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 Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

I have already posted a sweet sad song from the film ‘Chheen Le Azaadi’ (1947), “Champakali Hai Udaas”. Here is another gem of a light tete-a-tete between lovers. Words of this song are written by Pt. Indra, and the music is by Hansraj Behl.
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“Majhdhaar” (1947) is a movie which I know nothing about. Whatever I know about this movie is from what is mentioned in the YT entry of this song. This movie was a Minerva Production and it was directed by Sohrab Modi. Star cast consisted of Surendra, Khursheed, Sadiq Ali, E Tarapore, Baby Tabassum, Rafiq Ghaznavi, Surekha etc.
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I had recently discussed a song from “Kaun Hamaara” (1947). This movie is an extremely obscure one and details about this movie are not available. For instance, we have no idea about the leading actress of this movie who sang the earlier posted song which was sung by Hamida Banu.
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I was under the impression that the first time that we heard the reference to naagan (female cobra) and sapera (snake charmer) in Hindi movies was “Naagin” (1954). But it turns our that there was a song in “Kaun Hamara” (1947) where the song talks (figuratively) of the cobra of love biting a lady and she seeks (figurative or may be emotional) treatment from her beloved.
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

I came across this gem of a sweet song of sadness today, and have simply fallen in love with it. Very simple words, very simple composition, and such effortless but impressive rendering by a voice that should merited to be known and heard more than it actually is.
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

‘baalam to pe sabar padey, moraa maikaa chhudaaye deenhon raam’

“O dear sweetheart, you have made me relinquish my mother’s home, hope you are now pleased and satisfied”

More than ‘Gham diye mushtaqil kitna naazuk hai dil (Shahjahan). . .’, and ‘Jab dil hi toot gaya(Shahjahan). . .’, this unfinished song is a much more fitting signature song that suddenly defines the totality of Saigal Saab’s essence of spirit, and sums up his entire life in terms of the most relevant event of human existence – the final departure.
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