utpal Dutt, Asha Parekh and Bindiya Goswami. Plus there was “Bhayanak” and Rajshri productions “Tarana”.

“Surakshaa” and “Tarana” gave him some good songs to dance to, and also these two movies are still remembered for their songs.
These days we see him on TV in the role of maha-judge on dance reality shows. And also he plays roles suited to his age in most movies like Mani Ratnam’s “Guru”; Rohit Shetty’s “Golmaal 3”; Anil Sharma’s “Veer”; Vinay Sapru- Radhika Rao directed “Lucky: No time for love” etc. The roles he has been getting are varied where he is able show off his comic side and still dance and do fisticuffs.

For today’s occasion I have a whole list of songs to choose from. Songs from movies that I have seen and loved. I have settled for a song that I heard for the first time in 1987. I even had the cassette of this movie in my collection and seen the movie at the time of its release.

This song has been on my personal waiting list for a few years now. It is from the 1987 B. Subhash produced and directed “Dance Dance”. Smita Patil, Mithun (Gourang) Chakraborty, Mandakini, Shakti Kapoor formed the primary cast with Amrish Puri and Om Shivpuri playing supporting cast. It was the story of the brother sister team of Smita and Mithun who are separated from their parents as children, grow up to be singers who are part of a troupe which performs at events and restaurants. There is the usual twist of the sister falling in love and marrying a guy who later turns bad, ditches her and also is the cause of her death. The movie comes to a close with the brother avenging his parents as well as the sister’s death.

Bappi Lahiri was the music director for this movie which was part of a series of dance based films that B Subhash made post the successful “Disco Dancer”. Anjaan was the lyrics in-charge for all these movies. Today for this birthday song we shall have a party where Shakti Kapoor and Mithun sing to an audience of oldies. It is rather sweet to see the spirit of the folks in the audience when they take to the floor with Mithun and Shakti. And we have Smita Patil among the audience egging everybody to enjoy themselves. Let us also enjoy ourselves wishing this disco dancer- break dancer – Mithunda a very Happy Birthday.


Song-Everybody dance with pa pa pa (Dance Dance)(1987) Singer-Vijay Benedict, Lyrics-Anjaan, MD-Bappi Lahiri
Chorus
Vijay Benedict + Chorus

Lyrics

tu tu tu tu tu tu turu ru ru
tu tu tu tu tu tu turu ru ru
tu tu tu tu tu tu turu ru ru
tu tu tu tu tu tu turu ru ru

coo coo coo coo wow

everybody dance with pa pa pa
everybody dance with ma ma
everybody dance with ma ma ma
everybody dance with pa pa
gaa ke dhoom machaa ke
saari raat jagaa ke
yaaron shor machaa ke
kuku kuku kuku kuku kuku
one two three four
hum saare masti ke chor
one two three four
hum saare masti ke chor

everybody dance with pa pa pa
everybody dance with ma ma
everybody dance with pa pa pa
everybody dance with ma ma

aaye hum hain aaye
aaye bin bulaaye
aaye hum hain aaye
aaye bin bulaaye
mastiyaan lutaa ke
sab ka dil churaa ke
sabke hosh udaa ke
jaayenge nachaa ke
arre haan
kuku kuku kuku kuku
one two three four
hum saare masti ke chor
one two three four
hum saare masti ke chor

everybody dance with pa pa pa
everybody dance with mama
everybody dance with pa pa pa
everybody dance with mama

aao papa
saath mein naachen
come on mama
naacho na
please
lala lala laa laa
lala lala laa laa
lala lala laa laa
lala lala laa laa
lala lala laa laa
lala lala laa laa

wow
super
great!
aah

you can’t do breakdance?
ok tequila

tequila
hahahahahaaha

arre mauka hai khushi ka
rang jame masti ka
mauka hai khushi ka
arre rang jame masti ka
aao mil ke naachen
naachen jhoomen gaayen
milke dhoom machaayen
masti mein kho jaayen
arre haan
kuku kuku kuku kuku kuku
one two three four
hum saare masti ke chor
one two three four
hum saare masti ke chor

everybody dance with pa pa pa
everybody dance with mama
everybody dance with pa pa pa
everybody dance with mama

gaa ke dhoom machaa ke
saari raat jagaa ke
yaaron shor machaa ke
kuku kuku kuku kuku kuku
one two three four
hum saare masti ke chor
one two three four
hum saare masti ke chor
one two three four

come on everybody ya
everybody dance with pa pa pa
everybody dance with mama
everybody dance with pa pa pa
everybody dance with mama
everybody dance with pa pa pa
everybody dance with mama
everybody dance with pa pa pa
everybody dance with mama
everybody dance with pa pa pa
everybody dance with mama


This article is written by Sadanand Kamath, 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.

This is his 600th writeup in the blog.

Blog Day:

4327 Post No. : 15618

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Blog 10-Year Challenge (2010-2020) – Song No. 31
—————————————————————-

Agha Jaani Kashmiri (16/10/1908 – 27/03/1998) was perhaps the first story/screen-play/dialogue writer who was the ‘king maker’ in the Hindi film industry. Some of the producers/directors like Mehboob Khan, Shashidhar Mukherjee, Sunil Dutt used to consult him while taking up their new film projects. It is said that though he would be officially engaged for writing screen-play and dialogues, in realities, he would be their adviser in almost all the aspects of the film-making. Some of the actors themselves used to get trained from him about the correct pronunciations of their dialogues in Hindustani. Ashok Kumar, Devika Rani, Nargis, Joy Mukherjee, Sadhna, Saira Bano were some of the actors who sought his advice on their Urdu diction.

During his nearly 4 decades of filmy career in Hindi film industry, Aghajaani Kashmiri directed only one film, ‘Tohfaa’ (1947). The star cast included Nawab Kashmiri, Veera, Rehman, Anuradha, Shah Nawaz Shakuntala, Agha Miraz, Kanta, T N Charlie etc. There were 6 lyricists for 10 songs which were set to music by M A Rauf Osmania, the ghazal singer at the court of Nizam of Hyderabad and on Nizam Radio. Rafique Ghaznavi provided the background music. The theme of the film was Hindu-Muslim unity.

Nawab Kashmiri. a favourite actor of New Theater’s Boss, B N Sarkar, was a cousin of Agha Jaani Kashmiri and was the same actor who removed all his teeth for the realism of his role in ‘Yahudi Ki Ladki’(1933).[Ref: ‘Stars From Another Sky’ (2010)]. In ‘Tohfaa’ (1947), he probably did the role of an Ustad whose daughter (Veera) is in one-sided love with Ustad’s disciple (Rehman). The disciple takes it to be a sisterly love of her devotion. The daughter is devasted when the disciple falls in love with a city-bread damsel (probably, Anuradha) whom he introduces to his ‘sister’ to fulfil his long overdue promise to present her with a gift (tohfaa). It is a tragic story of misinterpretation of love between the Ustad’s daughter and his disciple and also of the misinterpretation of the gift (tohfaa) the daughter was expecting. [I have interpreted the story of the film based on the review of the film in May 1948 issue of ‘Filmindia’].

The review in ‘Filmindia’ had blamed the inapt handling of the direction by Agha Jaani Kashmiri. The film flopped miserably at the box office. My guess for one of the reasons for the failure of the film is its timing of the release. This film was due for release at a time when the partition of the country was to take place. Hindu-Muslim riots on the eve of the partition forced the film to be released post-partition. The film was released in April 1948 by which time the prospective audience had already seen the impact of the partition. Probably, they were not in a mood to watch the serious film with the rhetoric of Hindu-Muslim unity theme. But most of the songs in the film became popular.

Exactly 10 years ago, i.e. on May 23, 2010, our Blog had covered 3 songs of which one song, kahaan tak jafaa husn waalon ke sahte, was from ‘Tohfaa’ (1947).

So far, 7 out of 10 songs from ‘Tohfaa’ (1947) have been covered in the Blog as under:

No. Songs Posted on
1. kahaan tak jaffa husn waalon ke sahte 23/05/2010
2. jeene ki soorat ho gayee 28/07/2012
3. kisne chheda man ka taar 14/10/2012
4. ik aisa geet sunaavo 23/06/2013
5. hamne tumne kiyaa thha jo aabaad 03/07/2013
6. mohabbat kar mohabbat kar 07/07/2013
7. bhole sajan tujhe kaise bataaun 01/02/2015
8. wo dil gaya wo dil ke sahaare chale gaye Being covered in this writeup
9. gunche sharminda na ho Yet to be covered
10. kabhi tarsi huyi aankhon ki hasrat Yet to be covered

It would be observed that out of 10 songs, 3 songs are yet to be covered. There has been no addition to the song already covered in the Blog for the last 5 years. I checked on the video sharing platforms on the internet and found that out of these 3 songs only one song, wo dil gaya wo dil ke sahaare chale gaye is available as of date which I am presenting here. The song is rendered by Geeta Dutt. The song is written by Rafique Ghaznavi which is set to music by M A Rauf Osmania.

Audio Clip:

Song-Wo dil gaya wo dil ke sahaare chale gaye (Tohfa)(1947) Singer-Geeta Dutt, Lyrics-Rafiq Ghaznavi, MD-M A Rauf Osmania

Lyrics

wo dil gaya wo dil ke
wo dil gaya wo dil ke
sahaare chale gaye
sahaare chale gaye
sahaare chale gaye
wo dil gaya wo dil ke
sahaare chale gaye
jinse thha hamko pyaar
jinse thha hamko pyaar
jinse thha hamko pyaar
wo pyaare chale gaye
jinse thha hamko pyaar

tum the har ek cheez thhi ee ee ee
mere naseeb mein aen aen
tum kya gaye naseeb
tum kya gaye naseeb
hamaare chale gaye
jinse thha hamko pyaar
wo pyaare chale gaye

raushan thha jinke dam se mera
aa aa aa aa
dil mera khayaal
wo chaand bhi gaya
wo sitaare chale gaye
sitaare chale gaye
sitaare chale gaye
jinse thha hamko pyaar
wo pyaare chale gaye

jab band aankh karte hain
aen aen aen aen
ye dekhte hain hum m m m m
jaise ki hum bhi saath
jaise ki hum bhi saath
tumhaare chale gaye
jaise ki hum bhi saath
tumhaare chale gaye
jaise ki hum bhi saath
tummhaare chale gaye
chale gaye


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 :

4278 Post No. : 15515 Movie Count :

4277

Today’s song is from film ‘Yaadgaar’ (1947). There were two more films with the same title made in 1970 and 1984. Today’s film was made by Hind Pictures, owned by actor, director and producer Nazir Ahmed Khan – also known to be the nth husband of actress Sitara Devi and actress Swarnalata. The film was directed by Nazir himself, who had also acted in it. The other cast was Jyoti, M Ismail, P Kailash, Agha, Tasneem, Cuckoo and many others. Tanvir Naqvi was the lyricist and music director was AR Qureshi.

I started writing on songs and films of yore, since almost end of 2012. Initially, my posts were based on information I had jotted down in my several diaries and notebooks. However, later I realised that I needed more information. After visiting some well known sites, I understood that either their information was incomplete or unreliable. So I decided to add more books to my existing library. At the same time research and thesis papers on old Hindi cinemas and related matters, articles in newspapers like The Hindu, Indian Express, Times of India, regional cine magazines in Hindi, Marathi, English and Telugu also came very handy. From the beginning, I made two rules. One, write only what can be defended, if challenged, and two, mention and thank the source if referred to, at the end of the post – if it is something special or unique.

Not only this, but I started preserving useful articles and bits of information on my laptop, divided into two different accounts. In few cases, I just jotted down the relevant URL details and description of type of information that it gives. By now their number has crossed almost 1000. Despite my age, I remember where is what information and I can put my hand on the required information in a few minutes. Sometimes, I find that there is no mention of any source for some information, as that is from an old book without author’s name. In the last 8 years, due to my extensive writings on this and other blogs and sites, I became known and friendly with many like minded scholars and writers. My library started bulging and friendly authors sent copies of their books as gifts to me.

This made my resources rich and luckily I have a knack of picking up the right information from the crowd of my resources at my disposal. Likewise, knowledgeable personalities like Harish Raghuwanshi ji, Rajnikumar Pandya ji, Biren Kothari ji, Shishir Krishna Sharma ji, Yasir Abbasi ji, Harmandir ji, Sanjit Narvekar ji, Amrit Gangar ji and many others on Facebook groups like MN Sardana ji etc help me from time to time. These names are only as examples, but there are many more actually. All this and friendly pressures led me to go for publishing my first book in 2018.

While writing more that 850 articles on old films and related matters, I concentrated only on the prose side of films, i.e. writing mainly about persons involved in films and not so much on the poetry side, i.e. music and songs. However, they can not be separated easily, so while emphasis was on people, but music and song too was base of my writing articles.

During these years, I have come across few personalities in films, who devoted half of their time on films, but achieved peaks in totally different fields too. Such cases are not many, but such people must get highlighted. Some people first shine in other fields and then come to films, but leaving this alluring magic of film life after a successful stint and then following a different life is surely worth praise.

Off hand, I can name a few such persons. One is Shashi Kapoor Sr. He worked as a very successful child artiste in 21 films from 1944 to 1955. While still in great demand, he left films and continued education. He did MSc and LLB here in India, and PhD in USA. He worked as a Professor of Maths in Michigan University for many years. Retired in 1997 and now lives in USA. Another person was SD Batish. After singing 115 songs in 70 films and giving music in 20 films, composing 154 songs, he left films, went to USA. He wrote many books on music and started a music institute to teach hundreds of students.

Similarly, singer Laxmi Shankar sang 27 songs in 18 films, shifted to USA and started a music school. She won many awards there. Lyricist Moti, BA (who was actually an MA) left films after writing 60 songs in 18 films, still in great demand, left films, went to his village in UP and taught in a College.

Ashraf Khan’s case is unique. After a successful career in Hindi films, he left everything and became a Sufi saint. His dargah is situated on Mumbai-Ahmedabad highway, where every year an Urs is held, to which many artistes from Bollywood go.

Similarly music director GA Chishti aka Babaji, became a faqir after leaving films. Actress of the 1940s, Renuka Devi migrated to Pakistan. She left films and became a social worker for women’s uplift and education in Pakistan. She worked for this, on Radio and TV of Pakistan for 20 years. She also wrote her autobiography,’A Woman of Substance’, which was published by her daughter after Renuka’s death.

Lastly Mukund Rai Trivedi aka Roy of the Roy-Frank pair who gave music to film ‘Gogola’ (1966), left films and returned to family business of mining in MP. He became a billionaire and later an MP in Lok Sabha.

The reason for remembering all this is because the music director of today’s film is AR Qureshi, who too is one who left films after giving music to 42 films, from 1943 to 1958, and became an internationally recognised tabla maestro, winning several awards. Just read his biodata. . .

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

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

Allah Rakha was also associated with theater as he lived in Pathankot for sometime and worked for a theater company. In 1930, Allah Rakha worked at the radio station in Lahore. According to reports, he moved to Delhi after six years, in 1936, to work with All India Radio. In 1940, he moved to Bombay and worked with Pandit Ravi Shankar and again on All India Radio. He was the station’s first ever tabla solo player then.

After which he even composed music for 42 Hindi films from 1943 to 1958. His first film as a MD was ‘Mahasati Anusuya’ (1943) and the last released film was ‘Idd Ka Chaand’ (1964). He even sang 14 songs in 7 films between 1942 to 1949. He worked mostly in films made by Hind Pictures, Magnet Films, Sunrise Films and Mohan Studios of Dave brothers. Barring 1 or 2 films like ‘Bewafa’ (1952), he got only C grade stunt films or Muslim ibaadati films. He gave music in 3 Punjabi Films ‘Madari’ (1950), ‘Fumman’ (1951), and ‘Jagga’ (1964). He gave background music in ‘Pyar Ki Baatein’ (1951). He acted in ‘Aabida’ (1947). Uma Devi (Tuntun) first sang in ‘Wamiq Azra’ (1946) under AR Qureshi.

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

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

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

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

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

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

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

Today’s song is sung by AR Qureshi himself. No information is available on this film. With this song, film ‘Yaadgaar’ of 1947, makes its debut on the Blog.

(Thanks to Harish Raghuwanshi ji for information on AR Qureshi, some time back)


Song-Kaahe door khada muskaaye (Yaadgaar)(1947) Singer- Alla Rakha Qureshi, Lyricist- Tanvir Naqvi, MD- AR Qureshi

Lyrics

kaahe door khada muskaaye
kaahe door khada muskaaye ae
kaliyon mein sharmaane waale
kaliyon mein sharmaane waale
phoolon ko mahkaane waale
phoolon ko mahkaane waale
kis kaaran ye phool tumhaare
kis kaaran ye phool tumhaare
bina khile murjhaaye
kaahe door khada muskaaye
door khada muskaaye
kaahe door khada muskaaye

kuchh kah le kuchh sun le daata
kuchh kah le kuchh sun le daata
hamre bahre goonge daata
hamre bahre goonge daata
jag mein tere baalak tadpen
jag mein tere baalak tadpen
tujh ko daya na aaye
kaahe tujh ko daya na aaye
kaahe ae ae


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 :

4245 Post No. : 15464 Movie Count :

4261

Today’s song is from an obscure film – Namak-47. Not only the film title was obscure but even the production House, the Director and even most of the cast too was practically unknown.

And no wonder. 1947 was an year which saw India’s Partition on religion basis. Pakistan was created and there was a stream of film people wanting to migrate. By the beginning of 1947 itself it was clear that there would be a Partition and those of the film industry who wanted to migrate, were in a great hurry to finish off their projects on hand at any cost before the D Day. Investors and artistes of various fields in film making tried their best to complete their films somehow. In this melee, quality of films became the casualty in most such cases, where migration hungry people were involved. This resulted in an unusually high number of films being completed and censored. The year 1947 recorded the maximum number of films – 181, since films were made. This record remained till 1988 when 185 Hindi films were made. So this record stood for 57 years !

This also reflected in the cast of several films, where to fill up vacancies, actors were recruited thoughtlessly. Most such excess people never appeared in films again ever. Film Namak was an example . The film was directed by Balwant B. Dave. He was actually a Cameraman. With the help of an investor S H Torani, he floated a Production company, Azad Pictures to produce film Namak. He also became a director of this film. It is another matter that this Production Company got dissolved after this one film, but Balwant Dave directed 3 more films – White face-48, Shahi Bazar-57 and Gogola-66. This Azad Pictures had even announced 2 more films, namely Kasturba and Voice of India. These ofcourse remained only on paper.

Similarly, the Music Directors were Shyam Babu Pathak and one Naresh Chandra. Though Pathak was an established composer, who remained active many years thereafter, Naresh Chandra was never heard again. Naresh Chandra even sang a song in this film. I have heard his song in this film and wondered who taught him singing. Looks like he went for recording straight from his bathroom !

The cast of film Namak-47 consisted of Dulari, Bhim, Dilawar, Habib, Neelam, Sharda, Chandrashekhar, and Sugandha. The names of Bhim, Sharada, Chandrashekhar and Sugandha were never heard by me after this film. The lead actress Dulari was a comparatively new one. having worked in small roles hetherto, this film was her first film as a Heroine. Earlier in film Adab Arz-43, she had played a side Heroine and the love interest of Mukesh. The Lyricist was Indivar and there were 5 songs in this film- 4 of them composed by Pathak and 1 by Naresh Chandra, the song being sung by him only. For 5 songs a total of 7 singers were used, out of which 4 were New names. These were, Anika Rizvi,Shabnam Hussaini, Naresh Chandra and R P Sharma. These four singers’ names were not heard by me earlier and never later also. They proved to be One time performers only, as far as I know.

In the cast there were two names, which were a part of “Same name Confusion” list. Those names are Heroine Dulari and singer Leela Mehta. Many times, I wondered why same names were used in the film industry at all ? Names like Nalini and Leela could be counted in as many as 5 to 6 artistes. My observation is , whenever the artistes used their Surnames along with own names, there was no confusion. A case in point is name ‘Leela’.

There were following Leelas in film industry…
Leela Chitnis
Leela Chandragiri or Pendharkar,
Leela Mishra
Leela Sawant and
Leela Mehta.

Similarly, there were Shanta Patel, Shanta Mujumdar, Shanta Apte, Shanta Hublikar and many such examples. Since Maharashtriyan actresses were keen on using their Surnames, they were hardly a part of SNC, with the exception of Leelas. Leela Desai and Leela Chandragiri were actresses who operated in same periods in films. Generally, their names were credited full. However some films listed their names as simply, Leela or Miss Leela. In case of Leela Chandragiri , she was listed variously as Leela, Miss Leela, Leela Chandragiri or Leela Pendharkar. This caused lot of confusion in updating their filmographies.

In film Namak-47, the singer was Leela Mehta. Luckily she was essentially a singer, except for one Hindi film-Shri Ram Avatar-50, in which she had acted also.Since she was almost always credited as Leela Mehta, she was not a part of any SNC. Thank God !

Daughter of Kanhaiyalal Mehta and Indumati, Leela was born on 10-12-1935 at Borivali in Bombay. She was elder of the two sisters. Due to loss in business, her family shifted first to Ahmedabad and later to Baroda, where they settled. Leela studied in Marathi medium school- New Era Vidyalay in Baroda. Leela participated in all functions of the school and acted in dramas, much to the annoyance of their social circle. She developed interest in singing after listening to songs by Khursheed and Kananbala. She started learning music despite the resistance from home and others in their society.

V.M.Vyas, the famous Director and a family friend knew about her interest and offered her main role in film Ranak Devi-46. She was just 11 year old and did not suit the role, but she was given another role in it. Kokila Balsara aka Nirupa Roy too acted in it as a Debut film.

Due to her father’s death, the family shifted to Bombay and Leela took the responsibility of being the bread earner by acting and singing in dramas and Radio plays. Meanwhile she learnt further music from Prof. Surendra Rao. She started acting and singing in Gujarati films. Ranjit Movietone offered her a big role in film Gunsundari-48, but since the role needed her to put on a Sleeveless Blouse, she refused that role. Finally, it went to Dulari. She, however sang songs in that film and they became quite popular in Gujarat.

Leela Mehta had grown up in Marathi atmosphere and also was educated in Marathi Medium, so her Marathi was very good. She was invited to work in Marathi dramas. She did roles in famous and popular Marathi dramas and also sang songs. From 1950 onwards, she started acting in Gujarati dramas. Meanwhile she used to sing in Hindi films occasionally. In early 50s, she mad very successful foreign trips with her troupe, to do Gujarati dramas and singing concerts.

Inspite of being successful and acting and singing in Marathi, Hindi and Gujarati films and dramas, her father did not see even one show of hers. This pained her till end. leela stayed in a Bungalow in Versova in Bombay. Once it was rumoured that there was a Ghost in it, she immediately left that house and shifted to Dadar. Inadvertently, she forgot to inform the industry about her change of address, and this diminished her demand drastically.

Her mother died in 1972. In 1982, she toured USA. In 1985, the Marathi Natya Parishad honoured her with a cash award. Till 1992, she acted in Marathi and Gujarati TV serials. In all, Leela acted in 300 Gujarati/Marathi dramas, films and serials. Leela was bedridden and unable to speak also.Her house was demolished. She was under the care of a close relative, Nitin Dahisariya. Finally, the news came that Leela Mehta expired in September 2019.

Leela Mehta acted in only one Hindi film- Shri Ram Avatar-50. She sang 17 songs in 9 Hindi films, including 2 Unreleased films.
Her Films are Nai Kahani-43 ( 2 songs), Gaurav-47 (1), Namak-47 (1), Pehli Pehchan-47 (2), Gunsundari-48(2), Satyawan Savitri-48..No information, Chocolate-50..No information, Shri Ram Avatar-50 (4) and Hanste Rehna-50 (1). Her unreleased films were, Apradh-48 (3) and Bidhata-48 (1).

The other Same name was that of Dulari. There was one more Dulari, since the silent days into the Talkie, but luckily the Sr. Dulari stopped working much before this Dulari entered films, hence there was no SNC.

The Senior Dulari was in silent films starting with film “Poona Raided”-1924, made by Deccan pictures Corpn,Bombay. She acted opposite Vishnupant Pagnis ( who became famous in the Prabhat Talkie film “Sant Tukaram”-1936 and won award in Venice Festival). The silent films were made till 1934. She continued acting in the silent films and when Talkie films started she did act in few Talkie films too. There is a record that she acted in 11 Talkie films. Her last film was Laylo Nihar-1936. Then there is no trace of her.

The Junior Dulari was born as Ambika Vithalrao Gautam, on 18-4-1928 at Nagpur. Her father was in P and T dept. She was called first as Rajdulari and later only Dulari remained. She had 2 younger brothers. Father left P and T job,and joined “Alfred – Khatau” drama company. They shifted to Bombay in 1939.

She started films with Jhoola in 1941. In “Adab Arz”-43, she was the love interest of Mukesh. In film Paapi-53, she was Raj kapoor’s second heroine. In film Namak-47, she first became a Heroine.
Lee
She got married to Sound Recordist Jagannath Jagtap in 1951. They had one daughter. He died in 1972.
She acted in 171 Hindi, 35 Gujarati and 3 Marathi and 1 Rajasthani film till last film Ziddi-1997.

She died on 19-1-2013 at Pune.

I have not seen this film. I saw few advertisements of this film in some old issues of Film India magazine. According to the ads, the film was a social thriller and Dulari played a Christian Convert in this film. The dialogues were by Pt. Anuj.

With today’s song, film Namak-47 makes its Debut on this Blog.


Song-Do hain naina hon chaar kaise (Namak)(1947) Singers- Leela Mehta, Yeshwant Bhatt, Lyricist-Indeevar, MD- Shyam Babu Pathak
Both

Lyrics

Do hain naina
Do hain naina
hon chaar kaise
Do hain naina
Do hain naina
hon chaar kaise
Do hain naina

koi kahe hamko pyaar hai
koi kahe hamko pyaar hai
Do hain naina
Do hain naina
hon chaar kaise
Do hain naina

kisi ka saath nahin
haathhon mein haath nahin
kisi ka saath nahin
haathhon mein haath nahin
?? sharmaaye aur intzaar kaise
?? sharmaaye aur intzaar kaise
Do hain naina
Do hain naina
hon chaar kaise
Do hain naina

karaar kiya nahin
karaar kiya nahin
karaar kiya nahin
dil bhi diya nahin
dil bhi diya nahin
dil koi(?) ho jaaye taiyyaar(?) kaise
dil koi(?) ho jaaye taiyyaar kaise

Do hain naina
Do hain naina
hon chaar kaise
Do hain naina

ek nazar
ek nazar ?? unko ghoorti(?)
ek nazar ?? unko ghoorti(?)
ek nazar man mein bana leti hoor ki
ek nazar man mein bana leti hoor ki

salaam (?)kar le ab kaise kaise
salaam (?) kar le ab kaise kaise
pranaam ka miley adhikaar kaise
pranaam ka miley adhikaar kaise

Do hain naina
Do hain naina
hon chaar kaise
Do hain naina


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 : 4234 Post No. : 15444

Today’s song is from a film having a familiar title – Lakhon mein ek-1947, but this film is hardly known to anyone. The title is familiar, because there were two more films with the same title, in two different decades later on. One was Lakhon mein ek-1955, which had a less known Heroine Asha Mathur, opposite a veteran Jairaj. It had music by Bhola Shreshtha. The other film was Lakhon mein ek-1971, which had an unknown (till then and later too) debutante Heroine- Radha, opposite comedian Mehmood. This film had music by R D Burman and few songs became popular for some years.

Today’s film was made by Ranjit Movietone- the film factory, owned by Sardar Chandulal Shah. The film had music by Hansraj Behl (7 songs) and Bulo C Rani (4 Songs).

In 1947, Bulo C Rani was employed by Ranjit as their in house composer after Gyan Dutt (37-40) and Khemchand Prakash (40-45). The film’s songs were written by Pt. Indra Chandra. The film was directed by Taimur Behramsha, who debuted as a director, with this film. Earlier he was a Cinematographer in Ranjit. After this film, Ranjit gave him another film for direction – Bhool Bhulaiyan-49. Then he floated his own company ‘ Taimur Art Productions’ and produced and directed film Izzat-1952.

The cast of the film was Khursheed Jr. (Meenakumari’s elder sister), Nirupa Roy, Ghulam Mohammed, Bipin Gupta and others. Khursheed jr, first entered the films, then came Meena Kumari and lastly Baby Madhuri aka Madhu. All sisters got married only to suffer in their later life. Their stories are pathetic. The handsome actor Altaf, was married to Khurshid. Mehmood & Altaf were co-brothers,being married to siblings Khursheed & Madhu respectively. Khursheed & Madhu tried their luck & appeared in few movies,but were not successful. Madhu, it may be recalled had a brief role in Manzil(1960).

Altaf was not as lucky as his co-brother- Mehmood or sister in law Meena Kumari. Although,initially he appeared in some movies as leading man in 40s, but soon he was relegated to play negative roles in films. Chhote Nawab, Ghulam Beghum Badshah, Sone Ki Chidia, Noor Jahan, Raja Rani, Char Chand etc were few of his movies.

Meena Kumari, Khurshhed & Madhu,it seems, were destined to suffer, in their second half of life. While we are aware of Meena Kumari’s last days, Khurshid & Altaf led miserable life & were forced to live in Jhopadpatti, due to financial constraints, after Meena Kumari passed away. Madhuri was divorced by Mehmood & she had to leave the house,to live the life in penury.

The music director Hansraj Behl is one of my favourite composers, though his name never came up in the A class composers. His compositions were very melodious, but his luck was very harsh with him. Many such cases, be they composers, actors, directors or singers, are known to us. When one sees their life stories and works, one is forced to believe that LUCK is more important than Talent, at least in Film Industry. This is Hansraj Behl for you….

Hansraj Behl (19-11-1916 to 20-5-1984), in my opinion,is one of those composers in film world, who composed lots of melodious songs. Unfortunately, he was also one of those composers who never got Big banners to work for. He and his brother, Gulshan Behl founded N.C.Films, on their father’s name-Nihal Chand- and produced B and C grade movies to which Hansraj gave his music. Hansraj was known as Master ji, in the industry. Only two people were known as Master ji…one was Ghulam Haider and the other was Hansraj Behl. Hansraj usually worked alone and rarely used any assistant while giving music.

Hansraj is remembered for giving initial playback singing breaks to Asha Bhonsle and Madhubala Jhaveri. He also gave chance to his own friend Verma Malik-Lyricist. Malik used to live with him initially, in Bombay. He composed music for 71 films from Pujari-46 to Badmashon ka Badmash-79. One film “Insaaf ka Khoon” was released after his death,in 1988.

Hansraj Behl is one of the music directors who became successful in the post independence era. He composed music for not only Hindi films but also for Punjabi films. Hansraj was born on 19 November 1916 in Punjab. He got his basic education in music from Pt. Chunnilal. Then he opened his music school in Lahore and he had some non-film records released under the label of HMV. In 1944 Hansraj came to Bombay to try his luck in Hindi film industry as a music director.

After one year of struggle he got his first film Pujari, made by Ardeshir Irani, in 1946. He got films like Gwaalan and Phulwaari in the same year, but all these films could not do well at the box office. Behl tasted success in 1947 with the release of Laakhon Mein Ek and Chheen Le Aazadi. ‘Moti Chugne Gayi Re Hansi..’ sung by Shamshad Begum and Mukesh from the film Chheen Le Aazadi became very popular. In 1948 he came up with four films – Chunariya, Mitti Ke Khilone, Pardesi Mehmaan and Satya Narayan, of which Chunariya’s music was a hit especially the song ‘Dil-e-Nashaad Ko Jeene Ki Hasrat Ho Gayi..’ sung by Lata Mangeshkar. The song which placed him among high class music directors was ‘Sab Kuchh Lutaya Hamne Aakar Teri Gali Me..’ sung by Mohammed Rafi and written by Mulk Raj Bhaakri.

In the year 1949, he came out with Chakori, Raat Ki Raani, Zevraat and few more films. Lata sang one of her favourite songs, ‘Haye Chanda Gaye Pardes Chakori Yahan Ro Ro Mare..’ in Chakori, which became very popular and it helped Hansraj to gain popularity among music lovers. ‘Jin Raaton Mein Neend Ud Jaati Hai..’ sung by Mohammed Rafi in Raat Ki Raani was a nation wide hit.

In 1950-51 he gave many hit songs with Lata Mangeshkar, Geeta Dutt and Suraiyya. Songs of Kisi Ki Yaad became very popular soon after the release of the film. ‘Koi Mujhko Na Bulaye..’ and ‘Tadapta Chhod Kar Mujhko Kahaan Tum Reh Gaye..’ both sung by Geeta Dutt and ‘O Jaane Wale Ye Kya Kiya..’ by Mohammed Rafi gained immense popularity. In 1952 he introduced Madhubala Jhaveri as a playback singer in Apni Izzat and Jaggu. Madhubala sang ‘Dil Mera Tera Diwaana..’ with Talat Mehmood and ‘Meethi Meethi Loriyaan Main Dheere Dheere Gaoon..’ (both Apni Izzat) featured her solo voice. In 1954, he again came out with musical films like Dost and Khaiber. ‘Aaye Bhi Akela Jaye Bhi Akela..’ from Dost (1954) sung by Talat Mehmood was among one of his memorable compositions.

He continued to give his best in films like Rajdhani, Milan, Miss Bombay, Changez Khan and Saawan. Songs like ‘Bhool Ja Sapne Suhane..’ from Rajdhani (1956), ‘Mohabbat Zinda rehti Hai..’ from Changez Khan (1957), ‘ Jab Raat Nahi Katti..’ from Changez Khan (1957), ‘Zindagi Bhar Gham Judaai Ka..’ from Miss Bombay (1957), ‘Haseen Ho Khuda To Nahi..’ from Mud Mud Ke Na Dekh (1960), ‘Bheega Bheega Pyar Ka Sama..’ from Saawan (1959) and ‘Tujhko Dhoondhu To Dhoondhu Kahaan..’ from Milan (1959) crossed all the barriers of success and Hansraj Behl’s name was on the lips of every music lover.

After all these successful films he continued to give music till 1969 but failed to give any hit because his later films were either stunts or fantasy films with little scope for having good music. His last hit song was an all time great creation ‘Jahan Daal Daal Pe Sone Ki Chidiya Karti Hai Basera..’ which was sung by Mohammed Rafi for the film Sikandar-e-Aazam in 1965. In all, he gave music to 71 films and composed 530 songs.

Hansraj Behl died of Cancer in Bombay on 20-5-1984.

Today’s song is a very melodious song sung by Hamida Bano. Singer Hamida Bano was born on 19-10-1928,in Lahore. Her family shifted to Bombay in 1942. Hamida’s elder brother Akbar worked with a Drama company. He gave her the initial training in singing. This kindled a desire in her mind to sing in Hindi Films. Those days,the well known,Actor/Director Master Bhagwan lived nearby. He once recommended her name to his best friend-C.Ramchandra. He was the MD for Bhagwan’s film ” Naghma-e-Sehara “-1943. He gave her a break with 3 songs in this film. Unfortunately,this film got delayed and was released only in 1945. Meanwhile,Naushad had found her and he gave her a song in film ” Sanjog’-43 and she sang her first released song with Shyam kumar.

C.Ramchandra continued using her in films like Bahadur, Lalkar, Manorama, Raunaq, Sawan etc. In those years C.Ramchandra himself was not very famous-till his HIT films like Safar-46 and Shehnai-47 etc. So Hamida was not much benefitted with these songs. From 1945,it was composer Bulo C Rani,who used Hamida Bano for some really memorable songs like in film ” Moorti”-45–badariya baras gayi uss paar. Then came Rajputani, Chheen le Azadi, Phulwari, Badi baat, Shahenshah Babar, Naseeb, Parayi aag,Preet, Devar Dharti, Nek Parveen, Neelkamal, Tohfa and Rimjhim. After 1950 her songs became less and she sang in Bikhre Moti, Rajput, Anjaam,and Majboori-54-her last film in India. She sang about 125 odd songs in about 62 films.

In 1956, she migrated to Pakistan. In Karachi,she recorded some songs. Then she settled in Lahore and became active in social work. Occasionally, she was seen in functions like ” Nigar Awards Function ” etc. She continued singing on Lahore Radio. Hamida Bano died on 20-11-2006 at the age of 78 yrs. Her last song in India was with Asha in Majboori-1954-“Tere poojan ko Bhagwan bana Man mandir aalishan”.

Enjoy this lovely song composed by Hansraj Behl.


Song-Hum tumhaare tum hamaare aao karen pyaar (Laakhon Mein Ek)(1947) Singer- Hamida Banu, Lyricist- Pt. Indra, MD- Hansraj Behl

Lyrics

hum tumhaare tum humaare
aao karen pyaar
hum tumhaare tum humaare
aao karen pyaar
dekho ji dekho ye kaisi bahaar
dekho ji dekho ye kaisi bahaar
hum tumhaare
tum humaare
hum tumhaare tum humaare
aao karen pyaar
hum tumhare tum humaare
aao karen pyaar

gungun karen bhanwara pukaar
gungun karen bhanwara pukaar
kaliyon ne ghoonghat diye hain utaar
kaliyon ne ghoonghat diye hain utaar
aasha ne khole mere sapnon ke dwaar
aasha ne khole mere sapnon ke dwaar
hum tumhaare
tum humaare
hum tumhare tum humaare
aao karen pyaar
hum tumhaare tum humaare
aao karen pyaar

chanda se maangege kiranen udhaar
chanda se mangege kiranen udhaar
shabnam se le lenge moti ka haar
shabnam se le lenge moti ka haar
saajan ko dhoondhenge kar ke singaar
saajan ko
haan haan saajan ko
haan haan saajan ko dhoondhenge kar ke singaar
hum tumhaare
tum humaare
hum tumhaare tum humaare
aao karen pyaar
hum tumhaare tum humaare
aao karen pyaar
dekho ji dekho ye kaisi bahaar
dekho ji dekho ye kaisi bahaar
hum tumharae tum humaare
hum tumhaare tum humaare
aao karen pyaar
hum tumhaare tum humaare
aao karen pyaar


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

Blog Day :

4156 Post No. : 15324 Movie Count :

4221

Today’s song is from film Utho Jago-1947, a completely obscure film.

1947 was a very important year, not only for India, but also for the Indian Film Industry. Creation of Pakistan , on the basis of Religion, and Partition of India prompted an unprecedented exchange of people across the borders. Millions of people left their life earnings and ran to the other side of the border to save their lives. In this melee, millions died and millions lost their properties. More than any other industry, film line was affected more because it had the maximum mixture of Muslims with Hindus and films were made at Bombay as well as Lahore. These two centres now belonged to different countries and the film industries at both places were in turmoil.

However, in India, there was a second line of artistes ready to fill in the gaps created by the migration of Muslim artistes to Pakistan. Further, there were more centres of film making- other than Bombay- available in India, like Madras, Calcutta, Poona, Kolhapur, Bangalore etc. Therefore the damage to Indian film industry was redeemable faster, compared to Pakistan, which was left with only Lahore as a film centre. All they had now was what was left by Indians who left Pakistan, in addition to people who went from India to Pakistan- without a second line of artistes to take over after this generation was out.

The partition of India was expected for an year or so, ahead of actual happening, so film makers were in a hurry to complete their projects, before migration started. This led to making of films in quantity at the cost of quality. This resulted in the highest number of films being made in 1947- a total of 181 Hindi films. This was a record for a period of 54 years (1931 to 1985). This was broken only in 1985 when 187 Hindi films were made in one year.

Even in 1947, some good and musical films were made like Aap ki sewa mein, Bhook, Do Bhai, Doli, Dard, Elaan, Gaon, Jugnu, Kasam, Leela, Meera, Mehandi, Mirza Sahiban, Netaji Subhash, Pagdandi, Parwana, Saajan, Shadi se pehle, Shehnai, Sindoor etc etc. In this year maximum films made were obscure and made in haste.

Amongst all these films, film Utho jago came and went without notice. It neither had well known popular actors, nor a famous music director. The cast of the film included, Shehzadi, Ashiq Hussain, Jamshed ji, Baby Nalini, Aziz khan and others. The director was Pramod Chandra and the music was composed by Aziz Khan and Ibrahim. I do not know if this Ibrahim was the younger brother of Music director Ghulam Mohd. Ibrahim was an excellent harmonium player and he worked with Naushad for a very long time. Ibrahim had died even before Ghulam Mohd. died.

The hero Ashiq Hussain had started his career with film Talash-E-huq-1935, in which Nargis made her debut as a child artiste Baby Rani. He went on doing 25 films. Utho jago was his last film.After this film he married its heroine Shehzadi and both migrated to Pakistan. He had also sung 32 songs in 13 films in the beginning. Even in film Utho Jago-47, he had sung 2 solos and 1 duet with Amirbai Karnataki.

The other interesting name that appears in the cast is of Shehzadi. The original actress Shehzadi was the sister of Alam Ara-31 heroine Zubeida and Sultana. All 3 sisters retired from films in or around 1936.

This Shehzadi was different. She was born in Bombay and was well conversant with Hindi, Marathi, Urdu, Gujarati, Bangla and English. She joined Bombay Talkies and made her debut in film Jhoola-41. She was in the famous Dance-song ” Main to Dilli se dulhan laya re” along with Mumtaz Ali. She worked in films of Chitra productions,Saubhagya Pictures, Star Productions and Asiatic productions. She was Heroine of Gope in film ” Haso Haso aye duniya walon”-47.

Her acting in Saheli-42 and Yaad-42 was much appreciated. She did 26 films from 41 to 47 period. She started her own Ratnakar Productions in 1947 and made film ” Utho Jaago”-47, with actor Ashiq Hussain as a Hero. Soon after Partition, she married Ashiq Hussain and they migrated to Pakistan.

There is one new name in the cast – Jamshed ji. His full name was Jamshed ji Bairam ji, Khan Saheb. In some films, he was credited as Khan saheb also. He was born in Bombay in 1889 as a typical Parsee. He was one of the oldest and most experienced actors having worked with several directors and over 25 years of acting by that time.

He started with Silent films like Pyari Mamta, Madhuri, Sohni Mahiwal, pooran Bhagat, Gulshan E Arab, Hoor E Baghdad and Indira. His first talkie film was Daulat ka nasha-31 and Noorjahan-31. He acted in about 50 films. His last known film was Andaz-1949.

Jamshed ji, also gave music to 3 films- Naya Zamana-35, Zaate Shareef-36 and Jagat kesari-37.

Today’s song is sung by Mohd. Rafi. This is from his early years as a singer. Rafi came on the scene in 1944. for the first few years, he had to struggle but he came into films when it was going through a transition. Older generation actor singers had to stop singing because the public tastes were changing and newer composers opted for newer singers who were exclusive singers and not 2 in 1, like earlier actor singers.

These days I was reading a book “Rafinama” by noted film Historian and author Isak Mujawar. In this book he has brought out some very interesting facts about Rafi. The book is more a statistical data book than his biography. In today’s post I would bring out to you few of these interesting details. When Rafi started his singing in 1944, many of the erstwhile actor singers took the opportunity of stopping their singing – which was thrust on them – and Rafi actually replaced them. The book gives the details. Few cases are here…

Ashok Kumar’s singing spree stopped when Rafi sang for him in film Saajan-47.

Ishwarlal stopped singing when Rafi sang for him in film Sharbati Aankhen-45

Shahu Modak stopped after Chakradhari(1954).

W.M.Khan after Aalam Ara (1956).

Master Nissar ater Boot polish(1954).

G.M.Durrani after Lal Pathar(1971).

Karan Dewan after Duniya(1949).

N M Charlie after Zameen ke Tare(1960).

Balak Ram after Shri Ram Bharat Milan (1965).

Moti Sagar after Paak Daman (1957).

Man Mohan krishna after Basant bahar (1956).

Mohd. Rafi even sang for some composers who used to sing in films
S N Tripathi -Pawanputra Hanuman (1957).
Snehal Bhatkar-Bawre Nain-(1950) ( he was doing a Beggar’s role) and
Sudhir Sen- Saat Phere (1970)

Rafi was the only male playback singer who sang with 3 major singer actresses
Noorjehan-Jugnu (1947).
Khursheed- Aage Badho- (1947) and
Suraiya- many (13) films.

Rafi sang with some old time female singers, about whom the new generation may not know much. He sang with Nirmala Devi, Paro, Shamim, Uma Devi, Chandbala, Chand Burke, Gandhari(Rane), Laxmi Roy (sister of Geeta Roy), Kumudini Dikshit, Kaumudi Munshi, Laxmi shankar, Pramodini Desai, Vinodini Desai, Malti Pande (Popular Marathi singer), Pushpa Huns, Kamal Barot, Jagjit kaur, Minu Purushotham, Madhubala Zaveri, Usha Timothi, Krishna Kalle, Chandrani Mukherjee, Dilraj kaur, Sushama Shreshtha Kanchan, Sulakshana Pandit etc etc.

Mohd. Rafi sang maximum songs with Asha Bhosle-806 ….Maximum in O P Nayyar’s films-92 duets. In film Basant-60 he sang 11 duets with Asha Bhosle.
Rafi sang maximum songs with (First five)..Laxmikant Pyarelal…369 songs, Shankar Jaikishan…341, Chitragupta…247, Ravi…235 and O P Nayyar…197 songs.

There are many more aspects of Rafi’s singing….but more about it in some other post.

With this song film Utho jago (1947) makes its Debut on the Blog.


Song- Prem ki Naiyya dol rahi hai (Uthho Jaago)(1947) Singer- Mohd. Rafi, Lyricist- Not known, MD- Aziz Khan and Ibrahim

Lyrics

prem ki naiyya dol rahi hai
prem ki naiyya dol rahi hai
bojh hriday ka taul rahi hai
bojh hriday ka taul rahi hai
prem ki naiyya
haaye prem ki naiyya dol rahi hai
prem ki naiyya dol rahi hai

prem mein aisi soorat bigdi
prem mein aisi soorat bigdi
sar par joote, paanv mein pagdi
sar par joote, paanv mein pagdi
izzat ke pat khol rahi hai
izzat ke pat khol rahi hai
prem ki naiyya
haaye prem ki naiyya dol rahi hai
prem ki naiyya dol rahi hai

Mem>aise dhanwaalon ke laal
ud gaye jinke sar ke baal
aise dhanwaalon ke laal
ud gaye jinke sar ke baal
haan haan ud gaye jinke sar ke baal
dekho, ud gaye jinke sar ke baal
sar ki taat bhi bol rahi hai
sar ki taat bhi bol rahi hai
prem ki naiyya
haaye prem ki naiyya dol rahi hai
prem ki naiyya dol rahi hai

prem na aaya tumko raas
prem na aaya tumko raas
kahe ye tumse gappu daas
kahe ye tumse gappu daas
haan haan kahe ye tumse gappu daas
kya, neeat daanwaadol rahi hai
neeat daanwaadol rahi hai
prem ki naiyya
haye prem ki naiyya dol rahi hai
prem ki naiyya dol rahi hai
prem ki naiyya aa aa aa


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 : 4143 Post No. : 15308

Today’s song is from the film Leela-1947.

Film Leela-1947, a Filmistan offering, was directed by Dattaram N Pai. He was actually an Editor with Filmistan. His name appears as a Director first for film Eight Days-1946. That film was actually directed by Ashok kumar, but Dattaram’s name was given as a Director in the credits. His second and last film as a Director was Leela-1947. I suppose, he did try to do justice to the Director’s chair, but after this film, he did not direct any other film. May be, looking at his limitations, Filmistan did not opt for him anymore.

All the 9 songs of the film were written by G S Nepali and Qamar Jalalabadi. The singers were Binapani, Shamshad, Geeta Roy, Amirbai and Chitalkar. The MD was C Ramchandra. The cast of the film was Shobha, Kanu Roy, Veera, V H Desai, Agha, Leela Mishra, Sunalini Devi etc.etc.

The Heroine of this film, Shobha, unfortunately remains an actress about whom no information is available. On going through the HFGK, I find her name in at least 20++ films. Sometimes she is listed as Shobha Devi. Another bit of information about Shobha was that that the actress Lata Sinha, who started as a child star (as Baby Lata) in Riyasat-55 and Nau Do Gyarah-1957 etc. was her daughter. Lata did a good role in Bees saal baad-1962. She mainly acted in action/stunt, costume and other B and C grade films only. She was also in film Bhoot Bungla-1965.

Film Leela-1947 was made by Filmistan. When a dissatisfied, and disillusioned splinter group fell out of Bombay Talkies, Filmistan was a Dream project for them. The important members from this group were S.Mukherjee, Ashok Kumar, Gyan Mukherjee and Rai Bahadur Chunilal. For them founding Filmistan was a goal achievement. For C Ramchandra, finding Filmistan was a goal achievement, because those days he had left Jayant Desai’s company and was looking for another film company.His good old friend Kavi Pradeep, who was close to S.Mukherjee from their Bombay Talkies days, brought in a very lucrative offer from Filmistan and C Ramchandra joined it with pleasure.

Though C Ramchandra had begun his career in 1942 with Sukhi Jeevan, his first Hindi film as a MD, his music had not flourished till he joined Filmistan. The 5 films he had made with Jayant Desai were reasonably good but they were not Hits. It was only in Filmistan he achieved, what one would call-Success. Out of the 11 films that he made here. his success rate was more than 50%. Especially, the music of films like Shehnai-1947, Saajan-1947, Khidki-1948, Nadiya ke par-1948, Patanga-1949, Samadhi-1950 and Anarkali-1953 created songs which are remembered even today. To make songs whose popularity lasted for more than 70++ years, is surely an achievement.

It was also when he was with Filmistan that people were comparing him and Naushad and a discussion always circulated who was the Numero Uno as an MD. Though I am a C Ramchandra Bhakta, I am of the opinion, that in the race of creating everlasting Hit songs, C Ramchandra was no match to Naushad. The strike rate of Naushad’s Hit films was much much more than that of C Ramchandra.

In the year 1946, C Ramchandra gave music to 4 films(1 for Filmistan), in 1947 it was 7 films (4 for Filmistan) and in 48 films were 8 (2 for Filmistan). So, in these 3 years, he did 19 films (7 for Filmistan). The rest comprised of stunt films of Master Bhagwan and other social films. Hit films were -5, all for Filmistan.

During this period, starting with film Safar-1946, his female lead singer was Binapani Mukherjee. She remained so, till Lata Mangeshkar dominated the music of C Ramchandra from 1950 onwards. As such, Binapani was not a great singer and she had limitations. This, precisely, was the reason why her career was limited to only about just 20 odd films with 50 odd songs. Her all popular songs were with C Ramchandra only.

Binapani was born on 17-10-1925, in a music loving family of Calcutta. Initial music training was by her grandfather Sheetal chandra Mukherjee and and later from ustad Sageer Khan of Rampur.

C.Ramchandra gave her first break in playback in film “Muskurahat”-1943. Her first song was-‘Hans le gaa le…’. It was a duet with CR.
Then came Majdoor, Eight days, Darban, Rangbhumi, but she became famous after ‘Safar’-46.

Her most popular song-‘kabhi yaad kar ke,gali paar kar ke,chali aana hamare angana…’ was from this film, as a duet with C Ramchandra.

She also sang in Leela, Mulakat, Shahnai, Samrat Ashok, Satyanarayan, Raaz, Rumaal, Asra, Abla, Bhikari, Fariyad, Laajawab, Ghayal etc.

Her last film was Gyan Dutt’s ‘Ghayal’-1951.

She was the lead singer (female) for C.Ramchandra, till 1950 i.e. till Lata came on the scene.

Her voice was very sweet and was suitable for sad songs.

She sang under C Ramchandra, Khemchand Prakash, Gyan Dutt, Hansraj Behl, Sardar Malik, Anil Biswas, S D Burman, H P Das, Premnath, Gulshan Sufi, Khursheed khan etc. etc.

After playback singing, she retired from film singing and taught music to aspirants throughout her unmarried life. She was staying in Bombay, with her brother.

The Hero of film Leela was Kanu Roy. The name KANU ROY is another instance of ” Same name confusion “. There was a composer also by the name Kanu Roy who gave music in a few films. Most people and many Internet sites, including IMDB,consider these two different persons as one and claim films for acting and music together, as if he was an actor and a composer. In Hindi films this happened routinely, but in the early era of Talkie films. Master Krishnarao, Vinayakrao Patwardhan, Master Mohammed, Badriprashad, Vithaldas Panchotiya etc can be quoted as actor/composers. Lately only the name of Kishore Kumar comes to the mind in this category.

Kanu Roy (the Actor) was in reality a name for Nalini Ranjan Roy, born on 9-12-1912 at Jabalpore. He was very fond of acting and so landed at Bombay Talkies, a company started by 2 Benagalese- Himanshu Roy and Devika Rani. Those days many people from Bengal used to come to Bombay Talkies, but only the capable ones like Amiya Chakravarty, Shashadhar Mukherjee or Ashok Kumar etc could make their careers here.

Kanu Roy started his acting career from the film Basant-1942. His name Nalini was sounding like a Girl’s name in Bombay ( there were already half a dozen Nalinis working in films those days), so it was changed and he opted for Kanu, his pet name in the house. Thus Kanu Roy came into films. Due to his good looks, he even became a lead actor in a few films. Nazrana-1946 (UR) was one such film where he was working opposite Kamini Kaushal. Kanu Roy also left Bombay Talkies along with S.Mukherjee and others and joined Filmistan. He was in many Filmistan films like, Munim ji, Nastik, Naagin, Jagriti etc. He acted in a Bangla film ‘Samar’too in 1950. Kanu Roy worked in about 40 odd films from 42 to 83 ( kisi se naa kehna).

It is a coincidence that Leela Mishra was also working in film Leela-1947. This is one actress ,who came from a village and remained a villager though out her life. Though she earned a lot with 300++ films, till the end she lived in a 2 room tenement only. She disliked and never saw films, even her own films.

Leela Mishra (1 January 1908 – 17 January 1988) was a Hindi film actress. She worked as a character actor in over 300 Hindi films for five decades, and is best remembered for playing stock characters such as aunts (Chachi or Mausi). She is best known for her role of “mausi” in the blockbuster Sholay (1975), Dil Se Mile Dil (1978), Baton Baton Mein (1979), Rajesh Khanna films such as Palkon Ki Chhaon Mein, Aanchal, Mehbooba, Amar Prem and Rajshri Productions hits such as Geet Gaata Chal (1975), Nadiya Ke Paar (1982) and Abodh (1984). Her career’s best performance was in Naani Maa in 1981, for which she received Best Actress award at the age of 73.

Leela Mishra was married to Ram Prasad Mishra, who was a character artist, then working in silent films. She got married at the very young age of 12. By the time she was 17, she had two daughters. She hailed from Jais, Raebareli. She and her husband were from zamindar (landowners) families.

Leela Mishra was discovered by a man called Mama Shinde, who was working for Dadasaheb Phalke’s Nasik Cinetone. He persuaded her husband to make her work in films. During those days there was a severe scarcity of women actors in films; this was evident in the paychecks that the Mishras received when they went to Nasik for the shooting. While Ram Prasad Mishra was hired on a salary of Rs. 150 per month, Leela Mishra was offered Rs. 500 per month. However, as they fared poorly in front of the camera, their contracts were cancelled.

The next opportunity that came their way was an offer to work in the movie Bhikarin, which was being produced by Kolhapur Cinetone, a company owned by the Maharaja of Kolhapur. However, Leela Mishra lost out on this opportunity too, as the role required her to put her arms round the actor (who was not her husband) while delivering a dialogue, which she point-blank refused to do.

Their next film was Gangavataran-1937, directed by Dadasaheb Phalke. This was his only and the last Talkie film. In this film Leela did the role of Parvati. This became her first film.

She had faced a similar problem while working earlier in another film titled Honhaar-1936. She was cast opposite Shahu Modak as a heroine, and was supposed to hug and embrace him, which she again refused steadfastly. Since the company was legally in a weak position, they couldn’t turn her out of the film, which proved to be a blessing in disguise for her. She was offered Modak’s mother’s role in the film and it clicked instantly. This opened the doors for her to play mother roles at the young age of 18.

Early on in her career she acted in notable films such as the musical hit Anmol Ghadi (1946), Raj Kapoor’s Awaara (1951) and Nargis-Balraj Sahni starrer Lajwanti (1958), which was nominated for the Palme d’Or for Best Film at 1959 Cannes Film Festival.

She acted in the first Bhojpuri film, Ganga Maiyya Tohe Piyari Chadhaibo (1962), which also starred Kumkum, Helen and Nasir Hussain.

Her roles varied from mothers, benign or evil aunts, to comic roles.

She acted in 344 films. Her last released film was Aatank-1996. 8 films were released after her death.

Today’s song is the 7th song (out of nine) from the film. It is a duet of Chitalkar and Binapani ( this is a name of Goddess Saraswati). It is aquite hummable song. Enjoy.


Song-Aate jaate nazar milaate ho jaata hai pyaar (Leela)(1947) Singers-Binapani Mukherjee, C Ramchandra, Lyrics-Gopal Singh Nepali, MD-C Ramchandra
Both

Lyrics

Aate jaate nazar milaate
mil jaate dildaar
do dil bolen
sang sang dolen
ho jaata hai pyaar

ho o ho o
tum ?? milne the
main duniya mein anjaani
tum ?? milne the
main duniya mein anjaani
?? nadi ki donon ??
phir kya aana-kaani
?? nadi ki donon ??
phir kya aana-kaani
hilmil jaayen
ghulmil jaayen
chalo chalen us paar
do dil bolen
sang sang dolen
ho jaata hai pyaar

jab phoolon ka chaand uthhe
dharti se dheere dheere
jab phoolon ka chaand uthhe
dharti se dheere dheere

hum bhi ghar se nikal chalenge
pyaar ki jamuna teere
hum bhi ghar se nikal chalenge
pyaar ki jamuna teere
nayi jawaani raat chaandni
milne ka tyohaar
do dil bolen
sang sang dolen
ho jaata hai pyaar

lambi raah door hai jaana
thhak jaana ruk jaana
lambi raah door hai jaana
thhak jaana ruk jaana

tum peepal ki thhandi chhaaya
ban ke jhhuk jhhuk aana
tum peepal ki thhandi chhaaya
ban ke jhhuk jhhuk aana
preet laga ke
meet bana ke
kaun kare inkaar

do dil bolen
sang sang dolen
ho jaata hai pyaar

Aate jaate nazar milaate
mil jaate dildaar
do dil bolen
sang sang dolen
ho jaata hai pyaar


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

Blog Day : 4141 Post No. : 15303

Today’s song is from film Arsi-1947.

Till recently, I was wondering, what was the meaning of this Title word Arsi. I could not find the meaning anywhere and finally I left my attempts. Then one day, I read the review of this film, in the June 1948 issue of Film India and I got a new piece of wisdom that Arsi was a name of the girl in the film. It was for the first time that I learnt that a name such as Arsi could be a girl’s name in India. Out of curiosity, I checked the 3 ” Boys and Girls Names ” books that I have in my collection, but in none of the books this name was found. At last, I decided to surrender to Guru Google ji, and to my surprise, I learnt that the word means ” Mirror ” !

The film Arsi was made by Jeevan Pictures, Lahore. It was directed by Daud Chaand. All the 11 songs were written by Sarashar Sailani. This was his first film as a Lyricist. The owner of Jeevan Pictures, was Motiram Jain and he was a lover of Shayari and poetry. Sarashar Sailani, who was not much educated (not a graduate), but was a school teacher, used to participate in Mushayras. Motiram liked his shayari. When Motiram started his First film Arsi-47, he invited Sailani to write story, song and dialogues for this film. Some songs became popular and Sailani jumped into film line.

Lachhiram called him for his next film Mohini-47 and Shyamsunder called him for Ek Roz-47. Along with director Daud Chaand, Sailani also shifted to Bombay. However, after the Partition, Daud returned to Lahore but Sailani remained in India. He wrote lyrics. generally he got only low budget films, but he worked with some quality composers like Pt. Amarnath, Husnlal-Bhagatram, Roshan, Chitragupta, Jaidev, A R Qureshi, Hansraj Behl etc.

In all, he wrote 150 songs in 32 films. From 1960 onwards, after film ‘ Bade ghar ki bahu’, he stopped song writing and took up only story, dialogue writing, in which he did many good films. Sarshar Sailani died on 10-4-1969.

In film Arsi-47, there were 2 MDs – Lachhiram Tamar and Shyamsunder. Although HFGK is silent on crediting MDs for any song, those who uploaded the songs on YT have indicated MD names as given on the records. Much is written about Shyamsunder, but not much is available on Lachhiram. Last year, in one of posts, I have given information about Lachhiram Tamar already.

The film’s director was Daud Chaand. Dawood Chand was a prominent film director of 1930’s & 1940’s of Indian cinema. He directed Veer Kaisri (1938), Joshe-e-Islam (1939), Sipahee (1941), Jangee jawan (1943), Paraey Bas main (1946), Aaarsee and Aik roze (1947) and Papeeha Re-48 in India.

In Paksitan he was director of first ever released Pakistan film Tairi Yad (1948). Some of his others films were Hichkoley, Mundri (1949), Sassi (1954), Bulbul (1955), Mirza Sahebaan and Hatim (1956), Muraad (1957), Aalam ara (1959), Sapairan (1961), Khaiber Pass and Ghazala (1963), Reshma (1970), and Bahadra (1973).RAZA MIR (Producer/Director)
He acted in Indian film Shaher say door (1946) but in Pakistan he chose other profession. He was Pakistan’s First film Teri yaad’s (1948) cinematographer and director. He also directed some other films like Baiti (1964), Lakhon main aik (1967), Aaasra and Aneela (1969), Parai aag (1971), Naag muni, Vicharya saathi (1973), Professor and Arzoo (1975) Sohni mahiinwal (1976) and Dil keey daagh (1978). Asif Raza Mir film hero of late 1970’s and early 1980’s and a good TV artist is his son. He died on 24-5-1975 at Lahore, Pakistan.

The cast of the film was Meena (Shorey), Al Nasir, Ajmal, Asha Posley, Zahoor Shah, Bheemsain, Ramlal, Pran, Cuckoo etc etc. When I had first come across the name Asha Posley, in my younger days, I was a bit amused, because the name sounded almost like Asha Bhosle ! When I started writing about old films, I realised that her real name was something else and this was a name acquired by her.

Asha Posley was born Sabira Begum in Patiala, Punjab, British India in 1927. She was given the film name Asha Posley by the renowned music director Ghulam Haider. She made her film debut in a Lahore-made Punjabi film Gawandi (1942) as a supporting actress.Later she played just a few female lead roles in some films starting with film Champa (1945) and then Kamli (1946) in British India. Her films in India were Champa-45, Paraye Bas mein-46, Kamla-46, Badnaami-46, Aai Bahar-46, Pagdandi-47, Ek Roz-47, Arsi-47, Sassi-48 (un released), Roop Rekha-48, Papeeha Re-48 and Barsat ki ek raat-48. She also sang 5 songs in 3 films.

After independence of Pakistan in 1947, her whole family migrated to Lahore, Pakistan including her music director father Inayat Ali Nath and her 2 sisters- actress Rani Kiran and Kausar Perveen who later gained fame in Pakistan as a film playback singer. Her father was the music director for the first-ever released film in Pakistan- Teri Yaad (1948) and Asha Posley played the female lead role in the film opposite Nasir Khan who was a brother of famous Indian actor Dilip Kumar.

Later she was mostly cast in supporting roles opposite comedian actors Nazar and Asif Jah in films both in Urdu and Punjabi languages. She acted in 129 films in total in her career spanning over 4 decades (1942-1986). Her last film was Insaf (1986). She also appeared on Stage, TV and Radio and she was also a part-time singer. Asha Posley was awarded a Special Award for Excellence in 30 years of acting by the prestigious Nigar Awards organization in Pakistan in 1982.

Asha Poslay died on March 26, 1998 at Lahore.

Asha Posley’s case is a sad one. The way Pak film industry treated her in her last days, is no different than what Indian film industry did in the past. She and her family spent hard days and she died in poverty. Only the other day, I came across an article written by film journalist of Pakistan- Navaid Rasheed in The Dawn.com in April 2001. In it, he wrote about her house…..” The humble abode is enveloped in depressive atmosphere. The rooms are in ramshackle condition. The main door leads to a very small room which is without a roof. If it was bigger in size, it would be called a courtyard. Things are helter skelter all over the place. Can somebody imagine that this is a place where a glamorous diva lived not too long ago.

Yes, this place was the last abode of Pakistan film industry’s first heroine Asha Posley who died three years ago. Ever since then the family has been living in a dilapidated state. Not that the things were any better when the actress was alive, in fact she herself was dependent on her brother whose house this is. But at least she was there for them, her being there was enough for them.”

Asha Posley was a very attractive, frank, ever smiling and popular actress in Pakistan. Asha Posley was undoubtedly one of the most modern, bold and flamboyant heroine of the local cinema. Those well-arched eye-brows, deep almond-shaped set of eyes, high cheek bones, the square jaw, the curly jet black locks and the mischievous smile is hard to forget. For a woman who once charmed the cinegoers for so long did not have enough money to make her ends meet at her retirement. Such a sad ending is not what she deserved. But that is exactly what happened.

Ever since Asha Posley was forced to sit home by the ruthless film industry that gave her no work for long, there was not a single day when she didn’t wait to be offered even a small role from the industry. When no one came from the industry to help her, she looked towards the public sector. She requested time and again for help but in vain. Such a talented actress of calibre was fast diminishing into oblivion but no one was bothered to save her. So finally she died unsung in March, 1998. Still no one was effected.

Teri Yaad was the first Pakistani film to be released in 1948 and Asha’s hero in it was Dilip Kumar’s brother Nasir Khan. It was directed by Dawood Chand. Asha Posley belonged to Patiala (India) and was born in 1927. She worked in Radio Pakistan as Riffat Aisha and was in possession of a good voice. Before partition she worked for the first time in Kamli (1946) which was not too successful but owing to her looks, her spicy sense of humour and bold style of conversation, she became pretty famous in film circles.

After partition she also worked in films like Ghalat Fehmi, Shahida and Bulbulall of which proved to be failures. However, when she opted to play a vamp in Sassi, it proved to be very successful. Hence onwards began a long journey of vampish roles for Asha. Her occasional pairing with comedian Nazar in certain films too won accolades for her as a comedy star. One of her memorable films as a vamp was Intezaar featuring Noor Jehan and Santosh Kumar
in the lead. Kismet and Dulla Bhatti were other successful ventures where she put in memorable performances. Her dances too were the main highlight of these films.

Asha’s younger sister Rani Kiran was also a film heroine while another of her sister Kausar Parveen was a famous playback singer of the 50s who died very young. Rani Kiran is still alive but leading a pathetic life.

Asha’s famous films include Toofaan, Mukhra, Hatim, Ashiana, Hum Aik Hein, Khizaan kei Baad, Son of Ali Baba, Mehandi, Pasbaan and others. She made occasional appearances on various television shows where she reminisced her past glory and mentioned for support too. But apparently nothing happened. Nobody could improve her state of affairs, but at least someone can still help her sister Rani Kiran and save her from going the Asha Posley way, out of this world.

This was the fate of discarded artistes…be it Pakistan or India. We can quote many such cases from our own court yards. Thank God, these days the situation is much much better and no such cases are to be seen since few years. Hope this is so even in Pakistan.

Film Arsi-47 was released on 10-4-1948 at Majestic Cinema in Bombay. The screenplay was by M R Bhakhri. Film India magazine June 48 issue featured a review of this film. As usual Baburao Patel had nothing good to say about the story, acting or even the Music. He surely sympathised with the Director, who could not do much with the weak story. The story,in short, as given in the review (minus criticism) is …

Ramesh (Al Nasir) is the son of the village Zamindar. He loves Arsi (Meena), daughter of Bansi, a poor farmer. Unfortunately, the Zamindar himself wants to marry Arsi. When this proposal is declined, Bansi, with his daughter and young son is driven out of the village. Soon after, Bansi dies and Arsi has to sell a Gold Frame, gifted by Ramesh. However, she is accused of stealing it from the Zamindar’s house and is sentenced to 14 years of Jail term.

Her brother grows up. The Brother Mohan (Ajmal) loves and marries dancer Sharada (Asha Posley). The Zamindar dies. After 14 years, Arsi is released. She is employed as a Maid by Ramesh and later they marry also. The End !!! (Thank God !)

The story is too simple and predictable. No wonder Film India criticised it. Today’s song is a duet by S D Batish and Zeenat Begum. One more interesting Trivia. Sarashar Sailani had also acted in this film, but under the name Bheemsain. This was the only film he ever acted in a film.


Song- Duniya chhoote par na chhoote teri gali ka phera (Aarsi)(1947) Singers- S D Batish, Zeenat Begum, Lyrics- Sarshar Sailani, MD- Lachhiram Tamar

Lyrics

Duniya chhoote
ho
Duniya chhoote par na chhoote teri gali ka phera
ho teri gali ka phera
Duniya chhoote
ho
Duniya chhoote par na chhoote teri gali ka phera
ho teri gali ka phera
gali ka phera kaise chhoote
prem ka bandhan kaise toote
gali ka phera kaise chhoote
prem ka bandhan kaise toote
kaise chhodoon kaise chhoote
teri gali ka phera re
haay teri gali ka phera re
Duniya chhoote
ho
Duniya chhoote par na chhoote teri gali ka phera
ho teri gali ka phera

nain milaa ke
mast banaa ke
nain milaa ke
mast banaa ke
jee bharma ke loot liya
haaye loot liya
nain milaa ke
mast banaa ke
jee bharma ke loot liya
haaye loot liya
loot liya sajni ke man ko
loot liya sajni ke man ko
saajan bada lutera re
haaye saajan bada lutera re

Duniya chhoote
ho
Duniya chhoote par na chhoote teri gali ka phera
ho teri gali ka phera

kaise jaadoo daala dil par
teri mast nigaahon ne
kaise jaadoo daala dil par
teri mast nigaahon ne
duniya chhod ke aan lagaaya
duniya chhod ke aan lagaaya
teri gali mein dera re
haaye teri gali mein dera re
Duniya chhoote
ho
Duniya chhoote par na chhoote teri gali ka phera
ho teri gali ka phera

naav bhanwar mein chhod na dena
preet ke matwaare rasiya
naav bhanwar mein chhod na dena
preet ke matwaare rasiya
preet laga ke tod na dena
preet laga ke tod na dena
naazuk hai dil mera re
haaye naazuk hai dil mera re

Duniya chhoote
ho
Duniya chhoote par na chhoote teri gali ka phera
ho teri gali ka phera
chun chun kankar mahal basaaya
log kahen ghar mera aa re
na ghar tera na ghar mera aa aa
chidiya rain basera aa aa aa


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 :

4127 Post No. : 15283 Movie Count :

4206

Today’s song is from stunt/action film – Kismatwali-47. The director of the film was Behram Mukadam, who was a Cinematographer with Wadia Movietone. This was the only film he directed. The six songs of the film were written by C M Hunar and music was given by Shyam Babu Pathak.

Shyam Babu Pathak is not a very well known name among Music Directors. He is one of those artistes, who had the talent and a will to do hard work, but Luck did not support him. This resulted in his remaining with unknown banners and B and C grade films. His career spanned from 1938 to 1965 – a period of 27 years in which he composed music for just 29 films and one of his film remained unreleased.

Shyam Babu Pathak was born in 1908 at Gwalior. His music tuition started when he was just 7 years old. He studied in Madhav Sangeet Vidyalaya, under Rajabhaiyya Poonchhwale, Narayan Gupte and Bhatkhande etc. He became an excellent singer and was invited by several Royal houses all over India, for singing. Even V D Paluskar had blessed him. Strangely, though a good singer, he never sang a song in any film.

While touring all over India for Music Mehfils, he learnt many folk songs and tunes. This actually prompted him to join films as a composer. His first film was Royal Commander-1938 – a B grade Costume drama film made by Vishnu Cinetone. In his first film, for just 9 songs, he used as many as 6 different singers. Minimum songs had been his specialty. This was a novelty in the 30s, when the norm was of an average of 12 to 15 songs each film.

V M Vyas of Vishnu Cinetone, was impressed with him and he gave him many films. He got Rani saheba-40, Torpedo-40, Samsheerbaz-40, Malan-42 and Ghar sansar-42. He gave good songs sung by Kalyani, Sardar Akhtar and Kajjan. In Lajwanti-42, his songs were light and comedy type. By now, he had become a confirmed Stunt/action and B/C grade composer. Pyara watan-42,Double face-46 were such films. Double face was Indivar’s first film.

Black Market-47, Namak-47, krishna Sudama-47 and Kismatwali-47 were not much helpful. Takdirwale-48 with Ramprasad, Imtihan-49 and Ret Mahal-49 led him to film Jeet-49 with Anil Biswas. Actually,it seems Anil Biswas took over when Pathak left the film halfway.

After Janmashtami-50 and Achha ji-50, came Preet ka geet-50.Famous poet Harikrishna Premi wrote the songs, which were sung by Mukesh, Geeta and Johra. Next film Hamari Duniya-52 had good Lata songs. Meanwhile his film Parda remained unreleased. In the last phase of his career, came Sapna-52, Vanraj-52, Bombay Central-60 and finally, film Mehbooba-65 closed his career. Shyam Babu Pathak died of heart attack in Bombay on 23-11-1980.

Film Kismatwali-47 was a stunt film featuring Fearless Nadia, John Cavas, Sayani Atish, Khurshid Banu, Sultana, Manchi Toothi, Azim, Habib and many others. In the cast you find a name Sultana. Many readers may not know that, Sultana was the elder sister of actress Zubeida, Heroine of Aalam Ara-1931, India’s first Talkie film. Here is some more information on Sultana.

Sultana, also known as Sultana Razaaq, was one of the earliest film actresses from India and acted both in silent movies and later in talkie movies. She was daughter of India’s first female film director, Fatima Begum. Zubeida (leading actress of India’s first talkie film Alam Ara -1931) was younger sister of Sultana. The youngest sister was Shehzadi-also an actress. Actress Mehtab (Sohrab Modi’s wife), whose real name was Najma, was step sister of these girls. Najma was the daughter of Marium, one of the wives of Nawab of Sachin.

Sultana was among the few girls who entered films at a time when it was not considered an appropriate profession for girls from respectable families, let alone Royalty. Born in the Surat city of Gujarat in western India, Sultana was a stunningly beautiful Muslim princess, the daughter of Nawab Siddi Ibrahim Muhammad Yakut Khan III of Sachin State and Fatima Begum. She had two sisters, Zubeida and Shehzadi, both actresses. However, there is no record of a marriage or a contract having taken place between the Nawab and Fatima Bai or of the Nawab having recognised any of her children as his own, a prerequisite for legal paternity in Muslim family law. Actually, the Nawab had 3 wedded wives and Fatima was an ‘ outside’ arrangement.

Sultana was a popular actress in the silent movie era, usually cast in romantic roles. She started her career as actress in Veer Abhimanyu (1922) film in 1920s and later performed in several silent films. Later, she also acted in talkie movies. Sultana did sexy roles in films and earned a name as “Sultry Sultana”. She acted in 20 Silent films. She continued acting after the Talkie films started and worked in 19 Talkie films. Her last film was ‘ Girdhar Gopal ki Meera’-1949.. She came into limelight when she filed a case against Yassir Hussain Lalji, son of the chief of Bombay Municipality, in 1931, claiming to be his wife and demanding a sum of Rs. 5 lakhs in those days !

When India was partitioned in 1947, she migrated to Pakistan with her husband, a wealthy man named Seth Razaaq. Her daughter, Jamila Razaaq, was also encouraged by her to act in Pakistani films and she produced a film in Pakistan, named Hum Ek hain (1961), written by famous scriptwriter, Fayyaz Hashmi. The film was partly shot in colour, which was rare those days, but it failed miserably and Sultana stopped producing any films afterwards.

Sultana’s daughter, Jamila Razaaq, married the well known Pakistani cricketer Waqar Hasan, who is the brother of filmmaker Iqbal Shehzad. He runs a business under the name National Foods at Karachi.

Stunt films in India began with Silent films itself.They continued with greater force when Talkie films started. Contrary to popular belief, silent films did not lose ground to Talkie films – not at least immediately. In fact, there was a steep rise in the number of Silent films- from 88 in 1926 to 172 in 1932. In the first Talkie year itself the number rose to 207 silent films. They continued to be made till 1934. They did not pass away because there was no demand, but because Theatres were not available, as all theatres got equipped with sound machines.

The stunt films in India entered its Golden Period, with the entry of Fearless Nadia in the mid 30’s and ended with Master Bhagwan in the mid 50’s. The initiator of this Golden Period was Wadia Movietone. In 1935, they created a fantastic character and a fascinating actress with Nadia- Fearless Nadia. Their inspiration came from 1914 Hollywood film ” Perils of Pauline’, in which the Heroine played several stunts.

Here Nadia became a Masked Terror. She was modern, bold,frank and used a whip on evil men. She was portrayed as a figure deeply committed to overthrow the oppressive male dominated order. Her stunts, played cleverly on Trains, Horse carriages and with wild animals were widely applauded. She was truly the First Feminist icon of Hindi Cinema.

Wadias had a set of other actors, who would be seen alternatively in Nadia’s stunt films. Heros like Prakash, D and E Bilimoria brothers, John Cavas, Jal Merchant and Jal Khambata, Sayani, Habib, Azeem and a line up of non Human actors like Horse-Punjab ka beta, Dogs-Tiger and Moti, and a rattled Rolls Royce car-Rolls Royce ki Beti. In some films wild animals were used.

The definition of STUNT, according to Oxford Dictionary is “an action displaying spectacular skill and daring”. This has been made possible by thousands of stuntmen and women all over the world. Achievements of stunts in the films of 20’s to 50’s, in India is more praiseworthy, considering the lack of proper equipment and the infrastructure in olden days here.

Nadia, Baburao Pehalwan, Vasantrao Pehalwan, Shankar Vazre, Prakash, Raja Sandow, Master Bhagwan, Ranjan and many unsung and unknown action Heros did thrilling stunts only with their ingenuity and daring. The stunt professionals were first time used in Mehboob’s ” Aan “-52 for the action scenes. Azimbhai handled the horses and Douglas took care of the fights-including Fencing.

From the mid sixties, Hindi cinema saw rise of the He Man or the Hero doing stunts himself. This process began with Dharmendra, where the Hero dared to bare his chest for the first time in film Phool aur Patthar-66. As the time went by, stuntmen became Fight masters and they became Action Directors in turn. Nowadays, almost every action film has SPL FX assistance. However few Bollywood actors and actresses take pride in doing stunts themselves. According to an article by Hema Sanghvi on bookmyshow.com, the following 10 actors have done dangerous stunts in their films, all by themselves, without taking a double. Like me, you too will be surprised to see names of 5 well known actresses in this list. The names are Akshay kr., Amitabh Bachhan, Hritik Roshan, Shahrukh Khan, Tiger Shroff, Katrina Kaif, Priyanka Chopra, Sonakshi Sinha, Taapsee Pannu and Shradha Kapoor.

In older times, there were special stunt films making production houses, like Wadias, Ranjit, Imperial, Kohinoor, Mohan Pictures etc. There were specialist directors like Nanabhai Bhatt, Aspi Irani, R S Chaudhari etc. There were specific actors too. As far as Music was concerned,it had little importance in stunts and anyone would do as MD. In every town, there used to be specific Theatres for stunt films and almost every town had a set of bonded audience for stunt films. I was a part of that audience in Hyderabad in my teens.

Whenever I write about a Nadia film, I always remember my meeting with her in 1982. If only Mobile phones were prevalent that time, my meeting with her would have been captured for ever. Alas !!!

Today’s song is sung by Salma. I do not know who she was. With this song, film Kismatwali-47 and singer Salma make their Debut on this Blog.


Song- Gaa ae muhabbat gaa aakhri naghma gaa (Kismatwaali)(1947) Singer- Salma, Lyrics- C M Hunar, MD- Shyam Babu Pathak

Lyrics

Gaa ae muhobbat gaa
Gaa ae muhobbat gaa
aakhri naghma gaa
aakhri naghma gaa
Gaa ae muhobbat gaa
Gaa ae muhobbat gaa

kitne dinon ki khushi ki lay par
kitne dinon ki khushi ki lay par
aansoo apne ae
gham ka taraana gaa
aansoo apne ae
gham ka taraana gaa
Gaa ae muhobbat gaa
Gaa ae muhobbat gaa

kaale kaale baadalon ko ?? tera
kaale kaale baadalon ko ?? tera
chamcham chamkat bijliyaan
ko o o
hasrat samajh ke gaa
hasrat samajh ke gaa
Gaa ae muhobbat gaa
Gaa ae muhobbat gaa

subah ?? hawa chali hai
aandhi bankar haay
dil apna ?? deepak ke
dil apna ?? deepak ke
bahaar tu na aa
gaaye
shole jo jigar mein bhadke hai
haaye haaye
shole jo jigar mein bhadke hai
haaye haaye
uljha aa aa
uljha hai ?? hawaa aa


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 :

4121 Post No. : 15275 Movie Count :

4201

Today’s song is from a film Mangalsootra-1947.

In Maharashtra, from the 19th century onwards, theatre dramas became popular. They were the sole source of entertainment for the family. The stage dramas developed to a great extent, till about the 20’s decade of the twentieth century, when they faced their first competition – in the form of Silent films. However those films being silent, they could not compete wholly with dramas, which provided dialogues, living people on stage and above all music in the dramas.

However by 1931, the Talkie films arrived and the drama sensed the potential danger. They became alert. Still, the Talkie films were not invading the smaller towns as much as the bigger cities and so dramas survived for some time. As the time passed by and the film industry started inroads into smaller towns and villages, there was real panic. There was a Bee-line of stage actors, directors, singers and music directors to the Cinema world. It offered them name, fame and money. Not all were successful, but many musicians, writers and actors defected to this industry.

Even the big names in Marathi stage, like Bal Gandharva, Deenanath Mangeshkar, Nanasaheb Phatak, Master Avinash, dramatists like P K Atre, Mama Varerkar, Novelists like N S Phadke and V S Khandekar and musicians like Prof. B R Deodhar and Master krishnarao Fulambrikar etc tried their hand at this medium. One such name was a well known and very Popular Chintaman Rao Kolhatkar, who was an actor, director, producer and a playwright of repute in Marathi stage dramas.

He also tried his hand at acting in films as well as directing in both, Marathi and Hindi languages. He acted in 2 Hindi films, namely Andheri Duniya-1936 and Mangalsootra-1947. He also directed a bilingual in Marathi and Hindi film Krishna Arjun Yudha-1934. Here is his short Bio data from netizen.com –

Chintamanrao Ganesh Kolhatkar (12 March 1891 – 23 November 1959) , was a very prominent actor as well as producer, director and playwright of Marathi theatre. He joined the Maharashtra Natak Mandali in 1911, but after a year left for another troupe named as Shri Bharat Natak Mandali. His career took a major turn when he entered the Kirloskar Natak Mandali in 1914. He helped establish the Balwant Sangit Natak Mandali with Dinanath Mangeshkar in 1918. Chintamanrao Ganesh Kolhatkar’s greatest performances came in R. G. Gadkari-s plays, in Punyaprabhav i.e. Force of Virtue’ in 1916, Rajsanyas i.e. ‘Kingdom Renounced’ in 1922, and especially as the villain Ghanashyam in Bhavbandlmn i.e. ‘Bond of Affection’ in 1919. He tried the movie industry in 1933 when Sangitnatak began to decline and acted in two films, notably as the tyrant Shakara in Vasantsena in 1942. This was based on Sudraka, but failed in this medium and returned to theatre. He joined Gangadharpant Londhe’s Rajaram Sangit Mandali, worked with M. G. Rangnekar’s Natyaniketan, and established his own company, Lalit Kala Kunj. This one gave P. L. Deshpande a break. Kolhatkar was a non-singing actor, who took roles in Hindi and Urdu as well.
The Police Commissioner of Bombay felicitated him for his acting in Punyaprabhav. Jawaharlal Nehru once called him Bahurupi i.e. ‘many-formed’. This was a term applied to one-man folk performances, which Kolhatkar used as the title for his autobiography. He also wrote character sketches of several playwrights titled Majhe Natakkar i.e. ‘My Dramatists’, and a five-act play, Purnavatar i.e. ‘Complete Avatar’ in 1924. This was staged in 1996 by the group Antarnatya in Mumbai.
His son Chittaranjan Kolhatkar was also a very prominent , famous and prolific actor, producer and director of Marathi stage and films.
Chintamanrao was awarded Sangeet Natak Akademi Award in 1957, given by the Sangeet Natak Akademi, India’s National Academy of Music, Dance & Drama.

The cast of the film Mangalsootra-47 was Urmila, Anand, Chintaman Kolhatkar, Motibai, Shanta Kunwar, Sheelabai, Mehebano, Dalpat and many others. In the cast, you will find a name Urmila- in some films she is named as Urmila Devi, and Urmila Gupta also. She was not a very good looking actress, but she compensated it with her good acting. Urmila Gupta was born in 1921 at Panja Sahib, Rawalpindi district of United Punjab. Her father, who was a Civil Contractor, died when she was only 5 year old. She did not get much education but could read and write as well as talk fluently, Urdu, Hindi and English.

She started her career with a small uncredited role in film Mirza Sahiban-33. She was the younger sister of Mirza in this film. After some more small roles, she got her major role in film Aasuon ki Duniya-36. After this, she did not look back and did Punjab Lancers-37, Talwar ka Dhani-38, Kahan hai manzil Teri-39, Hurricane special-39, Flying Ranee-39, Desh Bhakt-40, Sasural-41, Sajjan-41, Mere Sajan-41, Naari-42, Das Baje-42, Call of youth-42, Badal -42, Apna Paraya-42, Tamash-42, Kirti-42, Salma-43, Bansari-43 etc etc. Urmila got married to Vinod Talwar, a businessman and stopped working in films, for some time, may be for raising a family. She resumed working in films and acted in another 20 odd films till 1952. She had sung 12 songs. In all, she worked in about 55 films.

I do not know anything about the film Hero Anand. I have seen his name first time in a credit list. The film was made by Golden Pictures, Bombay. It was directed by Dada aka V M Gunjal. Director Vishnupant Mathaji Gunjal or simply Dada Gunjal, was born in Kolhapur in 1904. He was not interested in education, so after passing his Matriculation, he joined the film industry.
Initially he worked in various capacities, but concentrated on Directing the films. He established his own Gunjal Production company at Bombay and directed his first silent film Collegian in 1929. Soon ,realising that producing films was not his cake, he shifted to Directing films for Vishwesh film company, Bombay. Making silent films like Bharati, The Bandit, Vijeta, Bewafa qatil, khabardar, Bhedi khanjar etc.
When Talkie films started, he directed Bhakta ke Bhagwan and Ambarish in 1934. Dada Gunjal directed in all 37 films. Some of his films were, Bhakta dhruv, Panihari,Aparadhi, Ekadashi, Mata, Mamta, Tulsi, Bhakta ke Bhagwan, Noorjehan, Baraat, Kirti, Pati patni, Alakh Niranjan, Mother India -1938 etc.

Dada Gunjal died in 1968.

The film’s Music Director was Ratanlal. He is one of those artistes, about whom hardly any information is available. All that we know about him is what is available in HFGK and books like Dhunon ki Yatra etc. There are only 4 films to his credit. For 2 films- Baraat-42, he gave music with Khemchand Prakash and for film Kismatwala-44 he was with Shanti kumar Desai. Independently he gave music to only Mangalsootra-47 and Parshuram-47.

As per January-1948 issue of magazine Film India, the film was released on 5-12-1947 at Swastik Cinema, Bombay. The review of the film done in this issue, by Baburao Patel is highly critical of every aspect of the film-acting, direction, technical support, story, dialogues etc etc. There is no comment on Music of this film, which means either he was satisfied with it or it was very much below standard to comment even. However, I have listened to some songs of this film and some other films of Ratanlal, I feel he was reasonably good composer. The review only praises the acting by actress Motibai in this film.

The story line of this film, as given in the review is…. Dayal, called popularly Dayal mama (Chintaman Kolhatkar), is a social worker and a Politician in a certain town. He is dragged into a false case and gets jail term of 10 years. After his going to jail, his wife Laxmi (Motibai) and daughter Radha (Urmila) become homeless and helpless. They leave the town and wander.

After 10 years, Dayal comes out of jail and looks for family, but he does not find them. He goes to another city, where, by chance he saves the Zamindar from riding on a Horse, which becomes wild. The Zamindar takes him home, treats him as a friend and appoints him his trusted Manager. Mohan (Anand) is his son, who completes his education. The zamindar dies and Mohan becomes the boss.

Meanwhile Radha grows up as a beautiful and attractive young girl. She and mother move to Mohan’s town, where Radha becomes the village teacher. Radha and Mohan fall in love. But Dayal is against this as Radha’s father is missing.

However, after few reels and may be few Love songs etc, Dayal Mama sees Radha’s mother Laxmi, in the last reel, recognises her. Now, Radha being his own daughter Dayal Mama gives Hari Zandi to Radha- Mohan marriage. All is well. The End. Clap, Clap, Clap.

With such poor and powerless story, what can Vrajendra Gaur, the script and dialogue writer do ? Actually Gaur was a well known and successful writer of many films in 40s and the 50s. He even directed film Kasturi-54. He wrote 59 songs in 13 films. Anyway, all in all, film Mangalsootra-47 was an eminently forgettable film.

With today’s song, this film and Music Director Ratanlal make Debut on the Blog.


Song-Jiya doley Jiya doley Jiya doley re (Mangalsutra)(1947) Singer- Rajkumari, Lyrics- Brijendra Gaud, MD-Ratanlal

Lyrics

Jiya doley
Jiya doley
Jiya doley re ae
Jiya doley
Jiya doley
Jiya doley re
hauley hauley
hauley hauley
khaaye jhakoley
hey hey hey
hauley hauley
khaaye jhakoley
hey hey hey
Jiya doley
Jiya doley
Jiya doley re ae
Jiya doley
Jiya doley
Jiya doley re

neel gagan mein kaale baadal
jhilmil jhilmil ho o
neel gagan mein kaale baadal
jhilmil jhilmil ho
khule chaman mein bhanwra rasiya
kaliyaan choome ho ho o
khule chaman mein bhanwra rasiya
kaliyaan choome ho o
haa aa aa aa
aa aa aa
Jiya doley
Jiya doley
Jiya doley re
Jiya doley
Jiya doley
Jiya doley re ae
hauley hauley
hauley hauley
khaaye jhakoley
hey ae ae
hauley hauley
khaaye jhakoley
hey ae ae
Jiya doley
Jiya doley
Jiya doley re ae
Jiya doley
Jiya doley
Jiya doley re

chanchal lahren magan pawan ke
sang sang bal khaayen
chanchal lahren magan pawan ke
sang sang bal khaayen
jin se meri lagan lagi hai
wo saajan mil jaayen
jin se meri lagan lagi hai
wo saajan mil jaayen
haa aa aa aa aa aa
a aa aa aa
donon mil ke ek nayi duniya basaayen
ho nayi duniya basaayen
Jiya doley
Jiya doley
Jiya doley re
Jiya doley
Jiya doley
Jiya doley re ae
hauley hauley
hauley hauley
khaaye jhakoley
ho ho o
hauley hauley
khaaye jhakoley
hey ae ae
Jiya doley
Jiya doley
Jiya doley re ae
Jiya doley
Jiya doley
Jiya doley re ae ae


What is this blog all about

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

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