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 Sudhir, 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 :

4749 Post No. : 16484

So. Finally it is official.

We are teenagers now, the first step into the growing up years. The childhood years left behind and now the coming of age years are starting.

What started off as a ‘let’s-try-it’ hobby run with the simplest of the simple philosophical musings – “Miley Na Phool To Kaanton Se Dosti Kar Li“, has come of age today and has blossomed into a huge tree with thousands of branches spread out, with roots that are deep and strong, and are full of conviction. A tree that provides shade in terms of solace to the lovers of music, which in turn are spread out all over the globe. This is the world tree of music and songs. This is a tree that has a flavor for every palate, a tree that has fruits of everlasting tastes for the connoisseurs, a tree that conserves and perpetuates that enchanting phenomena that is the lovely Hindi Film Music – this is a tree that has many different meanings and many different treasures for the seekers of pleasure in music. There is a whole universe of music that has  settled itself around this tree. Although the desires abounded for flowers, but when none were forthcoming this direction, the protagonist settled for the proverbial thorns to start with. That humble gesture ensured that flowers of all shades and colors, and also, flower bearers of all tastes and wonders, kept on coming together one by one, till a complete orchestra of performers was formed, and the bandwagon got its name.

Thirteen years and counting. And if you talk of counting, here are some counts that will really make you happy with wonder.

Do you know that we have a visitor to this blog, every thirty seconds – the total count (and still counting) is upwards of 14.5 million visitors. Now that is a number to really wonder about.

Do you know that we have been averaging quite, quite close to one new film per day since the inception of this blog. 4749 days today and 4480 films showcased. And oh yes, that is not counting the Non-Film songs categories. Adding them categories, we shall surely be at 1+ new film or new non-film song category per day. Isn’t that a wow that makes one feel like flying.

Do you know that the average daily rate of posting is upwards of three posts per day. Try doing that seven days a week, 365 days a year, and continuously at that rate for 13 years. Try writing a letter each to three friends every day, day on day, for 13 years. My, does that no yet boggle the mind.

And that is where the superlatives start ceasing to have an impact.

13 years – 4,749 days – 16,484 posts. . .

And just ONE person.  Now isn’t that something to boggle the google. Especially when we know it is a labor of love, and that it is not an endeavor for remuneration. Ah yes, it does finally boil down to love. As does of course, everything else in this universe.

That one person, carrying the entire earth on his shoulders, like the legendary Atlas. Not pausing for even a day to rest. Of course yes, there have been rarities that we have had dot days. But in the final count, the averages will speak for themselves. No matter how many runs and how many centuries – double, triple – any other batsman has scored, the Don Bradman remains the Don Bradman when the averages are calculated.

Atul ji, over the years that we have been associated for this endeavor, we have completely used up all the possible epithets and adjectives to address our appreciation of your work. And now, we are at a loss to articulate this emotion any further. And will finally end up saying these lines that I borrow from another legend – ABBA,

So I say
Thank you for the music, the songs I’m singing
Thanks for all the joy they’re bringing
Who can live without it? I ask in all honesty
What would life be?
Without a song or a dance, what are we?
So I say thank you for the music
For giving it to me

And not just to me – to this entire world, a compilation that is sans any peers. Who would have thought it could have been possible. Your own words have been that your earliest flights of imagination brought you to a number of maybe 2,500. And that then you would rest.

Aah, but for the passion this ignited, within yourself, and within this motley crew of the musical bandwagon. The counter is ticking oh so close to 16,500 posts. And not a day’s breather seems to be in view. Mightier and stronger and higher we ride the Olympian altitudes. And the bandwagon keeps chugging along, day on day, week on week, month on. . .

I just thought of taking a look at the date of 19th July across our travels. We have had a total of 68 posts that have been celebrating this anniversary, after the intial 19th July post of 2008. Seven posts in 2009, 4 posts in 2010, 5 posts in 2011, 6 posts in 2012, 5 posts again in 2013, then on to 7 posts once again in 2014, 5 posts in 2015, and wow, a whopping 8 posts in 2016, back to 4 posts in 2017, aah – 3 posts in 2018, 4 posts in 2019, back up to 6 posts in 2020, and then today, 4 posts again to celebrate this wondrous milestone. With songs posted across the entire spectrum of decades, from 1936 all the way up to 2002, the celebrations of this anniversary have been multifarious and varied.

Ah but let me not bore you with any more statistics and analyses. And bring you to this song for the celebration today.

Geeton Ka Sansaar Yahaan Par

Took me a while to locate this wonderfully complementary theme song for this celebration. And for its rarity, it is – sorry, it was not yet available online. The film is ‘Nai Reet’ from 1948. The film itself makes a debut on our blog today.

The film has been produced under the banner of India Film Corporation, Bombay and is directed by Shubh Karan Ojha. This relatively obscure film that probably did not garner much attention and box office receipts when it was released in 1948, has the cast listed as Sulochana Chatterjee, Geeta Bali, Rajendra, Krishankant, Tiwari, Badri Prasad, Tara Bai, Leela Mishra, and Ramesh Sinha. Most names are familiar, and I am sure the full cast would be carrying more names.

The film has 8 songs in total. All the songs are written by a team of two songwriters in collaboration – Bal Krishan Gupta and Ratan Kumar Gupta. The footnote that is carried in the Geet Kosh, succinctly states that – “As per the information recieved from Lyricist Bal Krishna Gupta all songs this film were written by both Lyricists working together, i.e. `Kumar-Gupta` (Ratan `Kumar` Gupta + Bal Krishna `Gupta`. However the records carry the name as `Kumar Gupta`.” So by this input, we would also use the lyricist’s name as Kumar-Gupta.

The music is by SK Pal, and the singing voice is that of Meena Kapoor.

And the words – they oh so well sum up the emotions of this celebration today – that here is a universe of songs that has been put together for us.

गीतों का संसार यहाँ पर
मुसकानों का मेला है
पत्ती पत्ती झूम रही
हर फूल में जादू फैला है

A world of songs is here
It is a festival celebration of smiles
Every leaf is swaying with delight
There is a joyous magic spread through every flower

मैं भी अपनी झोली लाई
भर लेने को बिखरी दौलत
मैं भी दौड़ी दौड़ी आई
क्या छोड़ूँ क्या चुन लूँ इस में
लगता बड़ा झमेला है

In haste I come here
To gather this treasure spread about
I try to garner it all in my arms
And the mind is in a dilemma
What all shall I take
And what all shall I leave

एक अनोखा बाग है दुनिया
सुन्दर सुन्दर प्यारा प्यारा
मानो मीठा राग है दुनिया
पागल मन मेरा मस्ती में
कली सा खिल खिल खेला है

What a joyful garden this world is
So beautiful and lovely
The whole world is a sweet melody
And my mind is untamed in passion
Blossoming like new buds playing

Yes, all these emotions run through the mind when I look at this incredible and phenomenal treasure of enchanting melodies – this world of songs, here, with us.

A grand celebration for this inception day milestone.

A wonderful musical greetings to all readers and all members of the musical bandwagon.

And a bagful of wishes and blessings, that this tree may only proliferate further, day by passing day.

And that this journey may never cease.

तमन्ना है ये साथ चलते रहें हम ना बीते कभी ये सफर. . .

Song – Geeton Ka Sansaar Yahaan Par  (Nai Reet) (1948) Singer – Meena Kapoor, Lyrics – Kumar-Gupta, MD – SK Pal

Lyrics

geeton ka sansaar yahaan par
muskaanon ka mela hai
mela hai
geeton ka sansaar yahaan par
muskaanon ka mela hai
mela hai
mela hai
patti patti jhoom rahi
jhoom rahi
patti patti jhoom rahi
jhoom rahi
har phool mein
har phool mein jaadu phaila hai
muskaanon ka mela hai
mela hai
mela hai
geeton ka sansaar yahaan par
muskaanon ka mela hai
mela hai

main bhi apni jholi laai
main bhi apni jholi laai
bhar lene ko bikhri daulat
main bhi daudi daudi aayi
kya chhodoon kya chun loon is mein
kya chhodoon kya chun loon is mein
lagta bada jhamela hai
muskaanon ka mela hai
mela hai
mela hai
geeton ka sansaar yahaan par
muskaanon ka mela hai

ek anokha baag hai duniya
ek anokha baag hai duniya
sundar sundar pyaara pyaara
maano meetha raag hai duniya
maano meetha raag hai duniya
paagal mann mera masti mein
paagal mann mera masti mein
kali sa khil khil khela hai
muskaanon ka mela hai
mela hai
mela hai
geeton ka sansaar yahaan par
muskaanon ka mela hai
mela hai
mela hai

————————————————
Hindi script lyrics (Provided by Sudhir Kapur)
————————————————
गीतों का संसार यहाँ पर
मुसकानों का मेला है
मेला है
गीतों का संसार यहाँ पर
मुसकानों का मेला है
मेला है
मेला है
पत्ती पत्ती झूम रही
झूम रही
पत्ती पत्ती झूम रही
हर फूल में
हर फूल में जादू फैला है
मुसकानों का मेला है
मेला है
मेला है
गीतों का संसार यहाँ पर
मुसकानों का मेला है
मेला है

मैं भी अपनी झोली लाई
मैं भी अपनी झोली लाई
भर लेने को बिखरी दौलत
मैं भी दौड़ी दौड़ी आई
मैं भी दौड़ी दौड़ी आई
क्या छोड़ूँ क्या चुन लूँ इस में
क्या छोड़ूँ क्या चुन लूँ इस में
लगता बड़ा झमेला है
मुसकानों का मेला है
मेला है
मेला है
गीतों का संसार यहाँ पर
मुसकानों का मेला है

एक अनोखा बाग है दुनिया
एक अनोखा बाग है दुनिया
सुन्दर सुन्दर प्यारा प्यारा
मानो मीठा राग है दुनिया
मानो मीठा राग है दुनिया
पागल मन मेरा मस्ती में
पागल मन मेरा मस्ती में
कली का खिल खिल खेला है
मुसकानों का मेला है
मेला है
मेला है
गीतों का संसार यहाँ पर
मुसकानों का मेला है
मेला है
मेला है


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 :

4743 Post No. : 16470

Playback singing was introduced for the first time in Hindi films for a song in New Talkies’ ‘Dhoop Chhaaon’ (1935) under the music direction of R C Boral. The song main khush hona chaahoon was sung by Parul Ghosh, Suprobha Sarkar, Harimati and K C Dey. In Bombay film industry, playback singing was introduced for the song ‘jeewan hai ek kahaani’ in Sagar Movietone’s ‘Mahageet’ (1937) which was sung by Anil Biswas under his own music direction. Unfortunately, gramophone record for this song was not issued.

There is a general impression that playback singing was introduced with a view to making trained singers sing for actors who can not sing. But the original intention of introducing the playback singing was mainly to segregate the functions of composing songs from the shooting of the song to afford flexibilities in picturisation of the song sequences. Hence, in the initial stages of playback singing – say during 1935-40 – it was mainly actors who would first record the songs in their own voices which would be lip sync on them on the screen. For examples, actor-singers like K L Saigal and Kanan Devi in Kolkata, Surendra and Khurshid Bano in Mumbai used to first record the song in their voices to be playback during the songs’ shooting.

It was some time towards the end of 1930s and the beginning of 1940s, that professional and trained singers started lending their voices to be lip synced by actors who were not good singers. A beginning was made by actor-singers like Rajkumari Dubey and Amirbai Karnataki who either gave up acting or reduced their acting commitments to concentrate mainly on playback singing. Around the same period, radio singers like G M Durrani, Shamshad Begum, Zohrabai Ambalewaali and radio singers/musicians like Khan Mastana, S D Batish and Rafique Ghaznavi also started lending their voices to actors.

Soon film producers realised that the gramophone records of songs rendered by trained and professional singers sold out like hot cake swhich was an additional source of revenue for them. The stock of the handful of playback singers of that time went skyhigh when the songs of films like ‘Khazaanchi’ (1941), ‘Khandaan’ (1942), ‘Kismet’ (1943), ‘Rattan’ (1944) became very popular with the masses. The film industry felt the need to search for trained singers who could be used as playback singers. The easiest way of searching for prospective playback singers for films at that time was to consider singers whose voices ere heard on All India Radio.

In the last couple of months, I have been going through past issues of fortnightly bulletins that are available on line, namely ‘The Indian Listener’ of the All India Radio (AIR) from 1936 to 1950. Daily programmes of the various stations of AIR are listed in it . Browsing of the pages of the Bulletin has revealed that most of the popular playback singers of Hindi cinema of the 1940s had their origins as radio singers on AIR. Take AIR, Lahore, for example. Shamshad Begum started singing on AIR Lahore in 1937, followed by Noor Jehan in 1939, Zeenat Begum, Naseem Akhtar and Naseem Begum in 1940, Surinder Kaur, Mohammed Rafi, Dilshad Begum, Munawwar Sultana, Iqbal Begum in 1943 etc.

Zohrabai Ambalewali and Shamshad Begum had shifted their base from Lahore to Mumbai in the late 1930s and early 1940s, respectively while Zeenat Begum shifted to Mumbai in 1944. All these three playback singers gave some tough competition to Mumbai-based Rajkumari Dubey and Amirbai Karnataki. There were many other radio singers attached to AIR Lahore, like Munawwar Sultana, Dilshad Begum, Naseem Akhtar, Naseem Begum, Iqbal Begum, Rashida Begum, Bahar Begum, Mohammed Rafi etc. Most of them made their debuts as playback singers around middle of 1940s. There were also the radio singers from AIR, Delhi, Mumbai, Lucknow and Kolkata etc. Some of them became playback singers too. For example, Zohrabai Ambalewali, G M Durrani, Khan Mastana, Geeta Roy, Mohantara Talpade, Sitara Kanpuri, Utpala Sen, Kalyani Das and many more,

I am very fond of the voices of playback singers Dilshad Begum, Munawwar Sultana and Nazira Begum. Unfortunately, their playback singing careers did not take off despite having very good voices for the singing of film songs. The total numbers of identified songs rendered by them since their debut totaled 27, 30 and 6 respectively. What could be reasons that they did not succeed in their playback singing career?

Neither of the three seem to have pursued the playback singing career seriously. They confined their playback singing career mostly to films produced at Lahore or with Lahore-based music directors like Pandit Amarnath, G A Chishti, Lachhiram Tomar and lesser-known music directors like Inayat Hussain, K S Sagar and Master Mohan. Probably, they did not wish to travel out of Lahore for song recordings say, in Mumbai. Most of the films for which they sang were not from the top banners. To add to their woes, due to partition, some of the films produced during 1946-47 were either remained unreleased or had released after inordinate delays.

The Blog has so far covered the melodious voices of Lahore’s lesser-known playback singers, Munawwar Sultana (11), Dilshad Begum (12) and Nazira Begum (1). I am presenting today, a melodious song from the film ‘Chupke Chupke’ (1948) sung by one of the lesser known playback singers from Lahore. The song is a ghazal, ‘apne dil mein pyaar ki duniya basa kar loot gaye’ which is set to music by S D Batish. There were two lyricists – Tufail Hoshiyarpuri and Wakar Pandey. But individual distributions of the songs among the lyricists are not available.

It is learnt that the label of 78 RPM gramophone record of the song does not mentione the name of the singer. Some on-line websites have mentioned the name of the singer as Iqbal Bano. I have some doubt about Iqbal Bano being the singer of the song on two counts. First, the singing voice in the song under discussion does not sound to match with that of Iqbal Bano. Second, Iqbal Bano was born sometime in 1935. At the time of the recording of the song which could be as early as 1946 (I suspect the film was the victim of partition and its released got delayed to 1948), Iqbal Bano’s age was around 12 years. I wrote to Girdharilal Vishwakarma ji, an expert in identifying the singers of Hindi film songs especially of 1930s and 1940s. He replied that Jayraman of RMIM Group has identified the singer of the song as Nazira Begum and he agrees with him. So, for the time being, Nazira Begum has been accredited as the playback singer of the song under discussion.

This song proves that Nazira Begum had a very melodious voice. She has rendered the indentified songs in only 4 films, out of which three films remained unreleased – ‘Rustam Aur Sohrab (1940s), ‘Pardesi Baalam’ (1940s) and ‘Basant Panchami’ (1940s).

Audio Clip:

Song-Apne dil mein pyaar ki duniya basa kar lut gaye (Chupke Chupke)(1948) Singer-Nazeera Begam, MD-S D Batish

Lyrics

apne dil mein pyaar ki
duniya basa kar lut gaye
gair nikle hum jinhen
apna bana kar lut gaye
apne dil mein pyaar ki

zindagi ki har khushi
karwat badal kar rah gayi
zindagi ki har khushi
karwat badal kar rah gayi
ek wafa na aashna hai se
dil laga kar lut gaye
apne dil mein pyaar ki

kya khabar
iss mohabbat ki haqeeqat hai fareb
kya khabar
iss mohabbat ki haqeeqat hai fareb
pyaar ne dhokha diya
dhokhe mein aa kar lut gaye
apne dil mein pyaar ki

shaakh thak wo jal gayi
kisi ka apna aashiyaan
shaakh thak wo jal gayi
kisi ka apna aashiyaan
apne dil ki aag se
dil ko jala kar lut gaye
apne dil mein pyaar ki

kya kare….n
jaa kar kisi se
badnaseebi ka gila aa aa aaa
is dil-e-betaab ki
is dil-e-betaab ki
baaton mein aa kar lut gaye
apne dil mein pyaar ki


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 :

4703 Post No. : 16407

“Ghar Ki Izzat”(1948) was produced and directed by Ram Daryani for Murli Movietone Bombay. The movie had Mumtaz Shanti, Dilip Kumar, Manorama, Jeevan, Dixit, Suleman, Gulab, Gope etc in it. The movie had 12 songs in it. Eight songs have been covered in the past.

Here is the ninth song from “Ghar Ki Izzat”(1948) to appear in the blog. The song is sung by Shamshad Begam. I C Kapur is the lyricist. Music is composed by Pt Govindram.

The song is picturised on Mumtaz Shanti. Lyrics of the song were sent to me by Prakashchandra.


Song-Dar dar ki thokaren hain (Ghar Ki Izzat)(1948) Singer-Shamshad Begam, Lyrics-I C Kapur, MD-Pt Govindram

Lyrics(Provided by Prakashchandra)

dar dar ki ee thokarein hain
dar dar ki ee thokarein hain
dushman meraa jahaan hai ae
dar dar ki ee thokarein hain
dushman meraa jahaan hai ae
phootaa naseeb lekar
jaanaa mujhe kahaan hai ae
phootaa naseeb lekar
jaanaa mujhe kahaan hai ae ae
dar dar ki thokrein hain

bhatkaa huaa hai raahee
hain paaon dagmagaatey ae ae
bhatkaa huaa hai raahee
hain paaon dagmagaatey ae ae
manzil kaa kya thhikaanaa aan aa
rastaa hai na nishaan hai ae ae
manzil kaa kya thhikaanaa aan aa aa
rastaa hai na nishaan hai ae
dar dar ki ee thokarein hain
dushman mera jahaan hai ae
dar dar ki ee thokrein hain

shikwaa kisi se kyaa ho
jab apne huye paraaye
shikwaa kisi se kyaa ho o
jab apne huye ae paraaye aey
na zindagi hai saathi
naa maut meharbaan hai
na zindagi hai saathi ee
na maut meharbaan hai ae
dar dar ki thokarein hain
dushman meraa jahaan hai ae
dar dar ki thokarein hain


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

Blog Day :

4701 Post No. : 16403

‘Chanda Ki Chandni’ (1948) was directed by Dwarka Khosla for IA Patel Productions, Bombay. It was a social movie. It had Rehana, Jairaj, Veera, Bilimoria, Shanta, Neelkanth Tiwari, Moni Chatterjee, Pandey, Keshri, Ameer Banu and others.

This movie has nine songs penned by DN Madhok and music was composed by Gyan Dutt. So far, the following five songs from this movie  have been posted on the blog.

Sr.No. Song Title Posted on
01 Chanda ki chaandni hai mauj hai bahaar hai 07.02.2014
02 Ulfat ke dard ka kabhi mazaa lo 11.03.2014
03 Ham ko bhoolaa diya to kya 16.03.2016
04 Jab teri yaad aati hai dil mera bhar bhar aaye 18.10.2017
05 O jaadugar kaahe tihaar gali aaye 16.07.2020

Today we are presenting sixth song from the above movie which is sung by Geeta Roy (later Geeta Dutt) and music is composed by Gyan Dutt. Lyrics are by DN Madhok as mentioned above.

I came across this song long back when I had shared one song each sung by Sulochana Kadam and Geeta Dutt. The today’s song was noted then but it had remained unposted so far.

Let us now enjoy today’s song …

Song – Jab Kaali Kaali Raatein Hongi (Chanda Ki Chaandni) (1948) Singer – Geeta Roy, Lyrics – DN Madhok, MD – Gyan Dutt

Lyrics

jab kaali kaali raatein hongi
jab kaali kaali raatein hongi
dil se dil ki baatein hongi
aur yaad tumhaari aayegi
aur yaad tumhaari aayegi

jab kaali kaali raatein hongi
dil se dil ki baatein hongi
aur yaad tumhaari aayegi
aur yaad tumhaari aayegi

jab aam ki daali dolegi
aur door koyaliya bolegi
aur yaad tumhaari aayegi
aur yaad tumhaari aayegi
jab kaali kaali raatein hongi
dil se dil ki baatein hongi
aur yaad tumhaari aayegi
aur yaad tumhaari aayegi

jab tum hum ko yaad karoge
jab tum hum ko yaad karoge
bhoole se ek aah bharoge
bhoole se ek aah bharoge
jab jhilmil jhilmil taare honge
jab jhilmil jhilmil taare honge
chanda se shokh ishaare honge
chanda se shokh ishaare honge
jab dhak se chhati dhadkegi
aur aankh hamaari phadkegi
aur yaad tumhaari aayegi
aur yaad tumhaari aayegi

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

जब काली काली रातें होंगी
जब काली काली रातें होंगी
दिल से दिल की बातें होंगी
और याद तुम्हारी आएगी
और याद तुम्हारी आएगी

जब काली काली रातें होंगी
दिल से दिल की बातें होंगी
और याद तुम्हारी आएगी
और याद तुम्हारी आएगी

जब आम की डाली डोलेगी
और दूर कोयलिया बोलेगी
और याद तुम्हारी आएगी
और याद तुम्हारी आएगी
जब काली काली रातें होंगी
दिल से दिल की बातें होंगी
और याद तुम्हारी आएगी
और याद तुम्हारी आएगी

जब तुम हम को याद करोगे
जब तुम हम को याद करोगे
भूले से इक आह भरोगे
भूले से इक आह भरोगे
जब झिलमिल झिलमिल तारे होंगे
जब झिलमिल झिलमिल तारे होंगे
चंदा से शोख इशारे होंगे
चंदा से शोख इशारे होंगे
जब धक से छाती धड़केगी
और आँख तुम्हारी फड़केगी
और याद तुम्हारी आएगी
और याद तुम्हारी आएगी

 


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 :

4676 Post No. : 16352 Movie Count :

4440

Today’s song is from the film Taqdeer wale-aka- Lucky Friends – 1948. It was a Stunt film, a ‘C’ grade film made by Rajan pictures. The director was S H Tharani and music was composed by Shyam Babu Pathak and Ram Prasad Sharma. The cast of the film was Neelam, Rajan, Habib, Chandrika, Shanta Desai, Fazlu, Putli, Mannan and Maqbool – all typically stunt film regulars !

The 8 songs of this film were written by Indiwar and Muzaffar. Out of these 8 songs, 3 songs were originally recorded for an unreleased film-Parda aka Laparwah, for which Shyam Babu was the MD. Now these 3 songs were included in this film. Today’s song is also one of these “imported” songs from the film Parda. However, the singer’s name for any song is not known.

This is the problem with such small time ‘C’ grade films. Hardly any information is available about them, unless they are made by some prestigious banners like Wadia Movietone. In those times, stunt films were the best possible item to invest money and get sureshot profits. This was because there was a captive audience for stunt films, who were very loyal. Such films also were exhibited in dilapidated, old time theatres in some corner of the town.

According to Master Bhagwan, he used to make a stunt film for 50 to 75 thousand rupees in the 40’s decade. In the early times, i.e. the 30’s decade, a film was made in 15 to 30 thousand rupees. Of course in those days, living was much cheaper and the value of Rupee was also high. The same 30000 rupees would be equivalent to 6+ Lakhs today at current inflation rates, as per Mr. Google ji. Imagine even in 1963, a state Govt. Clerk’s starting salary was Basic 80 + DA 30 = 110 rupees total. Today a clerk starts at Rs. 33000, but he has the same difficulty in living a life as his counterpart had in 1963 – thanks to inflation !

Director S H Tharani had 5 films to his name as a Director- Stage Girl-47, Black Market-47, Taqdeerwale-48, Achhaji-50 and Azmaish-52. In 1954, I found one H S Tharani (his son ?) who had directed only the film Fujiyama-54.

Out of the cast, I found an interview of the heroine actress Neelam, which gives some information about her.

” Neelam, whose real name is Leticia Ferns, is a devout Roman Catholic and, to her, religion is the sheet-anchor which has given her strength and confidence to face many difficulties during her struggle for success. Dusky, limpid-eyed Neelam is the only film star of Bombay whose earliest ambition was to become a nun!

Born in Mangalore, Neelam was brought to Bombay when only one year old, and was educated at the Gloria High School where she did her matric. Right from her school days, Neelam was a serious and thoughtful girl and never indulged in fancy dreams of becoming a film star. She was happiest when attending her religion classes and she thought she would like to dedicate her life to the service of God. Her grandmother, however, wouldn’t hear of it. She did not want her pretty, talented grandchild to submit herself to the strict, austere life of a nun and promptly vetoed the idea.

There upon Neelam, who loves children and likes nothing better than to be with a roomful of kids, took up a position as a teacher in St. Teresa’s School. A year later, however, she found a better job with the Telephone Company, and quit teaching. It was here that Neelam, like a few of other filmland colleagues, made contacts which completely changed the placid routine of her everyday life.

She met several film personalities while working with the Telephone Company: Meena Shorey, Mumtaz Shanti, Sheila (who used to appear in Sohrab Modi’s films). Husn banoo and her mother, Sharifa. At the time, Neelam was always dressed in a frock, or a skirt, and blouse, but every one noticed her fresh, youthful looks, her trim figure and her charm and vivacity.

One day, Director S.M. Yusuf spotted her and insisted that she play the lead in “Chini Jadugar,” a “semi-stunt” picture. At first, Neelam was bewildered by the offer. She had never dreamt of a film career and when the chance to gain fame and make big money was thrust upon her, she didn’t know how to deal with it. She knew that her family would never approve of her taking up this “most dubious” of professions.

But a pretty, young girl cannot always resist a glamorous and luxurious life and the opportunity to be seen and admired by thousands of people. Neelam decided to take the plunge, come what may. She had accumulated a lot of leave at the office and, taking advantage of it, she started to work in “Chini Jadugar” without telling her family anything about it.

Neelam completed her role in the picture and then quietly went back to the routine of everyday life. Then the secret was out. A photograph of hers appeared in “The Times of India” and there was commotion in the Ferns family.

By this time, Neelam had finally decided she wanted to remain in films and when her people raised objections she said that she would utilize part of the money she earned to maintain an orphanage. In the selection of her screen name she was guided by her friend, Meena, who had played the title role in a file called Neelam (1945).

After her role in “Chini Jadugar”-47, she worked in Wali’s “Padmini”-48, Taqdeerwalw-48, and was later asked to dance in Nargis Art Concerns’ “Romeo and Juliet.” But although she did not work in this picture she formed a fruitful association. She met Nargis and her mother, the late Jaddanbai. The latter took a tremendous liking to Neelam and groomed her with loving care. Sadly, Neelam says, “I miss her love and kindness. She was like a mother to me. I can say that I ‘woke up’ in her lap, because it was with her help that I saw life and learnt how to face it.”

For four years, Neelam spent most of her time with Jaddanbai who helped her find roles in “Anjuman,”-48, “Darogaji,”-049, “Pyar ki Baatien” -51, Bewafaa-52, Chori chori-55,and Bewaqoof-60. She worked in about 20 films or so.

True to her promise to her family, Neelam spent most of her money in looking after children whom she took from destitute mothers. Her innate love of children made this task a pleasant one for her. Neelam adopts children of all communities and personally attends to their education and general upbringing. At one time, when she could afford it, she adopted nine children, eight girls and one boy, and looked after them until they grew up and were able to look after themselves or were helped to pursue higher education.

As each lot of children passed on from her home, Neelam, even with her slender resources, continued to take in more each time. At present she has five children under her care. She and her brood of happy kids kneel down to pray every night, a practice which Neelam never misses.

Yet, the religious streak in her does not prevent Neelam from enjoying life to the hilt as most girls of her age do. She enjoys going to, and giving, parties and loves ballroom dancing. Her main recreation is reading – “novels, mostly” – and her favorite sport is swimming. Like most members of her sex, she loves to “just sit around and gossip,” although she likes people too much to be malicious about them.

Apart from looking after her own home, and her five little ones, she still takes the responsibility of supporting part of her family – a duty which she feels she owes to them. Her film career has not been a grand success in terms of fame and wealth, but this has not impaired her gay and carefree outlook on life.”
( Courtesy Cineplot: This interview was conducted in October 1954, contributed by Sudarshan Talwar).

Another name from the cast is Putli….very little information is available about her too. Mothers and daughters acted as leading ladies in the same era….Miss Putli or Putlibai and Miss Gohar Mamajiwala (the term Miss was used not merely to state the marital status of the leading ladies of those days)….

Like Miss Sharifa and Husna Banu , Putli and Gohar were mother and daughter. Putli was an accomplished actress of the silent screen who entered effortlessly in the Talkies because of her extraordinary singing talents. Gohar was born in 1910 and entered the screen in 1926, whereas her mother Miss Putli too entered more or less the same time. Information about Miss Putli is very limited. However, Gohar became India’s popular iconic star and is still remembered today.

Miss Putli acted in 33 Talkie films. Her first Talkie was Ratan Manjiri-35 and her last film was Dhoke baaz-46. She sang one song each in the film Lehri Badmash-44 and Dhokebaaz-46.

The Music Director Shyam Babu Pathak was born in 1908 at Gwalior. His music tuition started when he was just 7 years old. He studied in Madhav Sangeet Vidyalaya, under Raja Bhaiya Poonchhwale, Narayan Gupte and Bhatkhande etc. He became an excellent singer and was invited by several Royal houses all over India, for singing. Even V D Paluskar had blessed him. Strangely, though a good singer, he never sang a song in any film.

While touring all over India for Music Mehfils, he learnt many folk songs and tunes. This actually prompted him to join films as a composer. His first film was Royal Commander-1938 – a B grade Costume drama film made by Vishnu Cinetone. In his first film, for just 9 songs, he used as many as 6 different singers. Minimum songs had been his specialty. This was a novelty in the 30s, when the norm was on an average of 12 to 15 songs each film.

V M Vyas of Vishnu Cinetone, was impressed with him and he gave him many films. He got Rani saheba-40, Torpedo-40, Samsheerbaz-40, Malan-42 and Ghar sansar-42. He gave good songs sung by Kalyani, Sardar Akhtar and Kajjan. In Lajwanti-42, his songs were light and comedy type. By now, he had become a confirmed Stunt/action and B/C grade composer. Pyara watan-42,Double face-46 were such films. Double face was Indivar’s first film.

Black Market-47, Namak-47, krishna Sudama-47 and Kismatwali-47 were not much help. Takdirwale-48 with Ramprasad, Imtihan-49 and Ret Mahal-49 led him to film Jeet-49 with Anil Biswas. Actually,it seems Anil Biswas took over when Pathak left the film halfway.

After Janmashtami-50 and Achha ji-50, came Preet ka geet-50.Famous poet Harikrishna Premi wrote the songs, which were sung by Mukesh, Geeta and Johra. Next film Hamari Duniya-52 had good Lata songs. Meanwhile his film Parda remained unreleased. In the last phase of his career, came Sapna-52, Vanraj-52, Bombay Central-60 and finally, film Mehbooba-65 closed his career. In all he composed 224 songs in 29 films. He even sang a song in the film Krishna Sudama-47.

So, here is a song from the film Taqdeerwale-48, which makes a Debut on the Blog. Singer’s name is not known but I liked the song. Thanks to Ajay Jain ji (US) for the song and Sadanand Kamath ji for uploading it for me.


Song – Mujhe wakt-e-Namaaz yaad jo aayee teri (Taqdeerwaale)(1948) Singer-Unknown female voice, Lyricist- Indivar, MD- Shyam Babu Pathak

Lyrics

Mujhe wakt-e-Namaaz yaad jo aayee teri
Mujhe wakt-e-Namaaz yaad jo aayee teri
khuda ko bhool ke ratt maine lagaayi teri ee
khuda ko bhool ke ratt maine lagaayi teri ee
Mujhe wakt-e-Namaz yaad jo aayee teri ee ee

misaale sirq e chashm(?) toone nikaala mujhko
misaale sirq e chashm(?) toone nikaala mujhko
meri aankhon mein phir bhi shakl samaayi teri
meri aankhon mein phir bhi shakl samaayi teri
Mujhe wakt-e-Namaz yaad jo ayee teri ee ee

deen o duniya se gaya
aa aa aa aa aa aa aa aa
koi nayi baat nahin
khuda se bhi juda
karti hai judaayi teri ee
khuda se bhi juda
karti hai judaayi teri ee
Mujhe wakt-e-Namaaz yaad jo aayee teri ee

aa aa aa aa
aa aa aa aa
qasoor teri kashish ka hai gunaah mera nahin een
qasoor teri kashish ka hai gunaah mera nahin een
aa aa aa aa
aa aa aa
gar main ?? kahoon gaa aa aa
dil ki duhaayi teri ee
gar main ?? kahoon gaa aa aa
dil ki duhaayi teri ee
Mujhe wakt-e-Namaaz yaad jo aayee teri ee ee


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 :

4613 Post No. : 16246 Movie Count :

4417

Today’s song is a rare song, from an unknown film Suhagi-48. Yes, the title is Suhagi and NOT Suhag. It is rather an unusual and misleading title. There is a cluster of titles around the word Suhag. There were 4 films as Suhag and also 4 films as Suhagan. There was a film Suhag raat ke Pehle and then there were 3 films as Suhag Raat. 2 films as Suhag Sindoor. There were two films with funny titles like Suhag ka Daan and Suhag ka Balidan. And among all this cluster poor film Suhagi was hidden in a corner !

Made by Blue art pictures, the film was directed by A.Shakoor, who directed only one more film in his career- Paayal-48, also made by the same banner. Film Suhagi was produced by Ismaile Devjee and the MD was Shaukat Dehlavi.

1948 was an year in which all the industries-including film industry- were trying to come back to normalising their businesses. The new government had not yet changed any laws and rules, so there was peace on all fronts. The Black money which was being poured into making films was now used by Politicians and thus the film industry was almost back to genuine producers and filmmakers. Most of the famous studios were on the verge of ending the studio system and studio culture. Some big names like New Theatres, Prabhat, Sagar, Ranjit were now mere shadows of their earlier powerful existence.

While film makers lost an important topic of Patriotism( in a garb), they now concentrated on Indian culture, Mythology, History, Family values, Joint family importance, literacy and such development themes. This changed the face of films. However, stories based on Folk tales, Religion and Kings-Queens and evil Wazirs still continued with public patronage. Raj Kapoor emerged as a Director, Ashok Kumar became a middle aged Hero, Dilip and Dev prospered with love stories and young themes. Older Heroes, Heroines, Directors and character artistes started vanishing and a new crop of actors etc took over their mantle. Music was changing its tunes. Melody ruled over Lyrics now and Naushad, C Ramchandra, H-B, S – J, Madan Mohan and the likes of them started making names and films.

One major event that happened in 1948, was the entry of Southern producers into Hindi heartland, with a Bang, when S S Vasan brought his Magnum-Opus- ” Chandralekha”, with more than 600 prints for All Indfia release. The extraordinary success of this film paved the way of other big production houses of South, like AVM, L V Prasad etc. to push their Hindi remakes of successful Southern films into the Hindi markets all over India.

For the MD Shoukat Dehlavi of film Suhagi, it was only his second film as an MD. Do you know who this MD was ? He used 5 different names to compose music to 29 films in his career spanning from 1947 to 1965 in India. He composed 203 songs and also sang 3 songs in 3 films namely, Dildar-47, Aiye-49 and Baradari-55. His 5 names were 1. Shoukat Dehlavi, 2. Shoukat Hussain Dehlavi 3. Shoukat Ali 4. Shoukat Haidari and finally he took a permanent new name 5. NASHAAD.

I can remember only one more artiste who had 5 names in her life. She was known as Qamar Sultana, Indira, Indu, Jaijaywanti and AMEETA !

After Partition, there was a rush to migrate to Pakistan and artists continued to shift there from 47 to almost 1950. Some artistes like Noorjehan left immediately. There were few cases where some people borrowed money from friends and then left the country quietly, leaving the money lender high and dry. By about 49-50, almost everything was settled on both sides. The conditions in Lahore and Karachi had stabilised considerably for film making and lots of opportunities existed for film artistes there by mid 50s. That led to a second wave of migration to Pakistan at that time. Those who had continued in India completed their assignments here and went to Pakistan.

This type of Migration continued till almost mid 60s, when actor Kumar, MD Naashaad, producer actor Shaikh Mukhtar etc migrated to Pakistan. For the lucky ones, the talented ones and those who had preexisting ties in Pakistan sustained, prospered and were happy, but a few artistes suffered heavily. Once a popular Heroine, Meena Shorey, one of the most handsome actors of his times-Najmul Hasan and the hopeful Shaikh Mukhtar spent their last days in utter neglect, penury, disillusionment and sorrow. Actors like Noor Mohammed Charlie regretted their decision to migrate, but it was too late.
One of the later migrants was NASHAD, music director,who shifted in 1963 or so.

NASHAD was born as Shaukat Haidari,in Delhi,on 11-7-1923. He completed his schooling in Delhi, where he learnt playing the flute. He came to Bombay and worked as assistant/helper to many composers, learning to play different instruments. He even worked as assistant to Ghulam Haider and Naushad.

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.

He was considered a mediocre composer in India. Then one day he was called by producer Nakshab Jarchvi,who offered him a film,with a condition that he changed his name to Nashad. He accepted the offer and used the name Nashad throughout his life. After him his 15 children too used Nashad as their surname.

Nakshab Jarachavi wanted to make a film. Those days Naushad was the Top composer. Films were sold on his name. Naushad worked only for Top banners. Nakshab approached him and offered his film. Naushad scornfully said,” Hum kisi aire gaire ki film ko music nahi detey”. This infuriated Nakshab no end and he challenged Naushad that he will make another Naushad in the industry. He called the comparatively less known but talented Shaukat Haidari,changed his name to NASHAD (to resemble Naushad’s name) and gave him the film.

Nashad, on his part, tried very hard and gave the music to film Naghma. It was,though not like Nashad’s standard, but excellent songs were there and the film became a hit due to its music. Unfortunately, Nashad could not repeat his success again ever in India. As Nashad he gave music to 21 films (total 30 films),like Bara Dari, Bada Bhai, Naghma, Char chaand, Kaatil Jawab, Sabse bada Rupiah, Rooplekha, Darwaza etc

Nashad gave their first hindi movie singing breaks to Mubarak begum, Suman Kalyanpur and Sabita Banerjee.

His friend Nakshab Jarachavi had migrated to Pakistan after 1947 and was making films there. He called Nashad to Pakistan as a composer for his film Maikhana-64 (after his film Fanoos also crashed at the Box office in Pakistan). Nashad accepted his offer. Before leaving , Nashad married singer Premlata and both went to Pakistan. His first film became a major hit and Nashad was on top. He gave music to 64 films in Pakistan.

Nashad died in Lahore on 3-1-1981.

While in India, Nashad was always accused of plagiarism, to which he answered through an interview to Filmfare, dated 5th August 1955, ( Thanks to Cineplot) thus….

” Although no one says it to my face, I know that there is a section in the film industry who decry my music as “a rehash of familiar tunes.”
This amounts to a charge of plagiarism.

I have no defense, no apology, to offer, except to say that, if I am a plagiarist, I am one unconsciously.
With only seven main notes, six ragas, thirty-six raginis and seventy-two sub-raginis, every “new” musical composition is bound to sound familiar in places.
Try to hum any popular film composition of today and then cast back your mind. Make a careful search for a parallel and you will easily find one in some celebrated songs of yesterday.

I believe in popular music, music which people will like, humming and singing it in their homes—in moments of joy or sorrow. I try my-best to keep my compositions free from complicated “alaps,” “tans” and those notational cascades which the man-in-the­-street (who has no musical training) cannot easily remember and hum.

Film music, to be good and popular, must always be the result of team-work. The ego of the music-director as well as that of the lyric-writer needs to be suppressed completely, even to the extent of accepting suggestions from everyone in the unit.

In the music of one of my forthcoming films, the appeal of the songs owes much to suggestions made by the producer and mem­bers of his staff. One of the tunes owes its origin to an air I heard the office-boy humming!

The producer was no professional musician, but I discarded two of my best tunes to fit in a completely different third one based on his suggestions.
I am glad that I do not live in an ivory tower and am not deaf to the music of ordinary people, I say to myself : “If this is the kind of music they love, it is absurd to give them a high-brow composition. Both in rhythm and structure, I stick rigorously to what is popular, even at the sacrifice of my own preferences.

Such film music can be planned scientifically and with precision. My first job usually is to sit with the director and determine the musical “situations”. Once these are agreed upon, I start composing the melodies, in harmony with the “mood” of those situa­tions. Then the lyricist writes the words of the approved tune.

After the song has been recorded, our work is ended and it now depends on the director to make or mar it in his picturisa­tion of it. This, indeed, is a hurdle all film music must take.

Everyone has listened to film songs which sound good on the radio, yet have been “murdered” by poor picturisation. Every­one, too, has heard songs which on the air have sounded mediocre and of no particular merit, yet have been things of beauty in the film—thanks to clever directorial work. A really good song, given to a good director to picturise, seldom fails to go over in a big way with the public.

It is thus necessary for a music director to be careful in signing his contracts. It is important to him to make sure that the film for which he is employed to provide music will be directed by a competent man, so that not only are his songs not “murdered” in transcription to the screen but any possible shortcomings in them are glossed over by good picturisation.

Consequently I have always studied the directors of the films for which I am to provide music. One knows that one’s songs are safe with them and gain in appeal from attractive picturisation.

To these men, too, my tunes often sound “vaguely familiar”! But, then, what tune doesn’t ?
With only seven notes, six ragas, thirty-six raginis—but we’ve just gone over that! ”

Film Suhagi-48 had a starcast of Begum Para, Manorama, Sadiq Ali, Badri prashad, Jilloobai, Abu Bakar etc. The word Suhagi means ‘ Lucky ‘. However the name benefit does not seem to be got by the film, as it was not a famous or popular film.

I have no idea about the story of this film. From its ad.s in Film India, I guess the story was about a family’s bahu who is Lucky after marriage. Today’s song is sung by Rajkumari. With this song, film Suhagi-48 makes its Debut on our Blog.


Song-Aag dil mein lagaaye baithe hain (Suhagi)(1948) Singer- Raj Kumari Dubey, Lyricist- Not known, MD- Shaukat Dehalvi

Lyrics

Aag dil mein lagaye baithe hain
Aag dil mein lagaye baithe hain
apni duniya aa aa aa
apni duniya lutaayye baithhe hain
haaye
Aag dil mein lagaye baithe hain

haaye majbooriyaan
haaye majbooriyaan muhabbat ki
haaye majbooriyaan muhabbat ki
unko apna banaaye baithhe hain
apni duniya lutaayye baithhe hain
haaye
Aag dil mein lagaye baithe hain

toone kya kya aa aa
kya kya
toone kya kya sitam kiye hum par r
toone kya kya sitam kiye hum par r
yaad hai par bhulaaye baithhe hain
apni duniya lutaayye baithhe hain
haaye
Aag dil mein lagaye baithe hain

ashq aankhon mein hai
haaye ae
ashq aankhon mein hai
labon pe se haan
labon pe se haan
aan aan
dard dil mein dabaaye baithhe hain
dard dil mein dabaaye baithhe hain
haaye
aag dil mein lagaaye baithhe hain
aag dil mein lagaaye baithhe hain aen aen


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 :

4573 Post No. : 16176

“Papiha Re”(1948)was produced by Kuldeep Sahgal and directed by Dawood Chand for Kuldeep Pictures, Bombay. The movie had Amarnath, Akhtari, Pran, Asha Posley, Mumtaz Begum, G N Butt etc in it.

The movie had 12 songs in it. One song has been covered in the past.

Here is the econd song from “Papiha Re”(1948) to appear in the blog. This song is sung by Zeenat Begam and Dhaniram. Lyrics are by Mulkraj Bhakri. Music is composed by Dhaniram ho as making his debut as a music director ith this movie.

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


Song-Tu chanda main chaandni (Papiha Re)(1948) Singers-Zeenat Begam, Dhaniram, Lyrics-Mulkraj Bhakri, MS-Dhaniram
Both

Lyrics

Tu chanda main chaandni ee
tu chanda main chaandni
ho tera mera
mera tera
janm janm ka saath
haath pakadkar chhod na dena
rahe haath mein haath
hamaara rahe haath mein haath
tu chanda main chaandni ee

main baaghon ki morni
main baaghon ki morni
aur tu ghata ghanghor
main sajan teri baawri
aur tu mera chitchor
main pyaasi ik boond hoon saajan
main pyaasi ik boond hoon saajan
tu meri barsaat
haath pakadkar chhod na dena
rahe haath mein haath
hamaara rahe haath mein haath
tu chanda main chaandni ee

ho o o
aan basi tu dil mein mere
ho o o
aan basi tu dil mein mere
jaise phool mein baagh
in nainon ko o
en nainon ko
hardam laagi tere daras ki pyaas
tere bina mohe kuchh na bhaaye
tere bina mohe kuchh na bhaaye
bhool gaya har baat

haath pakadkar chhod na dena
rahe haath mein haath
hamaara rahe haath mein haath
tu chanda main chaandni ee

>milke na bichhden do dil saajan
aisa ho jaaye pyar
bhool ke bhi patjhad na aaye
hardam rahe bahaar
hum tum donon jab mil baithen
hum tum dono jab mil baithhen
rahe sada phir saath
haath pakadkar chhod na dena
rahe haath mein haath


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

Blog Day :

4554 Post No. : 16145

Today 5th January’2021 is the thirty-nineth ‘Remembrance Anniversary’ of music director C. Ramchandra (12.01.1918 – 05.01.1982) also known by the names of Anna Saheb and Chitalkar.

On this occasion here is song composed by him from the 1948 movie ‘Jalan’.

One song of ‘Jalan-1948’ have been posted on the blog on. Today’s song was noted by me more than six years back now. I had noted two songs then, the earlier posted one (which missed from my score 😊) and the today’s song. I like both the songs and particularly the today’s song. I think this one has been a forgotten gem.

Today’s song is also sung by Lalita Deulkar.

‘Jalan-1948’ was directed by Bhagwan for ‘Chandni Chitra, Bombay’. It was a ‘stunt movie’. It had Baburao, Bhagwan, Vasant Rao, Azim Bhai, Kanti Lal Ratan, Deepak, Deepak, Balaram, Yashwant, Mirajkar, Usha Shukla, Gaffar, Chanchala, Prema Lokre, Haresh Palav and others.

This movie had six songs written by Ehsan Rizvi and composed by Anna Saheb (or C. Ramchandra).
HFGK Vol-II (1941-1950) lists the songs as under;

S.No. Song Title Singers Posted On
01 Aaj basaa nain mere pyaar nayaa Gandhari, Chitalkar, chorus
02 Bataa do bataa do koi Lalita Deulkar 14.11.2016
03 Neer bhare morey nain sajanwa Lalita Deulkar
04 Jawaani hoti hai gaarat muhabbat aajmaane mein Chitalkar
05 Nazar mili tum bhi miley, ham bhi miley Lalita Deulkar, Chitalkar
06 Zaraa mere dil se poochho, mere dil ka afsaana Lalita Deulkar

Though I have not listened the other four songs from this movie, I am sure that they also must be good compositions, particularly when the music is by C. Ramchandra.

Let us now enjoy today’s song…


Song-Zara mere dil se poochho mere dil ka afsaana (Jalan)(1948) Singer-Lalita Deulkar, Lyrics-Ehsan Rizvi, MD-C Ramchandra

Lyrics

Zaraa mere dil se poochho
Zaraa mere dil se poochho
Mere dil ka afsaana
Zaraa mere dil se poochho
Zaraa mere dil se poochho
Mere dil ka afsaana

udi aankh se neendein lekin
Tumne kuchh na jaana
Udi aankh se neendein lekin
Tumne kuchh na jaana
Zaraa mere dil se poochho
Zaraa mere dil se poochho
Mere dil ka afsaana

Din to katen yaad mein lekin
Katen na lambi raaten aen aen aen aen
Din to katen yaad mein lekin
Katen na lambi raaten
Hansi hamaare honthon par hain
Nainon mein barsaatein
Hansi hamaare honthon par hain
Nainon mein barsaatein
Main na jaanoon samjhaana
Aur tum na jaano samajhna
Main na jaanoon samjhaana
Aur tum na jaano samajhna
Zaraa mere dil se poochho
Zaraa mere dil se poochho
Mere dil ka afsaana

Preet ki reet na jaane koyi
Kya keh kar samjhaaun un un un un un
Preet ki reet na jaane koyi
Kya keh kar samjhaaun
Dil tode jhankaar na samjhe
Kaisa geet sunaaun
Dil tode jhankaar na samjhe
Kaisa geet sunaaun
Yahi soch kar sharmaaun main
Kaise bhed bataana
Yahi soch kar sharmaaun main
Kaise bhed bataana
Zaraa mere dil se poochho
Zaraa mere dil se poochho
Mere dil ka afsaana
Zaraa mere dil se poochho
Mere dil ka afsaana


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

Blog Day :

4511 Post No. : 16057 Movie Count :

4389

Today 23rd November’2020 is ninetieth birth anniversary of singer Geeta Dutt (born on 23rd November’1930).

She passed away on 20th July 1972 at the age of forty-one only. Reading her life story stirs the heart even today, and the Hindi Film Industry and Hindi Film Music will always feel sad for losing her so early.

Geeta Dutt was one of the legendary singers of yesteryears and sang many for Hindi film, Bengali films. Also, she sang many non-filmy Hindi and Bengali songs.

I will not go into her detailed biography or whatever has been written about her on this blog earlier. And, also, I will not mention her songs which are my favorite and those I like very much. That will be a long list. Today I would only like to pay my tributes to her with a song from an unreleased movie ‘Hamraaz’.

This movie is said to be made somewhere in between ‘1941-1950’.

I had come across songs of this movie in 2014 and had then shared fours songs from this movie to our editors then. At that time the year of this movie was mentioned as ‘1950’ on some links and ‘1940’ on others so it was not clear.

However, somehow the movie remains still to be launched on the blog in the ‘rush’ of other priorities.

When I had initially shared the songs from this movie, I was not having its detailed information, but now with the help of HFGK Vol-II (1941-1950) we can have this brief about this movie.

HFGK Vol-II 91941-1950) lists this movie as ‘Un-released’ movie of ‘1941-1950’.

On page number 607 – Appendix-1 Movie number 1214 this movie is mentioned as presented by ‘Rahnuma Pictures’.
However, its star cast and director is not mentioned. Music director is mentioned as Shankar Lal.
Lyricist names are mentioned as Shyam Hindi and Kamran Momin.
The list mentions total eight songs in this movie.

S. No Song Title Lyricist
01 Ga re manwaa gaa Shyam Hindi
02 Ghoonghat mein sharmaaye dulhaniya Kamran Momin
03 Baat kuchh aisi wah hamse kah gaye Shyam Hindi
4 Cham cham chamken taare Shyam Hindi
05 In do matwaale nainon mein
06 Aabaad hai saraa jahaan Shyam Hindi
07 Khushi chaaron taraf chhaayi Shyam Hindi
08 Aa jaa papeehe geet sunaa re Kamran Momin

Some links of the songs shared earlier are fortunately available but for one song that I shared the link is no longer available now.

As mentioned above today we will listen to a song sung by Geeta Dutt, written by Kamran Momin and composed by Shankar Lal.

With this song the movie ‘Hamraaz (UR)-1941-1950 makes its debut on the blog and joins its ‘ham-naam’ ‘Hamraaz-1968’ 😊 on the blog.

Remembering Geeta Dutt. Let us now listen to the song of today…


Song-Aa jaa papeehe geet suna de (Hamraaz)(UR)(1948) Singer-Geeta Dutt, Lyrics-Kamran Momin, MD-Shankar Lal

Lyrics

aa ja aa aa aa
aa jaa
aa ja aa aa aa
aa jaa
aa ja papeehe
geet sunaa re
ro ro birhan rain guzaare
aa ja aa
aa ja aa aa aa
aa jaa

yaad kisi ki jab aa jaaye
yaad kisi ki jab aa jaaye
hook uthhe man tadpaa jaaye
hook uthhe man tadpaa jaaye
neer bahaaye nain bechaare
aa ja aa
aa ja aa aa aa
aa jaa

saajan bairee saara zamaana
saajan bairee saara zamaana
aise mein tum bhool na jaana
aise mein tum bhool na jaana
thhaame jigar ginti hoon sitaare
aa ja aa
aa ja aa aa aa
aa jaa

jeewan naiyya dagmag dole
jeewan naiyya dagmag dole …

——————————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
——————————————–
आ जा आ आ आ
आ जा
आ जा आ आ आ
आ जा
आ जा पपीहे
गीत सुना दे
रो रो बिरहन रैन गुज़ारे
आ जा आ
आ जा आ आ आ
आ जा

याद किसी की जब आ जाए
याद किसी की जब आ जाए
हूक उठे मन तडपा जाए
हूक उठे मन तडपा जाए
नीर बहाए नैन बेचारे
आ जा
आ जा आ आ आ
आ जा

साजन बैरी सारा ज़माना
साजन बैरी सारा ज़माना
ऐसे में तुम भूल न जाना
ऐसे में तुम भूल न जाना
थामे जिगर गिनती हूँ सितारे
आ जा आ
आ जा आ आ आ
आ जा

जीवन नैय्या डगमग डोले
जीवन नैय्या डगमग डोले …


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 :

4494 Post No. : 16022

Today’s song is from the film Shri Rambhakta Hanuman-1948.

Looking back, I find that my last post was on Muslim films in India, in which I had discussed the situation rather in details. And now this post immediately on Hindu Mythology !
May sound somewhat strange, but not to me. From childhood, I developed a religious mindset, but my father ensured to impress on me that Religion is strictly a personal matter and one must decide how much importance one should give to Religion in one’s life. I have followed this principle till today and I treat all religions with the same reverence. Excess or exhibition of Religion publicly – unnecessarily – is anathema to me and I feel it must be avoided. This is my opinion.

Film Shri Rambhakta Hanuman-48 was the first of the Mythological films Homi Wadia’s Basant Pictures had made. Due to the extraordinary success of religious films from Prakash Pictures, suddenly there was a spurt in making Mythological films. Though Prakash Pictures made hit films like Bharat Milap-42 and Ram Rajya-43, in their films, the entire focus was on Shri Ram and Seeta Mai. They did not give any importance to Hanuman in their films. When I checked the credits of these two films yesterday, I found that Hanuman’s name was not there in the credits and we do not know who did that role ! Sensing this as an opportunity, the business minded Wadia made a film on Hanuman as the central character.

From the day films started getting made in India, in the silent film era, the Religious and Mythological stories were used to make films. The simple reason was Indian audience was well versed in such stories from Puranas, Ramayan or Mahabharat, from generations, all over the country. This was a common thread between various states of India. Thus, even when Talkie films started, initially, many such films were made in almost all languages. Actually, such Mythological films were a guarantee to recover the invested money and a handsome profit too !

When the influence of social films increased in the 40’s decade, religious films were made less, but it is worth noting that the most popular Religious Films ever, like Ramrajya, Bharat Milap and Har Har Mahadev etc were made during this period only.

The Best and the Golden period for Religious films was the 50’s decade- 1951 to 1960. In these 10 years, as many as 124 Religious and Mythological films were made. This works out to an average of ONE film EVERY MONTH for 10 continuous years. later on, however, making of such films tapered consistently and nowadays, Religious and Mythological stories can only be seen on the Home Television.

What is the difference between Religious and Mythological films ? Are they the same ? No, there is a difference. Films based on stories from Puranas ( which is a mix of imagination and History in symbolic way) are Mythological Films. Examples are ‘ Ganga Maiyya’ or ” Ram Hanuman Yuddha ” or ” Ram Rajya ” etc. Films based on Bhakti or Upasana , involving Historical stories, persons or happenings are Religious films. Examples are ” Shri Chaitanya Mahaprabhu”, ” Sant Tukaram” or ‘ Mahatma Kabeer’ etc.

Don’t be surprised by seeing the Music Director’s name in the cast. Yes he is the same person. Tripathi was not an occasional actor, but a regular one. As a Music Director, Tripathi gave music to 107 films, composing 863 songs therein. He was an All rounder. He was a story writer, composer, Producer, Director and an Actor. He even sang 13 songs in 7 films, in his early career. Tripathi directed 18 films and acted in as many as 83 films !

Though his music was good, he remained branded as a Mythological, Religious, costume and fantasy film composer. Rarely he got any social film as a MD. Even as a Director he directed only 5 Social films. His role as Hanuman in Mythological films was popular. In films where Mahipal was doing Ram’s role, Tripathi used to be the Hanuman. These were mostly Wadia films. Prakash Pictures also produced Mythological films, their films never gave importance to Hanuman. Some unknown actor was used for that role. Basant Pictures gave importance to Hanuman and Tripathi was fixed for it.

Wadia’s action, costume and fantasy films were very popular in the Middle East and Pakistan. When they made ” Rambhakta Hanuman”- in 1948, they had a problem. Partition had taken place and Pakistan was a New Muslim country. Wadia’s were worried if this Mythological film would be received well there. The major role of Hanuman was done by S N Tripathi. How to export this Hindu religious film in Muslim countries like Pakistan and the Middle East, was a major problem. A simple trick solved this problem. Wadias changed the title of this film copy for Export and it was named ” Udta Bandar ” (उडता बंदर ). With this new title the film became a Hit in that Territory !

Now coming to God Hanuman….Lord Hanuman is a Hindu god and divine vanara companion of the god Rama. Lord Hanuman is one of the central characters of the Hindu epic Ramayana. He is an ardent devotee of Rama and one of the chiranjeevis. He is also mentioned in several other texts, such as the epic Mahabharata and the various Puranas. Lord Hanuman is also the son of the wind-god Vayu, who in several stories played a direct role in Lord Hanuman’s birth.

Evidence of devotional worship to Lord Hanuman is largely absent in these texts, as well as in most archaeological sites. According to Indologists , the theological significance of Lord Hanuman and devotional dedication to him emerged about 1,000 years after the composition of the Ramayana, in the 2nd millennium. After the arrival of Islamic rule in the Indian subcontinent Bhakti movement saints such as Samarth Ramdas have positioned Hanuman as a symbol of nationalism and resistance to persecution. In the modern era, his iconography and temples have been increasingly common. He is viewed as the ideal combination of “strength, heroic initiative and assertive excellence” and “loving, emotional devotion to his personal god Rama”, as Shakti and Bhakti. In later literature, he is sometimes portrayed as the patron god of martial arts such as wrestling and acrobatics, as well as activities such as meditation and diligent scholarship. He symbolizes the human excellence of inner self-control, faith, and service to a cause, hidden behind the first impressions of a being who looks like an Ape-Man Vanara.

The meaning or origin of the word “Hanuman” is unclear. One interpretation of “Hanuman” is “one having a disfigured jaw”. This version is supported by a Puranic legend wherein infant Hanuman mistakes the Sun for a fruit, heroically attempts to reach it, and is wounded in the jaw for his attempt.

Linguistic variations of “Hanuman” include Hanumat, Anuman (Tamil), Hanumantha (Kannada), Hanumanthudu (Telugu). Other names include:Anjaneya, Anjaniputra, Kesari Nandan, Vayuputra, Bajrangbali, Sankat Mochan, Maruti, Kapishwara, Ramdoot etc etc.

In Valmiki’s Ramayana, estimated to have been composed before or in about the 3rd century BCE, Hanuman is an important, creative character as a simian helper and messenger for Rama. The character evolved over time, reflecting regional cultural values. It is, however, in the late medieval era that his profile evolves into more central role and dominance as the exemplary spiritual devotee, particularly with the popular vernacular text Ramcharitmanas by Tulsidas . According to scholars , during a period of religious turmoil and Islamic rule of the Indian subcontinent, the Bhakti movement and devotionalism-oriented Bhakti yoga had emerged as a major trend in Hindu culture by the 16th-century, and the Ramcharit Manas presented Rama as a Vishnu avatar, supreme being and a personal god worthy of devotion, with Hanuman as the ideal loving devotee with legendary courage, strength and powers.

During this era, Hanuman evolved and emerged as the ideal combination of shakti and bhakti. Stories and folk traditions in and after the 17th century, began to reformulate and present Hanuman as a divine being, as a descendant of deities, and as an avatar of Shiva. He emerged as a champion of those religiously persecuted, expressing resistance, a yogi, an inspiration for martial artists and warriors, a character with less fur and increasingly human, symbolizing cherished virtues and internal values, and worthy of devotion in his own right. As Hindu monks morphed into soldiers, they often named their organizations after Hanuman. This evolution of Hanuman’s character, his religious status, and his cultural role as well as his iconography, continued through the colonial era and into post-colonial times.

According to Hindu legends, Hanuman was born to mother Anjana and father Kesari. Hanuman is also called the son of the deity Vayu (Wind god) because of legends associated with Vayu’s role in Hanuman’s birth. One story mentioned in Eknath’s Bhavartha Ramayana states that when Anjana was worshiping Vayu, the King Dasharatha of Ayodhya was also performing the ritual of Putrakameshti yagna in order to have children. As a result, he received some sacred pudding (payasam) to be shared by his three wives, leading to the births of Rama, Lakshmana, Bharata and Shatrughna. By divine ordinance, a kite snatched a fragment of that pudding and dropped it while flying over the forest where Anjana was engaged in worship. Vayu, the Hindu deity of the wind, delivered the falling pudding to the outstretched hands of Anjana, who consumed it, leading to the birth of Hanuman.

The Ramayana locates the birthplace of Hanuman in Kishkindha. Anjaneri Anjanadri (Near Hampi) in Gangavathi Taluk Koppal District, Karnataka is one of a number of places that claim to be the location of Kishkindha. ( Collated from information from the book ” The primer of Hinduism” by Dr. D.S.Sarma, pub.1922 and wiki, with thanks.)

I have seen this film many times. I liked the bhajans in this film. Trick scenes, yes, of course. But one thing…trick scenes in Shri Krishna’s films abound, but in Ram kathas, they are minimal. This is because Ram was depicted and behaved as an ordinary mortal, establishing righteousness, and upholding religion. He was a Model human being and thus called Maryada Purushottam. Whereas Krishna taught us how to act Tit for Tat with wicked persons. His principle was, lying or cheating for the right cause is OK. Krishna’s teachings seem more relevant in today’s times.

Today’s song is the fourth song from this film to feature here. In the 50’s decade Rafi must have sung maximum Bhajans in his career. As per the book ” Rafinama ” by Isak Mujawar, Rafi started singing Bhakti Geet in films from the film “Bhakta Gopal Bhaiya”-1948. Same year he also sang Muslim Bhakti geet in film Rehnuma-48 under the baton of Dhumi Khan. However, how many Bhaktigeets he sang is not recorded anywhere. Anyway, enjoy this Bhajan…


Song-O jag ko basaanewaale mere mann ki kutiya basaao (Shriram Bhakt Hanuman)(1948) Singer-Rafi, MD-S N Tripathi

Lyrics

Ram Ram
ShreeRam Shree Ram
Ram ShreeRam
ShreeRam Ram Ram

o jag ke basaaane waale
o jag ke basaaane waale
mere man ki kutiya basaao
o jyoti jagaane waale
mere man ka deep jalaao
o jag ke basaaane waale
mere man ki kutiya basaao
Ram Ram bhaj Ram Ram
Ram Ram bhaj Ram Ram

Jab chhodi ratan nagariya
Jab chhodi ratan nagariya
kya bhaayegi ye kutiya
Jab chhodi ratan nagariya
kya bhaayegi ye kutiya
ravi shashi chamkaane waale
ravi shashi chamkaane waale
ye jugnu bhi chamkaao
o jag ke basaaane waale
mere man ki kutiya basaao
Ram Ram bhaj Ram Ram
bhaj Ram Ram bhaj Ram Ram

o roop salone shyaamal
tum pawan tumhi ho baadal
tum pawan tumhi ho baadal
o roop salone shyaamal
tum pawan tumhi ho baadal
tum pawan tumhi ho baadal
saagar lahraane waale
saagar lahraane waale
man gaagar mein aa jaao
o jag ke basaaane waale
mere man ki kutiya basaao
Ram Ram bhaj Ram Ram
bhaj Ram Ram

tum raho mere nainan mein
tum raho mere nainan mein
main pada rahoon charanan mein
tum raho mere nainan mein
main pada rahoon charanan mein
maaya phailaane waale
maaya phailaane waale
maaya se mujhe bachaao
o jag ke basaaane waale
mere man ki kutiya basaao
Ram Ram bhaj Ram Ram
bhaj Ram Ram
bhaj Ram Ram
bhaj Ram Ram
bhaj Ram Ram
bhaj Ram Ram
bhaj Ram Ram
bhaj Ram Raaam


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over 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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(© 2008 - 2021) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

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Movies with all their songs covered =1280
Total Number of movies covered =4487

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