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

Blog Day :

4774 Post No. : 16524

Today, August 13, 2021 is the 44th Remembrance Day of a playback singer who was associated with the historic moment in the Indian film industry when for the first time, a system of playback singing was introduced in the film ‘Dhoop Chhaaon’ (1935)/’Bhaagya Chakra’ (Bangla). Yes, the playback singer is Parul Ghosh, one of the first three female playback singers – other two being Suporva Sarkar and Harimati Dua.

I am not sure as to how many of the Hindi film music lovers of the present generation have heard of Parul Ghosh as a playback singer. Or how many are aware that she was the sister of Anil Biswas, the ‘Bhishma Pitamaha’ among the Hindi film music directors and the wife of Flute maestro, Pandit Pannalal Ghosh. The main reason for her name being not known to the present generation is that Parul Ghosh had a short stint as a playback singer and that too in the 1940s during which time, she sang very close to 100 songs.

Parul Ghosh (1915 – 13/08/1977) was born in Barisal (now in Bangla Desh). She was the second child among three in the family, the first being Anil Biswas and the last being Sunil Biswas. Her mother, Satyabhama Biswas was a classical singer and a kirtankar. In 1924, Parul Ghosh got married to Pannalal Ghosh, a close friend of Anil Biswas. At the time of the marriage, Parul Ghosh was 9 and Pannalal Ghosh was 13.

Sometime in 1930, Anil Biswas shifted his base to Kolkata. Pannalal Ghosh and Parul Ghosh also fallowed him. While Anil Biswas was employed in Hindustan Recording Company as a singer and composer, both Pannalal Ghosh and Parul Ghosh were employed in New Theatres (NT) as the musician and singer, respectively. It is said that while working with NT, Parul Ghosh sang some Bangla film songs. To devote more time on his first love, flute, Pannalal Ghosh shifted to Mumbai along with his family in 1940. At that time, Bombay Talkies was conducting audition for new playback singers. Parul Ghosh also went for audition and got selected.

In Mumbai, the playback singing career of Parul Ghosh started in the right earnest. At that time, the top-most female playback singers like Amirbai Karnataki, Shamshad Begum, Zohrabai Ambalewaali, Zeenat Begum etc came from the family of professional singers. On the other hand, Parul Ghosh was first a house-wife then a playback singer. It took some time for her to create a space for herself in the midst of the top playback singers of that time.

After singing a couple of songs in ‘Kanchan’ (1941) and ‘Mala’ (1941) which failed at the box office front, Parul Ghosh sang as many as 8 songs in Bombay Talkies’ ‘Basant’ (1942) under the music direction of her brother, Anil Biswas. {For the reason of the contractual obligation, Pannalal Ghosh was credited as the music director for the film). The film was a hit and its songs became very popular.

In ‘Basant’ (1942), Shanti Sudha Ghosh, the elder daughter of Parul Ghosh also sang two solo songs for Baby Mumtaz (Madhubala) thus making her probably the first female child play-back singer of Hindi films. Also, this may probably be for the first time that two mother-daughter version songs were sung in the film. Shanti Sudha Ghosh rendered two songs for Baby Mumtaz which were also rendered by her mother, Parul Ghosh for Mumtaz Shanti in the film. These two songs are hamko hai pyaari hamaari galiyaan and mere chhote se man mein chhoti si duniya re.

Following the success of ‘Basant; (1942), Parul Ghosh sang 5 songs for Devika Rani in ‘Hamaari Baat’ (1943) under the music direction of Anil Biswas and 5 songs for Protima Dasgupta in ‘Namaste’ (1943) under the music direction of Naushad. In musical blockbuster film, ‘Kismet’ (1943) in which songs of Amirbai Karnataki dominated, Parul Ghosh sang only one song, papeeha re mere piyaa se kahiyo jaaye which became very popular.

In ‘Sawaal’ (1944). Parul Ghosh sang 5 songs under the music direction of her husband, Pannalal Ghosh. In this film, I liked the ghazal, aaj pehlu mein dard sa kya hai, rendered by her. In ‘Jwaar Bhaata’ (1944), Parul Ghosh sang as many as 8 songs under the music direction of Anil Biswas. One of her best songs in this film was bhool jaana chaahti hoon. In ‘Milan’ (1946) she rendered a beautifully raaga-based song, suhaani beriyaan beeti jaayen. Parul Ghosh rendered 4 songs for ‘Tohfa’ (1947) under the music direction of M. A. Rauf Osmania. She has beautifully rendered an emotion-filled ghazal, hamne tumne kiyaa thha jo aabaad.

Sometime in 1947, due to domestic compulsion, Parul Ghosh reduced her playback singing assignments and chose the life of a house-wife looking after her two daughters and her husband. She sang for the last time as a playback singer in ‘Andolan’ (1951) under the music direction of her husband, Pandit Pannalal Ghosh. This was also the last film for Pannalal Ghosh as a music director. From 1955-60, the family stayed in Delhi after Pannalal Ghosh took up the job as a Composer and Director of All India Radio, Delhi Vadhya Vrinda (Orchestra).

I have been able to collate songs rendered by Parul Ghosh, from the various sources which works out to 95 songs in 33 films. As expected, she sang the maximum number of her songs (30) in 7 films under the music direction of her brother, Anil Biswas.

Parul Ghosh faced a series of tragedies after she withdrew from playback singing. In 1951, her second daughter, Noopur died of small pox when she was around 2 years. In 1960, her husband, Pandit Pannalal Ghosh suddenly died of heart attack at the age of 48. Shanti Sudha, her elder daughter who got married to Devendra Murdeshwar, one of the senior disciples of Pandit Pannalal Ghosh died of cancer in January 1975. All these tragic events had led to deterioration in the health of Parul Ghosh who became bedridden after her elder daughter’s death. During this period, she was looked after by her two nieces (her younger brother, Sunil Biswas’s daughters) and some of the disciples of Pandit Pannalal Ghosh to whom she was the ‘Guru Maa’. Parul Ghosh died on August 13, 1977 at Malad.

On the occasion of the 44th Remembrance Day of Parul Ghosh, I am presenting one of my favourite songs of her from the film ‘Seedha Rasta’ (1947). The song is ‘tum jhooth na jaano saajan mera pyaar’, written by Amar Verma and set to music by S K Pal. The song is picturised on Kamala Kotnis. The video clip of the song end abruptly while the audio clip which I have uploaded has the full song.

In a Radio interview some years back, Anil Biswas had said that his mother’s voice had the melody of a flute and the texture of a shehnai and Parul Ghosh inherited the same quality of voice from her mother. This song reaffirms what Anil Biswas had said about Parul Ghosh’s voice.

——————————————————————————————————————————————————————-

Note: Some of the personal information about Parul Ghosh have been sourced from

(1) the interviews of V G Karnad and Anand Murdeshwar, disciple and grandson, respectivey of Pandit Pannalal Ghosh which are available on http://www.pannalalghosh.com and (2) an article ‘Sublime Genius – Pannalal Ghosh’ written by the late Mohan Nadkarni which is available on his website, https://mohannadkarni.org

Audio Clip:

Video Clip:

Song-Tum jhooth na jaano saajan mera pyaar (Seedha Raasta)(1947) Singe-Parul Ghosh, Lyrics-Amar Verma, MD-S K Pal

Lyrics (Based on Audio Clip)

tum jhooth na jaano saajan mera pyaar
tumhen kaise samjhaaun
tumhen kaise samjhaaun
tum jhooth na jaano saajan mera pyaar
tumhen kaise samjhaaun
tumhen kaise samjhaaun
beete din ki hai yaad

beete din ki hai yaad
jab kabhi aati
dil jalta hai
jyun jale diye ki baati
aankhon se bahti hai aansoo ki dhaa..aa.aar
jiya kaise bahlaaun
jiya kaise bahlaaun

kal tak jo thhe wo aaj rahe na hamaare
ek jhalak dikha kar toot gaye do taare
maine na jaana ulfat ke din chaa…aar
ro ro ke pachhtaaun
ro ro ke pachhtaaun

tumhre haathhon haay mit gayi anjaani
tumhre haathhon haay mit gayi anjaani
ab roti hai..ae ae
ab roti hai
meri barbaad kahaani
badnaam huye
chhoda hamne gharbaar
gharbaar
kise fariyaad sunaaun
kise fariyaad sunaaun
tum jhoothh na jaano saajan mera pyaar
tumhen kaise samjhaaun
tumhen kaise samjhaaun


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

Blog Day :

4769 Post No. : 16518

Today’s song is from an obscure film-Paaro-1947. It was made by Navyug Film co. One of the partners of this film company was Marathi’s famous writer, novelist and journalist Acharya Atre. By coincidence, the name of the Music Director of film Paaro-47 was Rasheed Atre. He, of course, was Muslim and Acharya Atre was a Hindu Bramhin.

The film was directed by one Shorey Daulatlavi, who was originally a Cinematographer with Minerva Movietone. His first film as a Director was Pathron ke saudagar-44, made by Minerva Movietone. Sohrab Modi was not known for recognising talents of his staff and encouraging them or rewarding them. He must have secured the services of Daulatlavi as a director for a negligible fee. Fed up with his attitude, Dalatlavi left Minerva and joined Navyug. Here he directed 3 more films namely, Din Raat-45, Paaro-47 and Sajan ka ghar-48. After this film, his name became traceless. Possibly he took up cinematography again.

Music Director Rasheed Atre was one of the 10 MDs I wrote about in my series ” Gems from the Migrators” in November 2014, about 7 years ago, on this Blog. This was about MDs, who started their careers in India and migrated to Pakistan after Partition. Many Muslim artistes had migrated to Pakistan. Let us take a look at the scenario of those times.

In undivided India, Lahore (then in the Punjab) was important as a showbiz centre. It had 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.

LAHORE, an important city in the undivided Punjab in the pre-independence days was one of the major Film making Centres in India. Talented actors and musicians from all 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 there. The list of such people is very long, but it will suffice to mention some well known names-
Noorjehan, Pran, Saigal, Prithwiraj Kapoor and his sons, 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 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.

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 ?

(Notes- 1.All lists are only indicative and not exhaustive

2.Migrants means between 1947 to 1970 period.)

After partition,this turmoil subsided after a short period in India and it was business was 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 completely.

Music Directors who left India after Partition had done a very good job here. Composers like Nissar Bazmi, Rasheed Atre 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.

I always wondered, how some composers, who were found mediocre here, without much spark, giving music only to B and C grade films, became extremely popular and successful in Pakistan, winning accolades ? examples are is Nisar Bazmi, Rasheed Atre etc.. To understand this strange phenomena, one must consider the state of affairs in Pakistan Film Industry for 5-6 years post Partition. Here is a part of an article on this issue that I found on a Pakistani site, filmbirth.com

” Pakistan has been a part of India up until 1947. Up to that point Lahore was one of the thriving cinema producing centers in India. The first film made in a Lahore studio was “Delhi Express” (1935) and Urdu and Punjabi films were to follow. The partition of India into two independent states – India and Pakistan, caused the demise of the Lahore film industry. Most Hindu filmmakers in Pakistan fled the region when the Islamic Pakistani government became independent. Without the Indian funding and production facilities, the migration of many renowned filmmakers and stars and a lack of proper distribution channels, Lahore (Lollywood) soon became less than a footnote in the regional cinematic landscape.

Fortunately, the outflow from Lahore was accompanied by an inflow into the city. Affected by the same political change, a number of talented Muslims who have established themselves in Bombay’s (now Mumbai) film circles, moved back to Lahore. Prominent among them were film producer Syed Shaukat Hussain Rizvi, his wife actress and singer Noor Jehan, actress Swarn Lata, actor Nazeer, director W. Z. Ahmad, director Luqman, director Sabtain Fazli, music director Feroze Nizami and music director Khwaja Khursheed Anwar. These creative artists laid the foundation of the Pakistani film industry. They were also responsible for producing some of the best films ever made in Lollywood.

The creative energy of Lahore’s film people began to express itself as soon as the partition frenzy subsided. Lollywood became alive again and Teri Yaad was the first film released after partition. Featuring Nasir Khan, brother of film icon Dileep Kumar and Asha Posle, it was released at Lahore Parbhat Cinema on Sept 2, 1948. Its producer was a Hindu named Diwan Sardari Lal, Daud Chand was the director while Nath was the music director. The following year, Anis Productions released a Punjabi film Pheray. Featuring Nazeer (who was also its director) and Swarn Lata, the film proved to be a success and became the first Pakistani film to complete a 25-week run at cinema houses. Another important film was Naubahar Films’ Do Ansoo which was released in 1950. Produced by Sheikh Latif and directed by Anwar Kamal Pasha, it won popularity and became first Urdu film to complete its silver jubilee. “

Due to a shortage of composers, all were welcomed with open arms. Those who had talents did extremely well here. Unfortunately the second generation of composers of calibre were not prepared and once these migrants disappeared from the scene,the musical fields of Pakistan dried up. According to an article on Wiki, there are 7 ages in Pakistan Film music –

S No Phase Period
1 Independence and growth 1947-1958
2 The Golden Age of Pak Film Music 1959-77
3 The age of Disaster (Onslought of VCR and brain Drain to Bangladesh) 1977-88
4 Politics,Islamisation and downfall 1979-87
5 Collapse 1988-2002
6 Decline 2002-2009
7 New wave and Hopes 2010 onwards

Anyway, Nisar Bazmi and Rasheed Atre prospered during the Golden Age period and got all the benefits.

Composer RASHEED ABDUL ATRE was born in Amritsar on 15-2- 1919. His father Khushi Mohammed was a well known musician and singer. Rasheed learnt music from Ustad Khan saheb Ashfaq Hussain. Then he went to Calcutta and worked under R.C.Boral. During his stay in Calcutta he is presumed to have composed songs for films “Pardanasheen”-1942 and “Mamta”-1942, under the name R.A.Atra. After coming back to Bombay he joined Jhande Khan and Gobindram in composing songs for “Pagli”-43. He was assistant to composer Amir ali in “Panna”-44. With Pt.Amarnath,he composed songs for “Shirin Farhad”-45. Then came Room No.9-46,Nateeja-47,Paro-47 and Shikayat-48. From 43 to 48 he gave music to 6(confirmed) films. Not much, but then he did not get much time either.

Nateeja was a Muslim social made by Bombay Talkies and he was specially called for it. Nateeja music was his best in India and all its songs became very popular. for Room No 9-46,he worked in Navyug Chitrapat co. where one of the owners was P K Atre, a noted Marathi writer and Dramatist. P K Atre was ,of course, a Hindu,but it was a coincidence.

After Partition Atre went to Pakistan. He first served Radio Pakistan, Rawalpindi and then at Lahore. He prospered in Pakistan and gave music in 54 Urdu and Punjabi films. He was awarded the coveted Nigar Award 3 times in a row. The famous Marching song of Pakistan ” Allah o Akbar ” was composed by Rasheed Atre. The first Pakistani film for which Rasheed Attre lent his music was director Masood Pervez’s Beli (1950).

Three years after Beli, Rasheed was in-charge of music for director Nazir Ahmed Khan’s Punjabi film, Shehri Babu (1953), whose evergreen songs still are popular in Pakistan . Attre’s music for director W.Z. Ahmed’s 1954 family-friendly film Roohi (1954) was a huge success.

Rasheed Attre’s music is all very praise-worthy in director Nazir Ahmed Khan’s film Khatoon, which was popular for its thumri. Attre’s composition exhibits an astonishing range and power in director Anwar Kamal Pasha’s superhit film Sarfarosh (1956). In 1956, Rasheed was also given the responsibility of composing songs for director Anwar Kamal Pasha’s golden jubilee punjabi film Chann Mahi (1956) (lyrics: Tufail Hoshiarpuri, starring: Bahar, Aslam Pervaiz). Attre was, indeed, a powerhouse of a musician and a case in point is director W.Z. Ahmed’s all-time favorite film, Waada (1957), which happened to be a movie from a more idealistic time. At the height of his fame, Attre came up with his magical composition for film director Anwar Kamal Pasha’s semi- historical movie, Anarkali (1958). To be precise, it was a joint venture of 2 film music composers Rasheed Attre and Master Inayat Hussain.

Rasheed Attre passed away on December 18, 1967, at the age of 48.

Today’s song is sung by Sulochana Kadam and M.Aslam. There is also a solo by M.Aslam of the same song in the film.


Song- Zakhmi ko naya zakhm lagaata hai zamaana (Paaro)(1947)Singers- Sulochana Kadam, M Aslam, Lyricist- Not known, MD- Rasheed Atre
Both

Lyrics

Zakhmi ko naya zakhm lagaata hai zamaana
Zakhmi ko naya zakhm lagaata hai zamaana
har tarah gareebon ko sataata hai zamaana
har tarah gareebon ko sataata hai zamaana
Zakhmi ko naya zakhm lagaata hai zamaana

kya hamne zamaane mein bigaaa hai kisi ka
kya hamne zamaane mein bigaaa hai kisi ka
kyun hamko nigaahon se giraata hai zamaana
Zakhmi ko naya zakhm lagaata hai zamaana

tadbeer kisi kee ee ee ee ee
tadbeer kisi ke ke
muhabbat mein hansenge
tadbeer to ki thhi ki
muhabbat mein hansenge
taqdeer to roti hai
rulaata hai zamaana
Zakhmi ko naya zakhm lagaata hai zamaana

muflis ki tamanna kabhi
poori nahin hoti
poori nahin hoti
muflis ki tamanna kabhi
poori nahin hoti
poori nahin hoti
?? har naaz uthhaata hai zamaaana
Zakhmi ko naya zakhm lagaata hai zamaana

jiska nahin ee eeduniya mein koi
ee ee ee ee ee ee ee ee
uska khuda hai
uska khuda hai

jiska nahin duniya mein koi
uska khuda hai
jiska nahin duniya mein koi
uska khuda hai
ye baat magar bhoolta jaata hai zamaana
Zakhmi ko naya zakhm lagaata hai zamaana
har tarah gareebon ko sataata hai zamaana
Zakhmi ko naya zakhm lagaata hai zamaana


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

Blog Day :

4767 Post No. : 16516 Movie Count :

4492

Today’s song is from film Pehla Pyar-1947. Pehla pyar means First Love. Pehla is Pehla. I could never understand why it has to be called Pehla Pehla Pyar (1958 & 1994). Does it not make it Doosra Pyar ?

Everything First time in life is memorable. This is reflected in the film titles of Hindi cinema too. Pehla Pyar, Pehli Nazar, Pehli Jhalak, Pehli Pehchan, Pehli Shaadi, Pehli Mulaqat and even Pehli Raat. Pehli Tareekh, Pehla Aadmi, Pehla Aashiq, Pehla Qadam, Pehla Aadhyaya and Pehla Paisa is acceptable, but Pehla Nashaa and Pehla Qatil ? Then there was Pehli Bhool, Pehli Shaadi, Pehli Aurat and even Pehla Aadmi !

Funniest thing is there were also Doosra Aadmi, Doosri Aurat, Doosri Shaadi, Doosra Pati, Doosri Bibi etc.etc. I did not check if there was Teesra….something something ! Hamraz ji’s book of Film Index can be a good Time Pass, really ! But I know there was a film Teesra Kaun ?

Coming back to today’s film Pehla Pyar-47, HFGK mentions it as a film made under the banner of ” Sagar Movietone co. Bombay “. Actually, Sagar was closed in 1940, then came National Studio and finally it was Amar Pictures from 1942 onwards. This also closed in 1946 with their last film ” Gwalan”-46 (of Baburao Patel and Susheela Rani). Then, from where did this filmcame and how it claims to be from an extinct ‘ Sagar movietone Co.’ ?

I rummaged through the entire book “Sagar Movietone” written by Biren Kothari ji, but nowhere could I find any reference or information on this film. Finally, I spoke directly to Biren kothariji today to ask about this film. Here too the door was closed. According to Biren ji, it is difficult to say anything about this film. He was , however, sure to say that it had no connection whatsoever with the original ‘Sagar Movietone’.

At the moment it is an unsolved mystery. Maybe in future, some explanation or information on this film will appear to clarify this issue. This is not impossible. In last few years, several such ‘ riddles ‘ have been successfully solved with new evidence, when it cropped up. Some of the riddles which were solved with such new evidence were-
1. Who sang” Bharat ki ek sannari ki katha” from film ‘Ram Rajya’-1943
2. Who sang ‘ Dilli se aaya bhai Tingu’ from film ‘Ek thi Ladki’-1949
3. If Shashi Kapoor acted as a child artiste in 20 films and
4. Is Arjun-Hero fof film ‘Malhar ‘-50 the same as MD C.Arjun

The list is too big to be given here fully, but the point is proved with these examples.

Film Pehla Pyar-47 was directed by A.P. aka Anand prasad Kapoor. he was a well known director of early cinema. He had directed 14 silent before trying his hand at a Talkie film. He was born in 1892 at benares. After matriculation, he came to Bombay and joined film industry doing all odd jobs. His first silent film as a director was Fairy of the Flute-1927 made by Sharda Film Co. His first talkie film as a director was Radhesham-1932, jointly directed by R.L.Shorey. This was a film made in Lahore.

He directed 18 talkie films. He acted also in 2 films. He wrote 32 songs in 3 films as a Lyricist. He also sang 6 songs in 5 films. His last film as a director was Chor-1950. At this stage he realised that his old style was no more acceptable with the new set up. So he retired. A.P.Kapoor died on 16-9-1966 at Bombay.

The cast of the film was Vanmala, Aghajan, Sulochana Chaterjee, K.N.Singh, Sunalini Devi etc etc. Agha or Aghajaan (21-3-1914 to 30-4-1992) was a popular hero in his early career period In film Jwar Bhata-1944, he was the Hero and the Debutante Dilip Kumar was the side Hero ! His career spanned over 50 years-1935 to 1989. He worked in 328 films Pehla pyar was his last film as a hero.

The music was composed by Premnath. This is a case of Same name Confusion. many people think that the actor Premnath had also given music as a MD. Both were different.

PREMNATH the Music Director was born on 5-7-1918 in Gujranwala, Punjab. He learnt music from experts in Amritsar,Multan and Lahore.He acted in films like Shahr-e-khamoshi and also sang in Sohni Mahiwal-1938.

After marriage, he moved to Bombay. His first film as a Music Director was Rangbhoomi-1946. In this film, a novice Mohd. Rafi sang many songs for him. His other films were Dharti-47, Chandrahas-47, Sagar’s Pehla pyar-47. He then produced a film “Chand sitare”-48 under the banner of Ravindra Art productions. Mukesh, Lata and Geeta Roy sang in it. In film ‘Alakh Niranjan’-50,he used Mohd. Faruqi, Sulochana Kadam and Rajkumari.

Premnath gave music to many films of Super pictures of Aspy Irani like Bade Bhaiya-51 and Maya Machhindra-51, in which Surendra, Geeta,Rafi and Shamshad sang. His another film ‘Qatil kaun’ in late 50s was not released. For this film, Rafi, Asha, Manna Dey, Mubarak Begum and Shamshad had given songs.

His films diminished. Sati Vaishalini-59,Main hoon jaadugar-65 and Tarzan in Fairyland-68 were his last films.
After he stopped work as MD,he devoted his time for the welfare of Cine Artists as a trade union leader. As a Secretary,he served the music Directors Assn. for 30 years.
He died on 27-4-1993 at the age of 75 years.

I find that many people mistakenly credit actor Premnath as a MD for his films. Some sites include these films to the filmography of actor Premnath.

It is now clear that actor Premnath and MD Premnath were 2 different persons.

Today’s song is sung by Shamshad Begum. With this song, film Pehla Pyar-47 makes its Debut on this Blog.


Song- Haay re ghir ke baadal aaye jiya ghabraaye (Pehla Pyaar)(1947) Singer- Shamshad begum, Lyricist- I.C.Kapoor, MD- Premnath

Lyrics

haay re ghir ke baadal aaye ae
jiya ghabraaye
haay re ghir ke baadal aaye
jiya ghabraaye

naina maane na kehnaa aa
kaaboo mein nahin hai mera haay dil
naina maane na kehnaa aa
kaaboo mein nahin hai mera haay dil
jhoom ke lehraaye jiya
doley re boley re
aa mil
aa mil
jhoom ke lehraaye jiya
doley re boley re
aa mil
aa mil
birha mein yaad jalaaye
jiya ghabraaye
haay re ghir ke baadal aaye
jiya ghabraaye

ghanghor ghataayen chhaayin
laut aayin phir jawaaniyaan
ghanghor ghataayen chhaayin
laut aayin phir jawaaniyaan
aao jee sunaayen tumhen
meethi meethi dil ki kahaaniyaan
kahaaniyaan
aao jee sunaayen tumhen
meethi meethi dil ki kahaaniyaan
kahaaniyaan
haay teri yaad sataaye
jiya ghabraaye
haay re ghir ke baadal aaye
jiya ghabraaye

sapnon mein aane waale
dekh dekh haari teri raahen
sapnon mein aane waale
dekh dekh haari teri raahen
aao galey aan milo
poochh rahin dil mera aane
haay aane
aao galey aan milo
poochh rahin dil mera aane
haay aane
tere bin jiya nahin jaaye
jiya ghabraaye
haay re ghir ke baadal aaye
jiya ghabraaye


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

Blog Day :

4749 Post No. : 16482 Movie Count :

4477

HAPPY BIRTHDAY TO ASAD BLOG !

HEARTIEST CONGRATULATIONS TO ATUL JI FOR COMPLETING 13 YEARS OF HIS BLOG !!

CONGRATULATIONS TO ALL TEAM MEMBERS ON THIS OCCASION !!!

Today the Blog completes 13 years. Now that it is in its Teens, a lot of activity is expected. We are all with Atul ji in maintaining the lead position of this Blog in the Cyber world of HFM lovers.

I first came to know about this Blog somewhere in 2011. I do not remember the date or month. I had newly learnt how to operate the computer and I had the enthusiasm of a Novice to surf and find various sites and Blogs. I had completely retired from my work and was thinking of reverting to and rediscovering my old hobby of old films and music thereof. I had unpacked my old diaries and notebooks, wherein I had made notes about every film that I had seen from my childhood. I was thrilled when I saw this Blog while surfing.

I kept on visiting it often to read all the posts and enjoy familiar old songs. I found that the Blog is dedicated to film songs from the beginning to modern times. I was also impressed with the comments by its readers from almost every corner of the world. In those days, a lot of readers used to express their views by commenting. This gave additional information, a focus on improvement and understanding the choices of the visitors.

I also started making comments, armed with the information from my diaries and notebooks. These information pieces were authentic and unique because these were not to be found anywhere on the internet. I specialised in providing stories of films made in the period from the 30’s to the 60’s. On a rough estimate I posted around 600 film stories and almost the same number of information comments on films, music, starts etc etc. The other members of the Blog now started recognising me. On the prodding and encouragement of Atul ji, my first post came up on the Blog on 1-10-2012 and after that there was no looking back.

What is the speciality of this Blog ? I would unhesitatingly say – CREDIBILITY. This Blog is famous all over the Cyber world of old HFM lovers, as a place where correct Lyrics and information that is trustworthy and reliable, is available. I am very active on Social media and I feel very happy when excerpts from this Blog are produced as a proof of something in a dispute. I see people quoting from the Blog. This proves that the Blog has earned the honour of being a Reference Point for many people. This is the result of Atul ji’s strong conviction that information here must be beyond doubts, reliable and trustworthy.

Today, the Blog can boast of (till 17th July 2021)

No. of Song Posts 16474
No. of films represented 4470
No. of films with all songs covered 1271
No. of visitors till date 1,45,91,249

If you break up the number of visitors so far, everyday about 3118 people visited the Blog, i.e. 130 persons every hour. With this kind of statistics, no doubt, this Blog must be the No. 1 Blog, catering to the HFM lovers all over the world. (WordPress claims that it is read in 198 countries worldwide).

I feel honoured and proud to be a member of this team. Once again, I congratulate Atul ji and wish the Blog many more Anniversaries in future.

Today’s song is from an obscure film “Manager”-1947. The film was made by Tiwari productions and was directed by I.P.Tiwari. Obviously he seems to be the owner of the banner. His name is found only for this one film. Possibly he was one of those “novo rich” financers who cropped up due to the war period activities, who tried their hand at making and directing films. This social film had 7 songs written by lyricist Kumar Sharma and music was by a Debutant Music Director Ramkrishna Shinde.

Have you ever heard the name of a composer called HEMANT KEDAR ? No, it is not a pair like S-J,K-A or L-P. It is a misleading one name( like another such single name Shyamji Ghanshyamji, for example). OK, did you ever know about R.K.Shinde or Ram Shinde ? I am sure most of the readers may not have heard these names. These are the names of Ramkrishna Shinde. This reminds me of composer Snehal Bhatkar who used 5 different names as composer.

Ramkrishna Shinde was a multi talented composer, who could not shine, though he had talents. Further he started his career at a time when India’s big composers like C.Ramchandra,Naushad, Husnlal-Bhagatram, Shankar-Jaikishan etc were in their best performing period and had hogged almost all the major production houses as their Patrons. In this flood of Musical Tsunami, smaller composers remained smaller due to non availability of exposure and good banners, waning into oblivion ! Those who had talents plus good luck survived, but composers with talents without Luck were soon forgotten.

Ramkrishna Shinde was born on 19-4-1918 in Malvan area of Maharashtra Coastal Belt. He was the eldest amongst 2 brothers and 2 sisters When he was 9 yr. old, his father died and the family was shifted to Bombay, by aunt and uncle. His interest in music was unusual. He took training in vocals from Pt.Sitaram and learnt Sitar from Pt. Madhav rao. For survival, he took up a job in Dawn Mills. In 1944, he got married. Same time, he met Dancer Parvati Kumar and Tabla player Ramakant. He soon left the job and started giving music to Marathi stage plays. He was a very popular composer.

His first Hindi film as a composer was Manager-47, followed by Kiski Jeet-48 and then Bihari-48, with Naresh Bhattacharya. Not getting films anymore,he turned to giving music to Dance Ballets. He became so famous that 27 of his ballets went abroad with his music. He was called by Amiya Chakrawarty for giving Dance Music in Usha kiran’s film Gauna-50.

He returned to Hindi films again. This time as Hemant Kedar. Reason for this name- his favourite Ragas were Hemant and Kedar. He gave music to
Khaufnak Jungle-55, Police Station-59 and Captain India-60.

Hemant Kedar ( Like Daan singh and Jaidev) must be one whose unreleased films numbered many or more than his released films. Some of his Unreleased films were
1. Hamari kahani
2. Avinash
3. Sati mahananda
4. Jannat ki Hoor
5. Peeli kothi
6. Paataal Devta ( This was the film in which actress Mumtaz had Debuted, but not released)

Hemant Kedar gave music to 2 Marathi films. Side by side, he did 5-6 programmes on All India Radio. After the advent of Television, he started giving music to TV Ballets and was in great demand for it. He did about 15 Ballets on TV. He became ill and expired on 14-9-1985, leaving behind his wife and two daughters. Luckily, his wife had a good job. (Thanks to http://www.beetehuedin.blogspot.com and book ” मराठी चित्रपट संगीतकार कोष ” by Madhu Potdar, HFGK, muVyz and my notes for this information.)

I am not aware of the story of this film. However, on scanning the Film India issue, I found a remark about this film. According to that, it was a film about mill workers and their relations with its Manager. The cast of the film consisted of Purnima, Jai prakash, Sarla, Aziz, Tiwari, Ameenabai etc.etc. The Heroine Purnima made her Debut with this film. I do not know anything about actor Jai Prakash.

Today’s song is a duet by Amirbai Karnataki and A R Oza. It is a good song. With this song, film Manager-1947 makes its Debut on the Blog.


Song-Rut rangeeli aayi sajaniya rut rangeeli aayi (Manager)(1947) Singers-Amirbai Karnataki, A R Oza, Lyrics-Kumar Sharma, MD-Ramkrishna Shinde
Both

Lyrics

Rut rangeeli aayee sajaniya
Rut rangeeli aayee ee ee
Rut rangeeli aayee sajaniya
Rut rangeeli aayee ee ee

masti chaaron oar hai chhaayee
masti chaaron oar hai chhaayee
Rut rangeeli aayee ee ee
Rut rangeeli aayee sajaniya
Rut rangeeli aayee ee ee

dil ki kaliyaan dol rahi hain
dil ki kaliyaan dol rahi hain
aasha man mein bol(?) rahi hai
aasha man mein bol(?) rahi hai
?? angdaai
?? angdaai
Rut rangeeli aayee ee ee
Rut rangeeli aayee sajaniya
Rut rangeeli aayee ee ee

mera bichhda meet mila hai ae ae
mera bichhda meet mila hai ae ae
jeevan ka sangeet mila hai
jeevan ka sangeet mila hai
teri hi thhi aag lagaai
teri hi thhi aag lagaai

Rut rangeeli aayee ee ee
Rut rangeeli aayee sajaniya
Rut rangeeli aayee ee ee
Rut rangeeli aayee sajaniya
Rut rangeeli aayee ee ee

yaad dilaa do ??
jawaani ki koi
kahaani suna do
itni hai
itni hai bedard jawaani
laut ke phir nahin aayi
laut ke phir nahin aayi

Rut rangeeli aayee ee ee
Rut rangeeli aayee sajaniya
Rut rangeeli aayee ee ee
Rut rangeeli aayee sajaniya
Rut rangeeli aayee ee ee

tum hi ho meri kaaya maaya
tum hi ho meri kaaya maaya

tumhi ne hai sansaar basaaya
tumhi ne hai sansaar basaaya
?? tumhri kamaai
?? tumhri kamaai
Rut rangeeli aayee ee ee
Rut rangeeli aayee sajaniya
Rut rangeeli aayee ee ee
Rut rangeeli aayee sajaniya
Rut rangeeli aayee ee ee

ghar mein joru ?? na jaata
?? fakat hai Ishwar se naata
ghar mein joru ?? na jaata
?? fakat hai Ishwar se naata
nahin mili hai koi lugaai
nahin mili hai koi lugaai

Rut rangeeli aayee ee ee
Rut rangeeli aayee sajaniya
Rut rangeeli aayee ee ee

masti chaaron oar hai chhaayee
masti chaaron oar hai chhaayee
Rut rangeeli aayee ee ee
Rut rangeeli aayee sajaniya
Rut rangeeli aayee ee ee


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 :

4740 Post No. : 16466

“Leela”(1947) was produced by Gyan Mukherjee and directed by Dattaram N Pai for Filmistan, Bombay. The movie had Shobha, Kanu Roy, Veera, V.H.Desai, Aga Jan, Leela Misra, Krishnan kutty, B.M.Dixit, Satyanarayan, Sharma, Sunalini devi, Roshan, Radha, Roma etc in it.

The movie had nine songs in it. Seven songs have been covered in the past.

Here is the eighth song from “Leela”(1947) to appear in the blog. This song is sung by Binapani Mukherjee. Qamar Jalalabadi is the lyricist. Music is composed by C Ramchandra.

Only the audio of the song is available. I request our knowledgeable readers to thro light on the picturisation of the song.

Lyrics of this song were sent to me by Prakashchandra.

Audio link:

Song-Duniya se hamein kya mila hai pyaar kisi ka (Leela)(1947) Singers-Binapani Mukherjee, Lyrics-Qamar Jalalabadi, MD-C Ramchandra

Lyrics (Provided by Prakashchandra)

duniyaa se hamein kyaa
duniyaa se hamein kya
milaa hai pyaar kisee kaa
duniyaa se hai pyaaraa
hamein iqraar kisee kaa aa aa
pyaar kisee kaa

duniya se hamein kyaa
duniyaa se hamein kya
milaa hai pyaar kisee kaa
duniyaa se hai pyaaraa
hamein iqraar kisee kaa aa aa
pyaar kisee kaa

do raahey pe meri jawaani khadee hai
do raahey pe meri jawaani khadee hai
ye soch rahee hai
idhar duniya khadee hai ae
udhar pi ki gaali hai
jaaoon pee ke gali mein
jaaoon pee ke gali mein
sunaa hai daur kisee kaa
duniyaa se hai pyaaraa
hamein iqraar kisee kaa aa aa
pyaar kisee kaa
duniya se hamein kyaa
duniyaa se hamein kyaa
milaa hai pyaar kisee kaa
duniyaa se hai pyaaraa
hamein iqraar kisee kaa aa aa
pyaar kisee kaa

tu aaye to main dil ke
armaan nikaal loon
paaon ki sunn`ke aahat
dil ko sambhaal loon
baahon ka haar banaa ke
tere galey mein daal doon
baahon ka haar banaa ke
tere galey mein daal doon
tu poochh ye hai kyaa
tu poochh ye hai kyaa
main kahoon pyaar kisee kaa
duniyaa se hai pyaaraa
hamein iqraar kisee kaa aa aa
pyaar kisee kaa

duniya se hamein kyaa
duniyaa se hamein kya
milaa hai pyaar kisee kaa
duniyaa se hai pyaaraa
hamein iqraar kisee kaa aa aa
pyaar kisee kaa aa


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

Blog Day :

4726 Post No. : 16440

Today’s song is from the film Farz-1947. This is an absolutely unknown and obscure film, made in the melee of the Partition blues. No information about this film is available anywhere. Even information in HFGK is also not complete.

When I first saw the name Farz, I remembered the 1967 film of Jeetendra and Babita. In those days, Jeetendra had become famous as ‘Jumping Jack’ and his trademark was White T-Shirt and White shoes. Farz was his just the 5th film, but the overwhelming success of this film catapulted him to the Top of the league. He became the young girls’ heartthrob.

In the film Farz he played the role of Secret Agent 116. This film was a remake of the Telugu film ” Goodachari 116″ made in 1966. A very interesting feature of the film Farz was that 2 sequels were made on this film – Keemat-73 with Dharmendra and Rakhsha-82 with Jeetendra himself. In all the 3 films, the Hero’s name was Gopal Krishna Pandey- Secret Agent 116 !

Film Farz-67 and its ” original” Goodachari 116 were actually based on Hollywood films of Agent OSS 117. French author Jean Bruce wrote 88 novels describing the adventures of Agent OSS-117. After the author’s death in an accident, his wife Jesette wrote 143 novels on OSS-117 and after her death, their daughter wrote 23 novels on OSS-117. This must be a World Record, surely ! Several movies too were made on these books, till the end of the 80’s.

But the film Farz-1947 may not have been of this type, looking at the cast and the director and in any case that was not the period of such films. HFGK does not mention the film’s Genre. The film was made by New Hindusthan Pictures Ltd, Bombay. It was the second film of writer-Director Niranjan. He had already directed the film Kahan Gaye in 1946. Later he also directed the film Sajan ka Ghar-1948. Then his name disappeared, till it appeared in 1954 in the case of his divorce.

As per HFGK, the cast of the film was Ragini, Chand Burke, Sudhir, Agha, Fareeda and Leela. No names of lyricists or the singers of the 9 songs were given. The MD was K.S.Sagar. He seems to have given music to one more film Sajan ka Ghar-1948. One song from this film is already discussed here.

As far as the actors were concerned, this was the First and the Last film of the Hero Sudhir-in India- before he migrated to Pakistan and made a name there. Sudhir ‘s real name was Shah Zaman Khan Afridi. He was born on January 25, 1921 and died on January 19, 1997 in Lahore. Sudhir was married thrice, first in his own family, second was actress Shammi and the third actress Zeba for a while. Sudhir’s son from his first wife, Shah Zaman (film name) was seen in the film Dushman ki Talash (1978).

Sudhir was a legendary film hero in both Urdu and Punjabi films. He had a long film career of 38 years and appeared mainly in main roles. Almost all main heroes were seen in side roles with Sudhir. His first film was before partition, New Hindustan Film’s release Farz (1947). It was directed by Niranjan and the heroine was Ragini.

In Pakistan, he was the hero of the third released film Hichkolay in 1949. Daud Chand was the director and Najma was the heroine. He got huge success as action hero in the film Baghi in 1956 and his last film was a Pashto film Pat Khamar in 1989.

Sudhir was a highly respected film personality. He was known as Lala Sudhir – Lala means Uncle in Pashto language and Elder Brother in Punjabi language. He was of Pashton origin but he spent all his life in Lahore. He had only a single Pashto film in his career and that was actually a Punjabi film Puttar da Pyar (1972) which was released in Pashto version.

Secondly, the Heroine Ragini, who had acted in 14 Hindi films- for her this was the last film in India, before she migrated to Pakistan. Ragini was born as Shamshad Begum, in 1923, at Gujranwala, in a bazaar, where, to quote that great sage, Agha Hashr, “Days are dormant and nights wide awake.” Her mother named her Shamshad Begum, and her father, Seth Diwan Parmanand, happily allowed a Muslim name. But, her mother died during her childhood, and Diwan took this young girl from Gujranwala to Lahore.

Even this early, Ragini had the looks that made her noticeable. In those days, the classical sense of beauty was quite different. Large, sparkling eyes and a fair complexion was enough for any girl in the films to be termed beautiful. Aahoo Chashm Ragni and Pari Chehra Naseem (Saira Bano’s mother) were both considered the epitome of beauty, although young people question those attributes today as “just average”.

Ragini was not able to go to school for undisclosed reasons, although she had a happy childhood. Diwan Sahab’s good friend, Roop K. Shorey was a well known film maker, and one day, while visiting his house, he noticed the girl child. “Isn’t she cute?” he said. “She has the looks of a fine film actress.” Although Diwanjee had some reservations about allowing the girl to join the industry, Shorey pledged that he would look after her at every step of the shoot. In those days, there were very few girls in the industry. To find a seventeen year old girl as the heroine meant that you had hit the jackpot.

Shorey cast Shamshad as Ragini, in Kamla Movietones’ Punjabi film, Dulla Bhatti in 1940. M.D. Kunwar was the hero, while Ragini played Nooran in the film. It was a hit and people were spellbound by her charm. Her next film, Sehti Murad did not make such a bang. She also did ‘himmat’ and ‘Raavipaar’. Later, she worked in many films before Partition, including her first Hindi film,Nishani-42,,Naila,Anarkali,Poonji, Kaise Kahoon, Dasi, Shirin Farhad,farz and others. In A.R. Kardar’s film, Shahjahan, Ragini played Mumtaz Mahal, while her first hero, M. D. Kunwar, who had done Dulla Bhatt’s role, characterized Shahjahan with great aplomb. Kunwar was so enamoured of Ragini that he had requested Kardar for the role, to be close to Ragini. Unfortunately, Ragini did not respond to his romantic advances, and Kunwar sank himself in perpetual drunkenness, which led to his getting infected by tuberculosis and his death soon after that.

Ragini was invited to India to do two films,Chamkee-52 and Insaan-52. She did this and went back to Pakistan. Later she divorced her first husband and married producer Gul. Her last days in Pakistan were very sad. She was thrown out of her house by her Son in Law,as he did not want an actress in his house. She spent her last days in a small room in Lahore and died unsung on 27-2-2007 at the age of 85 years.

In this film, the director’s wife Chand Burke was also acting. Chand Burke was born in a Punjabi Christian family in Lahore. She made her debut in Maheshwari Productions’ Kahan Gaye (1946), which Niranjan wrote and directed. They fell in love on the sets and got married in 1945. Thereafter, Chand appeared in a number of Punjabi films made in Lahore, and was widely known as “the Dancing Lily of the Punjab.”

Partition and her subsequent migration to Bombay adversely affected her career. After “Hamari Manzil,” which was released in 1949, Chand Burke went into complete oblivion. It was Raj Kapoor who selected her for that important role as children’s tormentor in “Boot Polish-53,” over 200 other contestants, her screen-test convincing Raj Kapoor that she was a talented actress. Some of her well known films were Ferry-54, Basant Bahar-56, yahudi ki beti-56, Adalat-58 and Lajwanti-58.

Chand was the only one in a family of twelve brothers and sisters to have joined the films. Her brother S. M. Burke, I.C.S., was a Minister to the Scandina­vian countries for Pakistan. Chand ob­tained judicial separation by mutual consent from her husband, writer-director Niranjan in 1954.

She was also married to Sunder Singh Bhavnani- grandfather of superstar Ranveer Singh. She is also related to Suneeta Kapoor.

She acted in 32 films. Her last film was Pehchan-72.

Today’s song is a duet sung by Zeenat Begum and Dilshad Begum, as per the uploader-our own Sadanand Kamath ji, who also says that the Lyricist is also the Music Director. Enjoy….


Song- Hawa aa rahi ghata chha rahi naach rahi hai jawaaniyaan (Farz)(1947) Singers- Zeenat begum, Dilshad begum, Lyricist -K.S.Sagar, MD- K.S.Sagar

Lyrics

Hawa aa rahi ghata chha rahi
naach rahi hai jawaaniyaan
hoy
Hawa aa rahi ghata chha rahi
naach rahi hai jawaanniyaan
ye piya milan ki nishaaniyaan
ye piya milan ki nishaaniyaan
nishaaniyaan nishaaniyaan
hoy Hawa aa rahi ghata chha rahi
naach rahi hai jawaaniyaan

baagh mein jab khile chameli
baagh mein
haay baagh mein jab khile chameli
kyun dhadke mera jiya saheli
ho jaaun chanchal albeli
ho jaaun chanchal albeli
kyun abkhiyaan banin nishaaniyaan
ye piya milan ki nishaaniyaan
nishaaniyaan nishaaniyaan
hoy Hawa aa rahi ghata chha rahi
naach rahi hai jawaaniyaan

solah baras teri umariyaa baali
solah baras haaye
solah baras teri umariyaa baali
hirni si teri chaal niraali
chaal niraali teri
chaal niraali
honthon pe hansi
gaalon pe laali
honthon pe hansi
gaalon pe laali
teri ankhiyaan kahen kahaaniyaan
hmm
hmm
ye piya milan ki nishaaniyaan
nishaaniyaan nishaaniyaan
hoy Hawa aa rahi ghata chha rahi
naach rahi hai jawaaniyaan

mori atariya kaaga boley
mori atariya
mori atariya kaaga boley
mast jawaani meri dagmag doley
kaliyon ne jab ghoonghat kholey
kaliyon ne jab ghoonghat kholey
arre bhanwron ko soojhi shaitaaniyaan
ye piya milan ki nishaaniyaan
nishaaniyaan nishaaniyaan
hoy Hawa aa rahi ghata chha rahi
naach rahi hai jawaaniyaan


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


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

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

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

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