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

‘Naiyya-1947’ was directed by Aslam Noori for ‘Mohan Pictures, Bombay’.

It had Mazhar Khan, Munnawar Sultana, Ashraf Khan, Anwar, Shahzadi, Suman, Balaram, Siraj and others.

As per HFGK Vol-II (1941-1950) this movie had six songs as given below;

Blog Day :

4601 Post No. : 16227
S.No. Song Title Singer Posted On
01 Aayi milan ki bahaar re, aa jaa saanwariya Zohrabai Ambalewali 02.04.2013
02 Saawan bhaadon nain hamaare baras rahe din raat Zohrabai Ambalewali
03 Naiyya jeewan ki doley, haule, haule, haule Master Ramesh
04 Jhoome jiya aaye piya ho, jhoole hiya naache jiya Shamshad Begam
05 Siyaram Ram Siyaram, tan ka pinjara soona soona Ashraf Khan 25.06.2019
06 Raam naam kya japna … Ashraf Khan

HFGK Vol-II does not mention the name of the lyricist for this movie however our respected Sadanand ji in his comments here on the post ‘Siyaram Ram Siyaram, tan ka pinjara soona soona’ has mentioned that lyricist for this movie was Dr. Safdar Aah Sitapuri.

Music for this movie was composed by Anil Biswas. Editor’s note:-According to Girdharilal Vishwakarma (a well known record collector), A R Qureshy is the music director for this song.

Today 21st February’2021 is the thirty-first ‘remembrance anniversary’ (1918 -21.02.1990) of singer Zohrabai Ambalewali.
As a tribute to her here is song from ‘Naiyya-1947’ sung by Zohrabai Ambalewali. Music is composed by Anil Biswas.

I had come across this song in August’2014 and since then it is lying to be posted. However, in between its link that I had shared initially also become obsolete but luckily, I got the audio of this song which is uploaded for listening.

Let us now enjoy this wonderful song remembering Zohrabai Ambalewali who had given us many many memorable and unforgettable songs in HFM history.


Song-Saawan bhaadon nain hamaare (Naiyya)(1947) Singer-Zohrabai Ambalewali,Lyrics-Safdar Aah Sitapuri, MD-A R Qureshi (according to Girdharilal Vishwakarma (a well known record collector)

Lyrics

saawan bhaadon
saawan bhaadon nain hamaare
baras rahe din raat
baras rahe din raat
saawan bhaadon
saawan bhaadon nain hamaare
baras rahe din raat
baras rahe din raat
saawan bhaadon

saansen gin gin din kaaten
aur taare gin gin raat
saansen gin gin din kaaten
aur taare gin gin raat
baras rahe din raat
saawan bhaadon
saawan bhaadon nain hamaare
baras rahe din raat
baras rahe din raat
saawan bhaadon

ho o o
ankhiyaan khud darshan ko tarsen aen
rimjhim rimjhim barsen aen
ho o o
ankhiyaan khud darshan ko tarsen aen
rimjhim rimjhim barsen aen
nis din hoti hai nainon se
aankhon ki barsaat
nis din hoti hai nainon se
aankhon ki barsaat
baras rahe din raat
saawan bhaadon
saawan bhaadon nain hamaare
baras rahe din raat
baras rahe din raat
saawan bhaadon

chhoot gaya hai
saath sahaaraa aa aa
chhoot gaya hai
saath sahaaraa aa aa
naao bhanwar mein door kinaara
ghor andhiyaari raat
naao bhanwar mein door kinaara
ghor andhiyaari raat
baras rahe din raat
saawan bhaadon
saawan bhaadon nain hamaare
baras rahe din raat
baras rahe din raat
saawan bhaadon

————————————–
Devnagri Script lyrics(Provided by Avinash Scrapwala)
————————————–

सावन भादों
सावन भादों नैन हमारे
बरस रहे दिन रात
बरस रहे दिन रात
सावन भादों
सावन भादों नैन हमारे
बरस रहे दिन रात
बरस रहे दिन रात
सावन भादों

साँसे गिन गिन दिन काटे
और तारे गिन गिन रात
साँसे गिन गिन दिन काटे
और तारे गिन गिन रात
बरस रहे दिन रात
सावन भादों
सावन भादों नैन हमारे
बरस रहे दिन रात
बरस रहे दिन रात
सावन भादों

ओ ओ अँखियाँ तुझ दर्शन को तरसे ए ए
रिम झिम रिम झिम बरसे ए
ओ ओ अँखियाँ तुझ दर्शन को तरसे ए ए
रिम झिम रिम झिम बरसे ए
निस दिन होती है
नैनों से आंसुओं की बरसात
निस दिन होती है
नैनों से आंसुओं की बरसात
बरस रहे दिन रात
सावन भादों
सावन भादों नैन हमारे
बरस रहे दिन रात
बरस रहे दिन रात
सावन भादों

छूट गया है ए
साथ सहारा आ आ
छूट गया है ए
साथ सहारा आ आ
नाव भँवर में दूर किनारा
घोर अंधियारी रात
नाव भँवर में दूर किनारा
घोर अंधियारी रात
बरस रहे दिन रात
सावन भादों
सावन भादों नैन हमारे
बरस रहे दिन रात
बरस रहे दिन रात
सावन भादों


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 :

4592 Post No. : 16216 Movie Count :

4414

Today’s song is from a very rare film-Zanjeer-47. The name of the film immediately reminds us about the same name film of 1973, which catapulted Amitabh Bachhan to dizzying heights thereafter ! However, this film of 1947 was probably made to facilitate Black money into white. Since a lot of Black money generated during the war years had flowed into film financing, this was a regular practice of such producers.

The director of this film was Kishore Sharma, for whom it was just his second movie as a Director. He directed only 5 films – Dr. Kumar-44, Zanjeer-47, Middle fail-48, Biwi-50 and Shisham-52. For the film’s Music Director Krishna Dayal, it was his First film as a Composer. He went on to give music to only 4 more films, namely Lekh-49,Bawra-50, Malika Saloini-53 ( a song ” wo aaye hai, dil ko karar aa gaya” by Sulochana kadam is an Evergreen song !) and Vijaygarh-54.

The cast of this film was Begum Para, Balwant Singh, Jagdish Sethi, K.N.Singh, Gope, Latika and others. Other than this, no information about this film is available anywhere.

Such experiences are not new to me. Since the day I started writing on old films, its music and the people connected with it, I have encountered dead ends many times. In the HFGK, one finds several films, whose only Titles are printed. No other details whatsoever. For example, film Tera Sahara-49, Shabash-49, Sansari-49, Ram pratigya-49, Payal-48, Gumrah-48, Zalim-47, Woh Dono-47, Prem ki Duniya-46, Kismet ka Dhani-46, Khiladi 45 etc. etc. In every year, few such films can be found. Their presence in the HFGK means they were Censored, but no other information.

This is one problem. Another problem is that the general public does not realise the importance of recording or documenting history of films and that we do our bit towards contributing to these collective efforts. Actually, this is a different world altogether. The world of old films and the people writing on them. In the first place, the definition of ” Old Film” is different to different people, depending on their age. Just see this…

For people between 20-30 films of 70s are Old Films
For people between 30-40 films of 60s are Old Films
For people between 40-50 films of 50s are Old Films
For people between 50-60 films of 40s are Old Films
For people between 60-80+ films of 30s are Old Films

When I tell someone that I write on old films,depending on his age he decides my work area. If he is say, 35 year old, he will think I write on films of the 60s era. So on and so forth.

Third problem is people don’t understand that we do this labour of love for self satisfaction, that we don’t earn anything from this and that many times spend a lot on computers and books etc. Some time back, one of my old friends, who has been happily settled in the USA for the last 40 years, came to India and we met one day at my place. After the usual casual talk, he asked me how do I spend my time, now that I am retired and do no job. He knew that after my wife’s demise, I lived alone for the last 7 years. Here is our conversation….

FriendSo Arun, how do you spend your time ?
MeI write on old films and my articles are published on the internet.
FriendOh, I see. You mean you write on films like Awara and Paying Guest etc ?
Me Sometimes, but mainly I write on films of the 30s and the 40s.
FriendDo you earn enough in this ?
Me Oh, no. I don’t get any money. I do it free and for my pleasure.
FriendAnd who reads them ? Why do you waste your time like this ? Forget this crap. If you want you can work from Home and earn plenty.
MeNo. I enjoy doing this. There are millions of people all over the world who read such articles.
FriendYou are a big Fool ! I can understand if you wrote on current films. Some people will read at least, but films of the 30s and 40s ! Oh my God !! You are a gone case !!!

That night I added this to my prayers… God, please pardon my friend. He did not understand what he was speaking !

Whatever is said by whosoever, as long as people like Atul ji are there, we will continue contributing to the preservation of old film documentation.

There are many artistes who contributed to the glory of old films to a great extent, unknown or less known. Not much is written about them and their true life stories are never available in books, magazines or such other chronicles. They appear, shine for a while in their own way and fade away.

Actress Latika was one such actress. She was neither very beautiful like Madhubala, nor had histrionic talents like Meena Kumari, but she had her own way of performance. Sometime in the year 2014, I came across the daughter of Latika, when she commented on my post in this Blog. I followed her up and she kindly sent me a mail describing the life story of Latika, who had settled in England that time. I do not know her present status as there is no reply from her daughter to my mails.

In the year 2014, I got in touch with Ms. Sindy Bell, daughter of Latika and a resident of London, U.K. Sindy was kind enough to provide me with a brief note on her Biography. Latika had acted only in 13 films from 1944 to 1948.( Dr.Kumar-44, Parakh-44, Laat Saheb-46, Inaam-46, Saathi-46, Chalte Chalte-47, Jungle mein mangal-47, Zanjeer-47, Jugnu-47, Shanti-47, Bahadur Jeevan-48 and Gopinath-48 ).

” Latika was born 13th October, 1924 in Darjeeling. Her Tibetan name was Hungu-Lamou. Her mother was Tibetan. Her father was an Australian who adopted Buddhism, living in India as a race horse trainer for the Maharajas. He died when Latika was still very young leaving her with a newly born brother. As a child, Latika was sent to the Kalimpong girl’s orphanage also called ‘The Homes’ for her education by her mother and new step-father until she was 16. Her mother had four more children, her half-brothers and sisters.

The Homes (one for girls, one for boys) were founded by a Scottish missionary, so as a child, Latika was christened Agnes and this is the name she uses in England. Her mother was Buddhist, her step-father, an Anglo-Indian by the name of Webber, was a Protestant but Buddhism was the prevalent faith among her surrounding family of aunties and uncles in Darjeeling.

Latika’s step-father was an engineer who built bridges and due to his work, when she was a teenager, they moved to Mumbai. It was there that Latika made friends with a neighbour who was a kathak dancer and actress. She was invited to visit the Minerva film studios and was there spotted by the director Sohrab Modi and offered the opportunity to act. This was where she was given the stage name Latika, which she is still called by friends and family in India to this day.

In those days, all the scripts were in Urdu which she read beautifully and also learnt kathak dancing. I’m sure you already know the 12 films Latika acted in from the mid 1940’s to early 1950’s, in particular the film Gopinath with Raj Kapoor (1948), where she played the ‘femme fatale’ and her lovely dance sequence in Jugnu (1947).

Latika had always had a respect and interest in holy writings. It was during this period that she met a Jehovah’s Witness who was able to explain the bible, not as a church book, but as holy writings, it’s answers to the ‘big’ questions we all ask and it’s promised blessings. It satisfied all of Latika’s questions about life, so she became a Jehovah’s Witness.

It was while as an actress she met and eventually became friends with Gope at the studios. To this day, Latika says he was the kindest, most compassionate man she ever met. They married and, at Gope’s request, Latika retired from the film industry.

Latika did introduce Gope to the bible. He would read by himself (or as my mother would say, ‘exclaim in delight!’), passages from it, early mornings on the verandah before work. She said he was particularly taken with the accounts of Jesus and how tenderly he treated people. To her surprise, of his own volition, he too became a Jehovah’s Witness.

Gope had a large house in Juhu which also came to house all Latika’s family. When we saw it, it had become a hotel but I’m not sure what has happened to it now.

Before Gope’s death, they had two sons, Gope Jr, and Lalith. When Gope suddenly and unexpectedly died, when the boys were three and five, mum decided to join her siblings who had earlier migrated to the UK. I came from her second marriage.

Latika is still alive and very well and living in the UK. She is in her 90th year, still beautiful. My niece’s second name is Latika and Gope Jr’s two sons bear the (second) name of Gope also. Latika has a big family with grand-children and great grand-children, all from Gope’s lineage. ”

Let us now listen to this song sung by Shamshad Begum and Chorus. With this song, film Zanjeer-47 makes its Debut on this Blog.


Song-Dekho ji aaya khushi ka zamaana chale na jaana (Zanjeer)(1947) Singer- Shamshad begum, Lyrics-Unknown, MD-Krishn Dayal
chorus

Lyrics

Dekho ji aaya khushi ka zamaana
chale na jaana
ho chale na jaana
dekho jee aaya khushi ka zamaana
dekho jee aaya khushi ka zamaana
chale na jaana
o jee o jee
o jee o jee
o jee o jee
o jee o jee
o jee o jee

jungle mein mangal manaane ke din hain
jungle mein
haan haan ji jungle mein
jungle mein mangal manaane ke din hain
baaghon mein
haan haan jee baaghon mein jhoola jhulaane ke din hain
?? jhoola jhulaana
chale na jaana
o chale na jaana
dekho jee aaya khushi ka zamaana
chale na jaana
o jee o jee
o jee o jee
o jee o jee
o jee o jee
o jee o jee

o oar
kaale kaale baadal chahoon oar chhaaye
o o
kaale kaale baadal chahoon oar chhaaye
dekho jee manzil ?? le ke aaye
dekho jee manzil ?? le ke aaye
dekho jee karlo haan haan jee mauj kar lo
dekho jee karlo haan haan jee mauj kar lo
mauj karne ka hai ye zamaana
chale na jaana
o chale na jaana
dekho jee aaya khushi ka zamaana
chale na jaana
o jee o jee
o jee o jee
o jee o jee
o jee o jee
o jee o jee


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 :

4552 Post No. : 16139

Today’s song is from the film Chehra-1946. The film was so obscure that it had no face to recognise in the crowd of 153 Hindi films that were produced in 1946. The film was made by an unknown banner – ” Upright pictures, Bombay”. The director was Rajendra Sharma, for whom this was his First film as a Director. He went on to direct 4 more films namely, Jal Tarang-49, Ehsan-54, Dost-54 and Indra Leela-56, before disappearing from the arena of films. The Music Director was M.A.Mukhtar.

M.A.Mukhtar hailed from Punjab. He started his career by becoming assistant to MD Khurshid Anwar. Chehra was his First and the only independent film. There is a Mukesh solo also in this film -‘ O prani kya soche kya hoy’.

M.A.Mukhtar assisted Khurshid Anwar in PARWANA -47,the last film of K.L.Saigal.

Soon after, the communal riots started. Mukhtar wanted to bring his family from Punjab to safety in Bombay, but unfortunately he was killed in the riots in Jalandhar.

The cast consisted of Najma, Kamal Jamindar, Suraiya Zulfi, Mustafa, Jugal Kishore kaneez, Baby Anwari, Baldev Raj and others. These are veri insignificant names for Hindi films of those years. The Heroine was Najma. Her real name was Naseem. As there was already the popular actress Naseem Banu, She tookn the screen name of Najma. She was born on 12-8-1928 at lahore. Her father Abdul Rasheed was a respected businessman. She was very keen to join films. She was also very good looking.

In 1941, she signed a contract with Acharya Art productions and made a tame Debut in film Kunwara Baap-42. Her name was uncredited. Then came Uljhan-42, Gharonda aka Nai Zindagi-43 and Saudagar-44 (UR). She was cast as a Heroine opposite Suresh and Harish. Her some other films were Dr. Kumar-44, Piya Milan and Naseeb-45, Chehra-46, Haqdar-46, kasam-46 etc. Her last film in India was Parwana-47.

She married a Lahore distributor Mohd. Yasin and they migrated to Pakistan. After taking a few years for family raising, she joined films again as a supporting actress. She featured in 120 films in pakistan till 1987. Najma died 0n 7-1-1988 at Lahore, place of her Birth.

The curse of same name confusion has troubled Hindi films right from the 30s. Today we will talk about 4 different Suraiyas.

1. Suraiya Jamal Sheikh – Perhaps the most well-known of all Suraiyas, Suraiya Jamal Sheikh was one of the last ‘great’ singing-stars that dominated the Hindi film screen in 1930s and 1940s. Her acting style was a charming blend of dialogues and gestures, and was strongly reminiscent of the Muslim feudal era. She retired from films in the early 1960s, settling down to a solitary life in Mumbai before her death in 2004.

2. Suraiya Choudhary – Suraiya Choudhary was a supporting actress active in Hindi films from late 40s to early 50s and was active at the same time when singing-star Suraiya was playing the lead in films. Both Suraiyas were cast together in Jeet (1949). Other films to her credit include Sangeeta (1950), Sabz Baaz (1951), Azad Hindustani (1948) etc.

Suraiya choudhary also appeared with Suraiya-(Jamal Sheikh) in Wadia films Balam 1949, directed by Homi Wadia. Suraiya Choudhary worked with Geeta Bali in Dil Ki Duniya in 1949,directed by Mazhar khan.Suraiya Choudhary played as heroine in film Bombay-1949,opposite Uday kumar. Shakila also worked in this film.Suraiya Choudhary worked with Nargis in Chhoti Bhabhi,1950,directed by Shanti Kumar.

3. Suraiya (Begum) Multanikar – Suraiya Multanikar is a Saraiki folk-singer who also sang for few films including Gul Bakawali (1961) and Badnaam (1966). She was given the ‘Pride of Punjab’ Award recently in 2016 by Punjab Institute of Language, Art and Culture (PILAC).

4. The fourth one was called Suraiya Zulfi. The real name of Suraiya Zulfi was Jamila Begum. She was born on 11-4-1919 at Lahore. Her father was a Petition writer in the District Court. Her schooling was done in Foreman High school. After completing her Junior Cambridge examination, she was married to one Mr. A.Q.Qureshi. He was a Stenographer to Home Secretary, Punjab Government. He was a corrupt person and had a lot of money. Unfortunately, her marriage was short lived and soon they were divorced.

Suraiya’s elder sister Razia Begum was already working in films in Bombay. She was an actress and a singer. Suraiya went to Bombay to try her luck. She was very good looking. Suraiya’s first non credited Debut was in the film Kiski Biwi-1942. This role came to her because to get it, she became friendly with the director Mirza. Her second film was Dada Gunjal’s Mata-1942. With great maneuvering and efforts she convinced Director Essabhai to make her Heroine in film Khiladi-43. The film was delayed and released only in 1945. She started doing small roles in various films. She was variously billed as Suraiya, Suraiya Bano, Suraiya Begum and Suraiya Zulfi.

Her film Yateem-45 was a successful film. In 1946 she did some films like Chehera, Pandit ji, Rupa and some others. Her last acting film was Do naina-47. Along with sister Razia Begum, she started her own Production Unit called R.S.Production and made 2 films in 1947-Kango and Do Naina.

She had, meanwhile, married a wealthy merchant Ali Buksh. Just before the partition, she migrated to Pakistan alone. It seems her husband chose to stay in India only. She planned to build a studio in Lahore for making films. It is believed that while travelling from Karachi to Lahore, Suraiya Zulfi died in a plane crash on 27-12-1947.
( based on information from Filmdom-1946, some Pakistani sites, HFGK,Muslim Cinema by Isak Mujawar and my notes.)

The film Chehra-46, which was a Social film was released on 31-12-1947, more than an year after completion. It probably got stuck with censors first and later in the Partition chaos. Unfortunately, Suraiya Zulfi had died on 27-12-1947 in Lahore in a plane crash. As expected, the film was a flop and ran just one week in Swastik cinema, Bombay.

It is a mystery what makes a film successful. No one has the winning formula. The other day, I was reading the Thesis of Dr. Soumya Dutta of the US, titled “Film Genres’ ‘. It was sent to me by academia.edu, an American site for academicians. In this Thesis he has quoted about the famous theory of Seven Plots, floated by Christpher Booker thus……

” In 2004, a book called “Why we tell stories’, written by Christopher Booker was published. It is a book having more than 700 pages-728 pages to be exact. The book says “There are only 7 (Seven) basic plots in the whole world. They are recycled again and again in Novels, movies, Plays and Operas. These are
1.Overcoming the Monster
2.Rags to riches
3.The quest
4.Voyage and return
5.Rebirth
6.Comedy and
7.Tragedy “.
After this book was published, there was chaos and criticism started. ‘New York Times’ also jumped in. The author coolly replied to all points and stuck to his statements. ”

However, In India, no film is based on an exclusive Generic Story. It is always a clever mix of several Genres. For example, see this story of a Hindi film ” A poor boy and a rich girl fall in love.Boy goes to other countries and comes bag fabulously rich. The girl is kidnapped by a Monster. Boy searches for her, finds her and kills the Monster in a thrilling sword fighting. The couple unites. ” Clap, Clap, Clap !!!

Overall, the Indian movies are highly imaginative. In this field, the South beats all other film industries. # songs from this film are discussed earlier. Today’s song is the fourth one. It is a reasonably good song by Shamshad Begum. Enjoy….


Song-O naina maanat naahin kehna (Chehra)(1946) Singer- Shamshad Begum, Lyricist- I C Kapoor, MD-M A Mukhtar

Lyrics

o naina
o naina maanat naahin kehna
jab se tumko jaana re
jab se tumko jaana re
o naina maanat naahin kehna
jab se tumko jaana re
jab se tumko jaana re
o naina maanat naahin kehna

teri choron waali ghaaten
meri haule haule baaten
meri haule haule baaten
baaten yaad karo
baaten yaad karo
wo raaten
ab kyun hua begaana re
ab kyun hua begaana re
o naina maanat naahin kehna
jab se tumko jaana re
jab se tumko jaana re
o naina maanat naahin kehna

aaja karle
kar le manmaani balmaa
chaar dinon ki jawaani
aaja karle
kar le manmaani balmaa
chaar dinon ki jawaani
kal ki baat hai kisne jaani
kal ki baat hai kisne jaani
apna aaj zamaanaa re
apna aaj zamaanaa re
o naina maanat naahin kehna
jab se tumko jaana re
jab se tumko jaana re
o naina maanat naahin kehna

ye sab chaar dinon ke mele
ham tum phirte rahe hain akele
ye sab chaar dinon ke mele
ham tum phirte rahe hain akele
kuchh le le
aa kuchh de de
kuchh le le
aa kuchh de de
kal ka kaun thhikaana re
kal ka kaun thhikaana re
o naina maanat naahin kehna
jab se tumko jaana re
jab se tumko jaana re
o naina maanat naahin kehna


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

Blog Day :

4546 Post No. : 16123

Today 28th December’2020 is the fifty-second remembrance anniversary of music director Husnlal(born 1918 as per Wikipedia – death 28th December’1968) of the famous music duo of the golden age of Hindi Film Music – Husnlal Bhagatram.

On this occasion here is a song from the ‘1947’ movie ‘Romeo And Juliet’ where music was composed by Husnlal Bhagatram.

“Romeo And Juliet-1947” was directed by Akhtar Hussaain for ‘Nargis Art Concern, Bombay’ (home production of actress Nargis). It had Nargis, Sapru, Anwar Hussain, Sunalini Devi, Nisar, John Cavas, Hameed Murad, Nazir Kashmiri, Violet, Pushpa, Abdul Rasheed, Amanullah and others.

This movie had eight songs as listed below; (songs already posted on the blog are accompanied by their links);

S.No. Song Title Lyricist Singer Posted On
01 Mast jawaani aayi mast jawaani aayi Majrooh Sultanpuri Zohrabai Ambalewali
02 Mausam ye suhaanaa, ahaa ahaa Manohar Khanna Zohrabai Ambalewali 26.07.2017
03 Tumhen sitaaron ne be-akhtiyaar dekha Akhtar Shirani G.M. Durrani 21.09.2014
04 Koyi dil mein samaaya jaaye Manohar Khanna Zohrabai Ambalewali
05 Kisko khabar thi, dil ki ye duniya Manohar Khanna
06 Kya bataayen ishq zaalim Jigar Moradabadi Zohrabai Ambalewali
07 Wo yaad aa rahen hai, laaye unhe kahaan se Majrooh Sultanpuri G.M. Durrani
08 Donon jahaan teri muhabbat mein haar ke Faiz Ahmed Faiz Khayyam 12.08.2014

We can see from the above that three songs of this movie have been posted on the blog so far.

Today’s song is sung by Zohrabai Ambalewali and lyrics are by Majrooh Sultanpuri. Music is composed by Husnlal-Bhagatram.

I came across this song five-six years back when I was looking for songs of Zohrabai Ambalewali. Today’s song is sung by her and it is a nice song to listen to and enjoy.

Let us now enjoy today’s song (a Husnlal-Bhagatram composition) and pay our tributes to music director Husnlal on his remembrance anniversary today.

Audio

Song-Mast jawaani aayi (Romeo and Juliet)(1947) Singer-Zohrabai Ambaalewali, Lyrics-Majrooh Sultanpuri, MD-Husnlal Bhagatram

Lyrics

Mast jawaani aayi ee
Mast jawaani aayi ee
Mast jawaani aayi ee
Aao ji pyaar kar lo o
Dil ka paimaanaa bhar lo
Mast jawaani aayi ee
Mast jawaani aayi ee
Mast jawaani aayi ee
Aao ji pyaar kar lo o
Dil ka paimaanaa bhar lo
Mast jawaani aayi

Dil hi jannat
Dil hi dozakh
zaahid ko behkaane do
zaahid ko behkaane do
Dilwaalon ki mehfil hai ye
Dilwaalon ko aane do
Dilwaalon ko aane do o
Dekho deewaani aayi ee
Dekho deewaani aayi
Mast jawaani aayi ee
Aao ji pyaar kar lo o
Dil ka paimaanaa bhar lo
Mast jawaani aayi ee

Mast nazar se jo behkaa de
Hosh mein laana kya jaane ae
Hosh mein laana kya jaane
Dil mein aag lagaanewaalaa
Aag bujhaana kya jaane ae
Aag bujhaana kya jaane ae
Rut bhi suhaani aayi ee
Rut bhi suhaani aayi
Mast jawaani aayi ee
Aao ji pyaar kar lo o
Dil ka paimaanaa bhar lo o
Mast jawaani aayi ee

Tumne gar na pee isko to
Jeete ji pachhtaaoge ae
Jeete ji pachhtaaoge
Pee loge to hosh ganwaakar
Tum bhi hosh mein aaoge
Tum bhi hosh mein aaoge ae
Pee lo thhodi si pee lo
Pee lo ji bhar ke pee lo
Mast jawaani aayi ee
Aao ji pyaar kar lo o
Dil ka paimaanaa bhar lo
Mast jawaani aayi
Mast jawaani aayi
Mast jawaani aayi
Aao ji pyaar kar lo
Dil ka paimaanaa bhar lo
Mast jawaani aayi ee


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.

Blog Day :

4494 Post No. : 16021 Movie Count :

4384

Sometime back, I had come across a list of unreleased songs of Mohammed Rafi on the internet. The number of such songs were close to 100. A scrutiny of the songs revealed that these were not necessarily unreleased songs. Some songs were from unreleased films which were released later on gramophone records in some cases. Then, there were songs which were composed for released films but were not picturised. Some songs were deleted from films mainly to reduce the length of the films. Some of the songs in the list have already been covered in our Blog.

To begin with, I checked from the list to see which of the songs, especially of 1940s and 50s are available on the video sharing platforms which are yet to be covered on the Blog. From the list, I found two of the earliest songs among others rendered by Rafi for an unreleased film, ‘Geet Aur Aansoo’ (1940s) which are yet to be covered in the Blog. I am presenting one of Rafi’s two songs in the film, ‘maut uski jawaani pe lalchaayi’. The song has somewhat unusual lyrics by Surjeet Sethi.

Arun ji has confirmed that not much details about the film in HFGK such as the name of the director, star cast and other crews of the film is available except that it was produced under the banner of S. S. Moviemakers. One website (myswar.com) has shown the film as that of 1947 but as unreleased and has listed 7 songs in the film of which 2 songs were sung by Mohammed Rafi, 4 songs by Kusum Mantri and remaining one song sung by S Mohinder who was the music director. SAREGAMA has also listed S Mohinder as the music director for three mp3 clips of the songs of the film. All the songs were written by Surjeet Sethi.

I find from the filmography of S Mohinder that in most of the films for which he was the music director, Surjeet Sethi wrote lyrics for him. He wrote lyrics for S Mohinder in ‘Sehra’ (1948), ‘Neeli’ (1950), ‘Bahadur’ (1953), ‘Paapi’ (1953) and ‘Sau Ka Note’ (1955). After 1955, Surjeet Sethi seems to have given up writing lyrics for the film. After a gap of many years, Surjeet Singh’s name propped up as a producer-director-lyricist of an obscure film ‘Sandli’ (1980s, UR) for which S. Mohinder was the music director.

‘Geet Aur Aansoo’ (1940s UR) raises a point to ponder as to which was the debut film of music director S. Mohinder – ‘Sehra’ (1948) which has been marked as such or ‘Geet Aur Aansoo’ (1940s) songs of which were supposed to have been recorded in 1947? Surprisingly, I have not come across in any article on S. Mohinder or his interviews in which he had ever mentioned ‘Geet Aur Aansoo’ while discussing his film music.

I personally feel that ‘Geet Aur Aansoo’ may be the debut film both for music director, S. Mohinder and lyricist, Surjeet Sethi. First, the style of singing of Mohammed Rafi reminds me of his song in ‘Jugnu’ (1947). Secondly, I came to know from the Rajya Sabha interview which S Mohinder gave about 4 years back that he and Surjeet Sethi got acquainted with each other only during their train journey from Lahore to Bombay Central in May 1947, a few months before on the partition. During the conversation in the train, Surjeet Singh introduced himself as a shaayar. Their friendship in Mumbai may have led to their collaboration in ‘Geet Aur Aansoo’ (1940s, UR) and some more films.

Audio Clip:

Song-Maut uski jawaani pe lalchaayee (Geet Aur Aansoo)(1947) Singer-Rafi, Lyrics-Surjeet Sethi, MD-S Mohinder

Lyrics

maut uski jawaani pe lalchaayi
liya aagosh mein jyonhi wo muskaayi
maut uski jawaani pe lalchaayi

uski hansi ne khud ko naashaad kiya aa aa aa aa
uski hansi ne khud ko naashaad kiya aa aa aa
uski shokhee ne khud ko barbaad kiya
usko le doobi uski hi angdaayi
maut uski jawaani pe lalchaayi
liya aagosh mein jyonhi wo muskaayi
maut uski jawaani pe lalchaayi

mil gayi raakh mein aaj uski jawaani
mil gayi raakh mein aaj uski jawaani
maut ki dulhan bani wo husn ki raani ee
naseeb-e-maut ab teri kahaan sunaayi(?)
maut uski jawaani pe lalchaayi
liya aagosh mein jyonhi wo muskaayi
maut uski jawaani pe lalchaayi
lalchaayi
lalchaayi


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 :

4455 Post No. : 15926

Yearwise discussion of Lata Mangeshkar songs in HFM: Part I: 1946-1947

Today (28 september 2020) is the 91st birthday of Swar Samragyi Lata Mangeshkar (DoB 28 September 1929). We as part of HFM lovers extend her a very happy birthday and wish her many happy returns of the day.

She has been the most influential singer of HFM (and by extension all Indian film music).

A lot has been written on her career and her songs and her life. Instead of joining that race and repeating the already much repeated facts about her, I would take this occasion to stat my discussion of her HF songs yearwise, right from the beginning. So one can see that it is going to be a long series, which may have started on her birthday and it will contunue on and on, and each post will discuss one year. She has been around for more than six decades. It will take me at least 40 posts, may be more to discuss her songs over the years. I plan to publish one article every year. At this rate, this series could take upto one year. But then what is one year for this blog which is going on for more than 12 years !

This writeup, which is part I takes up the years 1946 and 1947. Why two years ? Because this series will discuss a Lata Mangeshkar song from the year under discussion. Lata Mangeshkar made her debut in 1946 but all songs sung by her in 1946 are already covered in the blog. 1947 is the second year for her HFM career. Here just one song sung by her remains undiscussed. So I had to take up the year 1947 as well so that I could discuss a song of the year with the article.

Coming to 1946, here are the details of the songs sung by Lata Mangeshkar in HFM in 1946:-

Movie Music director Lata song in the blog Lata HFM songs in the year Lata solo songs Male duet Female duet Other songs Lyricists Song detail
Jeewan Yaatra Vasant Desai 1 1 1 0 0 0 Dewar Sharar Chidiya boley choon choon choon
Sona Chaandi D C Dutt 1 1 1 0 0 0 Wali Sahab Pyaare Bapu ke charnon ki le lo prasann
Subhadra Vasant Desai 2 2 2 0 0 0 Pt Sudarshan (1) Pt Indra (1) Piya aayegaa…gori sudh na bisaar piya aayegaa Pt Indra Chandra
Saanwariya oye baansuriya oye bajaaye gayo re Pt Sudarshan
Total Three movies Two music directors 4 4 4 0 0 0 Four lyricists All solos

The next year 1947, which was an important year for the country saw Lata Mangeshkar faring more or less how she had fared the previous year, as can be seen from the table below :-

Movie Music director Lata song in the blog Lata HFM songs in the year Lata solo songs Male duet Female duet Other songs Lyricists Song detail
Aap Ki Sewa Mein Datta Dawjekar 2 3 3 0 0 0 Mahipal Paa laagoon kar joree re
Ek naye rang mein dooje umang mein
Shaadi Se Pehle Pt Ramakant Paingankar-Karnad 1 1 0 1 0 0 Pt Mukhram Sharma Chalo ho gayi taiyyar Duet with Rafi
Shehnaai C Ramchandra 1 1 0 0 0 1 P L Santoshi Jawaani ki rail chali jaaye re with Chitalkar and Geeta Dutt as co singers
Total Three movies Three music directors 4 5 3 1 0 1 Three lyricists Three solos, plus her first male duet and first multiple singers song

If someone had done an year end analysis of Lata Mangeshkar’s career prospects at the end of 1947, he would have written off her chances as a playback singer. Such an analyst would have lots of facts backing his judgement. Lata Mangeshkar had a thin feeble voice, unlike the buland voices of the predominantly Punjabi female singers of those days. Forget laypersons, even a few studio owners, such as Filmistan’s boss rejected Lata’s voice outright, despite the recommendations of music director like Ghulam Haider. If one had to give opportunities to a new voice, then Geeta Roy showed far more promise. Unlike Lata, who was struggling on family and career fronts, Geeta Roy was getting her breaks almost without much struggle. And her voice was loved by all prominent music directors and movie producers.

So, Lata Mangeshkar did not have it easy in her career. She has faced lots of hardships. She has overcome them all. Moreover, she stood for her rights, took on powerful influential individuals in the induustry and got her way. Not just that, she survived and outlived them all.

Many people, with the benefit of hindsight may think that Lata Mangeshkar had a smooth career in film industry. Not at all. She has survived lots and lots of hardships that would have destroyed lesser mortals. One forgotten fact is that an attempt was made to poison her. It was a tactic that was earlier used against Master Madan in 1940s. Lata Mangeshkar’s enemies had planted a cook in her residence who was slowly poisoning her meals. It was an incident of early 1960s. The matter was detected in time and the cook ran away.

Her detractors accuse her of sabotaging the careers of some of her contemporaries. I think this accusation has an element of exxagaration. Even in the prime of her career, there were lots and lots of movies where she did not sing. She would typically sing songs in 50 odd movies in a year out of 100 odd movies released in that year. If these contemporaries were as good as they thought, they had enough opportunities to get work in the movies where Lata Mangeshkar did not sing. It takes far more than just raw singing ability to get work and get repeated. It takes lots of social networking which Lata Mangeshkar was good at. A few of her contemporaries known to be regarded as her competitors did not possess even a fraction of the networking abilities that Lata and her equally illustrious younger sister Asha Bhonsle possessed.

My observation about Lata Mangeshkar is that she was like an iceberg, and only the tip of her abilities were used in HFM. And even that has resulted into a body of work that is quite formidable.

One can see from the above two tables that Lata Mangeshkar was a struggler for most of the 1940s and she had very little to show for her struggles by the end of 1947. Lots and lots of things happened thereafter. She has the luck and the ability to turn it around spectacularly in the years to come. We will look at these facts in details in the future posts of this series.

It has been mentioned above that all Lata songs of 1946 have been covered in the blog. The table for 1947 shows that one Lata song from 1947 remains uuncovered. The song under discussion is that remaing song.

“Aap Ki Sewa Mein”(1947) was directed by Vasant Joglekar for Chandrma Pictures Bombay. This obscure movie had Dixit, Kesri, Shantarin, Saroj Borkar, Nimbalkar, Smson, D R Gokhale, Bhal Marathe, Vijaya, Baby Nalini etc in it. The movie had eight songs in it. Four songs have been covered in the past.

Lata Mangeshkar had sung three solos in the movie. Two of these songs have been covered in the blog in the past.

Here is the third and final Lata solo from “Aap Ki Sewa Mein”(1947) to appear in the blog. The song is penned by Mahipal (later a hero of mythological movies). Music is composed by Datta Davjekar.

Listening to the voice in this song, one can notice the influence of Suraiyya in her voice, who was a leading female playback singer of those days.

With this song, all the Lata Mangeshkar HFM songs of 1947 have now got covered in the blog.

In the next instalment of this series, we will discuss Lata Mangeshkar HFM songs sung by her in Hindi movies released in 1948.


Song-Ab kaun sunega mere man ki baat (Aap Ki Sewa Mein)(1947) Singer-Lata, Lyrics-Mahipal, MD-Datta Davjekar

Lyrics

ab kaun sunega
ab kaun sunega aa aa
mere man ki baat
ab kaun sunega aa aa aa
mere man ki baat
jiske chhoote sabhi sahaare ae ae ae
jiske chhoote sabhi sahaare
uska haar(?)
ab kaun sunega aa aa aa
mere man ki baat
ab kaun sunega

jo karte thhe kabhi ishaare ae ae
jo karte the kabhi ishaare
doob gaye we chand sitare
doob gaye, doob gaye
dub gaye oe chaand sitare
raah dikhaane aayi mujhko
raah dikhaane aayi mujhko, toofaanon ki raat
ab kaun sunega aa aa aa mere man ki baat
ab kaun sunega

jyot diye ki ee ee jab bujh jaaye ae ae ae
jyot diye ki ee jab bujh jaaye
aansu kya usko sulgaaye
aansu kya aa
aansu kya
aansu kya usko sulgaaye
bhar bhar aatin ankhiyaan
ankhiyaan
bhar bhar aatin ankhiyaan
man sookha sookha jaaye
ab kaun sunega aa aa
mere man ki baat
ab kaun sunega aa aa
mere man ki baat
ab kaun sunegaa


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 :

4443 Post No. : 15890

“Ghar Ki Bahu”(1947) was directed by Narayan Rao and G K Devre for Kohinoor pictures, Bombay. This “social” movie had Paro Devi, Umakant, Ghulam Mohammad (actor), Pandey, Mehar Sultana, Manohar Ghatwai, Dhuliya, Babu Raje, Geeta Sardesai etc in it.

This forgotten movie had eight songs in it that have become extremely rare songs. One song has been covered in the past.

Here is the second song from “Ghar Ki Bahu”(1947) to appear in the blog. This song, even rarer than the one discussed earlier, is sung by Paro Devi and chorus. Taresh is the lyricist. Music was composed jointly by Shanti Kumar Desai and R C Rai.

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

I request our knowledgeable readers to throw light on this movie.


Song-Ham dharti ke laal (Ghar Ki Bahu)(1947) Singer-Paro Devi, Lyrics-Taresh, MD-Shanti Kumar Desai
Chorus

Lyrics

Ham dharti ke laal
Ham dharti ke laal
Ham dharti ke laal

hamaaro o o o o
hamaaro dharti se hi pyaar
Ham dharti ke laal
Ham dharti ke laal
Ham dharti ke laal

ghaas paat ki hamri jhopadiya
ghaas paat ki hamri jhopadiya
ho hamri jhopadiya
kheti ko byopaar
kheti ko byopaar
gaay bail hain sangi saathi
gaay bail hain sangi saathi
kudrat ko aadhaar
hamaaro albelo sansaar
hamaaro albelo sansaar
kaho jee
kaho jee saanch baat ya jhoothh
hamaaro dharti se hi pyaar
hamaaro dharti se hi pyaar
ham dharti ke laal
Ham dharti ke laal
ham dharti ke laal

ho o o
garmi jaawe
garmi jaawe
barkhaa taawe
sardi ang churaawe
haay maa
sardi ang churaaye
haay maa
sardi ang churaaye
khoon bahaaye
khoon bahaaye
?? na paaye
ham bhookho rah jaayen
hamen na
hamen na pal bhi mile karaar
hamen na pal bhi mile karaar
kaho jee
kaho jee saanch baat ya jhoothh
hamaaro dharti se hi pyaar
hamaaro dharti se hi pyaar
ham dharti ke laal
ham dharti ke laal
ham dharti ke laal

ho o
dhoop sahen chupchaap rahen ham
karke yahi vichaar
arre haan
karke yahi vichaar
ik din howo
in kheton par hamro hi adhikaar
arre haan
arre haan
hamri hi sarkaar
rahe na kou zameendaar
rahe na kou zameendaar
kaho jee
kaho jee
saanch baat ya jhoothh
hamaaro dharti se hi pyaar
hamaaro dharti se hi pyaar
ham dharti ke laal
ham dharti ke laal
ham dharti ke laal


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 :

4432 Post No. : 15865

“Bela” (1947) was directed by Chaturbhuj Doshi for Ranjit Movietone, Bombay. The story, screenplay, dialogues and Lyrics of this movie were by D N Madhok. The movie had P Jairaj, Nigar Sultana, Shrinath Tripathi, Pt.Iqbal, Krisnakumari, Master Mehmood, Rekha, Usha, B.R.Sharma etc. in it.

The movie had ten songs in it. Eight of these songs have been covered in the past.

Here is the ninth song from the movie. This song is sung by Zohrabai Ambalewaali. D N Madhok is the lyricist. Music is composed by Bulo C Rani.

Only the audio of the song is available. My guess is that this melancholic song was picturised on the leading lady viz Nigar Sultana. I could be wrong as well, seeing that Zohrabai Ambalewaali’s voice figured in all the ten songs of the movie, so who knows, she may have sung for all the important ladies in the movie, in addition to leading lady. I request our knowledgeable readers tp throw light on the picturisation of the song.


Song-Ho zara meri gali aaa re balam (Bela)(1947) Singer-Zohrabai Ambalewaali, Lyrics-D N Madhok, MD-Bulo C Rani

Lyrics

Ho zara meri gali aa re balam
zara meri gali aaa re baalam
nanhi si jaan hai meri ee
haaye baalma aa
nanhi si jaan hai meri ee
haay baalma aa
tod na de tera gham
ho zara meri gali aa re balam
zara meri gali aa re balam

rain diwas jiya dagmag doley
tera naam pukaare
dheere dheere haule haule
rain diwas jiya dagmag doley
tera naam pukaare
dheere dheere haule haule
jab main pyaar se poochhoon to yehi boley
jab main pyaar se poochhoon to yehi boley
nanhi si jaan hai meri
haaye baalma aa
nanhi si jaan hai meri
haay baalma aa
tod na de tera gham
zara meri gali aa re balam
zara meri gali aa re balam

aadhi aadhi raat
aadhi aadhi raat
mera nindiya se jaagna
aadhi aadhi raat
mera nindiya se jaagna
naam tera le le ke
it ut bhaagna
naam tera le le ke
it ut bhaagna
ab to milo baalma aa
haay baalma aa
ab to milo baalma aa
haay baalma aa
chhoot na jaaye ye dam
zara meri gali aa re balam
zara meri gali aa re balam
nanhi si jaan hai meri ee
haaye baalma aa
nanhi si jaan hai meri ee
haay baalma aa
tod na de tera gham
zara meri gali aa re balam
ho zara meri gali aa re balam


This article is written by nahm, 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 :

4411 Post No. : 15808

Today is 15th August, 2020 and we are celebrating 74rd Independence day. A national festival in COVID times, when all the festivals and celebrations have been kept low key and confined to own dwellings, very small gatherings or on the modern wonders of 21st century whatsapp and video conferences. But these small mercies have also been marred by the casualties. Most painful is the inability to visit the sick and not go the two steps distance towards the final rites of those who have lost this battle.

This past 6 months, we have all come to realize what really matters. Our family, friends and our inherent capacity to be happy and content, is the takeaway for us at the end of this. Surely, there is light at the end of this tunnel.

It has been 73 years since we have gained or wrested our freedom from a foreign power. A power, which still relishes its successes and spoils from the conquering and subduing of this ancient land of the Rishi Munis and sufi saints and great thinkers and poets. There is a saying “United we stand and divided we fall”. But here we are celebrating the event of the division of an ancient civilization. Over these 73 years and even before with the two world wars, we have seen elsewhere how those superpowers and their brethren create, fight and finish their unholy wars. Be it annihilation of Japan or the systematic destruction of Iraq(twice over), and the dismantling of the ‘khilaafat’ in Turkey, we in the end got free lightly, only with the three way division of the sub-continent and the loss of a few million lives in the cross migration or exchange of population, or whatever. Everything comes at a cost, and we, some would say have paid it. There is a very good reason for the tag of ‘sub-continent’ to this region of Hindustan. These are some things to ponder over.

The song I have chosen to present here is “Desh mein sankat aaya hai” from “Aap ki sewa mein” (1947). The song obviously of pre-independance era, as it ends with “Chheen lo , chheen lo ……..” . Meaning ‘Azaadi chheen lo”. Otherwise the lyrics are mainly about food shortages, or maybe it is talking about famine, in Bihar or Bengal.

By and large, our country is free of such fears, at least in matters of food. Initially with the extended lockdown, there were apprehensions everywhere, especially in the elderly. They were not totally unfounded with the transportation and all activity at the standstill, there is always a chance of things going horribly bad. But the bureaucratic vigilance and diligence at every step of the way saved the day for India. Indian bureaucracy, however maligned as “babus” is a fine institution so is the distribution network of resources and essentials, that much has been proved. We take these institutions for granted, until they are threatened, look to be losing significance. Only then we acknowledge what it was and what we lost.

Despite these apprehensions, all was fine at least in Mumbai. But one thing I could not find in my 3 visits to the supermarket, i.e. the humble ‘safed watana’ 🙂 .

Here is a bonus, a poem by Sahir Ludhianvi :

– वीरसा –
ये वतन तेरी मेरी नस्ल की जागीर नहीं
सैकड़ों नस्लों की मेहनत ने सँवारा है इसे
कितने ज़ेहनों का लहू कितनी निगाहों का अ’रक़
कितने चेहरों की हया कितनी ज़बीनों की शफ़क़
ख़ाक की नज़्र हुई तब ये नज़ारे बिखरे
पत्थरों से ये तराशे हुए असनाम ए जवाँ
ये सदाओं के खंम-ओ-पेच ये रंगों की ज़ुबां
चिमनियों से निकलता हुआ ये पुर पेच धुआँ
तेरी तख़्लीक़ नहीं है मेरी तख़्लीक़ नहीं
हम अगर ज़िद भी करें इस पर तो तसदीक़ नहीं
ई’ल्म सूली पर चढ़ा तब कहीं तख़मीना बना
ज़हर सदियों ने पिया तब कहीं नौशीना बना
सैकड़ों पावों कटे तब कहीं इक ज़ीना बना
तेरे क़दमों के तले या मेरे क़दमों के तले
नौ ए इंसान के शब ओ रोज़ की तक़दीर नहीं
ये वतन तेरी मेरी नस्ल की जागीर नहीं
सैकड़ों नस्लों की मेहनत ने सँवारा है इसे

तेरा ग़म कुछ भी सही मेरा अलम कुछ भी सही
एहल ए सर्वत की सियासत का सितम कुछ भी सही
कल की नस्लें भी कोई चीज़ हैं, हम कुछ भी सही
उन का वरसा हों खंडर ये सितम ईजाद न कर
तेरी तख़्लीक़ नहीं तू उसे बर्बाद न कर
जिस से देहक़ान को रोज़ी नहीं मिलने पाती
मैं न दूंगा तुझे वो खेत जलाने का सबक़
फ़स्ल बाक़ी है तो तक़सीम बदल सकती है
फ़स्ल की ख़ाक से क्या मांगेगा जम्हूर का हक़
पुल सलामत है तो तू पार उतर सकता है
चाहे तबलीग़ बग़ावत के लिए ही उतरे
वरना ग़ालिब की ज़बान में मेरे हमदम मेरे दोस्त
दाम हर मौज में है हल्क़ा ए सद काम ए नेहंग
सोच ले फिर कोई तामीर गिराने जाना
तेरी तामीर से है जंग के तख़रीब से जंग
एहल ए मनसब हैं ग़लत कार तो इन के मनसब
तेरी ताईद से ढाले गए , तू मुजरिम है
मेरी ताईद से ढाले गए मैं मुजरिम हूँ
पटरियाँ रेल की, सड़कों की बसें, फ़ोन के तार
तेरी और मेरी ख़ताओं की सज़ा क्यूँ भुगतें
इन पे क्यूँ ज़ुल्म हो जिन की कोई तक़सीर नहीं
ये वतन तेरी मेरी नस्ल की जागीर नहीं
सैकड़ों नस्लों की मेहनत ने सँवारा है इसे

तेरा शिकवा भी बजा मेरी शिकायत भी दुरुस्त
रंग ए माहोल बदलने की ज़रूरत भी दुरुस्त
कौन कहता है के हालात पे तनक़ीद न कर
हुकूमत के ग़लत दाओं की तर्वीद न कर
तुझ को इज़हार ए ख़यालात का हक़ हासिल है
और ये हक़ कोई तारीख़ की ख़ैरात नहीं
तेरे और मेरे रफ़ीक़ो ने लहू दे दे कर
ज़ुल्म की ख़ाक में इस हक़ का शजर बोया था
सालहा साल में जो बर्ग ओ समर लाया है
अपना हक़ मांग मगर इन के ता’आउन से न माँग
जो तेरे हक़ का तसव्वुर ही फ़ना कर डालें
हाथ उठा अपने मगर इन के जिलौ में न उठा
जो तेरे हाथ तेरे तन से जुदा कर डालें
ख़्वाब ए आज़ादी ए इंसान की ये त’अबीर नहीं
ये वतन तेरी मेरी नस्ल की जागीर नहीं
सैकड़ों नस्लों की मेहनत ने सँवारा है इसे
(साहिर लुधियानवी)
*****************

नस्ल – pedigree, ancestry
अरक़ – essence
जबीन – forehead
शफ़क़ – crimson colour of evening sky as the sun sets
असनाम जवाँ – idols of the young/youth
ख़म-ओ-पेच – curves and curls
तख़्लीक़ – creation
तसदीक़ – verifying, authentication
इल्म – knowledge, education
तख़्मीना – estimate or valuation
नौशीना – antidote for poison
ज़ीना – stairs
नौ-ए-इंसाँ – new generation / civilization
अलम – grief, affliction, pain
अहल-ए-सर्वत – The wealthy, well endowed
चीज़ – something or some matter
विर्सा – inheritance or heritage
ईजाद – invention
दहक़ान – farmers
सबक़ – lesson
तक़्सीम – division, distribution
फ़स्ल – harvest, yield
जम्हूर – republic, populace
तब्लीग़ – preaching
बग़ावत – revolt, rebel
दाम – a trap or costs
मौज – a wave or enjoyment/fun
हल्क़ा-ए-सद-काम-ए-नहंग – a circle of perils, chain of events(unwanted) in daily chores.
ता’मीर – construction
तख़रीब – destruction
अहल-ए-मंसब – The powerful
ग़लत-कार – wrong-doer, in the wrong
मंसब – seat of power, good offices
ताईद – consent, favour or encouragement
ख़ताओं – mistakes, faults
तक़्सीर – crime, sin
शिकवा – complaint
रंग-ए-माहौल – the hues in the atmosphere
हालात – conditions, current situations
तन्क़ीद – criticism
हुक्मरानों – the rulers
दा’वों – claims or tall claims
तरदीद – contradict or refuse
इज़हार-ए-ख़यालात – expression of thoughts and ideas
हासिल – available for you, gotten
तारीख़ – history
ख़ैरात – alms, charity
रफ़ीक़ों – friends, dear ones, well wishers
शजर – a tree
सालहा-साल – years after years
बर्ग-ओ-समर – leaves and fruits
तआ’वुन – help or co-operation
तसव्वुर – conception, imagination
फ़ना – destroy, finish
जिलौ – in the company of
ख़्वाब-ए-आज़ादी – The dream of liberty
त’अबीर – completion, realization

______

The song presented is composed by Datta Devjekar. Lyricist is Mahipal and singers are Mohammed Rafi and G. M. Sajan.


Song-Desh mein sankat aaya hai (Aap Ki Sewa Mein)(1947) Singers-Rafi, G M Sajan, Lyrics-Mahipal, MD-Datta Davjekar
Both

Lyrics

Desh mein sankat aaya hai
Desh mein sankat aaya hai
Aaya hai ae
Desh mein sankat aaya hai
Desh mein sankat aaya hai
Aaya hai ae

Desh mein sankat aaya hai
Desh mein sankat aaya hai
Ab kuchh kar ke dikhlaana hai
Desh mein sankat aaya hai
Ab kuchh kar ke dikhlaana hai
Kam khaane ka
sab logon ko
badaa hunar sikhlaana hai
nayaa hunar sikhlaana hai
Desh mein sankat aaya hai

Aadhi thaali chhod chhod kar
budhdhon ko utth jaane do
Aadhi thaali chhod chhod kar
budhdhon ko utth jaane do
naujawaanon ko minnat kar ke
sookhe chane chabaane do
naujawaanon ko mehnat kar ke
sookhe chane chabaane do

aage naariyon ooo
bahu betiyon o o

punya loot lo oo
ae punya loot lo
nandan (??) kar ke punya loot lo
Ye mauqa mat jaane do

nandan(??) kar ke punya loot lo
Ye mauqa mat jaane do

Yahi sandesaa
gali gali mein
aaj hamen pahunchaana hai
Yahi sandesaa
gali gali mein
aaj hamen pahunchaana hai
Kam khaane ka
sab logon ko
badaa hunar sikhlaana hai
nayaa hunar sikhlaana hai
Desh mein sankat aaya hai

Do roti khaata ho uss ko
Aadhi pe majboor karo
Do roti khaata ho uss ko
Aadhi pe majboor karo
Kam-nase(?) mehmaan aaye
ae ae ae ae

Kam-nase (?) mehmaan aaye
To dhakke maaro door karo
Kam-nase(?) mehmaan aaye
To dhakke maaro door karo
Nayi roshni se logon ko
Naya sabaq samjhaana hai
Nayi roshni se logon ko
Naya sabaq samjhaana hai
Kam khaane ka
sab logon ko
badaa hunar sikhlaana hai
nayaa hunar sikhlaana hai
Desh mein sankat aaya hai

Bade niwaale tum na khaao
Bachchon ko ye seekh do
Bachchon ko ye seekh do
Ghar pe bhookha aaye maangne ae
Ghar pe bhookha aaye maangne
Lekin uss ko bheekh do oo

Ghar pe bhooka aaye maangne
Lekin uss ko bheekh do
Chheen lo
Chheen lo
Chheen lo
Chheen lo
Chheen lo


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Blog Day :

4404 Post No. : 15793

“Renuka”(1947) was directed by Ramesh Sahgal for Jayant Desai productions, Bombay. This “social” movie had Mubarak, Hemawati, Afzal, Shreemati Vijaydas, Shashi Kapoor (senior), Baby Vimla, Chanda Bai, Kesar Bai, Sati devi, Dharpure, etc in it.

The movie had twelve songs in it. Four songs have been covered in the past.

Here is the next song from the movie. This song is “o bewafa zamaane toone dagha kiya hai.”

The song is sung by Ram Prasad Sharma. Qamar Jalalabadi is the lyricist. Music is composed by Sardar Malik.

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


Song-O Bewafa zamaane toone daga kiya hai(Renuka)(1947) Singer-Ramprasad Sharma, Lyrics-Qamar Jalalabadi, MD-Sardar Malik

Lyrics

o bewafa zamaane ae ae
toone daga kiya hai
o bewafa zamaane ae ae
toone daga kiya hai
do dil mile huye the ae ae
unko juda kiya hai
itna mujhe bata de
rasme wafa yahi hai
itna mujhe bata de
rasme wafa yahi hai
o pyaar karne waale ae kyon dard de diya hai
o pyaar karne wale kyon dard de diya hai
o bewaafa zamane
tune daga kiya hai
do dil mile huye the ae ae
unko juda kiya hai

pahle mile thhe kaise
aur ab mile hain kaise
pahle mile thhe kaise
aur ab mile hain kaise
hum soch kya rahe thhe ae ae
kismat ne kya kiya hai
hum soch kya rahe thhe ae ae
kismat ne kya kiya hai
o bewafa zamaane ae ae
toone daga kiya hai


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

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