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 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 :

4706 Post No. : 16410

After about 8 transfers in different states on promotions, I was promoted further and brought to our Head office in Bombay ( it had yet to become Mumbai). I settled down here for good. The year was 1983. While going to the office everyday, I used to see a beautiful Housing society at the corner of Versova Road and Juhu Road junction. The society’s name was ” Karachi Residents’ society-No.4″. I was very curious about this name. On one Sunday, while returning from a friend’s house, I stopped my car near this society, I saw a middle-aged person coming out of the gate. I stopped him and enquired. From what he told me, I gathered that this was a society of those people who lived in Karachi, before the Partition. He further enlightened me that there were 5 such societies in Bombay and there was also a “Lahore Residents’ Society ” which too had 5 numbers. People who fled from Karachi and Lahore at the time of Partition still loved their original abode !

Later I read somewhere that there was a Bombay Residents’ Society in Karachi also ! So the attachments were on both sides !! Partition not only divided the Country in 1947 but also affected the Film industry badly on both sides. Few days ago I was reading a book “Mourning the Nation – Indian cinema in the wake of Partition” written by Bhaskar Sarkar. Then I remembered those societies. Today, those society buildings have been pulled down and new buildings have come up, with different new names. However, a closer look shows older names mentioned in small letters in brackets on the new name boards.

According to the book, Indian film industry lost some Gems, but Pakistan was not in a position to do justice to these Gems, as their film industry was in doldrums. Everything had to be started all over again. Till that time the artistes had to wait. Problem in India was the void created by the exit of artistes, but this was easily done by a strong reserve available, waiting in the wings for opportunities. This was the second line. The problem in Pakistan was having to establish the infrastructure itself plus financers for the film production, since the economy was yet to develop.

In undivided India, Lahore (then in the Punjab) was important as a showbiz centre. It was an established film-making centre. The first Talkie film ever to be made in a Lahore studio was Heer Ranjha-1932 and thereafter many Urdu and Punjabi films were produced from Lahore every year. The partition of India into two independent states – India and Pakistan, caused irreparable damage to film production in Lahore. Most of Lahore’s film producers were Hindus and as the city fell on the side of the Islamic state of Pakistan, they migrated to India. This deprived Lollywood, as Lahore is referred to in film circles, of much needed investment and expertise in film production and distribution. Many talented actors and musicians from Punjab and Sindh area tried their luck in the Cine Industry at Lahore. Nevertheless, the biggest centre of film production was Bombay and it was every aspiring artiste’s dream to go to Bombay and shine there.

The film activity at Lahore increased considerably in the early 40s in terms of film production and Music. Those days many actors and musicians shifted their base to Bombay from Lahore, Calcutta and other places too.

The list of such people is very long, but it will suffice to mention some well known names-
Noorjehan, Pran, Saigal, Prithwiraj Kapoor, Shyam, Dilip Kumar, Surinder, Karan Dewan, Dev Anand, Balraj Sahni, Singer Khursheed, Mumtaz Shanti, Veena, Begum Para, Meena Shorey, Suraiya, Manorama, Kamini Kaushal, Shyama(Khursheed Akhtar), A R Kardar, M Sadiq, Suresh(Nazim Ahmed), Amar, Chetan Anand, Zande Khan, Ghulam Hyder, Pt.Amarnath and his brothers Husnlal-Bhagatram, Hansraj Behl, S.Mohinder, Firoz Nizami, Khursheed Anwar, Khayyam, Vinod, Shyamsunder, Kidar Sharma, Krishna Chander, O P Dutta, Saadat Hasan Manto, Qamar Jalalabadi, D N Madhok, Tanvir Naqvi, Prem Dhawan etc etc. Many of the actors and producers used to shuttle between Lahore and Bombay for their work.

And when the PARTITION took place in 1947, in the communal frenzy, polarisation of artistes took place. Some Hindus shifted to Bombay and Some Muslims left for Lahore.

At the actual time of Partition some Indian artists were in Lahore for film work. They were B R Chopra, Ramanand Sagar, I S Johar, Gulshan Rai, Omprakash, Jeevan, O P Nayyar, Rajinder Singh Bedi, Naqsh Lyallpuri, Surinder and Prakash Kaur Manorama and Pushpa Huns. They all left Lahore hurriedly and reached Bombay Safely.

However this journey was not so safe for one actor-Comedian Durga Prasad, known as Durga Mota. He was very fat. In the melee, he reached the Lahore station and somehow entered the Train to Bombay. Suddenly a group of mad rioters entered the Lahore station and started killing the travellers. Most people ran helter skelter, but due to his heavy body, Durga Mota could not run and was cut into pieces on the Lahore station platform itself !

Same way many artists from Bombay left for Lahore and ALL of them reached safely. some of the Directors who migrated to Pakistan were-

Syed Shaukat Hussain Rizvi, S M Yousuf, Najam Naqvi, Munshi Dil, Nakshab Jarachavi, M Sadiq, Zia Sarhadi, Sibtain Fazli(of Fazli Brothers), S T Zaidi , Zahoor Raja, Wali saheb, A R Kardar,Nazir,W Z Ahmed,Masood Pervez, Shareef Nayyar,Luqmaan, Dawood Chaand, Rakhan, Nusrat Mansoori, M H Qasim, Roop K Shorey, Butt Kasher, Barkat Mehra and Manto.

Some of the Actors/actresses were- Nazeer, Sadiq Ali, Masood, Sudhir, Santosh, Ratan Kumar, Najmul Hussain, Suresh and Nasir khan(both came back to India later), Sh.Mukhtar, M.Ismail, Ajmal, Gulam Mohd, Kumar, Ghori, Majeed, Shahnawaz, Himalayawala, Shyam Kumar, Allauddin, Shah Shikarpuri, Charlie, Nazar Faizi Noorjehan, Meena Shorey, Khursheed, Zeenat Begum, Asha Posley, Najma, Kalawati, Rehana, Swarnalata, Ragini, Bibbo, Renuka Devi, Geeta Nizami, Maya Devi etc.

Some from the music field were- Khursheed Anwar, Inayat Hussain, Rafiq gaznavi, G A Chisti, Ghulam Hyder, Firoz Nizami, Nissar Bazmi, Nashaad, Tufail Faruqi, Tanvir Naqvi, Faiyaz Hasmi, Iqbal Bano, Premlata,Khursheed,Zeenat Begum,Shevan Rizvi,Rasheed Atre,Fateh Ali khan,Babul etc.

With so many people migrating to Pakistan at a time and given the condition of the Pakistan Film Industry then, it is a moot question, whether all these migrants could get work there and shine ?

There were 2 types of people who migrated-

1. Those who had achieved their peaks already in India and
2. Those who had just started their careers.

Obviously the second group, at least some of them, could do well there eventually.

Some of the successful migrants there were- Noor jahan, Khursheed Anwar, G A Chisti, Nissar Bazmi, Firoz Nizami, Najam Naqvi, Nakshab Jarachavi, Sibtain Fazli, Wali Saheb,Manto, Rashid Atre, Sudhir, Santosh, Asha Posley, Shameem, Najma, Yasmeen, Ragini, Zahoor Shah, Shaikh Iqbal, Himalayawala, Nazar, Rafiq Gaznavi, Tanvir Naqvi, Iqbal Bano etc.

The unfortunate ones were-some of them- Meena Shorey, Ratan Kumar, M Sadiq, Charlie, Ghori, Kumar, Shaikh Mukhtar, Najmul Hussain, Neena, Kalavati, Maya devi, Gulam Hyder, Nashaad, Premlata etc.

Almost all the artists who shifted to Bombay prior to Partition did very well here.

(Notes- 1.All lists are only indicative and not exhaustive
2.Migrants means between 1947 to 1970 period.)

About two years ago, there was a fruitful discussion on my Facebook page about Partition effects on Film industry in India and Pakistan. Many senior experts (from US and UK too !) participated and some more new information came out of this discussion…..

The rioting of 1947 set in motion irreversible, irrevocable migration. B R. Chopra and I S Johar were planning films in a big way in Lahore but had to run for their lives. Ramanand Sagar left in July, as did Gulshan Rai. Character actor Om Prakash (of Fateh Din fame, an all-time favourite skit relayed for years by Radio Lahore), comedian-bad man Jeevan and many others also left Lahore for Bombay. O P Nayyar recorded his immortal song Priyatam Aan Milo/ Dukhia Jiya Bullai, Aan Milo at the His Master’s Voice studio in Lahore. He left Lahore only in 1948 when it became clear that people with the wrong religion were not going to return to their homes on either side of the Punjab. Writer Rajinder Singh Bedi escaped, sitting on top of a railway carriage carrying loads of Hindus and Sikhs out of Lahore. Song-writer Naqsh Lyallpuri began his literary career in Lahore as a journalist but had to leave in 1947. Punjabi singers Surinder Kaur and Prakash Kaur, and Pushpa Hans also left Lahore.

Migration in the other direction also took place. Nazir and his wife Swarnlata, Noorjahan and her husband Shaukat Husain Rizvi, character actor Alauddin and many others headed for Lahore. Manto came in January 1948, music directors Ghulam Haider and Khurshid Anwar followed some years later and director M. Sadiq probably in 1969 or 1970. Meena Shorey, Khurshid and Mumtaz Shanti also immigrated to Lahore. Some Pakistani actors in Lahore continued to use Hindu filmic names. Santosh Kumar (Musa Raza) and Sudhir (Shah Zaman), the two most famous heroes of the 1950s and 60s followed such practice. On both sides, initially considerable goodwill existed between the two film communities.

Some families were divided. Thus for example, while Nazir Ahmed khan shifted to Lahore, his nephew K. Asif stayed on in Bombay. Kardar stayed on but his brother Nusrat Kardar and son Rauf Kardar returned to Lahore. While Suraiya, her mother and grandmother settled in Bombay, many of her other relatives shifted to Lahore. Rafi stayed on to reign supreme in Bombay while his parents and siblings were in Lahore.

There were some cross-religion marriages that created peculiar challenges. Raj Kapoor’s maama (maternal uncle) Mr Mehra married a Muslim actress Anwari, converted to Islam and stayed in Lahore. A unique case of reverse migration took place as well: poet Sahir Ludhianvi (Abdul Hai) left Lahore for India.

Luckily,except for few like Noorjehan, Khursheed Anwar and some others, the well established Muslim artistes like Rafi, Talat, Shamshad, Naushad and hundreds of others chose to remain in India. They prospered here and became popular in Pakistan as well.

After partition,this turmoil subsided after a short period in India and it was business as usual here, while in Lahore, Pakistan had to build up from scratch, but the Film Industry there too stabilised in a few years’ time. The base of Film industry in Pakistan was built by people who migrated from India. Migration from India to Pakistan continued till about 1970 for the pre-partition artistes. In fact till about 1965 there was an exchange of artistes from both sides to work in other countries, but after the 65 war, this working stopped almost completely.

Music Directors who left India after Partition had done a very good job here. Composers like Nissar Bazmi and Feroz Nizami became exceptionally successful in Pakistan, but Nashad, Rafiq Ghaznavi and others were not successful to that extent. Khursheed Anwar, a very highly respected composer here remained a father figure even in Pakistan.

Partition did a lot of damage to both countries and the film industry. With so many artistes leaving at a time surely affected the filmdom, but it also opened up new avenues for new singers and new blood composers.

Despite all this in the Partition year – 1947 saw making of a Record number of films in India – 181 (this record remained till 1985). Of course most films were made in a hurry to complete before the deadline of August-1947. Still, even in these circumstances also some very good, meaningful, milestone and musical films were made in 1947, like… Aaj aur Kal (the first Sci Fi film), Bhakta Dhruv, Dard, Do Bhai, Elan, Jugnu, Leela, Meera, Meerabai, Mirza Sahiban, Natak, Parwana, Shehnai, Sindoor etc.etc.

Today’s song is from one of the unknown films of 1947 – Bela. The only noteworthy point about this film was, it was the first ever film of Zohrabai, where she sang all the 10 songs of the film. The other film surpassing this record was film Meerabai – 47, where Sitara Kanpuri sang all the 13 songs of the film. However even this record was broken in 1947 itself when M. S. Subbulakshmi sang all 17 songs of her film Meera-1947. As far as I remember this record is yet unbeaten.

Bela-47 was made by Ranjit Cinetone. It was directed by Chaturbhuj Doshi and the MD was Bulo C Rani. The film had 10 songs. 9 songs are already discussed. Today’s song is the last 10th song and the film says YIPPEE. I was given this song by Abhay Jain ji of US, but it was a slightly short one. Sadanand Kamath ji found another version song which was longer and uploaded it for me. I thank both of them.


Song- Peepal ke patve se chikni meri gori re (Bela)(1947) Singers- A R Oza, Zohrabai Ambalewaali, Lyricist- D N Madhok, MD- Bulo C Rani

Lyrics

peepal ke patve se chikni meri gori re
chanda se pyaara mera baalmaa ho
chanda se pyaara mera baalmaa ho

peepal ke patve se chikni meri gori re
chanda se pyaara mera baalmaa ho
chanda se pyaara mera baalmaa ho

torey nainon mein chhoti si duniya basaayi hai
gham e aasha umang sang naachne ko aayi hai
torey nainon mein chhoti si duniya basaayi hai
gham e aasha umang sang naachne ko aayi hai
meri umang meri chhoti si gori re
mera sahaara mera baalmaa ho
meri umang meri chhoti si gori re
mera sahaara mera baalmaa ho
chanda se pyaara mera baalmaa ho

peepal ke patve se chikni meri gori re
chanda se pyaara mera baalmaa ho
chanda se pyaara mera baalmaa ho

pyaar ke phool mein balma kaante lage hain
lag na jaaye
pyaar ke phool mein balma kaante lage hain
lag na jaaye
dekho ulfat ke pehloo mein furkat chhupi hai
wo din na aayen
dekho ulfat ke pehloo mein furkat chhupi hai
wo din na aayen
kehti rahoon
kit dhoondhoon kit jaaun re
kehti rahoon
kit dhoondhoon kit jaaun re
mera to haal mere baalmaa ho
chanda se pyaara mera baalmaa ho

peepal ke patve se chikni meri gori re
chanda se pyaara mera baalmaa ho
chanda se pyaara mera baalmaa ho


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 :

4692 Post No. : 16376 Movie Count :

4449

Most of us like to see films, be it on a TV, in a cinema hall, or through DVD. Some like old films, some like new films. Did you ever see films like, Khooni Khanzar, Dagabaj Doctor, Shaitaan ka paash, Char chakram, Daku Rani Talwarwali, Jaadu ka dandaa, Zinda Laash, Revolver Rani, Sindbad-Alladin-Alibaba, Flying man, Fighter Sheela, Khooni Darinda, Tarzan aur Jadugar, Tarzan aur Jadui Chiraag, Golden Gang, Murde ki jaan khatare mein, or Jadui putli ?

I bet none of these movie names have been even heard by you ever. These are all STUNT FILMS or in other words ‘C’ grade films.

Stunt films, Costume films, fantasy films and purely Religious films are normally treated as C grade films. These film do not carry any prestige, the actors working in them are exclusive to C grade films, the production values and the budget is quite low and most important, they are ALWAYS shown in theatres situated in older parts of the town, single screens, or only for Morning shows or in Theatres generally frequented by lower strata of society.

A person seeing/loving or craving for such films is generally considered a ‘Low’ creature and a person with ‘child brain’.

In India ,this is the fate of C grade films .Actually these films have everything that A and B grade films have, like, story, songs, dances, fights etc, but still, the treatment given to handling of the story etc in the films is very poor or lacking in expertise.

Stunts have improved, Technology has evolved but the participation of Zippy the Monkey, Tiger the Horse, Moti the Dog, parrots, snakes and khatara cars named Rolls Royce ki beti and Austin ki Bachhi is missing ! The contribution of Fearless Nadia in making Stunt films popular can not be denied, but then she had the backing of companies like Wadia Movietone. Basant pictures, Ranjit, Sagar, National etc. When you read the stories of these films please don’t employ Logic or common sense to it. This is a different world altogether. The set of actors is fixed, many times the composers are unheard of or they are known composers now in bad shape, the Directors are typical and the production houses are exclusive to churn out such films.

It is, nevertheless, a fact that many well known and famous actors and actresses of the 40s and 50s evolved from the stunt films of yore. Examples are Jairaj or Master Bhagwan. Can you believe that this roly-poly Bhagwan Dada was a great body-builder when he started in stunt films in the late 30’s ? Lalita Pawar (Amboo), Madhuri, Rampyari, Miss Moti, Sabita Devi, and Sulochana (Ruby Myers) are some female examples who graduated to Social films via Stunt films.

Sometimes Gems are found in these C grade films. Remember the famous qawali- Hamen to loot liya mil ke husn walon ne- which had the honour of becoming the prestigious 5000th song in this Blog ? This was from a C grade film- AL HILAL.

In the 50s and 60s,some respectability was brought to these stunt films by actors like Mahipal, Ranjan, Dara Singh, Azad, Hemant Birje etc. The Heroinesof these movies included Mumtaz, Tabassum, Vijaya Chaudhary, Indira, Nishi etc. Mumtaz started with Stunts and graduated to greater heights and was counted in Top actresses of her days. Costume and Stunt films like Baaz, Insaniyat and Azaad etc were made respectable by the stars acting in them. Over a period the picture changed and nowadays every alternate film has breath-taking stunts done by almost all top Heroes. Thanks to SFX !

Action/Stunt films have a major segment and that is films made with Jungle as a background. Such films had their inspiration from Hollywood Tarzan films. The original Tarzan story was written by Sir Edgar Rice Burrows and it was first published in 1912,followed by its 23 sequels. The story proved to be immensely popular.No wonder, then, that it attracted the Hollywood producers.

The First Silent film ” Tarzan of the Apes” was released in 1918 in which Tarzan’s role was done by Elmo Lincoln and Jane Porter was Enid Markey. From 1918 to 2008,Hollywood made 89 Tarzan Films. The First Talkie film on Tarzan was ” Tarzan-The Ape Man” in 1932.Johnny Weissmuller was doing Tarzan’s role and Maureen O’Sulivan was Jane in it. Johnny was a German bred Romanian settled in America. He was an Olympic Swimming Champion with 5 Gold medals. The pair of Johnny and Maurine was very popular. Johnny Weissmuller did 12 films of Tarzan from 1932 to 1948. 6 films with Maureen,2 without any Jane and 4 with Brenda Joyce. After Johnny, 5 Tarzan films were done by Lex Barker and 6 were done by Gordon Scott. After 1960,there were different Tarzan actors in every film. The Chimpanzee “Cheetah” was there in films from 1932 to 1960,when he died.

In most films, the scripts were loyal to the novels. However, in the novel, Tarzan and Jane get married and they have a son too. In films, they never got married and their son ” BOY ” was found and adopted by Jane. There was one film ” Tarzan goes to India”-1962, in which Firoz khan, Simi Garewal, Jagdish Raj (as Police Inspector),Murad and G. Raghavan had also acted.

In western films, the popular roles are done by the same actors in many films and they are known by that character. For example Sean Connery is famous for James Bond roles, similarly, Johnny Weissmuller is known for his Tarzan roles. These actors later did many other films but their names were connected to the famous roles forever. In India, we do not find such consistency. Here the actor is known by the Genre of his specialty films-like tragedy films-Dilip kumar, Comedy Films-Kishore kumar, Romantic films-Dev Anand, Action Films-Akshay kumar etc.

In India, the core concepts of famous stories on Tarzan, Mythology or folk/costume are adapted by our filmmakers with great talent and creativity. While doing so, they have twisted the Time frame, boundaries of famous stories have been scaled with exceptional ease and an unusual mixture of story characters woven into films. For example, films like Sindbad, Alibaba and Alladin-65 or Shankar, Seeta and Anusuya-65 can only be thought of by the most creative and innovative story writers !

Famous character Tarzan has been combined with Delilah, King Kong, Circus, Cobra, Gorilla, Hercules, Jadugar, Magic lamp, Jalpari, Paristan, Fairyland and even Delhi ! For our filmmakers Time and History are no barriers. Tarzan has been adapted to its Avatar in the form of Zambo, Zimbo, Zanga and Zingaro.

Films with Jungle Titles are almost 60. Here too, the kind of variety in Titles will surprise you. Jungle is coupled with Boy, Beta, Man, King, Jawan, Jawahar, Hero, Girl, Goddess, Princess, Chandni, Sherni, Nagin, Queen, Love, Love story, Haseena, Hoor, Ladki, Sundari, Jawani, Pyar, Muhabbat etc etc. There is one Junglee Tarzan also to sum up the titles.

Sometimes stunt films have a misleading title like Dildar, Dhokebaz, Bahadur kisan, Attention, Azad jeewan etc.etc. However expert Stunt lovers can make it by just seeing the cast. That’s one speciality of stunt films. Names of actors working in stunt films are rather unusual and sometimes weird too. Here are some examples – Mithoo Miyan. Bismilla, Jiji Bhai, Kunzroo, Runzod, Gareeb Shah, Fatty prasad, Kurban Jaun, Manchi Toothi, Bachha, Fazloo, Khodu Irani, Premi, Maqbool Pujari, Nirasha, Vilayatu and two special names CHEMIST and BAJARBATTU.

I was very curious about this name Bajarbattu and wanted to know who this person was. After many years, atlast I came to know about him. His real name was Anant Apte. He started his career with silent films, shifted to Talkie and finally he became a cinematographer and a leading Film Editor. In 1930, Prabhat Film Company had made a silent film “RANISAHEBA”. This was India’s first children’s film. In this film, actor Anant Apte’s name was Bajarbattu. This name became so popular that as long as he was acting, he used that name only in film credits. There is an anecdote about how he helped actor Dharmendra to get established in Hindi films.

Dharmendra was a struggling actor in 1961. He was working in Shola aur Shabnam- his just the second film. He came to know that Bimal Roy was planning to make Bandini. He knew that once he acts in Bimal Ro’s film, his struggle will be over, so he went to Bimal Roy and asked for work. He also told him about his 2 films. Bimal Roy said, ” If you can bring and show me 1 or 2 reels of your films, I can think about you.” Dharmendra went to Ramesh Saigal to ask for 2 reels of film Shola or Shabnam to show to Bimal Roy. Saigal was angry and said” I dont show my film reels to any other director-even if he is Bimal Roy”

Dharmendra was in tears. Those days Anant Apte (Bajarbattu) was the editor of that film. He told Dharmendra ” dont lose hopes. I will give you 2 reals ” He gave 2 reels to Dharmendra and those reels won him a role in film Bandini ! Then there was no stopping him. Anant Apte’s younger brother Madhu Apte was also an actor in Marathi and Hindi films. He stammerred a lot, but he used this lacuna to advantage and did comic roles. ( information from book ” गाथा मराठी सिनेमाची ” by Isak Mujawar ).

Today’s song is from film DILDAR-1947. This Stunt film was made by Shivraj productions and was directed by R.Shivraj, the owner himself. After the second world war many people who earned extra money by Black Marketing etc entered film industry and made many films. Some of them even directed films. This Shivraj probably was also one of them. Having directed his first film Dhokebaaz in 1946, he tried once again with this film and them closed his shop. I did not find his name ever after in any film.

The music was by Shaukat Dehalvi….who became famous and well known after changing his name for the 4th time as NASHAAD. Born as Shaukat Haidari, in Delhi, on 11-7-1923, He was one composer who used several names to give music. His first film was Dildar in 1947. He used the name Shaukat Dehlavi for Dildar-47, Paayal-48, Suhagi-48, Dada-49, Ghazab-51 and Ram Bharose-51. He was Shaukat Hussain Dehlavi for Jeene do-48, Shaukat Ali for Toote Tarey-48 and Shaukat Haidari for Aiye-49.

The Lyricist was C.M.Hunar. He wrote 89 songs in 12 films – Neelam-45, Kango-46, Haqdar-46, Stage Girl-47, Kismatwali-47, Dildar-47, Tigress-48, Jungle Goddess-48, Naqli Baap-49, Billi-49, Do Bahadur-53 and Jaani Dushman-57.

The song is a duet by Shaukat Dehalvi and Naseem Akhtar. With this song, film Dildar makes its Debut on this Blog.


Song-Aa sajni pyaar karen (Dildaar)(1947) Singers-Naashaad, Naseem Akhtar, Lyrics-C M Hunar, MD-Nashaad
Both

Lyrics

Aa sajni ee
Aa sajni ee
pyaar karen
haan pyaar karen
aa saajan
pyaar karen
pyaar karen
aa saajan

prem ki sundar raaton mein
pyaar ki meethhi baaton mein haay
prem ki sundar raaton mein
pyaar ki meethhi baaton mein
haay
pyaar ki meethhi baaton mein

man se man ka
man se man ka
vyopaar karen
haay pyaar karen
aa saajan pyaar karen
pyaar karen

aa sajni

saare jagat ki reet bhulaa kar
saare jagat ki reet bhulaa kar
do dinon ki duniya basaa kar
do dinon ki duniya basaa kar

prem ka saagar
prem ka saagar paar karen
haay pyaar karen
aa saajan
pyaar karen
pyaar karen

aa sajni
pyaar karen
haan pyaar karen
aa saajan

ha ha ha ha
ha ha ha ha
ha ha ha ha
pyaar ko apne tan man ka
aa aa aa aa
pyaar ko apne tan man ka
aa aa aa
pyaar ko apne jeevan ka
pyaar ko apne jeevan ka

pyaara pyaara haar karen
pyaara pyaara haar karen
pyaar karen
aa saajan
pyaar karen
pyaar karen

aa sajni
pyaar karen
haan pyaar karen
aa saajan
pyaar karen
haan pyaar karen


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 :

4668 Post No. : 16341

Today’s song is from the film ‘Kaun Pardesi’-1947. As per HFGK this film was a ‘ Social Film’, but the makers of this film gave a different description of their film. In one of the posters of this film, it is announced that this film was ” A Stunt cum Magic and Music cum Dance Social film”. Possibly this was an ” all inclusive” film and what remained was to include ‘ Mythological’ and ‘ Historical’ words in its description !

Filmmakers try every trick in their bag to make their films successful, but alas ! No one has got the formula for a film to become successful. There are films which give tremendous satisfaction to the filmmaker, but these films fail at the Box office. An example is, when C Ramchandra and Lata made the film Jhanjhar-53, CR put all his skill into the composing of its music and he was very happy with it. At that time, he was working with Filmistan for the film Anarkali-53. Irked by the extra attention CR was giving to his own film Jhanjhar, Filmistan had even served a legal notice to CR for alleged neglect for Anarkali music. The result ? Anarkali music became a Hit and Jhanjhar music failed !

There is an opposite case to prove that no one knows how and where Luck will show up. Producer Sitaram Rohera was already in heavy debts and could not spend much on his film ‘ Jai Santoshi Maa”-75. He employed Director and Composer who were available for modest fees and opted for second and third level artistes for the film. The result ? The film was a tremendous success and it grossed 5 Crores for an investment of only a few lakhs. Can you imagine, it gave a fight to a film like ” Sholey” in 1975 !

Well,well,well ! Nothing of this sort happened and the film Kaun Pardesi remained a failed film. Take a look at the people who worked for this film. The director was J U Trivedi, who was an assistant Cinematographer earlier. This was his first film as a director. After this film, Trivedi directed one more film – jasoos-47, with the same fate. Then he ended his directorship. The Lyricist was Muztar Behzadi who wrote only 9 songs in 3 films, namey Kaun Pardesi-47, 7 songs, Soorat-47, 1 song and Flying Man-47, 1 song. His name disappeared after this. Possibly he migrated to Pakistan. Similarly, the composer was Ali Hussain Muradabadi who gave music to only 2 more films…Panihari-46 and O janewale-48. In all he composed 22 songs in these 3 films.

The cast of the film was essentially like any other stunt or costume film. The Hero was Yashwant Dave, Heroine was Khurshid Jr.( elder sister of Meena kumari), Mumtaz Begum (who was Dave’s Heroine in his first silent film Diler Daku-1931), Samson, Rampyari, Flora etc etc. It was not uncommon during the days of early cinema for people to hang around studios and filming locations in the hopes of being discovered. One such intrepid soul was Yeshwant Dave (or Yashwant Dave), who was at Kohinoor Studios observing a picture being made by producer J.B.H. Wadia. The handsome and athletic Yeshwant cornered Wadia, insisting that he would make a fine hero for an action film.

Wadia agreed to test Yeshwant by having him jump from the roof of one set piece to another. He did so successfully, and J.B.H. decided to cast him in a film that he was to direct for Young United Players, the 1931 silent THUNDERBOLT (aka DILER DAKU) featuring Mumtaz as the heroine.

Yashwant was again directed by Wadia in TOOFAN MAIL (1932) and there after became a sought after action star appearing in the stunt films of other directors like Aspi, Dhirubhai Desai, Nari Ghadiali, Chunilal Parekh, and Harshadrai Mehta. Some of his films include BHARAT VEER (1932), JADUI JUNG (1934), BOMBSHELL (1935), VASANTBENGALI (1937), FLYING RANEE (1939), MAGIC CITY (1940), TORPEDO (1941), ROYAL MAIL (1946), and KAUN PARDESI (1947).

Growing out of the stunt hero persona, he turned to character parts and made infrequent onscreen appearances throughout the 1950s, including in SHEIKH CHILLI and MAKKHEE CHOOS both released in 1956 and starring comedian Bhagwan. What became of Yeshwant Dave afterwards is anybody’s guess, as the once popular action star faded into obscurity and, sadly, is barely remembered today.

The case of Khurshid Jr. is pathetic. Khurshid Jr. – the film Heroine – was the eldest daughter of Master Ali Baksh, Music Director and Iqbal Begum, film artiste and one time a famous and popular stage artist of Madon, Alfred and other Drama companies in the Eastern India. The family actually belonged to Sargodha in Punjab, but Khurshid was born in Bombay on 10-4-1930. Being born in a filmi family, the atmosphere was very conducive for Khurshid to join films.

After getting school education upto 12 years of age, she entered films. Her first film was Zameen-43 as a side Heroine. Then came Minerva’s Dr. Kumar-44 and Naghma E Sehra-45 – in which she was the Heroine of Master Vithal. Due to her good acting skill, there was no shortage of film offers. She had to add Jr. to her name , as there was a more famous actress singer Khurshid Bano, already in the film line, in the same period.

Khurshid’s younger sisters Baby Meena (later Meena kumari) and Baby Madhuri Later actress Madhu- Mehmood’s wife) were also working in films. Khurshid Jr. married her handsome co-star Altaf. who did few films as a Hero but then shifted to side roles soon. After Partition, the couple considered shifting to Pakistan, but decided to stay here as her both sisters were here and doing better.

As long as Meena kumari was alive, they were comfortable, but after her demise, they became helpless and went down financially. They had to live in smaller tenement and roles also dwindled. Khurshid Jr. acted in 65 films. Her last film was Oh Bewafa-80. Altaf acted in just 21 films from Sipahi-41 to Pakiza-71. Even Khurshid had also acted in it.

Today’s song is sung by A R Oza. Amritlal R. Oza was a Nagar Bramhin from Gujarat. He joined Ranjit when Khemchand Prakash, Gyan Dutt and Bulo C Rani were paid musicians there. His first song came in Pujari-46.

He was very friendly with Bulo C Rai and Hansraj Behl. He sang maximum songs for them only. At the same time he sang in Gujarati films and he became very famous and popular there.

Some Hindi films in which he sang are, Lakhon mein ek-47, Nanad Bhojai-48, Bichhade Balam-49( he sang with Meenakumari also), Bhool Bhulaiyan-49, Nili-50 etc. He sang 39 songs in 23 Hindi films,but sang much and many more in Gujarati. After retirement he settled in Ahmedabad, where he died on 13-5-1985.

This is the second song from “Kaun pardesi”(1947) to appear in the blog.


Song –Tere shabaab husn ki taaseer dekh kar (Kaun Pardesi)(1947) Singer – A R Oza, Lyricist – Mujtar Behzadi, MD – Ali Hussain Moradabadi

Lyrics

Tere shabaab husn ki taaseer dekh kar
tere shabaab husn ki taaseer dekh kar
tasveer ban gaya hoon main tasveer dekh kar
tasveer ban gaya hoon main tasveer dekh kar
tere shabaab husn ki taaseer dekh kar

jee chaahta hai rukh ki tamhaare balaayen loon
jee chaahta hai rukh ki tamhaare balaayen loon
dil keh raha hai zulf ki zanjeer khench kar
dil keh raha hai zulf ki zanjeer khench kar
tere shabaab husn ki taaseer dekh kar

ab gaur kar raha hoon ke ae ae ae ae
ab gaur kar raha hoon ke dil mujhse khil gaya
dil mujhse khil gaya aa
ab gaur kar raha hoon ke dil mujhse khil gaya
dil mujhse khil gaya aa
hairaan hoon tere husn ki taaseer dekh kar
hairaan hoon tere husn ki taaseer dekh kar
tere shabaab husn ki taaseer dekh kar

kadmon mein aake tere guzaaroon main zindagi ee
kadmon mein aake tere guzaaroon main zindagi ee
be ?? ho gaya teri tasveer dekh kar
be ?? ho gaya teri tasveer dekh kar
tere shabaab husn ki taaseer dekh kar
tere shabaab husn ki taaseer dekh kar


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 :

4665 Post No. : 16338 Movie Count :

4437

Today’s song is from a ‘C’ grade stunt film “Toofani Takkar”-1947. 1947 was an year which had produced a record breaking number of films – 181 films. This record stood for 57 years,i.e. from 1931 to 1988, when 185 films were made and the 1947 record was broken.

1947 was an year which saw India’s Partition. It devastated India and its many industries. Millions migrated from India and millions came from both East and the West. This had also shaken the film industry. While hundreds of artistes fled to Pakistan, their vacancies were almost immediately filled up by the waiting second line of artistes – some who came back from Pakistan and from those who had waited in the wings,so to say, for opportunities. So, Indian film industry was not a loser to a great extent, but it was Pakistan, who had to build their own film industry, with the help of those who were trained in India. I can not say that till today Pakistan could do it satisfactorily. The main reason was Pakistan never had prepared a second line of artistes to take over, once the India returned artistes retired or died.

In 1947, the number of films was large in quantity, but qualitatively, majority films were completed hurriedly as artistes had to leave India. India’s best singer actor K L Saigal had died in the beginning of the year. That was a great blow. Exit of Nurjehan and Khursheed was another blow. However, on this front, India had enough talents to replace them. So, despite the unprecedented disturbances, the film industry could balance itself quickly and even in 1947, many landmark movies were made.

It was in 1947 that Lata entered the field of Playback singing with ” Aap ki sewa mein”. Naushad introduced Uma Devi through his film ‘Dard’. C Ramchandra gave musical hits like Shehnai and Saajan. S D Burman, Shyamsunder, Khemchand prakash, Vasant Desai and Husnlal-Bhagatram gave musical films. In 1947, surprisingly, Stunt/Action films were made above their normal average number. Film Toofani Takkar was also one such Stunt film.

This film was made by A M Khan Productions. The film was directed by A M Khan himself. Now, this Khan was a person with many qualities. He was an actor, a lyricist and a director. In his 30 years’ career he had acted in 2 films – Dil-46 and Bigde dil-49. He wrote 24 songs in 3 films – Cyclewali-38, Ran Sangream-39 and Bahana-42. A M Khan directed 37 films. His first film was Woh kaun-1935 and his last film was Jadui Anguthi-1965. When I went through his Filmography as a Director, I found that he directed mostly Stunt, Action and Costume films only.

Some of his films had interesting Titles….Cycle Wali-38, Chabuk wali-39, Motor wali-42, Khanjar wali-43 and to top it all, he also directed Police wali-49 ! Titles of his films had words like Lutari, Lutaran, Bala, Sundari, Lady, Tilasmi, Jadui, and Toofani. These are typically indicative of their genre-Stunt. A M Khan was also a Stunt specialist. In those days, some directors specialised in such films. Like for example, Nari Ghadiyali, Aspy irani, Ramniklal Shah,Master Bhagwan, Harischandra rao and Chandra rao kadam etc.

Apart from Khan’s Filmography, no other information about him is available. Similarly, the film’s music Director was Sardar Vir Singh. This gentleman had just one more film to his name as a MD – Flying Express-1949. No further information about him also. This is all normal, because the stunt,action films’ budget is very important and to economise, Director and MD was chosen on their price, perhaps. The audience never came to such films to see histrionics or listen to lilting music. Their interest used to be in fights and daring action scenes in the films.

Similarly, the lyricists – Kaiser Sawai and Kaiser Jafri too were unknown. In the 30’s and the 40’s, the lyricists were paid very poorly. In the 30’s the rate was 10 to 30 rupees per song. In the 40’s it increased to50 to 100 in case of well known lyricists like Kavi pradeep or Majrooh etc. The cast fo the film consisted of the usual action film artistes, about whom hardly any information was available.

Surprisingly, some songs in this film were sung by Amirbai karnataki – who was an A grade singer that time. Today’s song is also sung by her. I like her songs. In fact one of her songs in the film “Parbat pe apna dera”-44…Pareshan hoon ki kyun meri pareshani….is my all time favourite song. There is an interesting anecdote of Amirbai’s life, which I remember. Here it is….

Actor of the 40’s decade A.Himalayawala (Afzuluddin Himalayawala) was an outspoken and straightforward person, fond of hunting, football and travelling by car. He toured all of India twice in his car. In 1943, he married actress singer Amirbai Karnataki. After marriage he banned her from acting in films. Within 2-3 years, on this and other issues, they could not get along. He used to hit her and take all her money. At last, it was rumoured that he gave her talaaq after taking 2 lakh rupees and her car. Even after this he was stalking her. She stayed with her elder sister Ahilya Bai. Then one day, she was kidnapped by Himalaywala, from the recording room. She was kept locked in a room and beaten daily. She somehow managed to inform this to her sister.

Ahilyabai then got in touch with her acquaintance Mr Rasiklal Vyas and his brother Chhailabhai Vyas – one of the best criminal lawyers of Bombay. With their political and social connections, they forced the police to register an FIR, which was refused due to Himalaywala’s bribe. Meanwhile Himalaywala was alerted by his cronies. Within a few hours Amirbai was escorted back to her sister’s place, by Himalaywala. All this episode is described in full details in the book ‘Aap Ki Parchhaiyaan’, by Rajnikumar Pandya ji. Amirbai later married Gujarati Journalist Badri Kaanchwala.

Himalaywala was not famous in India. After Partition, he went to Pakistan. There he became a very famous and successful actor and won awards too.

Today’s song is sung by Amirbai Karnataki. This rare song was given to me by my friend Abhay Jain of the USA. It was uploaded, as usual, by Sadanand Kamath ji, for me. With this song, film Toofani Takkar-47 makes its Debut on the Blog.


Song-Duniya ka dastoor niraala maara jaaye chaahnewaala (Toofaani Takkar)(1947) Singer-Amirbai Karnataki, Lyrics-Kaiser Jafri, MD-Sardar Vir Singh

Lyrics

Duniya ka dastoor niraala
Duniya ka dastoor niraala
maara jaaye chaahnewaala
Duniya ka dastoor niraala
Duniya ka dastoor niraala

bhoolnewaala bhoolaa na jaaye
bhoolnewaala bhoolaa na jaaye
tod ke dil ko dil mein samaaye
tod ke dil ko dil mein samaaye
haathh chhudaa kar haathh na aaye
dil thha(?) chhota bholaa bhaala
Duniya ka dastoor niraala

aapbeeti (?) hai qurbaani
aapbeeti (?) hai qurbaani
khoon kiya hai apna paani
khoon kiya hai apna paani
kahiye kyon thhi ye hairaani
kaanta dil ka kisne nikaalaa
Duniya ka dastoor niraala

himmat itni mujhko ataa ho
himmat itni mujhko ataa ho
udhar zafa ho idhar wafaa ho
udhar zafa ho idhar wafaa ho

khush rehne yaa roothhne waala
Duniya ka dastoor niraala
Duniya ka dastoor


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


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 TWELVE years. This blog has over 16400 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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(© 2008 - 2021) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

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Movies with all their songs covered =1267
Total Number of movies covered =4460

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