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

Archive for the ‘Songs of 1948’ Category


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

Blog Day : 4468 Post No. : 15960

After a long gap, in which I discussed songs and films of the 1950’s for a few months, I am now returning to the decade of the 1940’s. I discussed songs from 25 films of the 1950’s with the last post coinciding with completion of my 8 years of writing posts on this popular Blog.

Today’s song is from a less known- rather an unknown- film, Adalat-1948. It was the first film with this title. This title was lated used by the more famous film Adalat-1958 and also in Adalat -1976.

This film was produced by Mangal Pictures. It was directed by Vasant Joglekar and the music was provided by Datta Davjekar, for songs written by Mahipal and Narendra Sharma. Yes, he is the same Mahipal who became a regular feature in 131 Hindi Stunt, Action, Costume, Historical and Mythological films. Incidentally, Adalat-48 was Mahipal’s last film as a Lyricist.

The cast of the film was Baburao Pendharkar (brother of Bhalji Pendharkar),Salvi, Jog, Madgulkar, Jaysingh, Saroj Borkar, Sudha Apte, Nalini Dhere, Shalini and Rajan (Jawale). The cast, MD, Director all singers except Mohd.Rafi were Marathi people. Most of them are unknown to Hindi audiences.

Jaysingh was the son of director Bhalji Pendharkar, from his first wife. From his second wife(Miss Leela aka Leela Chandragiri) he got another son Prabhakar. Combining the names of these two sons, Bhalji named his new studio “Jayprabha” at Kolhapur. During the riots against the Bramhins, after the murder of Gandhi, this studio was burnt, because Bhalji Pendharkar was a Brahmin. The studio was rebuilt. It was later purchased by Lata Mangeshkar,only to get embroiled in court cases with the Maharashtra Government, for a long time.

Actor Rajan (Jawle) was a Marathi actor. He is the person who lived with and looked after actress Hansa Wadkar in her later bad days in her life, till she died. Actress Nalini Dhere was a Marathi actress but had done few Hindi films like Nagad Narayan-43 etc. In Hindi film industry, at some or the other times, there were as many as 8 Nalini’s operating as actresses and singers – Nalini Tarkhad, Nalini Jaywant, Nalini Nagpurkar, Nalini Gupte, Nalini Dhere, Nalini Saraf (who became Seema Deo-wife of actor Ramesh Deo), Nalini Chonkar and Nalini Korgaonkar (singer-Jail Yatra-47).

Another actor Madgulkar was a great personality in Marathi literary field. Gajanan Digambar Madguḷkar (1 October 1919 – 14 December 1977) was a Marathi poet, lyricist, writer and actor. He was born in village Shetphal, Atpadi Taluka, Sangli district in Maharashtra. His family hailed from village Madgule in the same Taluka.

He is popularly known in his home state of Maharashtra by just his initials as Ga Di Ma (गदिमा). He was awarded Sangeet Natak Akademi Award in 1951 and Padma Shri in 1969. He has written 157 screen plays and over 2000 songs in his career. He was called Adhunik Valmiki (the modern Valmiki) of the current era due to his composition of Geet Ramayan ( Ramayana in Songs) as the most notable work. 2019 was celebrated as his Birth Century year. Government of Maharashtra hosted various events and festivals to grace the occasion.

Madgulkar wrote poetry, short stories, novels, autobiographies and scripts, dialogues and lyrics for Marathi as well as Hindi movies. His poems have been adapted to a wide range of musical forms such as Sugam-Sangeet (light music), Bhawa-Geet (emotional songs), Bhakti-Geet (devotional songs), and Lawani (a genre of folk songs in Maharashtra). Madgulkar entered the world of movies in 1938 at Kolhāpur. He contributed to 157 Marathi and 25 Hindi movies. He was also an artist. He loved to draw nature scenes. Special mention must be made for the films, Jeewan Jyoti-53-S/play and dialogues, Toofan aur Diya-56- story, and Do aankhen barah haath-57-Story, S/play and dialogues.

A noteworthy fact about Madgulkar is that during his peak period in Marathi films, he created a World Record. He teamed up with Music Director Sudhir Phadke and director Raja Paranjape. Together, as a team, they gave a total of 11 Hit films,in a row in 18 years- from 1948 to 1966 … a record for a Team.

He had knowledge of 10 languages including Marathi, Hindi, English, Urdu, Bengali, Gujarati, Punjabi, Kannada, Tamil and Telugu.

Madgulkar was married to Vidya (Padma Patankar, Kolhapur) and they had 3 sons (Shridhar, Anand, Sharad Kumar) and 4 daughters (Varsha, Kalpalata, Deepa, Shubhada). The popular Marathi writer, Vyankatesh Madgulkar was his younger brother.

His home in Pune (‘Panchavati Bungalow’) has become a place of attraction for his fans.

In Hindi film industry, there were many name alikes. Some of them caused serious problems of ‘Same Name Confusion”. Artistes of the same name was a common phenomenon in early cinema i.e. the 30s and the 40s. Then it diminished slowly. This matter was not only common in actors, but in other categories also. As far as Music Directors are concerned, there were so many “Datta”s as MDs. Some of them at the same time and few causing the SNC syndrome too ! There were K.Datta, N.Datta, Narayan Dutta, D C. Dutta, Dattaram and Datta Davjekar. Each one contributed to HFM to his ability.

One of these music director’s name will be written in Golden Ink, in the History of HFM. That name is DATTA DAVJEKAR. This is because he helped an all time Legend LATA MANGESHKAR, by giving her the opportunity to sing her First PlayBack Hindi song in one of his films-“Aap ki sewa mein-1947.

Dattatreya Shankar Davjekar (Born on 15-11-1915 – died 19 September 2007), better known as Datta Davjekar or Datta Daujeker , was a veteran music composer mainly associated with Marathi and Hindi movies. He studied upto Matriculation in Nutan Marathi Vidyalay.

He started working from 1931 composing songs in Melas and later in Saraswati Cinetone. Assisted Sureshbabu Mane for film ” Nandkumar’-1937. Later he assisted Govindrao tembe in Natraj company. He was called to Bombay to record all Hindi and Marathi songs for film Savangadi in marathi and Saathi in Hindi in 1938. he first gave music to ‘Municipality’ made by Brilliant Pictures.

Datta Davjekar’s father Baburao used to play tabla for live folk musical plays as well as in Urdu plays. He used to work in Arya Subodh natak Mandali. He played Pakhawaz also.

Davjekar learned how to play tabla and harmonium and thus developed an interest in music. He also started composing songs. Later, he was invited by the famous star Shanta Apte to perform on her shows. Davjekar performed at places as far off as Allahabad and Lahore.

Davjekar assisted C. Ramachandra and Chitragupta for a while. His first break came in 1941 with a Marathi film called Municipality. It was followed by Sarkari Pahune in 1942. One of the film’s songs Naache Sangeet Natwar was a big hit. Davjekar went on to work with big names in Marathi cinema, like Raja Paranjape, Gajanan Jagirdar, Master Vinayak, Dinkar Patil, Datta Dharmadhikari, Rajdutt and Raja Thakur. In 1945, he joined HMV and composed several popular marathi Bhavgeet songs,writing them himself, like ‘Tuj swapni pahile’ and ‘ kuni bai gungunle’ etc. he was known as ‘ DD ‘.

His famous films include Rangalyaa Raatri Ashyaa, Paathlaag, Pahu Re Kitni Vaat, Thoraataanchi Kamlaa, Padchaaya, Chimanrao Gundyabhau, Pedgaonche Shahane, Juna Te Sona, Sant Vahate Krishna Mai, Sukhaachi Sawali, Viasakh Vanwaa and Yashoda. His last film release was Pahaate Punyechi in 1992. His non-film song “Sainik Ho Tumchyaa Saathi” (translation: For you, oh Soldiers) was a big hit and its sales proceeds went to the Armed Forces.

In a career spanning fiftytwo years, Davjekar composed music in several languages for sixty films, twelve plays and several documentaries. He learnt German music for composing music for the play Thank you, Mr Glad. He is credited for giving a break to many singers who became extremely popular over a period of time, including the Mangeshkar siblings, Lata Mangeshkar, Asha Bhosale and Usha Mangeshkar as well as others such as Anuradha Paudwal.

The film Maazhe Baal, released in 1943, was Davjekar’s first Marathi film with Lata Mangeshkar. He went on to introduce her to Hindi films with his song Paa Laagoo Kar Jori Re for the film Aap Ki Sewa Mein (1947).

Davjekar did four more Hindi films, Vasant Joglekar’s Adalat-48, Jeet Kiski-52,Premnath’s English-Hindi bilingual, Prisoner of Golconda-53, in which Sudha Malhotra sang, and Bal Shivaji-56 . He used to accompany Lata Mangeshkar on her foreign trips for music programmes as the chief arranger. He won Five awards for his music to Marathi films.In 1995 he was given “Lata Mangeshkar ” award, by Maharashtra Government.

On 19 September 2007 Davjekar died of a heart attack at his residence in Andheri, Mumbai.

An Obituary in One India dated 20th September 2007 says…

Family sources said Davjekar died of heart attack at his Andheri residence late last night. The funeral took place at the Oshiwara crematorium this morning and was attended by family, friends and admirers.

Condoling the death of Mr Davjekar, Lata Mangeshkar recollected that the late music composer had given her the first opportunity in playback singing in his movie “Aap Ki Seva Mein”. “Just like his music, he was a sweet human being,” Mangeshkar said.

His non-film song “Sainik Ho Tumchyaa Saathi” was a superhit and its sales proceeds went to the Armed Forces. Datta Davjekar also composed music for twelve plays including “Thank You Mr Glad” for which he learnt German music. In a career spanning more than six decades, he scored music for nearly 60 films. (Based on information from Wiki, One India, and Marathi Chitrapat Sangeetkar kosh, with thanks.)

I have not seen this film Adalat-48, but I know that this film was about a love marriage which went to the courts and ended happily. Today’s song is the 4th song on this Blog. It is a Rafi solo song. The prelude music and the tune suspiciously remind me of some songs, which I am not able to pinpoint right now. Maybe you will….


Song-Kyun bichhad gaye (Adaalat)(1948) Singer-Rafi, Lyrics-Mahipal, MD-Datta Davjekar

Lyrics

kyun bichhad gaye
kyun bichhad gaye
kyun bichhad gaye jeevansaathhi
bichhad gaye jeevansaathi
bichhad gaye
sang sang dole
sang hans bole
sang sang dole
sang hans bole
ban ban vaati ee ee
kyun bichhad gaye
kyun bichhad gaye

janam janam ka saath hamaara
janam janam ka
aa aa aa aa aa aa
janam janam ka saath hamaara
aa aa aa aa
kyun chhoda kyun bichhad gaye
man ke pankh laga kar naina
man ke pankh laga kar naina
khoj mein teri ud gaye ae
khoj mein teri ud gaye
kyun bichhad gaye
kyun bichhad gaye jeevansaathi
bichhad gaye jeevansaathi
bichhad gaye
sang sang dole
sang hans bole
ban ban vaati ee ee
kyun bichhad gaye
kyun bichhad gaye

Seeta
Seeta
Seeta
tum kahaan ho

ro ro ban parwat se poochha aa aa aa
ro ro ban parwat se poochha
neel gagan ko ghan ko poochhaa
ghan ko poochha
neel gagan ko ghan ko poochhaa
maun khade jad chetan royen
maun khade jad chetan royen
Siya bin saare vyathhit bhaye
Siya bin saare vyathhit bhaye
kyun bichhad gaye
kyun bichhad gaye


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4457 Post No. : 15935

“Gopinath”(1948) was produced by Brij Kishore Agrawal and directed by Mahesh Kaul for Shanti Lok Chitra Production, Bombay. The movie had Raj Kapoor, Tripti Mitra, Nand Kishore, Latika, Sachin Ghosh, Anwari Bai, Feroz, Niranjan Tiwari, Mahesh Kaul, Randhir, Baby Zubeida etc in it.

This “social” movie had nine songs in it that were penned by three lyricists namely Soordas, Meerabai and Rammurty Chaturvedi. Two of the three “lyricists”, viz Soordas, Meerabai lived hundreds of years ago and their creations could be used without any need to pay any royalties to their descendants.

Three songs have been covered in the past.

Here is the fourth song from “Gopinath”(1948) to appear in the blog. This song is sung by Shamshad Begam. Rammurthy Chaturvedi is the lyricist. Music is composed by Ninu Majumdar.

Audio as well as video of the song is available. The video has the word Latika printed over it. I wonder if that tells us the name of the lady lip syncing the song. One can see a very young Raj Kapoor playing the patron of the lady.

Video

Audio

Song-Bahutero samjhaaya ree laakhan baar(Gopinath)(1948) Singer-Shamshad Begam, Lyrics-Rammurty Chaturvedi, MD-Ninu Majumdar

Lyrics

aa aa aa aa aa
aa aa aa aaaa
aa aa aa aa
aa
bahutero samajhaayo ree laakhan baar
bahutero samajhaayo ree laakhan baar
ho laakhan baar
ho laakhan baar
laakhan baar
bahutero samajhaayo ree laakhan baar
bahutero samajhaayo ree laakhan baar

laakh kahi mori ee ee
laakh kahi mori
ek nahin maani
ek nahin maani
ek nahin maani
laakh kahi mori ek nahin maani
samajh samajh pachhataayo ree laakhan baar
samajh samajh pachhataayo ree
samajh pachhtaayo ree
samajh pachhtaayo ree
laakhan baar
bahutero
bahutero samajhaayo ree laakhan baar
bahutero samajhaayo ree laakhan baar
ho laakhan baar
ho laakhan baar
laakhan baar


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 :

4434 Post No. : 15869

“Adalat” (1948) was directed by Vasant Joglekar for Mangal Pictures Production, Bombay. The movie had Baburao Pendharkar, Shalini Devi, Jog Madgulkar, Sudha Apte, Saroj Borkar etc in it.

The movie had nine songs in it. Two song has been covered in the past.

Here is the third song from “Adalat” (1948) to appear in the blog. This song is sung by Rafi. Mahipal (later known as an actor) is the lyricist. Music is composed by Datta Davjekar. I must say the lyrics of Mahipal are quite impressive in this melancholic song.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of the song.


Song-Kismat to dekho (Adalat)(1948) Singer-Rafi, Lyrics-Mahipal, MD-Datta Davjekar

Lyrics

aa aa aa
aa aa aa
aa aa aa
kismat to dekho
humsafar r r r
kismat to dekho
humsafar
chaar kadam chale nahin
chaar kadam chale nahin
is tarah juda huye
ke aaj tak mile nahin
aaj tak mile nahin
kismat to dekho

dil ne to ki dua bahut
lekin na aa saki bahaa aa aar
phool ummeedon ke mere
khilaaye bhi khile nahin
khilaaye bhi khile nahin
kismat to dekho

dil ne to chaaha thha ki ab
kahde apna maajra aa aa aaa
ulfat ne si diye ke lab
hilaaye bhi hile nahin
hilaaye bhi hile nahin
kismat to dekho

raushan thhi jinse ae ye zameen een een
raushan tha jinse aasmaan aa aa aa aa
yoon gul huye mere charaag
aa aa aa aa aa aa aa
jalaaye bhi jale nahin
jalaaye bhi jale nahin
kismat to dekho humsafar
chaar kadam chale nahin
is tarah juda huye
ke aaj tak mile nahin
kismat to dekho


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 :

4381 Post No. : 15727

“Chanda Ki Chaandni” (1948) was directed by S S Vasan for Gemini Combines. The movie had M. K. Radha, Yashodhara Katju, Sundari Bai, V. N. Janki, H. Krishnamurthy, Ranjan, L. Narayan Rao, S. Pillai, T. R. Rajkumari etc in it.

Four songs from this movie have been discussed in the past.

Here is the fifth song from this movie. This “expression of love” genre of song is sung by Geeta Dutt. D N Madhok is the lyricist. Music is composed by Gyan Dutt.

Only the audio of this song is available. I request our knowledgeable readers to throw light on this movie as well as on the picturisation of this song.


Song-O Jaadugar kaahe tihaar gali aaye (Chanda Ki Chaandni)(1948) Singer-Geeta Dutt, Lyrics- D N Madhok, MD-Gyan Dutt

Lyrics

o jaadugar kaahe tihaar gali aaye
o jaadugar kaahe tihaar gali aaye
tum chup ho
main bhi chup hoon
tum chup ho
main bhi chup hoon
pyaar khada muskaaye
o jaadugar kaahe tihaar gali aaye
o jaadugar kaahe tihaar gali aaye

dil mein sau sau baat hamaare
ik aaye ik jaaye
dil mein sau sau baat hamaare
ik aaye ik jaaye
dil ki baat boojh lo baalam
hamse kahi na jaaye
dil ki baat boojh lo baalam
hamse kahi na jaaye
o jaadugar kaahe tihaar gali aaye
o jaadugar kaahe tihaar gali aaye

aao sabhi jee bhar ke baaten kar len
dilon ki jholi ee saajan bhar len
aao sabhi jee bhar ke baaten kar len
dilon ki jholi ee saajan bhar len
dil apne dhadkan ki lay se
dil apne dhadkan ki lay se
ghadi ghadi ye gaaye
o jaadugar haan haan
o jaadugar kaahe tihaar gali aaye
tum chup ho
main bhi chup hoon
tum chup ho
main bhi chup hoon
pyaar khada muskaaye
o jaadugar haan haan
o jaadugar kaahe tihaar gali aaye
o jaadugar kaahe tihaar gali aaye


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 :

4366 Post No. : 15695 Movie Count :

4326

Today’s song is a very rare song from an obscure film-Parbat ki Rani-1948. The film was made by Leela Chitra Mandir, owned by the heroine of the film-Leela Pawar. The lyricist and director of this film was A.Karim and the Music Composer was Master Ibrahim. He gave music to only 2 films and his only one song is available. It is uploaded by Shri Girdharilal Vishwakarma ji, who kindly tells us about who are the singers too. HFGK does not mention any singers.

When filmmaking, especially the Talkie films started, there were some reputed and well known companies who produced films. In the few initial years, the films were sold and seen only based on who had made them. These companies had that much respect in India.Companies like Imperial, Ranjit, Sharda, krishna,Madon, Sarswati, Prabhat, New Theatres, Bombay Talkies etc had their own studios, own set of actors, directors, Music Directors and Technical staff. They employed good to very good people in different departments. These companies produced films, keeping in view the profile of their audiences. Who were they ? They were the educated middle class, well to do people doing service, the small and big businessmen, women of households and generally the upper crest and the affluent section of the society.

The question came up as to what about the entertainment of the lower middle class,poor people, servants of the rich and their families, the daily earners and generally the poor class, who could not afford tickets of the posh theatres and those who hesitated to to join the white collared audience, for seeing the social films ? For them new types of films came up.Films which were cheap to make, cheap to distribute and cheap to exhibit in old theatres or theatres located in the older parts of the towns. To make the film cheap, everything about it had to be cheap, like unknown or new actors, less known composers and directors less or no expenses on settings etc etc.

Yet, the films had to appeal to the poor people. These people liked stories about Kings and Queens, injustice taken revenge of, where the poor becomes the king, stories in which the Hero has extraordinary physical powers to deal with villains and beautiful girls dancing and singing. These stories are identified with their dreams. So, film makers made such films, using Folk tales and adapted Arabian Night stories. The audience did not bother about the Histrionic capabilities of the actors or the quality of music, what they wanted to see was fighting, stunts and the daring hero winning the damsel , that all. All that they wanted to see was the Hero bashing the bad men and taking away the girl of his choice, Hero helping and fighting for the poor and punishing the wicked rich.They wanted fun, fights and few damsels. That’s all. And then, such films were made for them. This was the beginning of ‘ C ‘ grade films !

Initially, these action films were crude, but as the time went by, the films became polished and got some prestige and respect when the big film companies, like Ranjit, Mohan, Imperial, Madon and later Wadia Movietone started producing these type of films.Actors like Billimoria brothers, Jal merchant, Fearless Nadia, Radha Rani, Boman Shroff etc. brought some prestige to these films. Later on such films were done by Dara Singh, Azad etc.

Everything about C grade films was weird- from theatres to the audience. Even their Titles were strange, for example…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, Jadui putli etc.

The actors in such films,besides the main actors were…Bajar Battu, Phoolkumari, Maruti pehelwan, Bataata, Mitthoo Miyaan, Fatty Prasad, Boken Chattu, Minu the Mystic, Manchi Tuthi, Gareeb Raja, Kurbaan Jaoon, Pandit Dukhi, Vilayatu, Loveji Lavangiya, Adam Sandow, Sandow Safar, Dunlop, Chic Chak and a very strange name CHEMIST ! This name is found in 5-6 films. Many such names appeared.

Stunt films were made more attractive by including wild animals and regular animals like Horse, Dog, cat, parrot, Lion, Tiger, Elephants etc. In some films there were Hyenas and pythons too.

From 1935 onwards stunt films ,including Nadia’s,had a Horse named ‘Punjab ka Beta”, a Dog named ‘Tiger’, and a motor car named ‘ Rolls Royce ki beti’.

After Wadia brothers split and Homi started his Basant pictures, Nadia joined him and another set of animals like, Rajpoot(Horse), Moti(Dog) and Austin ki bachhi(a motor car) were included. In addition there was a Motorcycle called ‘Runnio’ as well.

Film critics and those who wrote in glossy magazines ignored these films, but a certain portion of Indian audience was a firm supporter of such films. Master Vithal, Master Bhagwan, Baburao pehelwan, John Cavas, kamran etc were their Heroes. Usually the Music Directors and Directors of these films were unknown and those available on minimum fees were always hired.

The Music Director of this film was also one such person – Master Ibrahim, who did only 2 films as MD. In the 50s and the 60s decade, there used to be a programme on Radio Ceylon, titled “Saaz aur Awaz”, at 7 am everyday. In this programme, film songs on different Musical Instruments were played-like Van Shipley on Guitar, Bismilla Khan on Shehnayi,Master Ibrahim on Clarinet. After this programme, there was ” Ek hi filmon ke geet” and at 7.30 the evergreen “Purane filmon ke geet” was scheduled.

For many years, I used to wonder as to who this Master Ibrahim was. I had read about Van Shipley and others, but information on Master Ibrahim was not seen anywhere. Finally, when my friend Javed Hamid ji from Delhi, sent me his book copies, published in Hindi, I found an article on Ibrahim, in one of his books,” Hindi cinema ke sadabahar Sangeetkar “.

His name was Ibrahim Rehmat Ali ( or E.R.Ali or Master Ajmeri, on some Record labels). He was born in 1915 at Ajmer and by his 11th year itself, he achieved expertise in playing a difficult musical instrument like Clarinet. he also learnt classical music from Banne khan, Jere khan and Dinkar Rao. From 1934 to 1936, he worked in Ranjit Movietone’s Music department. Then he joined All India Radio, for the next 6 years. In 1942, he joined H.M.V. and served there for the next 25 years.

In these 25 years, Master Ibrahim played his Clarinet in more than 6000 songs, recorded at HMV. He was also the Pioneer in presenting film songs on Musical Instruments. Even during his service. A.I.R. Bombay used to arrange his Clarinet Mehfil every month. He used to present different Raagas on Clarinet as per time of the day or night.

He gave music to only two films. Both were C grade,in the 40s decade. These films were Parbat Ki Rani-1948 and Bigde Dil-1949. He worked as assistant to many Music Directors like Ghulam Hyder, V K Naidu, Shyam Sundar, Fateh Ali Khan, Gulshan Sufi and Firoz Nizami.

He played not just the Clarinet, but also played Xylophone, Vibraphone, Alto saxophone, Supranophone and a few others. After his film songs on Clarinet became popular, different artistes like Van Shipley on Hawaiian Guitar, Enoch Daniels, Goodi Seervai, Hazara Singhand Sunil Ganguly on Piano Accordion and Brian Silas on Piano also became famous and popular, with their performances.

Master Ibrahim died on 20th September 1980, due to a Heart attack. The work of preserving his music on CDs started by HMV from 2015 and so far 4 CDs are published. His contribution in songs of films like Mughal E Azam, C.I.D., Mere Mehboob, Basant Bahar, Madhumati, Maya, Goonj uthi Shehnayi etc is remembered even today. Every year Radio Ceylon celebrates his death anniversary on 20th September by playing only his records.

He had 3 sons, who all are in the Music industry. They are experts in Vibraphone. Its use is very frequent in films nowadays. ( I thank Javed Hamid ji for his article in his book ” Hindi Cinema ke Sadabahar Sangeetkar” हिंदी सिनेमा के सदाबहार संगीतकार ).

The film’s director and lyricist was an all rounder. He acted in 3 films. From the film Aaj ki Duniya-40 to Mehbooba-1965, he wrote songs for 20 films. He directed 13 films. First film was Kalakar-42 and the last film was Mehbooba-65. He also gave music to 5 films. The films were kashmir ki kali-46, Toofani Tirandaz-47, Atom Bomb-47, Maya mahal-49 and Dhumketu-49.

I do not find today’s song very good, but then it is wrong to conclude anything with just one song. This song is important, because this is the only song of Master Ibrahim as a MD that is available. With this song film Parbat ki Rani-48 makes its Debut on the Blog.


Song-Badi bekal hai mere dil ki tamanna sajna tere liye (Parbat Ki Raani)(1948) Singers- Mohantara Talpade,Yashwant Bhatt, Lyricist- A Kareem, MD- Master Ibrahim
Both

Lyrics

Badi bekal hai mere dil ki tamanna aa aa
sajna tere liye
sajna tere liye
Badi bekal hai mere dil ki tamanna aa aa
sajna tere liye
sajna tere liye
hardam seene mein teri yaad hai
hardam seene mein teri yaad hai
duniya ummeedon ki aabaad hai
duniya ummeedon ki aabaad hai
tujhko jo dekha
huye raushan meri aankhon ke diye
sajni tere liye
sajni tere liye

Badi bekal hai mere dil ki tamanna aa aa
sajna tere liye
sajna tere liye
aaoge tum to main chhup jaaungi
aaoge tum to main chhup jaaungi
dhoondhoge haath nahin aaungi
dhoondhoge haath nahin aaungi
tumko sataaungi bahut tumne mujhpe zulm kiye
sajna tere liye
sajni tere liye
Badi bekal hai mere dil ki tamanna aa aa
sajna tere liye
sajna tere liye

apna waada na kabhi bhoolnaa
apna waada na kabhi bhoolnaa

dil ki dhadkan pe sada jhoolnaa
dil ki dhadkan pe sada jhoolnaa
jab tak jeewan hai rahenge hum tum sang priye
sajni tere liye
sajni tere liye

Badi bekal hai mere dil ki tamanna aa
sajni tere liye
sajna tere liye
Badi bekal hai mere dil ki tamanna aa
sajni tere liye
sajna tere liye


This article is written by Mahesh Mamadapur, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day:

4348 Post No. : 15661

We remember Nightingale of Punjab on her remembrance day today.

Surinder Kaur (25 November 1929 – 14 June 2006) was the recipient of the prestigious Padma Shri in 2006. She was the recipient of numerous other awards including Sangeet Natak Akademi Award and also a doctorate degree by Guru Nanak Dev University. Much of her life details can be easily found on her wiki page and many other articles and interviews on the net.

Her popularity of course stems from the fact that she pioneered and popularised folk songs of Punjab to the rest of the world. However, readers are well aware that she had a very short but memorable stint in HFM in the late forties. She gave playback to 57 songs in 21 films during the golden era and many of her songs are remembered and played to this day.

She has been one of my favourite singers for as long as I can remember and there is some aspect of her voice which attracts listeners. One is bound to be spellbound and even enter some sort of a trance on hearing her voice.  Very few singers of the golden era had such combination of rustic and melodious voice. Her full-throated contemporaries being the big three of Noor Jahan, Suraiya and the versatile Shamshad Begum, it’s easy to get confused when Surinder Kaur sang especially with Shamshad Begum.

I am aware of her immense popularity in Punjab and Haryana where she is nothing less than a legend, but we shall restrict ourselves to her Hindi songs in this post. This post has taken an inordinate time for self to complete. I must admit that the delay has been by several years rather than months. A few years back one of my good friends who hails from Hisar in Haryana was on his way home from Mumbai where we were working together. He asked me if there was anything that he should bring back to me. I told him I wanted a booklet on Surinder Kaur’s Hindi songs. He had a bizarre look at me and asked; Anything else? The unanswered reply being that it would be very difficult to trace such a thing.  Well, crazy music enthusiasts have crazy requirements.

It’s not that I have taken several years only to compile these 57 songs in the form of a table. This work started several years back and due to lack of proper commitment and other priorities, the post continued to be put off several times. This year, I resolved to complete the work and am excited to bring out the compilation.

In this post an effort has been made to put together all her songs sung for Hindi movies. A compilation of all her Hindi songs has been made in a tabular column. Before we proceed to the total list, here is the table of the number of songs she sung under different composers. Since the tables are self-explanatory, not much detailing is further provided.

Composers No. of Songs
Gyan Dutt 15
A R Qureshi 7
Hansraj Behl 7
Ghulam Haider 5
Husnlal Bhagatram 5
Khurshid Anwar 4
Naashad 5
Others 9
TOTAL 57

An interesting table of her songs with different singers follows.

Singers No. of Songs
Solo 30
Mohd. Rafi 5
Mukesh 5
Ram Kamlani 2
Talat Mehmood 1
Raja Gul 1
Other female singers and chorus 13
TOTAL 57

As can be seen above, more than half of her 57 songs were sung as solo numbers while Rafi saab and Mukesh sang a maximum of 5 each with her. Many of these songs will be discussed later.

Coming to the distribution of the number of songs that she sang in each year of her short stay in Bombay, following is the table. As is evident, more than 90% of her Hindi songs were sung only in 3 years of 1948-50.

Year Number of Songs Number of Films
1947 1 1
1948 20 6
1949 17 6
1950 15 4
1951 3 3
1952 1 1
TOTAL 57 21

I have not made a table of her songs under different lyricists, but from the detailed table below it is quite evident that DN Madhok wrote the maximum of 27 out of her 57 songs.

43 of the 57 songs have been already represented on the blog and hardly 14 remain.

Starting with Ghulam Haider who introduced many such wonderful artists to HFM, Surinder Kaur sang her first song, a duet with actress-singer Munawar Sultana in the film ‘Mehndi’ in 1947. What followed was what made Surinder Kaur Surinder Kaur in HFM.

Three priceless solo gems in the film ‘Shaheed’ 1948 that made her voice a craze all over India. These songs can be heard on repetition any given day. Song No 02 remains in active memory of many music lovers and I suppose this is one song which many associate with her.

‘Pyar Ki Jeet’ (1948) is basically remembered for its Suraiya songs, but Surinder Kaur stood her ground with her solitary solo and the two triad songs. Apparently, the solo is so very similar to the songs that she sang in ‘Shaheed’ even though the composers were different. The solo at 06 is sung under much gusto and one can only admire the rendition skills of Surinder Kaur.

‘Nao’ (1948), composed by Gyan Dutt has some wonderful songs. “Ek Nazar Wo Yaad Hai Unki” is a masterpiece, which continues to linger in the mind long after being heard. I happened to hear this song only a few years back and have been absolutely smitten to it ever since. More the song plays forward, more the mind loiters behind to absorb and ponder the depth of the voice and the words being rendered.  It is from this film that I take up today’s solo for representing in this post.

Gyan Dutt who has the highest songs rendered by her for any composer continues in 1948 with ‘Lal Dupatta’. It would have been interesting to know if he would have continued with her voice had she continued to sing in HFM. Readers may be well aware that Lata Mangeshkar has a solitary solo for Gyan Dutt.

The years of 1949 and 50 were important for she sang almost all her duets with male singers in these two years. With Mukesh she sang all her 5 duets in only two films of 1949 viz. ‘Dada’ and ‘Sunehre Din’.

For very obvious reasons, these remain my personal favourites especially “Tera Kisi Se Pyar Tha“. In “Dil Do Naino Mein Kho Gaya,” it’s interesting to hear how the two singers sing in quick succession their respective lines.

Rafi saab had one duet in 1949 and the remaining 4 in the next year. My personal favourite is the one from Sabak, “Keh Do Hamen Na Bekarar Kare” which is played quite often on SLBC to this day.

Her final two years of stay in Mumbai had other composers like SD Burman and Anil Biswas try her voice under their compositions. But then, health concerns in coastal Mumbai being the reason, Surinder Kaur shifted her base to Punjab where she became a phenomena in folk songs singing.

In this post, I am afraid I have not done enough justice to the appreciation and admiration of the voice and the popularity of her songs. However, my main intention was to club all her songs in a table so that it is easy for other knowledgeable contributors to cover her balance songs to be posted on the blog.

I have relied on a couple of biographical posts on Surinder Kaur by our Sudhir ji, valuable comments by Nitin ji, cineplot blog, the highly reliable HFGK and my notes. I express my sincere gratitude to all these sources. There were a few clarifications and attributions of songs to various singers. Again, Sudhir ji took the initiative of contacting his reliable sources and helped me at arriving to the correct compilation. I further requested him to help me with the lyrics of today’s post. I express my gratitude to Sudhir ji for all the help rendered.

Yes, Surinder Kaur sang a handful of only 57 songs in the golden era, but as they say the blessings are always to be counted. We, music lovers, are fortunate to listen to her having sung some exceptionally great songs in a voice that was a class apart and on a different level altogether.

Her name will undoubtedly and forever be etched in golden letters in the annals of Hindi Film Music.

Song – Ab Tere Bin Mera Nahin Thikaana  (Naao) (1948) Singer – Surinder Kaur, Lyrics – DN Madhok, MD – Gyan Dutt

Lyrics (Provided by Sudhir)

ab tere bina
mera nahin thikaana
ab tere bina
mera nahin thikaana
o o o pardesia
ye bhool na jaana
o o o pardesia
ye bhool na jaana
ab tere bina
mera nahin thikaana

main ne suna hai
log rog laga ke pyaar ka dukh paate hain
main ne suna hai
log rog laga ke pyaar ka dukh paate hain
yahi baaten
gham se bhari raaten
dil ko samjhaate hain
yahi baaten
gham se bhari raaten
dil ko samjhaate hain
o o o dil phir se hua begaana
o o o dil phir se hua begaana
ab tere bina
mera nahin thikaana

dekho dekho ji
neha laga ke daga na dena
hamaari haaye na lena
dekho dekho ji
neha laga ke daga na dena
hamaari haaye na lena
mera nanha naazuk dil roye
dukhi hoye
dekha jaaye mo se na
mera nanha naazuk dil roye
dukhi hoye
dekha jaaye mo se na
o o o dar laage bura zamaana
o o o dar laage bura zamaana
ab tere bina
mera nahin thikaana

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

अब तेरे बिना
मेरा नहीं ठिकाना
अब तेरे बिना
मेरा नहीं ठिकाना
ओ ओ ओ परदेसिया
ये भूल ना जाना
ओ ओ ओ परदेसिया
ये भूल ना जाना
अब तेरे बिना
मेरा नहीं ठिकाना

मैंने सुना है
लोग रोग लगा के प्यार का
दुख पाते हैं
मैंने सुना है
लोग रोग लगा के प्यार का
दुख पाते हैं
यही बातें
ग़म से भरी रातें
दिल को समझाते हैं
यही बातें
ग़म से भरी रातें
दिल को समझाते हैं
ओ ओ ओ दिल फिर से हुआ बेगाना
ओ ओ ओ दिल फिर से हुआ बेगाना
अब तेरे बिना
मेरा नहीं ठिकाना

देखो देखो जी
नेहा लगा के दगा ना देना
हमारी हाय ना लेना
देखो देखो जी
नेहा लगा के दगा ना देना
हमारी हाय ना लेना
मेरा नन्हा नाजुक दिल रोये
दुखी होइए
देखा जाये मो से ना
मेरा नन्हा नाजुक दिल रोये
दुखी होइए
देखा जाये मो से ना
ओ ओ ओ डर लागे बुरा ज़माना
ओ ओ ओ डर लागे बुरा ज़माना
अब तेरे बिना
मेरा नहीं ठिकाना

 


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

Blog Day :

4302 Post No. : 15567 Movie Count :

4285

Recently, I came across a very rare song from an unreleased film ‘Rustom Aur Sohrab’ (1940s). The song was uploaded on video sharing platform by Giridharilal Vishwakarma sometime in 2018. Despite an extensive search on the website, I could not get details about the film such as producer, director, actors etc. Probably, this film may have been one among many films that had become the victims of partition in 1947.

The title of the film indicates that it was based on the legendary poem of the same name by the 10th century Persian poet, Firdausi which was a part of his epic, ‘Shahnameh’. I had some exposure to Firdausi in our History classes while covering the Persian Empire. I had also watched the ‘Rustom Sohrab’ (1963) on Doordarshan sometime in the 1980s. But I do not remember details of the story.

Just to recapitulate the details of the story as depicted in the film, a few days back, I watched the full film ‘Rustom Sohrab’ (1963) on VCD and in the process, I enjoyed Sajjad Hussain’s gems which have been well picturised. The surprise from watching the film was that after many years, I realised that the story of Rustom-Sohrab had some similarities with that of a story in a Yakshagana play in Kannada titled ‘Babruvahan Kaalaga’ (Babruvahan’s Battle) which I had watched during my childhood in the late 1950s. Of course. what ever may be the similarities, they are co-incidental.

During my childhood, I used to accompany our family to watch the artists performing Yakshagana which were generally held in the Cosmopolitan Sports Club ground in Matunga, Mumbai. Since it was staged in Kannada, I had difficulties in understanding the poetic renditions and dialogues. But I used to enjoy the dances, the costumes of the artists and the rhythm of ‘Chendu’ – a type of percussion. I can say that during my childhood, I have seen more numbers of Yakshagana performances than the films. A few of my relatives were also pursuing their hobby as Yakshagana artists. Because of this, I had easy access to their make-up and rehearsal rooms when Yakshagana plays were being staged.

Before I come back to the main subject, I need to explain what is Yakshagana Baylata (I guess, the word ‘baylata’ may have been derived from English word ‘Ballet). It is a dance drama, combining the poetic singing by a singer, called ‘Bhagvatar’ accompanied by music with artists dancing with expressions and gestures and thereafter delivering dialogues. The Yakshagana plays are mostly based on the stories from Ramayan and Mahabharat. This form of folk theatre is popular in the west coast of Karnataka from where it originated about 500 years back.

In the story in the Yakshagana play, ‘Babruvahan Kaalaga’ (Babruvahan’s Battle), there is a battle between Arjun and his son, Babruvahan. In the story of ‘Rustom Sohrab’ (1963), there is a battle between Rustom and his son, Sohrab. In both these stories, father and son are not aware of their relations until the battle comes to an end. Let me set out in details some similarities in the story of Arujun-Babruvahan battle versus Rustom-Sohrab battle.

While Pandavas were in exile, Arjun wandered into the kingdom of Manipura and paid a visit to the king who had a beautiful daughter, Chitrangada. During his stay, Arjun fell in love with her and asked the king for his daughter’s hand. King agreed on one condition that the son born after his marriage with Chitrangada would be the future king of Manipura. Arjun agreed and the marriage was solemnised. When Chitrangada was carrying Babruvahan in her womb, Arjun had to leave Manipura. In the intervening period, Arjun had no occasion to visit his wife Chitrangada and the son Babruvahan. Later, Babruvahan succeeded his grandfather as the king of Manipura.

In Rustom-Sohrab story, Rustom, a confident of the king of Iran, on a visit to Samangan, a neighbouring kingdom, rescues the chariot of Princess Tehminia and her entourage from a huge fallen tree by removing the tree by his sheer strength out of her way. The Princess is impressed. Before she could expressed her love for him, Rustom rides on his horse and moves back to Iran. To entice Rustom to come back to her, she arranges stealing of Rustom’s favourite horse. As expected, Rustom comes to Samangan, the Princes kingdom in search of his horse and meets her who reveals the truth behind stealing of his horse. Rustom likes the Princess. Both get married. In the meanwhile, trouble is brewing in Iran and Rustom must go back to Iran to save the kingdom. He leaves the Princess who is carrying Sohrab in her womb. Before leaving for Iran, Rustom gives the Princes a metal armlet with Rustom’s family logo with the instructions that she should put on the arm of their yet to be born offspring. She gives birth to Sohrab who over a period of time becomes as great a warrior as his father.

The trigger for Arjun-Babruvahan battle is the capture by king Babruvahan of the horse as a part of Ashwamedh Yagna. Arjun as the protector must get the horse released by defeating Babruvahan. In the battle, King Babruvahan defeats the army of Arjun and kills him with an arrow which was given to him by Ganga as a boon. When Babruvahan comes to know that Arjun was his father and by his act, he has made his mother widow, he tries to kill himself. But his step-mother Uloopi, using Nagamani (magical stone) as sanjivani, revives Arjun. So, this is a happy ending of father-son dual.

While in Rustom-Sohrab battle, just like in Arjun-Babruvahan battle, Rustom and Sohrab were unaware of their relations as father and son at the time of their fight. It is only when Rustom fatally injures Sohrab during the fight, and sees the armlet on the arm of Sohrab, he comes to know that he had fatally injured his own son and he repents. Sohrab dies in the arms of his father, Rustom. Thus, the story has a tragic end.

In both the stories, the killing of father by Babruvahan and killing of son by Rustom is to avenge the killings of the son of King Afsayed of Turanak by Rustom and killing of Bhishma, the son of Ganga by Arjun in Kurukshetra war. For instance, after the son of King Afsayed of Turanak is killed by Rustom while rescuing the King of Iran from their captivity in Turanak, Afsayed takes a vow that he would kill Rustom’s son. In the process, he comes to know that Sohrab is the son of Rustom. Having failed to kill Sohrab because he is as strong a warrior as his father, he lures him to fight Rustom on behalf of the Kingdom of Turanak so that in the fight, Sohrab will get killed by Rustom. In the case of Arjun, it is an arrow given as a boon by Ganga to Babruvahan to kill Arjun to avenge his killing of her son, Bhishma by deceit.

It is also interesting to note that in both the stories, a horse is captured albeit for different reasons.

‘Rustom Aur Sohrab’ the unreleased film of the 1940s had 6 songs. I am presenting the first song from the film ‘jo qaail-e-mahr-o-wafaa hi na ho’ which is sung by Nazira Begum. The name of the lyricist is not known. The song is set to music by Master Mohan which, I guess, is the same person as Mohan Junior who was the music director for film ‘Ajamil (1948) and ‘Dana Paani’ (1953). There was a music director, Master Mohan who has composed music for films during 1931-36.

The song is written in a ghazal format with high sounding Urdu words. From the wordings of the ghazal, I feel that this song fits well in a situation in the film equivalent to the situation of the song “ye kaisi ajab daastan ho gayi hai” in the film ‘Rustom Sohrab’ (1963).

Audio Clip:

Song-Jo qaail e mehr o wafaai na ho (Rustom Aur Sohrab)(1948) Singer-Nazira Begam, MD-Master Mohan

Lyrics

jo qaail-e-mahr-o-wafaai na ho
jo qaail-e-mahr-o-wafaai na ho
waade ka nibhaana kya jaane
waade ka nibhaana kya jaane
jo munkar-e-dard-ae-ulfat ho
jo munkar-e-dard-ae-ulfat ho
wo dil ka lagaana kya jaane
wo dil ka lagaana

kis tarah teer mohabbat ka
kis tarah teer mohobbat ka
pae wast(?) jigar mein hota hai
pae wast(?) jigar mein hota hai
iss raaz ko koi kya samajhe
iss raaz ko koi kya samajhe
ik dukh ko zamaana kya jaane
ik dukh ko zamaana kya jaane

ummeed kaa daaman chhoot gaya
ummeed kaa daaman chhoot gaya
aasaar bure hain furqat mein
aasaar bure hain furqat mein
ye aag lagaayi hai jisne
ye aag lagaayi hai jisne
wo isko bujhhaana kya jaane
wo isko bujhhaana

wo dil jo kabhi toota hi na ho
wo dil jo kabhi toota hi na ho
wo chot ki lajjat kya jaane
wo chot ki lajjat kya jaane
jis haath mein khanjar sajta ho
jis haath mein khanjar sajta ho
marham ka lagaana kya jaane
marham ka lagaana kya jaane
jo qaail-e-mahr-o-wafaai na ho
jo qaail-e-mahr-o-wafaai na ho
waade ka nibhaana kya jaane
waade ka nibhaana


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 : 4206 Post No. : 15398

“Khidki”(1948) was produced by P L Santoshi under the banner of Arvind And Anand Films, Bombay. This movie had Rehana, Jawahar Kaul, Mumtaz Ali, Radha Kishan, Tiwari, Ram Singh, Srinath, Baba Raja, Abbas Rizvi, Harun, Deshraj, Shanta Kunwar, Indira, Neelam, Mona, Kamal Rani, Usha, Chanchal Kumari, Kalpana, V H Desai, Leela Mishra etc in it.

The movie had ten songs in it. Nine songs from this movie have been discussed in the past. Here is the breakup of the songs from the movie that have been covered so far:
 

Song Movie Year Sono Post number Post date
Tere binaa soonaa soonaa man ka meraa aangnaa Khidki 1948 2517 7-June-2010
Qismat hamaare saath hai jalne waale jalaa karen Multiple version song Khidki 1948 5058 24-Nov-2011
Kya hai zamaana chaahta fifty fifty Khidki 1948 7424 29-Jan-2013
Jai bolo Mahatma Gandhi ki Khidki 1948 7426 30-Jan-2013
Badi badi paati likhwainyaan Khidki 1948 10642 5-Jan-15
Ae jee munh kyun chhupaana Khidki 1948 11134 16-May-15
Hamen bhi koi yaad karta Multiple version song Khidki 1948 15389 20-Jan-2020

As can be seen, it has taken almost a decade before all the songs of the movie could be covered. The songs covered this year were rare songs not easily available.

Here is the tenth and final song from “Khidki”(1948) to appear in the blog. HFGK mentions this song as sung by Mohantara Talpade. It would seem that most of the song is sung by chorus, though.

P L Santoshi is the lyricist. Music is composed by C Ramchandra.

The song, created more than seven decades ago is an inspirational song, and talks about women empowerment in an era when this concept was difficult to accept even in western countries, forget India. Kudos to the movie makers for coming up with such a song. Indeed, a nation cannot progress if its women do not come forward and participate actively in this act of nation building.

With this song, all the songs of “Khidki”(1948) are covered in the blog and this song joins the list of movies that have been YIPPEED in the blog.


Song-Ham Hind ki hain naariyaan jalti chingaariyaan(Khidki)(1948) Singer-Mohantara Talpade, Lyrics-P L Santoshi, MD-C Ramchandra

Lyrics

Ham Hind ki hain naariyaan
jalti chingaariyaan
samjhe na koi hamen phoolon ki kyaariyaan
Ham Hind ki hain naariyaan
jalti chingaariyaan
samjhe na koi hamen phoolon ki kyaariyaan
Ham Hind ki hain naariyaan

waqt jab wo aayega
ki apne pran tyaag do
waqt jab wo aayega
ki apne pran tyaag do
apne khoon se jagaao
bujhti hui aag ko
apne khoon se jagaao
bujhti hui aag ko
hum machal uthhengin
hum machal uthhengin
ek saathh banke aandhiyaan
hum machal uthhengin
ek saathh banke aandhiyaan
Ham Hind ki hain naariyaan
jalti chingaariyaan
samjhe na koi hamen phoolon ki kyaariyaan
Ham Hind ki hain naariyaan

purushon ke aage aage hum kadam badhaayenge
purushon ke aage aage hum kadam badhaayenge
hum kisi se kam nahin
hum kisi se kam nahin
ye dniya ko dikhaayenge
apni aan ke liye
apni shaan ke liye
denge kurbaaniyaan
denge kurbaaniyaan
Ham Hind ki hain naariyaan
jalti chingaariyaan
samjhe na koi hamen phoolon ki kyaariyaan
Ham Hind ki hain naariyaan


This article is meant to be posted in atulsongaday.me.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 : 4203 Post No. : 15389

“Khidki”(1948) was produced by P L Santoshi under the banner of Arvind And Anand Films, Bombay. This movie had Rehana, Jawahar Kaul, Mumtaz Ali, Radha Kishan, Tiwari, Ram Singh, Srinath, Baba Raja, Abbas Rizvi, Harun, Deshraj, Shanta Kunwar, Indira, Neelam, Mona, Kamal Rani, Usha, Chanchal Kumari, Kalpana, V H Desai, Leela Mishra etc in it.

The movie had ten songs in it. Seven songs from this movie have been discussed in the past. Here is the eighth song from the movie to be covered in the blog. HFGK mentions this song as sung by Shamshad Begam and chorus. I notice that three lines (one line each in each stanza) are in another voice, namely that of Lalita Deulkar.

This song has another version which starts with the words “khoyi khoyi aankhen”. It is sung by Amirbai Karnataki and chorus.

P L Santoshi is the lyricist. Music is composed by C Ramchandra.

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

Shamshad Begam-Lalita Deulkar version

Amirbai Karnataki version


Song-Hamen bhi koi yaad karta (Khidki)(1948) Singers-Shamshad Begam, Lalita Deulkar, Lyrics-P L Santoshi, MD-C Ramchandra
Chorus

Lyrics
———————————-
Part I
———————————-
Hamen bhi koi yaad karta aa aa aa
Hamen bhi koi yaad karta
to kitna achcha hota
haan kitna achcha hota
to kitna achcha hota
haan haan kitna achcha hota
Hamen bhi koi yaad karta

unke liye hamne
kya na saha
taane sune aur
huye ruswa
mere liye bhi
sabhi naam le ke
hon kabhi naam le ke
aahen do bharta
ho aahen do bharta
to kitna achcha hota
haan kitna achcha hota
to kitna achcha hota
haan haan kitna achcha hota
hamen bhi koi yaad karta

kehte hain sachchi hai wohi muhabbat
ke jismein na poori ho paaye hasrat
keh to deta
ke marte hain tum pe
ho o ke marte hain tum pe
phir marta na marta
phir marta na marta
to kitna achcha hota
haan kitna achcha hota
to kitna achcha hota
haan haan kitna achcha hota
hamen bhi koi yaad karta

naazuk bade hain
ye resham ke taage
resham ke taage
muhabbat ke dhaage
darte hain ham
kahin toot na jaayen
haan toot na jaayen
kaash wo bhi darta
kaash wo bhi darta
to kitna achcha hota
haan kitna achcha hota
to kitna achcha hota
haan haan kitna achcha hota
hamen bhi koi yaad karta

————————————————–
Part II- Amirbai Karnataki version
————————————————–
Khoyi khoyi ankhen hain
dil phirta hai rota rota
dard ki duniya dekar r r
baalam hoga kaise sota

hamen bhi koi yaad karta
to kitna achcha hota
haan kitna achcha hota
to kitna achcha hota
haan kitna achcha hota
hamen bhi koi yaad karta

mohabbat ke jitne fasaane hain
hamne padhe
hamne sune
sabhi mein yahi hai
mile dil hain bichhde
bichhad ke miley
mera sanam bhi ee ee
kahin bhoole bhatke
mujhse aa milta
to kitna achcha hota
haan kitna achcha hota
to kitna achcha hota
haan kitna achcha hota
hamen bhi koi yaad karta
to kitna achcha hota
haan kitna achcha hota


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 : 4174 Post No. : 15348

Today’s song is from a forgotten film Bhool-1948. The film was produced by Cinematographer and V.Shantaram’s brother V.Avadhoot – who also directed this film, as per the credits.The lyricist for all the 8 songs was Firoz Jallundhari and the Music Director was Debutant Purushottam or S. Purushottam or Purushottam Solankurkar. The banner was Rajkamal Kala Mandir. The cast of the film was Umesh Sharma, Suman, Dewan Sharar, Parshuram, k.Datey, Leela, Sunderabai, Aruna Devi and 5 child actresses called Baby Rajashree, Baby Madhura, Baby Sadhna, Baby Charusheela and Baby Sheela. Amongst these, Rajashree, Madhura and Charusheela were Shantaram’s daughters.

When I was finding information on this film, I stumbled upon the film’s review in the December 1948 issue of Film India Magazine. I started reading it. From the writing , I got a feeling that the film was Ghost-Directed by V.Shantaram himself. But that is not the point. What I was shocked to read was that in a comment on IMPPA meeting on pages 13 to 15, Baburao Patel referred Shantaram as ” V Shantaram brother of V Kashinath, brother of V Avadhoot”, in almost every paragraph. Now, this was a bouncer for me. Nowhere, till now, had I known that Shantaram had one more brother called Kashinath. I knew only V Avadhoot as his brother, for all these years.

For further information, I checked V Shantaram’s biography on wiki, other Internet sites and articles on Shantaram in all my books, but still, no mention of Kashinath anywhere. I was astonished. As a true student of Old Hindi films and songs, I did not lose hopes and continued my search. My hard work and wait of one month bore fruits and on one unknown Internet site – http://www.geni.com – I got the family tree of V.Shantaram.

Shantaram’s mother Kamlabai was the younger sister of Radhabai, who bore two children Baburao and Bhalji Pendharkar, when she was with Dr. Gopal Pendharkar of Kolhapur, before she married father of Master Vinayak karnataki. Kamlabai married Shantaram’s father Rajaram Vankudre. The site shows that there were 4 brothers of Shantaram. They are named as Kashinath, Keshav, Ramkrishna and Avadhoot. Except V Shantaram and V Avadhoot, other brothers were not only not known, none of them was connected with the film industry-Hindi or Marathi. Whatever the reality, all these facts are available for anyone to check oneself.

The story and dialogues of the film Bhool-48 were by Dewan Sharar. The story, Baburao claimed, was taken from the theme of Thomas Hardy’s novel
” Tess of the Urbervilles “. This novel was first serialised in Britain’s ” The Graphic” in 1891 and was published as a single volume in 1892. The film was released on 7-10-1948 at New West End Theatre in Bombay. The story can be summed up as…

An honest and respected villager – Shiv Dayal (Dewan Sharar), with 6 daughters, is living in a village. His daughter Sheela (Suman) meets an Air Force officer on vacation- Mohan Chandra (Umesh Sharma). After few love songs, they indulge in pre-marital sex and soon Sheela becomes pregnant. Mohan returns and joins the War duty. News comes that he is killed. Shivdayal takes Sheela to Mohan’s father to request that they accept her as their daughter in law, but he refuses. Shivdayal comes back. Sheela delivers a baby boy. They lead a shameful life in their own village. In the meantime, Mohan, who is not dead, arrives and accepts Sheela and the child. They get married and all is well.

There was lot of hue and cry as to how the filmed was passed by Censors. The obvious conclusion was that Shantaram must have used pressure on the Censors. Film India also criticised it wholesomely. Shantaram’s reply was, if Shaknutala’s similar act is acceptable, then what is wrong in this ‘Bhool’ ?

Hindi film industry has seen uneducated, educated and talented artistes in various fields like acting, direction,production, cinematography, story and dialogue writing, Lyricists,composers etc etc. It has also seen successful artistes leaving films and shining somewhere else on their merits like, Shashi kapoor-sr, S D Batish, Lyricist Moti, B.A. etc etc. However , there is only one example where the artiste had an extraordinary success in totally unrelated fields, was a distinguished author and an acknowledged scholar BEFORE joining the film industry . He is Dewan Sharar. Not much has been written about him so far. Here is some updated information about him.

Dewan was not his first name. It was a Title used as a prefix. He came from a family which had served as Dewans in many states traditionally in few generations. His name was Atmanand Sharar. He was born (28-8-1897 to 1969) in Multan in erstwhile Punjab. From 1929 to 1942, he travelled in many countries. He is credited with editing the Magazine, ” Shabistan “, the first Urdu cinema paper in India. He worked as a Publicist for the League of Nations in Geneva, Switzerland. He edited a leading weekly ” Great Britain and the East ” for 3 years He regularly contributed to British and American press. He was the first Indian whose 4 plays were broadcast over BBC. From 1937 to 1940, he was in charge of the cataloguing of Urdu books and Manuscripts in India House at London. He published many books like’ Indian Folklore’, ‘ In the garden of Peacocks’, ‘ East meets West’ and ‘ Gong of Shiva’. The last one was translated in many languages of Europe. Hindi film ‘ Ishara’-43 was based on this novel. He also wrote the story of Himanshu Roy’s film ” Karma”-33- first English film by an Indian. The film credits start with his name First.

This is what South Asian Cinema Faculty of U.K.said about him, “Film and stage actor, writer of English novels, short stories, stage and radio plays, “Eastern Adviser” to British-Gaumont films in London and Urdu poet. He also contributed prominently to Indian cinema as a producer, character actor and a story and dialogue writer. Born in Multan, Dewan Atmanand Sharar (1899-1969) came from a family that had served as Dewans or Ministers in Indian princely states. After graduating from Punjab’s prestigious Government College, Lahore, he established an impressive repertory company in 1919 and presented several Hindustani plays and mushairas in various urban centres. In 1929, he set up a film-producing and distribution company and began to edit Shabistan,reputedly the first Urdu cinema paper in India.
In 1933, Dewan Sharar moved to London for the completion and launch of Himansu Rai’s Indo-British film, Karma (1933) ofwhich he was the storywriter. It was completed in England by Indian & British Film Productions with J.L. Freer Hunt as the director and Thorold Dickinson as editor. Sharar also produced and acted in Nagin ki Rani, the Hindustani version of Karma. While in London, many of his English short stories on Indian life appeared in mainstream newspapers in the UK and overseas. A major London publishing firm, George G. Harrap & Co., published two of his English works: The Gong of Shiva(1935) and Hindu Fairy Tales(1936). His short stories were also published as part of an anthology which included contributions from other famous contemporary writers. He also contributed a number of English radio plays for the BBC.

After returning to India in 1939 just before World War II, he worked for All India Radio Bombay and Delhi. He then joined filmmaker, V. Shantaram and adapted Kalidasa’s Sanskrit classic, Shakuntala for the silver screen in Hindustani. The film was a runaway success and the Sharar-Shantaram combine lasted over a decade winning laurels for both Sharar and Shantaram’s banner, Rajkamal.

In 1943, Ishaara (1943), a film based on Sharar’s English novel The Gong of Shiva catapulted actor Prithviraj Kapoor to stardom. Besides becoming an important pillar of popular Indian cinema, he also started Dewan Sharar Publications in 1963. His descendants include famous Bombay-based Indian film actor Akash Khurana and Nagpur-based businessman turned playwright and theatre actor Vikash Khurana. ”

Sharar had adapted the story from the original ” ???????? ??????? by Mahakavi Kalidas ” written in the 3rd century. He wrote the story, dialogues and Lyrics also. Shakuntala-43 was Sharar’s first film with Shantaram . Their association continued for some more films like, Parbat pe apna dera-44, Dr. Kotnis ki amar kahani-46, Apna Desh-49, Teen batti char Raasta-53 and J.J. Payal baje-55.

Dewan Sharar also acted in 8 films, namely Karma-33, Dr. Kotnis ki amar Kahani-46, Bhool-48, Apna Desh-49, Hindustan Hamara-50, Do Raha-52, Teen batti char rasta-53 and Dil E Nadaan-53. He wrote 62 songs as a Lyricist in 12 films, namely Shakuntala-43, Shaenshah Akbar-43, Parbat pe apna Dera-44, Mali-44, Panna Dai-45, Jeevan yatra-46, Dr. Kotnis ki amar kahani-46, Andhon ki duniya-47, Apna Desh-49, Hindustan hamara-50,Subah ka tara-54 and Jhanak Jhanak Payal baaje-55.

Today’s song is a duet by Sulochana kadam and Motisagar. MOTI SAGAR was one person who came to the industry to become a Hero,but ended up doing sundry roles,singing songs,writing stories and scripts and producing films. He ,however, could not get great success in any of these and ended up being ‘Jack of all trades,Master of None’.

MOTI SAGAR was born in New Delhi on 16-4-1925, but graduated from Lahore. In Lahore he got interested in acting in films.Then he met Inayat Hussain and G.A.Chishti-the composers and he loved singing.He came to Bombay in 1946. His cousins Motilal, Mukesh and Tara Harish were already there in films. Harish and Motilal were established,and Mukesh was trying very hard.
Moti Sagar did a second hero’s role in MALHAR-1951.
He sang his first song under Bulo C.Rani in GUL SANOBER-53 with Kalyani. Then came Pamposh, Shikar, Deewali ki raat, Makhichoos, Meri Behen and Flying Horse.
When he stopped getting songs and roles, he switched over to writing. He wrote stories for Badal, Lalkaar, Charas, Ram Bharose,
When this stopped he produced 2 films Hum Tere Ashiq hai and Badal.
After 1985, he retired till he died on 14-3-1999.

The Music Director was an unknown person,who made his Debut with this film. PURUSHOTTAM SOLANKURKAR or S. Purushottam ( 9-4-1919 to 30-1-1958 ) was from Kolhapur district. Born in a poor family, he was the youngest in three brothers. The eldest brother was a good singer under Abdul Kareem khan. The middle one had his ” Yashwant Sangeet Vidyalaya” in Kolhapur. Purushottam was a student of Vidyapeeth School. Bereft of higher education, Purushottam started learning to play various instruments, Violin, Sarangi, Harmonium and Tabla.
When he was 21 years of age, he started playing in the concerts of Kumar Gandharva or Shivputra Siddhramaiah komkali- as an accompanist. Vasant Desai-who was a ‘de facto’ Talent Hunter for V.Shantaram ( he had already discovered Promodini and Vinodini Desai and Vatsala Kumthekar) spotted him in one Mehfil and called him to Bombay. Shantaram gave him his brother’s film ” Bhool”-48 and Maharashtra Chitravani’s film Mere Laal-48 as a Music Director.

He was an excellent singer himself and had a very good voice. Noted composer Sudhir Phadke, who was his classmate in school, used to praise his singing, but Purushottam never sang any film song in his career. He believed that his job was to compose music and not singing.

Impressed with his style, Shantaram gave him his revolutionary film ‘Apna Desh’-49. True to his salt, Purushottam presented 2 Ghazals of Ghalib,’ Koi ummeed nahi hain” and Dil e naadan in a totally non-traditional tune and style. The Tamil and Telugu versions of this film were also done by Purushittam. Vasant kumari sang Tamil songs and Telugu songs were sung by Beauty Queen Surya Kumari. Later Shantaram gave ‘ Dahej’-50 to Vasant Desai and Purushottam.

Discarded, without reason, as was his habit, by Shantaram, Purushottam did Devyani-52 and Durga Khote’s Sandesh-52. In all he did 6 Hindi films and 2 Marathi films, as Music Director. Realising that he had no scope in films anymore, Purushottam returned to Kumar Gandharva once again ,as his accompanist. Thus he disappeared from the film line and there was no trace of him afterwards. One more name was added to less known and forgotten composers’ list ! (Some information used herein is from Marathi Sangeetkar kosh, with thanks.)

Let us now enjoy the duet from this film.


Song-Likhi hai do dilon ki kismet ne ye kahaani (Bhool)(1948) Singers- Sulochana Kadam, Moti Sagar, Lyrics-Firoz Jallundari, MD-S Purushottam
Both

Lyrics

Likkhi hai
do dilon ki kismat ne ye kahaani
Likkhi hai
do dilon ki kismat ne ye kahaani
har din hai pyaara pyaara
har raat hai suhaani
har raat hai suhaani
likhi hai
do dilo ki kismat ne ye kahani
phoolon se ban sanwar kar
dharti ne geet gaaya
shabanam ke motiyon ko
aakash ne lutaaya
shabnam ke motiyon ko
aakash ne lutaaya
ye bhed kisne samjha
ye baat kisne jaani
ye baat kisne jaani
o o o
aa aa aa
aa aa
ye roop ye jawaani ee ee
ye roop ye jawaani
ye mastiyon ke saaye
jab dil hi mil chuke hon
phir pyaar kyun na aaye
jab dil hi mil chuke hon
phir pyaar kyun na aaye
main tujh pe hoon nichhaawar
tu meri zindgaani
tu meri zindgaani
aa aa aa

aa aa aa
aa aa
phoola phala chaman hai
baadal khushi ke chhaaye
masti bhari pavan hai
kyun naachti na jaaye
masti bhari pavan hai
kyun naachti na jaaye
jharnon ke geet sun kar
hansti hai ban ki raani
hansti hai ban ki raani
o o o
aa aa aa
aa aa aa
main phool hoon oon
tu khushbu
main phool hoon
tu khushbu
main deep hoon tu jyoti
tu chaand hai main dariya
main seep hoon tu moti
tu chaand hai main dariya
main seep hoon tu moti
main tera hoon tu meri
phir kya kahoon jubaani
phir kya kahoon jubaani

likhi hai
don dilo ki kismat ne ye kahaani
likhi hai
do dilon ki kismat ne ye kahaani
aa aa aa


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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 TWELVE years. This blog has over 15900 song posts by now.

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