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 :

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


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


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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


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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


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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


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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 16300 song posts by now.

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