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

Archive for the ‘Songs of 1949’ 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:

4352 Post No. : 15666

Today’s song is from the film Kaneez-49. The film had 12 songs. 11 songs are already posted. This is the last song of the film to be discussed here.

HFGK mentions mukhada of this song as ” Dil bechane nikla hai”, sung by Durrani and Rajkumari. There are at least two uploads of this song on YouTube. One is from our Sadanand Kamath ji and the other is from Saregama company. In both uploads, the first line is missing and the song starts as ” dil le lo, dil le lo”. However in the Saregama upload,, in the end , the words are ” dil bechane nikla hai, dil ka saudagar, dil le lo dil le lo”, confirming that this is the same song as mentioned in HFGK. As such, Girdharilal Vishwakarma ji has uploaded this song on Surjit ji’s site, from his record. So, there is no doubt.

Film Kaneez-49 has an interesting history of its making. As per an advertisement in a film magazine, this was first being made with a title of ” Tehzeeb”, by producers S A Shah and Krishan Kumar, for their Carvaan Pictures. It was to be directed by K D Mehra. Shatir Ghaznavi wrote the dialogues and lyrics. Due to the partition announcement. Krishan Kumar shifted to Bombay, with the incomplete film. After the partition, with a new set of actors, the film was redone and titled ‘ Kaneez ‘. Remaining dialogues were written by Hasrat Lucknowi. This time Krishan Kumar himself directed the film and released it in India and Pakistan. The film was a Hit.

Besides director Krishan Kumar, there were 2 MDs- Ghulam Haider and Hansraj Behl. Four lyricists wrote the songs. The cast of the film was Shyam, Munawwar Sultana, Urmila,Kuldip Kaur, Cuckoo, Ramayan Tiwari, Ramesh Sinha and others.

The shooting of Kaneez was in full swing in 1948 at Shrikant Studios. On another floor of that studio, a stunt film of Master Bhagwan was being shot. Isak Mujawar, Film Historian, has described an incident of that time, in his book on Master Bhagwan-” Ek Albela “. Actor Shyam was very friendly with Master Bhagwan. In those days, Shyam had grown very close to M.Sultana. One day, during a shooting break, shyam and Munawwar met Bhagwan and said,” I am very keen to work in your film”. Bhagwan smiled and said,” Before that, you must see the shooting of my films. After that, let us see what will be your decision.”

Accordingly, the next day Shyam and M.Sultana went to see the shooting of the film ” Laalach “,made by Bhagwan. The scene was Baburao pehelwan fighting with 5-6 goons, on the balcony of a house. The scene started and after some time Baburao got a hit from one villain and he slipped, falling on the ground floor where a glass table was kept. On impact, the glass table broke. There was a loud noise, commotion and shouting. Shyam and Munawwar shouted in fear and ran out of the studio. Such accidents were common to Baburao.After treating his bruises and cuts, Baburao started the fighting scene again. Shyam and M.Sultana came back to inquire about the actor’s fate. They were shocked to see him doing the fighting scene. On asking, Bhagwan told Shyam, ” In my films, such accidents are a common thing. And yes, you said you want to work in my films, isn’t it ?” Shyam said,” No , No, who wants to die doing stunts ?”. Bhagwan told him,” Be happy in doing Love scenes and singing songs in your films”. By a turn of fate, with 2 year’s time Shyam died doing a stunt for film ‘Shabistan’-51 !

In the cast, you will see Cuckoo. In those days, Cuckoo was an attraction in any film. Both Azurie and Cuckoo were in great demand. Cuckoo Moray, (4th February 1928 – 30th September 1981) was an Anglo-Indian dancer and actress. Cuckoo was the queen of film dancing in Hindi cinema of the 1940s and 1950s. Though unfamiliar in name, she was known as the “rubber girl” of Hindi cinema and her talent made cabaret dancing a must in the Bollywood films during the 1940s and 1950s. She could acrobatically bend her body at great length.

Cuckoo started appearing in films from the mid forties. She started as a child artiste. Her first film was Anjaan-41. She was seen as a background dancer in film Meghdoot-45. Cuckoo made her screen debut in the film Arab Ka Sitara in 1946. Soon after, in Sona Chandi-46, directors and greater audiences noticed her dancing abilities for the first time. One of her dances in film Parwana-47 with suggestive lyrics to the song was considered vulgar enough to get banned from the film. Then, the turning point in Cuckoo’s career was in Mehboob Khan’s films. Her dance number in his film Anokhi Ada (1948) established her as the lead dancer of the era and in Andaz(1949), a romantic drama starring Nargis, Dilip Kumar, and Raj Kapoor, gave the dancer an opportunity to display her acting skills. In Mehboob Khan’s 1952 technicolor film Aan, which was her first colour film, she had a brief cameo in a dance sequence. She only appeared in 2 colour films in her career- Aan & Mayurpankh. She would charge Rs 6,000 for a dance number, an enviable fee in the 50s.

Usually she is credited with bringing into films 2 Anglo Indian brothers Tony (Krishna kumar) and Robert (Surya kumar). However, Azuri later claimed that it was she who brought them into films from an orphanage and trained them. Dancers first, both became Choreographers of repute later.

Cuckoo remained the best dancer in Hindi films until dancers such as Helen and Vyjayanthimala came into the industry. Cuckoo was a family friend of the Anglo-Burmese dancer and actress Helen. She was also known for helping unknown actors get their break in Bollywood, such as Pran in Ziddi. Cuckoo had introduced a 13-year-old Helen into films as a chorus dancer in films such as Shabistan and Awaara (both 1951). Cuckoo and Helen most notably appeared in song and dance sequences together, such as in Chalti Ka Naam Gaadi(1958) and Yahudi (1958). Her last film appearance was in Mujhe Jeene Do in 1963 after which, she had disappeared from the film industry. She was a Heroine in the film Sona Chandi-46, under the name Kishori, but due to her faulty Hindi and pronunciation, she could not continue as a Heroine. She appeared in 155 films and 67 songs were shot on her.

Cuckoo, the legendary cabaret queen of Bollywood was one of those film stars who lived ostentatiously, spent extravagantly and died broke and penniless. Her three cars (one for her use, one for taking her dogs for a drive, and the other often used to summon protege Helen to play with her sister), her flats and whatever jewellery she had, were all taken away because the dancer had evaded income tax. She would charge Rs 6,000 for a dance number, an enviable fee in the ’50s. Cuckoo died of cancer at the age of 52; during her last days she could barely afford to buy painkillers. “She never thought of security, of tomorrow,” Helen recalls. “But what a tremendous lady she was! There wasn’t even a tear in her eye, even when the roles stopped, when the money disappeared. Instead she’d joke about her plight. Some actors did help but it was too late, much too late.”

Cuckoo died on 30 September 1981 due to cancer at the age of 53. She was forgotten and unattended by the film industry at the time of her death. (adapted from wiki, MuVyz, book ‘Edwina’ and cineplot).

Today’s song (despite the missing first line) is a good duet by G M Durrani and Rajkumari. Sadanand ji opines that the female singer is Shamshad Begum. With this song film Kaneez will be ‘ Yippeed ‘, with all its songs covered.

(I thank Sadanand Kamath ji for information about the film’s original avatar).


Song-Dil bechne nikla hai dil ka ik saudagar (Kaneez)(1949) Singers- G M Durrani, Unknown female voice, Lyricist- Shatir Ghaznavi, MD- Ghulam Haider
Both

Lyrics

dil le lo
dil le lo
dil le lo
dil le lo

o o o o
thahar saudaagar
aisa dil main khoj khoj ke haari ee
thahar saudaagar
aisa dil main khoj khoj ke haari
jo dil preet mein jalna jaane
uspe sadqe waari
jo dil preet mein jalna jaane
uspe sadqe waari

dil ka sauda karne waali
mushqil hai ye kaam kaam
mushqil hai ye kaa aam
dil ka sauda karne waali
mushqil hai ye kaam kaam
mushqil hai ye kaa aam
par aise de doon (??)bhi kya hai
dogi kitne daam
par aise de doon (??) bhi kya hai
dogi kitne daam
o o dil waale
iske badle pooraa kar doon
tere prem ka sapna aa aa
o o o dil waale
iske badle pooraa kar doon
tere prem ka sapna aa aa
tan bhi doongi
man bhi doongi
jeewan doongi apna
o o
tan bhi doongi
man bhi doongi
jeewan doongi apna

aa aa aa
?? jhoothhi aasha
sachchi teri preet
dil ki baazi naqda naqdi
jeet gayi tu jeet
main teri main teri baalam
tu mera tu mera aa

ham tum donon yoon mil jaayen
jaise saanjh sawera
ho o o
ham tum donon yoon mil jaayen
jaise saanjh sawera

ab meri jabaan pe na aayega
kabhi dilbar
ab meri jabaan pe na aayega
kabhi dilbar
dil bechne nikla hai
hai ik dil ka saudaagar
dil le lo o
dil le lo
dil le lo o
dil le lo


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 :

4343 Post No. : 15647

“Vikram Shashikala”(1949) aka “Kalank Shobha” aka “Stree Charitra” was directed by D K Kane for Chitravani Productions, Bombay. This movie had Monika Desai, Master Vitthal, Indumati, Yashodhan, Shobha, Kumud, Master Chhotu, Waskar, Kelkar, Rathod, Narayanrao, Vasant Rao, Pt Upadhyay, Shankar Rao Bhonsle, Pt Dukhi etc in it.

This obscure movie had eight obscure songs in it. One song has been covered in the past.

Here is the second song from “Vikram Shashikala”(1949) to appear in the blog. This song is sung by Geeta Dutt (then Geeta Roy) and Master Pandya . Pt Dukhi Amritsari is the lyricist. Music is composed by Dattaram Gadekar.

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

Lyrics of this song were sent to me by Avinash Scrapwala long long back in 2013.


Song-Aaj ka din tohe yaad rahe (Vikram Shashikala)(1949) Singers-Geeta Dutt, Pandya, Lyrics-Dukhi Amritsari, MD-Dattaram Gadekar
Both

Lyrics(Provided by Avinash Scrapwala)

Aaj ka din tohe
Aaj ka din tohe yaad rahe
Haan haan yaad rahe
Achchha
Aaj ka din tohe yaad rahe
Haan yaad rahe

Bhool na jaana saajan
Aaj ki baatein
Bhool na jaana saajan
Aaj ki baatein
Aaj ki baatein
Tum na bhulaana sajni
Tum na bhulaana sajni
Ye mulaaqaatein
Ye mulaaqaatein

Hilmil panchhi kya gaate hain
Hilmil panchhi kya gaate hain
Bolo bolo ji
Haan haan bolo bolo ji
Aaj ka din tohe yaad rahe
Haan yaad rahe

Kal kal karti nadiya behti
Kal kal karti nadiya behti
Kiske geet wo gaaye
Bolo kiske geet wo gaaye
Sun ri sajni ee ee
Sun ri sajni tohe bataaun
Kaun tohe samjhaaye re Sajani
Kaun tohe samjhaaye

Kya
Aaj ka din tohe yaad rahe
Tohe yaad rahe
Aaj ka din tohe yaad rahe
Haan yaad rahe

Jabse roop tumhaara dekha
Jabse roop tumhaara dekha
Tabse hua deewaana
Deewaana
Deewaana

O o o o
O more baalam
O more baalam
Kuchh din ho tum
Dil se kabhi na bhulaana
Haan na bhulaana
Ho baalam
Kasam tohe hai bahaaron ki
Kasam tohe hain sitaaron ki
Tumhe meri kasam
Tumhen meri kasam
Ye na bhoolenge hum
Ye na bhoolenge hum
Aaj ka din hamen
Aaj ka din hamen yaad rahe
Haan haan yaad rahe
Aaj ka din hamen yaad rahe
Haan yaad rahe


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:

4325 Post No. : 15615

“Veer Ghatotkach”(1949) was directed by Nanubhai Bhatt. The movie had Shahu Modak, Meena Kumari, Sumiti Gupte, Vasant Pahelwan, Naranjan Sharma, S N Tripathi, Sona Chatterjee, Leela Kumari, Shanta Patel, H Prakash etc in it.

The mythological movie, based on a character of Mahabharat, had nine songs in it. One song has been covered in the past.

Here is the second song from “Veer Ghatotkach”(1949) to appear in the blog. This song is sung by a singer who is uncredited in HFGK. The song is lip synced by Shahu Modak while Meena Kumari looks on.

Saraswati Kumar Deepak is the lyricist. Music is composed by S N Tripathi.

I request our knowledgeable readers to help identify the singer of this song.
PS-Mr Sadanand Kamath believes that it is Shahu Modak himself singing the song.


Song-Jag mein karman ki gati nyaari (Veer Ghatotkach)(1949) Singer-Shahu Modak, Lyrics-Saraswati Kumar Deepak, MD-S N Tripathi

Lyrics

jag mein aen karman ki gati nyaari
jag mein aen karman ki gati nyaari
jag mein karman ki gati nyaari
murjha kar bhi khil jaati hai aasha ki phulwaari ee ee
murjha kar bhi khil jaati hai aasha ki phulwaari ee ee
karman ki gati nyaari
jag mein aen karman ki gati nyaari

hansna rona paana khona
sab is gati ki leela aa aa
sab is gati ki leela aa aa
rang birange sapnon ka hai ye sansaar rangeela
bandhe huye hai karm dor mein
bandhe huye hai karm dor mein saare hi nar naari ee ee
karman ki gati nyaari jag mein
karman ki gati nyaari
karam bhoomi par kaanton ke sang
phoolon ki sej suhani
phoolon ki sej suhani
dukh sukh donon saath saath hai
jag ki yahi kahaani
mat niraash ho khil jaayegi
mat nirash ho khil jaayegi
man ki kesar kyaari ee ee
karman ki gati nyaari
jag mein karman ki gati nyaari

jaisi karni waisi bharni
yahi yahaan ka lekha aa aa
yahi yahaan ka lekha
nahin mitaaye mit sakti jo khhinchi bhaagy ki rekha
saras savera aaya dekho
saras savera aaya dekho
rain gayi andhiyaari ee ee
karman ki gati nyaari
jag mein karman ki gati nyaari


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

Blog Day :

4302 Post No. : 15566

Today’s song is from film Ram Vivah-49. This is a duet song by Manna Dey and Geeta Roy. This is the first ever duet of these singers, in their career.

Geeta, who debuted via a chorus song in 1946, won some fame with her songs in film Do Bhai-47, with music by S D Burman. However till about 1950 or so, she was still struggling to make a place in the film line. She had to compete with singers like Lata and Asha as well as Shamshad, Amirbai and Zohrabai too. Manna Dey was an occasional singer, struggling very hard to get established as either a singer or a Music Director. Good sense prevailed and he realised that singing was his forte and he concentrated on it,later. He is one of my favourite singers, who had all the merit and talent, but not a strong Luck ! He became a preferred singer for composers, whenever a Bhajan, religious song or a high pitched song was to be sung.

Film Ram Vivah-49 was was produced by Prem Adib Productions and it was the only film directed by him ever. This film came after the eminently flop film Raambaan-48, made by Prakash pictures. Actually, it was Prakash pictures who had earlier made two very successful film on Ramayan stories, namely Bharat Bhet-42 and Ramrajya-43. Enthused with the success of these two films, Prakash decided to complete Triology with one more film on Ram and Seeta. They waited for 5 years and then made Raambaan-48. The glaring mistake they made was in the film story. The first two films were largely true to the original Valmiki Ramayan. While making Raambaan, they employed their story department authors-Mohan lal Dave and Pt.Girish. They messed up with the story and made it into a poor and distorted version of Ramkatha. This caused the failure of film Raambaan-48.

Learning a lesson from this, Prem Adib stuck to the original Valmiki Ramayan. In fact the Credits show Valmiki’s name for ‘ Story ‘. Additionally, the cast consisted of almost same team with Prem Adib, Shobhana Samarth, Jeevan, Umakant, Shanta Kumari and others. Music director was Shankar rao Vyas and Lyricist was Moti, B.A. (actually he was an M.A.).

The lead pair of Prem Adib and Shobhana Samarth had become extremely popular all over the country as Ram and Seeta, after their two films Bharat Milap and Ram Rajya. These two actors came together first time in film Industrial India-1938. After this they worked in 11 more films plus one more film Ramayan-54, which was concocted by joining parts of 3 films made by Prakash Pictures on Ram and Seeta. After film Rambaan-48, Prakash films focused on social and musical films and made memorable films like Baiju Bawra-52 and Gunj Uthi Shehnai-59.

The stories of Rama and offshoots of Ramayana have always inspired film makers. Mahabharat too did the same. In Hindi language alone, films on Rama stories are around 25 ( not counting obvious other films like Ram aur Shyam, Ram Lakhan or Ram Balram etc.). Practically, in every Indian language and dialects, Nepalese and Sinhalese Ram films are made. However, the kind of fame,popularity and the Box office returns, Film Ram Rajya-43 earned is beyond imagination. Calendars from 1944 to 1950 featured Shobhana and Prem as Ram and Seeta. Wherever these stars went they were mobbed and people used to touch their feet, as Ram and Seeta.

Ramayan and Mahabharata are the two major Religious Epics for Indians. Ramayana has been popular and wide spread all over the Eastern World. There are in all 300 versions of Ramayana. These include the original Valmiki Ramayan and few other major Indian language Versions like Kamban’s Ramavataram in Tamil and Rangnathan’s Ramayana in Telugu. Then there is Ramayan Manjiri in NE and Bengal version. There is a Jain version too.Besides Ramayana in every Indian language and many dialects with scripts, there are Ramayana Versions in Burma, Indonesia, Cambodia, Laos, Phillipines, Sri Lanka, Nepal, Thialand, Malaysia, Japan, Mongolia, Vietnam and China. All these versions total upto 300 in number.

Actor Umakant played the role of Laxman even in this film. In all he played this role in 7 films. Similarly, actor Jeevan, who first time played the role of Narad in Bharat Milap-42, played Narad in almost 100 films in his career ( it was like Jagdish Raj playing role of Police Inspector or Iftekhar playing Police Commissioner or Murad playing a court Judge in Hindi films).

In my last post (on film Bharat Milap-42), I had mentioned about difficulty in getting information on practically unknown actors.This is a major problem for people ,like me, who are students of vintage films and its people. Another big problem is “same name confusion”, caused by artistes having similar sounding names . In early cinema era as we all know, most artistes came form lower strata of society as members of respectable families were not ready to join this ‘ lowly’ film line. This applied mostly for women folk. Among these families of Tawayafs and singers, there were limited names recycled. Some examples are Noorjehan, Khursheed, Zubeida, Shehzadi, Naseem etc etc. This caused problems and confusions. This problems was also among Male artistes at a lesser rate. Names like Asit Sen, N Datta, Rajkumar, Shyam etc are some examples. It was not restricted to Muslim artistes only. There are examples like Nalini, Leela, Ranjana, Rajkumari etc . I would say the ratio was 60:40 for females and Males.

At one given time, there were as many as 8 to 10 Nalinis working in films. Similarly there were several Shantas in films. Few examples are Shanta Apte, Shanta Hublikar, Shanta Mujumdar, Shanta kumari (stuntwali), Shanta kumari (Socialwali),Shanta Patel etc. Luckily, there was no Same name confusion, as these Shantas were using their surnames. Shanta Mujumdar acted only in Prabhat bilingual films. She later married writer Pt. Mukhram Sharma. Shanta kumari and Shanta Patel were stunt actresses. Socialwali Shanta kumari stopped working in 1936…before stuntwali came in. Socialwali married and became Shanta Kothari and worked in 3 films with this name.

Today, we will know more about Shanta Kothari (nee Shanta kumari), who acted as Kaushalya in 3 films after marriage. She is one of those artistes about whom information had to be culled from multiple sources, with great efforts. She was born in 1904 in a large family. Her father Motilal was Principal of a college, but mother was a Tawayef. She studied in English medium. After father’s death, her mother started teaching her dancing and singing. Soon she was singing for customers.

She was very beautiful looking. She entered film line at the age of 16 years, i.e. in 1920. She acted in Silent films made by various companies like Sharada, Great Eastern,Ranjit, kohinoor, Shri krishna film co and krishnatone etc.Some of her silent films were, Kala pahad-27, with master Vithal, Bhai ya kasai-28,Pilgrims of Love-29, Kumud Kumari-29, Prince Charming-30 with E.Billimoria and Castles in the air-30. Other films were Loves of Mughal Prince, Drums of Love, Pyari Jogan, Pardesi Sainya, Prem yatra, Rasili Radha, Maujeli Mashuqa, Shaikh Chilli etc etc. In 1930 she went to Calcutta and worked in film Shrikant also.

Due to her good looks, dancing and singing skills,she effortlessly entered Talkie film era. Her first talkie was krishn Cinetone’s Heer Ranjha-31. It was followed by Chintamani-31,Krishnavatar-32, Lanka Dahan-33, Hatim Tai-1-33, Simhasan-34, Sant Tulsidas-34, Kashmeera-34, Aaj kal-34, Bal hatya and Prem yatri-36. She sang on A.I.R. Bombay frequently. In film Sant Tulsidas, she sang equally with a stalwart like G.N.Joshi, with ease. She sang 21 songs in 8 films in her career.

She took a break from films and she got married to Sound Recordist Kothari. She became Shanta Shantaram Kothari after marriage.In 1941, when film Bharat Milap was being planned, Prakash Pictures requested and she worked in that film as well as Ramrajya-43 in the role of Kaushalya. After 5 years when Prem Adib requested, she again worked in film Ram Vivah-49. However, she stopped films after that.

I could not get further information about her after this period, but we have all information about her film career. (For information used here, I thank Isuru Udayanga Kariyavasam, V.S.Nigam’s article on http://www.medium.com, books- Beete kal ke sitare-S.Tamrakar, Early Hindustani talkies-P.Kamalakar, muVyz.com, CITWF, HFGK and my notes)

The Music Director of film Ram Vivah-49 was Shankar Rao Vyas. After the success of films ‘ Narsi Bhagat-40’ and ‘ Bharata Milap-42’, Vyas rode on the Pinnacle of his career with the popularity of Ramrajya songs. Vyas was a very hard working person. Once while recording songs of film ‘ Vikramaditya’-45, he needed Echo effect in the song ‘ Om Jai Jai Shankar’. In those days, the recording studios were not equipped with such facilities. Vyas searched and found out a Temple having a big Dome in the obscure suburb Jogeshwari in Bombay and recorded this song in that Temple at 2 am in the midnight when it was very quiet !

Ramrajya-43 was the most successful musical film of that era. When Prakash Pictures planned to produce Ramrajya again in 1967, the MD was Vasant Desai. Before recording film’s first song Desai garlanded the photo of Shankar Rao Vyas and then only started the work, seeking his Blessings. Ramrajya had also the distinction of being the only film in the world which Mahatma Gandhi saw in his life. It is said that he was pleased with its songs very much.

Prof. Shankarrao Vyas (1898-1956) was born in Kolhapur on 23-1-1898. His father Ganeshpant was a well known Keertankar and Puranik! So, he was brought up in the religious and musical environment. Unfortunately, Ganeshpant died when Shankar was seven years old. His paternal uncle brought him up for few years. His maternal uncle (Mama) noticed his inclination towards music and enrolled him in the ‘gurukul’ of Maharaj (Pandit) Vishnu Digambar Paluskar.

In those days, students had to sign a bond with the Gandharva Mahavidyalaya. Training period would last 8-10 years and the student would become all-rounder in every field related to music. Thus, Shankar Rao spent nine years in this gurukul, earned ‘Sangeet Pravin’ degree and gold medal for overall development. With the suggestion of guruji, he worked in Lahore vidyalaya for few years.
In 1931, he moved to Ahmadabad for establishing branch of Gandharva Mahavidyalaya. He was an expert not only in vocal music, but could play and repair many instruments including sitar, jaltarang and mendolin. He would conduct orchestra consisting of Indian and western instruments. He was also a very good composer and wrote several bandishes. He was the key person in planning music section of national (Rashtriya) schools: an idea originated by Gandhiji in Ahmadabad.

In 1935, he left Ahmadabad and settled in Bombay. He founded school for music education at Dadar, just outside the western railway station. ‘Vyas Sangeet Vidyalaya’. It is still functioning at this place. His brother Narayanrao Vyas and brother in law Vasantrao Rajopadhye also joined him in this noble cause. Around 1930/31, HMV Company invited both Vyas brothers for recordings and they cut over 200 songs (100 discs) until about 1938. He also cut few orchestral records under ‘Vyas Brothers’ banner playing pure classical ragas. These records were best sellers and company had printed their photographs on record catalogues.

This period was also the beginning of talkie films. Shankar Rao composed music for Hindi (35), Marathi (5), and Gujrathi (3) films from 1937-1955. His first film as a composer was ‘ His Highness’ -37 and the last was ‘ Baal Ramayan’ -released in 56. He also composed background music for fifteen films. Most of his films were based on religious or mythological themes. He also taught music to non-singing actors such as Sardar Akhtar and Shirin Bano. His most famous musical films were – Narsi Bhagat (1940), Bharat Bhet (1941), Ram Rajya (1943, in Hindi and Marathi). Saraswati Rane sung ‘Beena madhur madhur kachu bol’ in raga Bhimpalas in Hindi film ‘Ram Rajya’ and this song became popular throughout India. This was the only film that Gandhji watched in cinema hall and was much impressed with the music. Songs from Marathi version of ‘Ram Rajya’ viz. ‘Sujanho parisa ramkatha’ and ‘Ladkya raanila lagale dohale’ are shown on TV even today.

He was very busy in many fields as a composer, Principal of his music school, author of articles and bandishes, President of Gandharva Mahavidyalaya and founder editor of ‘Sangeet Kala Vihar’ magazine (founded in 1947) of Vidyalaya that is published even today. He passed away at Ahmadabad on 17-12- 1956. He has sung couple of abhangs of Saint Tukaram. These are available on HMV records. Record P 13454 published in 1931 has a sweet abhang – ‘Roopi guntale lochan, charani sthiravale mana’.

Today’s song indicates that Shankarrao Vyas tried hard to be with the changing tastes of his audience. The song has a faster tune and music.


Song-Dhanya Dhanya hai Avadhpuri (Raam Vivaah)(1949) Singers-Geeta Dutt, Manna Dey, Lyricist- Moti B A, MD- Shankarrao Vyas
Both

Lyrics

Dhanya dhanya hai avadhpuri
Dhanya wahaan ki phulwaari
Jahaan Raam ne janam liya hai
Dhanya wahaan ke nar naari ee
Dhanya wahaan ke nar naari

Avadhpuri ke uttar dish
Saryu ki dhaara behti hai
Raaja Dashrath raaj karen aur
Praja chain se rehti hai ae
Praja chain se rehti hai

Ann dhan se bharpoor Ayodhya
Teen lok se hai nyaari

Jahaan Raam ne janm liya hai
Dhanya wahaan ke nar naari
Dhanya wahaan ke nar naari

Chham chham karti chali kaamini
Hai solah singaar kiye
Aankhon mein sansaar liye
Haathon mein sundar haar liye
Satvanti hain sabhi naariyaan
Sat par apne balihaari

Jahaan Raam ne janm liya hai
Dhanya wahaan ke nar naari
Dhanya wahaan ke nar naari

Raam Lakhan aur Bharat
Shatrughan
Chaar ratn hain raaja ke
Jinmein sabse bade raam hain
Pran piyaare parja ke ae
Pran piyaare parja ke
Raam liye dhanu-baan raakshason ke
Marne ki hai baari

Jahaan Raam ne janm liya hai
Dhanya wahaan ke nar naari ee
Dhanya wahaan ke nar naari


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 :

4279 Post No. : 15518

—————————————————————————
Blog 10-Year Challenge (2010-2020) – Song No. 17
—————————————————————————

When I look back on this day (5 april) ten years ago, this output of this blog had begun to go up. Four songs were covered on 5 april 2010 which was a 100 % improvement on two songs a day that the blog had got reduced to.

Following three sons were covered on that day :

Song Movie title-Year Remarks
Palat meri jaan tere qurbaan Aan Milo Sajna-1970 All songs covered
Duniya hamaare pyaar ki yoon hi jawaan Lahore-1949 08 of 10 songs covered
Bhool na jaana aaj ki baatein Waapas-1943 All songs covered
Door desh ka rahnewaala aayaa Jawab-1942 All songs covered

We can see that three of the movies whose songs were covered have already been YIPPEED during the past ten years. That leaves us with just one movie which qualifies to be discussed under “Blog Ten Year Challenge”.

This movie is “Lahore”(1949). “Lahore” (1949) was based on the aftermath of India’s partition following independence. This movie produced by Jaimini Dewan and directed by M L Anand for was Jaimini Dewan production. The movie had Karan Dewan, Nargis, Kuldeep, Pratima Devi, Gulab, Om Prakash, Randhir, Balakram, Urvashi, Ram Avtaar etc in it.

The movie had ten songs in it. Eight of these songs have been covered in the blog:-

Song Posted On
Bahaarein phir bhi aayengin 20.04.2009
Duniya hamaare pyaar ki yoon hi jawaan 05.04.2010
Toote huye armaanon ki ik duniya basaaye 12.08.2010
Sun lo sajan meri baat 10.11.2011
Wohi rota hua ek dil 06.05.2013
Ik aas badhaaye jaati hai 16.07.2013
Us dil ki kismat kya kahiye 04.06.2014
Bhagwaan kahaan hai 03.10.2016

That leaves us two more songs from the movie. Here is the ninth song from the movie. This song is sung by G M Durrani. Rajinder Krishan is the lyricist. Music is composed by Shyam Sundar.

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

Lyrics of this song were sent to me by Avinash Scrapwala.

Now just one song from “Lahore” (1949) is left to be covered. I have not been able to locate this song “Hum jahaan mein aaye hain aansoo bahaane ke liye” sung by Karan Dewanby > If our readers are able to locate this song then I request them to bring the song to our notice.

(audio)
Song-Hamne circus mein naukri kar li (Lahore)(1949) Singer-G M Durrani, Lyrics-Rajinder Krishan, MD-Shyam Sundar

Lyrics(Provided by Avinash Scrapwala)

Hamne ae
hamne circus mein ae
naukri ee ee
kar li ee ee
ho o o o o
hamne circus mein
naukri ee ee
hamne circus mein
naukri kar li ee ee
he he he
o
naa miley rozgaar
ho o
naa miley
naa miley
naa miley rozgaar joote se
ae ae ae
naa miley rozgaar joote se

ishq ke marz ki
dawaa ye hai
haan aan aan aan aa
ishq ke marz ki
dawaa ye hai
ae ae ae ae
ho pal mein utrey bukhaar
ho o pal mein utrey bukhaar
joote se ae ae ae
pal mein utrey bukhaar
joote se

nayi tehzeeb tera kya kehnaa
haan aan aan aan aa
haan aan aan aan aa
nayi tehzeeb
dha dha dha sa ga
ga dha
ga dha
ga dha
ha

(sargam ….)

ha ha
nayi tehzeeb
nayi tehzeeb tera kya kehnaa aa
aa aa

o jaan se jyaada pyaar
ho o
jaan se
jaan se
jaan se jyaada pyaar joote se
ae ae ae
jaan se jyaada pyaar joote se

gair se lift
lift
maang lenge ham
maa aa aa aa ang
maa aa aa aa
aa aa aang
maa aa aa aa aang
maa aa aa aa aang
maa aa aa aa aang
gair se lift maang lenge ham
hm hm hm hm

o naa sahi teri car
ho o
naa sahi
naa sahi
naa sahi
teri car
joote se
naa sahi
teri car
joote se

————————————-
Devnagri Script lyrics (Provided by Avinash Scrapwala)
————————————-
हमने ए
हमने सर्कस में ए
नौकरी ई ई
कर ली ई ई
हो ओ ओ ओ ओ
हमने सर्कस में
नौकरी ई ई
हमने सर्कस में
नौकरी कर ली ई ई
हे हे हे

ना मिले रोज़गार
हो
ना मिले
ना मिले
ना मिले रोज़गार जूते से
ए ए ए
ना मिले रोज़गार जूते से
इश्क के मर्ज़ कि
दवा ये है
हाँ आँ हाँ हाँ आ
इश्क के मर्ज़ कि
दवा ये है
ए ए ए ए
हो पल में उतरे बुखार
हो ओ पल में उतरे बुखार
जूते से ए ए ए
पल में उतरे बुखार
जूते से
नयी तहज़ीब तेरा क्या कहना
हाँ आँ आँ आँ आँ आ
हाँ आँ आँ आँ आँ आ
नयी तहज़ीब
ध ध ध सा
सा
ग सा ग सा
गधा आ
हे हे
(सरगम …)

नि नि सा
ग ग रे सा गा पा
गा अ…

नयी तहज़ीब
नयी तहज़ीब तेरा क्या कहना आ
आ आ
ओ जान से ज्यादा प्यार
हो ओ
जान से
जान से
जान से ज्यादा प्यार जूते से
ए ए ए
जान से
जान से ज्यादा प्यार जूते से
गैर से लिफ्ट
लिफ्ट
मांग लेंगे हम
माँ s s s s s s ग
माँ आ आ आ ग
माँ आ आ आ आ आ ग
माँ आ आ आ ग
माँ आ आ आ ग
माँ आ आ आ ग
गैर से लिफ्ट मांग लेंगे हम
ह्म ह्म ह्म ह्म
ओ ना सही तेरी कार
हो ओ
ना सही
ना सही
तेरी कार
जूते से
ना सही
तेरी कार
जूते से


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

Blog Day : 4226 Post No. : 15432

Today’s song is from a comedy musical film – Laadli-49.

During the period 1947 to 1950, there was a spate of comedy and musical films.It was also in this period that Naushad and C Ramchandra played havoc with their music. Films like Bela,Daak Bungla, Do Bhai, Jungle mein mangal, Natak, Shadi se pehle,Shehnai, Gunsundari, Hip Hip Hurray, Khidki, Mera Munna, Suhag raat, Andaz, Badi Behan, barsaat, Ek this ladki, Mahal, Namoona and Patanga stirred the HFM from upside down and then up again !

For all other MDs, this period played a challenge to come up to their highest and best level to compete. MDs like Anil Biswas handled the situation with ease, with his musicals like Laadli and Lajawab. Film Laadli-49 was made by Variety pictures – owned by Anil Biswas and his wife Ashalata (Mehrunnisa Bhagat). It was directed by an old friend of Anil Biswas – J P Advani. However, he directed only 3 films of Anil Biswas – Veena-48, Laadli-49 and Lajawab-50.

Jagatrai Pesumal Advani was born on 17-5-1903 in Hyderabad ( Sindh ). After graduating, he studied film making in Germany in the 1920s. After coming back to India, he joined Mohan Bhavnani – a big gun in those days- as his assistant. His first film as a Director was Heer Ranjha-1931. He shifted to Saroj Movietone in 1934 and then to Karachi to work for Golden Eagle Company. He was considered an expert who could handle the Heroines at his will.

He directed about 30 films, including a Hindi/Punjabi bilingual film Sassi-Punnu-46. His Filmography is- 1931: Heer Ranjha; 1933: Zehar-e-Ishq; 1934: Afghan Abla; Dilara; Gafil Musafir; Johar-e-Shamsheer; Tilasmi Talwar; Vasantsena; Flashing Sword; 1935: Bahar-e- Sulemani; Farebi Duniya; Shah Behram; 1936: Elaan-e-Jung; Shokh Dilruba; Sipahsalaar; 1937: Saqi; Insaaf; 1939: Dekha Jayega; 1940: Dharma Bandhan; Sneh Bandhan; 1941: Shehzadi; 1942: Suhagan; 1943: Sahara; 1946: Sassi Punnu; 1948: Veena; 1949: Laadli; 1950: Wafaa; Lajawaab; 1952: Saloni; 1954: Danka; 1955: Hasina.

The cast of the film was Sulochana Chaterjee, Jairaj, Kuldip Kaur, Ramesh Sinha, Randhir, Narbada Shankar and others. There was a coincidence that 2 Sulochanas acted in this film. Along with Heroine Sulochana Chaterjee, the old timer Sulochana Sr. (Ruby Myers) also acted in a side role. Born in Chandranagar, Sulochana Chatterjee was the daughter of a military man and the family, five girls, including the late Kamla Chatterjee ( she looked like Geeta Bali, and was Kidar Sharma’s wife), and one boy, used to travel along with their parents to wherever their father was transferred.
From Calcutta they moved to Jabalpore and it was here that Sulochana did her school­ing. She also took an active part in school dramatics. After some time the family was transferred to Bombay and here her younger sister, Kamla, was spotted by Sohrab Modi, a friend of their father’s, and given a role as a child star in Modi’s picture Jailor (1938).

Once Sulochana happened to visit the sets one day and after watching her sister at work, She was offered a part in Harishchandra Pictures’ “Aina”-44, which she accepted. She was co-starred with Trilok Kapoor. She starred in scores of films after that, among them the comedy “Ladli”-50, in which she appeared with Jairaj, and “Grahasti”-48 which was a memor­able hit and in which she play­ed with Yakub and Masood.

Sulochana acted in two Bengali pictures “Apanaela”, produced by Saroj Mukerjee and directed by Benoy Banerjee with Pradeep Kumar as her leading man, and Benoy Banerjee’s “Minoti” in which she shared stellar honors with Smriti Biswas and Paresh Banerjee. Her well known films are Chaitanya Mahaprabhu-53, Rami Dhoban-53, Shahjehan-46, Veena-48, Nav Durga-53, Jagte Raho-56, Jis desh mein Gaqnga behti hai-60, Sarswatichandra-68 etc.

In all she acted in 119 films. Her first film was Shobha-42 and last film was Shabas Daddy-79. After retirement, she settled in Bombay. Sulochana Chatterjee died on 30-8-1999.

Her favorite pastime, was playing with her sister’s children. She cooked, too, and knitted off and on. She was fond of English pictures , liked Ingrid Bergman and Gregory Peck and comedies. Sulochana could play Bad­minton and drove a car. A gifted linguist, she knew Bengali, her mother tongue, Hindi, English, Marathi, Punjabi, Kutchi and Guajarati. She spoke them all fluently.

Film Laadli was a comedy musical. There were 5 Lyricists and the MD was Anil Biswas. In Hindi film industry,right from 1931 onwards,many composers from Bengal came to Bombay to try their luck,but only a few could make their name here. There was a host of small time Bangla composers (some of them were Big names in Bengal) came to Bombay for a while,did 2-3 films and went back. Few of them were Shoolpani mukherjee, S P Mukherjee, V V Ganguly, Niren Lahiri, Shivram Ghosh, A C Biswas, Bhishmadev Chatterjee, Sushant Banerjee, Robin Chaterjee, Naresh Bhattacharya etc.

Besides these composers,there were some less successful composers from Bengal, in Bombay, like Ashok Ghosh, Pannalal Ghosh, Robin Banerjee, Hiren Bose, Shyamal Mitra, Arunkumar Mukherjee and Manas Mukherjee. Their major problem was Language and cultural difference.

There were 4 major composers from Bengal,who succeeded here and etched their names in the HFM history. I call them A grade. They all operated at the same time during the Golden Age period. Two composers came from East Bengal-Anil Biswas and S D Burman. Two composers came from West Bengal-Hemant Kumar and Salil Chaudhari.

Anil Biswas was the first major composer from Bengal to start his career in Bombay in 1935, at the age of just 21 years, whereas S D Burman was the oldest having started his career in Bombay in 1946, at the age of 40 years ! The longest tenure was that of Salil Chaudhari,but his song total is the lowest, with an average of about 5 songs per film.This is much lower than the average of 8+ and 9 of the others. This may be, because in later part of his career Salil da gave music to many parallel films which had minimum songs.

The two senior composers were from the East Bengal and the two junior composers were from the West Bengal. The styles of these two groups were different because of the different pattern of Eastern and Western Bangla music. All four depended and used heavily from the folk tunes and Bangla songs,from their respective regions. Anil Biswas and Burman da drew heavily from the Eastern Bangla folk tunes and that is why sometimes their music had similarities.

A case in point is song – “Sundari O sundari” from Lajawab-50. It was based on a folk tune of East Bengal. By coincidence S D Burman too used the same tune and same Mukhda for his Bangla film, “Samar’-50. Not only this,S D Burman again used the same tune for a song in film ‘Munimji”-55 ( Anadi re Anadi).
Anil Biswas was hailed as one of the most original,revolutionary and experimental composer,even dubbed as “The Bhishma Pitamaha”of HFM.

He was original. When Anil Biswas came on the scene in the mid 30s, the Parsee Theatre music,Marathi Natya sangeet and Gujarati drama and Lok kala Sangeet was being followed in film music. He decided to change this pattern and used Robindra Sangeet and Folk tunes for his songs. He was Revolutionary because he introduced western instruments in his music as a routine,which no one had thought of,so far. He was experimental,because he tried a variety of singers.

Those days,when playback was not yet common,non singers sang songs and it was a terrible task to make them sing properly. Anil Biswas tried the First ever playback,in Bombay,in his film “Mahageet”-37,singing the playback song himself to be shot on Hiren Bose in the film.

In a span of 30 years and in his 86 films having 777 songs,he used 76 singers. Among his singers Lata stands at First rank with 120 songs. The second place is shared by Surendra and Meena Kapoor( naturally), with 44 songs. Next name is that of Anil Biswas himself,with 43 songs.

Going through the list of singers,one finds very unknown names like Omkar, Kamlakar, Kokila, Gajadhar, D.Manek, Tarachand, Devaskar, Madhav kale, Yusuf Effendi, Solanki and Swapna Sen. Except Madhav Kale and Yusuf Effendi,I have never heard the other names myself,nor have I read about them anywhere. It is likely that these singers were from the early era and his earliest films. He himself first sang in ‘Dharam ki Devi’-35 and his last song was in ‘Sautela Bhai’-62.

Today’s song is the 6th song of this film to be discussed here. The film had an all time immortal song by the Anil Biswas – Lata duo…”Tumhare bulane ko jee chahata hai….” Such fine songs are now only in memory. Today’s song is also a good song. This is a Chorus song. Anil Biswas was particularly fond of Chorus songs and his no film was complete without at least one chorus song. Now, enjoy this chorus song….

( My thanks to Cineplot, Encyclopedia of Indian Cinema and History of Indian Film Music, for information used herein)


Song-Gareebon ka hissa gareebon ko de do (Laadli)(1949) Singer-Lata, Lyrics- S H Bihari, MD-Anil Biswas
Chorus

Lyrics

gareebon ka hissa gareebon ko de do
gareebon ko de do
gareebon ko de do

gareebon ka hissa gareebon ko de do
gareebon ko de do
gareebon ko de do

ameeron o o
ameeron hamen sookhi roti hi de do o o
ameeron hamen sookhi roti hi de do o o
gareebon ka hissa gareebon ko de do
gareebon ko de do
gareebon ko de do
o o o o
o o o o

jo pahle thhi haalat wahi hai hamaari ee ee
ye pahle bhi bhookhe hain ab bhi bhikhaari
ye pahle bhi bhookhe hain ab bhi bhikhaari
hamesha se hain haath phaile huye do o o
hamesha se hain haath phaile huye do o o
gareebon ka hissa gareebon ko de do
gareebon ko de do
gareebon ko de do
o o o o
o o o o

ye oonchi imaarat ye resham ke kapde ae ae
na kutiya hi hamko na khaadi ke tukde
na kutiya hi hamko na khaadi ke tukde
hamen bhi to apna badan dhaanpne do o o
hamen bhi to apna badan dhaanpne do o o
gareebon ka hissa gareebon ko de do
gareebon ko de do
gareebon ko de do
o o o o
o o o o

agar rookhi sookhi ye khaa kar bachenge
to kal ko ye Gandhi Jawahir banenge
agar rookhi sookhi ye khaa kar bachenge
to kal ko ye Gandhi Jawahir banenge
inhen sirf jeene ka mauka hi de do o o
inhen sirf jeene ka mauka hi de do o o
gareebon ka hissa gareebon ko de do
gareebon ko de do
gareebon ko de do

ameeron o (gareebon ko de do
gareebon ko de do
)
ameeron o (gareebon ko de do
gareebon ko de do
)
ameeron o (gareebon ko de do
gareebon ko de do
)


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 : 4219 Post No. : 15421

“Anyaay” (1949) was produced and directed by J S Kashyap for Diamond Pictures Limited, Bommbay.

“Anyaay”(1949) was a unique kind of movie. It was not an “original” standalone movie. It basically took scenes from 14 earlier movies of Bombay Talkies and combined them to come up with a story, shooting a few additional scenes as required. For shooting these scenes, the movie had used J S Kashyap, Laxman Saroj, Putli Bai, Narbada Shankar, Devidutt Nautiyal, Kesar Bai, Shree Bhagwan, B S Bhatnagar etc.

The movie had nine songs according to HFGK. Even the songs of the movie were those songs which were already utilised in Eearlier Bombay Talkies movies. For instance, the movie reused (with visuals) two songs from “Jeewan Prabhat”(1937) and one song from “Hamaari Baat”(1943).

Two songs from the movie have been covered in the past.

Here is the third song from “Anyaay” (1949) to appear in the blog. This song was originally used in “Izzat”(1937). There the song was sung by Devika rani but here the same song is sung by Meena Kapoor.

J S Kashyap was the lyricist in both the movies. Music in “Anyaay”(1949) version was by Ram Prasad.

Incidentally the tune of the song was different in the two movies.

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

Incidentally, the same song is mentioned in HFGK under two headings, viz at serial number 4 as “O jaane waale ye to bata” and at serial number 9 as “nagari laage sooni sooni”. So in effect, the movie had eight songs and not nine.


Song-O jaane waale ye to bata..nagari laage sooni sooni (Anyaay)(1949) Singer-Meena Kapoor, Lyrics-J S Kashyap, MD-Ram Prasad

Lyrics

O jaane waale
ye to bata
mujhe kiske sahaare chhod chala
mera man jeewan soona kar ke
kyun nirmohi munh mod chada

nagari laage sooni sooni
nagari laage sooni sooni
jabse gaye pal chain na gaye
ja se gaye
palchain na aaye
buri bhayi gati man ki
buri bhayi gati man ki
nisdin naina raah takat hai
nisdin naina raah takat hai
chaah lagi darashan ki
ho chaah lagi darsan ki
more peer badhat din dooni
more peer badhat din dooni

nagari laage sooni sooni
nagari laage sooni sooni


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 : 4215 Post No. : 15416

“Anmol Moti”(1949) was directed by Shanti Kumar for Jaishakti Pictures, Bombay. This movie had Shenprabha Pradhan, Indu, Umakant, Vimal Bai, Ramesh Sinha, Kesar Bai, C S Dubey, Om Prakash Gaud, Tribhuwan Sinha, Sharad Shukla, Tikaram, Shyama etc in it.

The movie had ten songs in it. Two songs have been covered in the past in the blog.

Here is the third song from “Anmol Moti”(1949) to appear in the blog. Though its details are not mentioned in HFGK, the uploader of this song mentions that it is sung by Snehprabha Pradhan. Music is composed by Ram Ganguly.

Only the audio of this song is available. Since Snehprabha Pradhan had acted in the movie tso it follows that the song was picturised on herself.


Song-Kya khabar thhi ye muhobbat is qadar tadpaayegi(Anmol Moti)(1949) Singer-Snehprabha Pradhan, MD-Ram Ganguly

Lyrics

kya khabar thhi ye muhobbat is kadar tadpaayegi
kya khabar thhi ye muhobbat is kadar tadpaayegi
kya khabar thhi is kadar taqdeer palta khaayegi

hum to samjhe thhe muhobbat mein maza kuchch aur hai
hum to samjhe thhe muhobbat mein maza kuchch aur hai
kya khabar thhi ki humari jaan par ban jaayegi
kya khabar thhi ki humari jaan par ban jaayegi

waqt meri zindagi se sab adhoora reh gaya
waqt meri zindagi se sab adhoora rah gaya
kya khabar thhi ki khushi meri gham mein badal jaayegi
kya khabar thhi ye muhobbat is kadar tadpaayegi


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 : 4212 Post No. : 15413

“Anmol Moti”(1949) was directed by Shanti Kumar for Jaishakti Pictures, Bombay. This highly obscure movie had Shenprabha Pradhan, Indu, Umakant, Vimal Bai, Ramesh Sinha, Kesar Bai, C S Dubey, Om Prakash Gaud, Tribhuwan Sinha, Sharad Shukla, Tikaram, Shyama etc in it.

The movie had ten obscure songs in it. In case of nine out of ten songs, even the details of singers are not available. The one song whose singers are mentioned in HFGK is the one song that has been covered in the past in the blog.

Here is the second song from “Anmol Moti”(1949) to appear in the blog. Though its details are not mentioned in HFGK, listening to the song reveals that it is a duet song sung by Shamshad Begam and Shailesh Mukherji. Ramesh Gupta is the lyricist. Music is composed by Ram Ganguly.

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


Song-Armaanon ka pyaala mera thhes lagi aur phhoot gaya (Anmol Moti)(1949) Singers- Shamshad Begam, Shailesh Mukherjee, Lyrics-Ramesh Gupta, MD-Ram Ganguly
Both

Lyrics

armaanon ka pyaala mera
thhes lagi aur phoot gaya
mera dil toot gaya
mere dil toot gaya
toote taar milen phir kaise ae ae
toote taar milen phir kaise
man ke phool khilen phir kaise ae
aur naseeba phoot gaya
phoot gaya aa aa
mera dil
mera dil toot gaya aa aa
mera dil toot gaya

ab kaise tumko samjhaaun
ab kaise tumko samjhaaun
kya munh le kar saamne jaaun
har ik sahaara chhoot gaya
chhoot gaya aa
mera dil

aa aa aa
aa aa aa
mera dil toot gaya aa aa
mera dil toot gaya

jisko man ka meet samajh kar
jisko man ka meet samajh kar
prem ka geet sunaaya thha aa
jisko man ka meet samajh kar
aa aa aa
aa aa aa
duniya ko begaana samajh kar
jisko apna banaaya thha aa
jisko apna banaaya thha

wo de ke bharosa loot gaya aa
loot gaya aa aa
mera dil toot gaya aa aa
mera dil toot gaya


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

Blog Day : 4137 Post No. : 15296

Today’s song is from the film Maya Bazar-49.

There can not be a single person in India who does not know stories from Ramayan and Mahabharat. Whether the person is educated or uneducated, belonging to any religion or Caste, knows about these Epics. People other than Hindus, may not know much, but every Hindu knows Ramayan and Mahabharat stories.

We have heard and read various stories from these Epics, which were written several thousand years ago. The Mahabharat, which is approximately four times bigger than Ramayana has stories which are full of Adventure, Human qualities and Magic. These stories are more interesting than Ramayana stories, anyday.

The very fact that these Epics are age old, is also the cause of many newer stories getting added to the original ‘ Historical Document ‘ over several generations. Some highly imaginative and enterprising playwright of Yore created a new character in Mahabharat. This was supposed to be the daughter of Balram, the elder brother of Shri Krishna, and got her married to the son of Arjuna, in a very thrilling way. In the original epic, she is non-existent.

This first started in Maharashtra, where stage dramas were very popular. Different drama companies gave the imaginary daughter different names, to prove that their story was authentic. Thus two names- Surekha and Vatsala came into the stories for this fictitious character. Addition of Krishna and a Rakshas- Ghatotkach also added the required humour and magic. These dramas became very popular.

When Silent film era began, the then famous Maharashtra Film company of Kolhapur, belonging to Baburao Painter, made not one, but three silent films on this story. The first film was Vatsala Haran-1919, the second was Surekha-Abhimanyu alias Surekha Haran-1921 and the third film was Maya Bazar alias Vatsala Haran-1923.

The South was not to lag behind. They too staged dramas on this story, but the name of the daughter was changed to Sasirekha, to claim that their story was the original.The famous ” Surabhi Drama Troupe” of south made the play- one of the most crowd pulling popular show. In south a silent film on this story was made as ” Maya Bazar”-1925.

When the Talkie films started in 1931, in the very next year, film ” Maya Bazar”-32 was made by Sagar Movietone. Subsequently, movies on this title were made in 1949, 1958, 1971, and 1984 also. The south made a Talkie film Maya Bazar in 1936 with a title ‘ Sasirekha Parinay’, because Surekha/Vatsala was known as Sasirekha in south. However, one of the best ever films on this story was made by Vijay Vauhini Studios, Madras as ” Maya Bazar” in 1957 in Telugu and Tamil. The Kannada version- as dubbed film- came in 1958. This film was on Top in the list ” 100 greatest films made in India “, by CNN-IBN, for the period of 100 years-1913 to 2013. I have seen this wonderful film and enjoyed it thoroughly.

Our today’s film Maya Bazar-(Vatsala Haran)-49 was made by Manik Studios, Bombay. All songs of this film as well as the story and screenplay was done by Pt. Mukhram Sharma and the music was by Sudhir Phadke. The film was made Bilingual-in Hindi and Marathi. The cast was Durga Khote, Shahu Modak, Baby Shakuntala, Balakram, Kusum Deshpande and Vasant Thengadi ( they were Husband-wife pair in real life), Ganpatrao Bakre (one time a famous, popular and handsome Hero of silent films), Usha Marathe ( she changed her name to Usha Kiran and became famous in Hindi and Marathi films,later on), Master Chhotu etc.etc.

The film was directed by Datta Dharmadhikari. This was his first independent film as a director. Earlier he had joined Raja Nene for directing film Shadi se pehle-47. Datta Dharmadhikari was born on 2-12-1913 at Kolhapur in a lower middle class family. He studied up to Matriculation and started working in various film studios of Kolhapur. He first worked with Baburao pendharkar and then joined Prabhat. He learnt from almost every department of film making, except the Music department. He even acted a small role in film Sant Gyaneshwar -40, a bilingual in Marathi and Hindi. Having worked as an assistant director, he became joint Director with Raja Nene for film ‘Shadi se pehle ‘-47. Simultaneously, he directed some very successful films in Marathi.

He established his own production company “Alhad Chitra “. Alhad ( means joy ) was his son, who worked as a child artiste in all his films- Hindi and Marathi.Datta re-made some of his successful Marathi films in Hindi, like Nanhe Munne-52 ( Chimni Pakhare in Marathi), Mahatma-53 in 3 Languages- Marathi, Hindi and English and Suhagan-54 ( Suwasini in Marathi ).

When he produced film Mahatma-53 in Hindi and Marathi with an English version,he lost heavily and was forced to sell everything he had. Things were so bad that his wife had to cook Tiffins for people to run the house. However Datta came out of this all. He started accepting Directorial work from other producers, both in Marathi and Hindi. His last film was in 1982. Datta Dharmadhikari died on 30-12-1982.

He directed 21 Marathi and 11 Hindi films. His films in Hindi are Shadi se pehle-47, Maya Bazar-49, Nanhe Munne-52, Mahatma-53, Bhagyawan-53, Savdhan-54, Sudarshan Chakra-56, Deep jalta rahe-59, Subhadra Haran-64, Mujhe seene se lagaa lo-69 and last film Daulat ka Nasha-82. He gave break to a pair of Composers- Vasant-Ramchandra ( Vasant Pawar and Ramchandra Wadhavkar ) for 5 of his films in Hindi, but they could not get any work from other banners and their career in Hindi, as a pair, ended with these 5 films only.

The story of film Maya Bazar-49 was….

Subhadra (the sister of Balarama and Krishna) marries a Pandava- Arjuna. Their son Abhimanyu falls in love with Balarama’s daughter, Vatsala. The families consent to their marrying when they reach adulthood. When Abhimanyu and Vatsala have grown up, Krishna introduces them to each other. One day, the Pandavas are invited by Duryodhana, the eldest of the Kauravas to join in a game of dice. Duryodhana’s uncle, Shakuni, manipulates the results of the game, thereby costing the Pandavas their wealth, their liberty and their wife Draupadi. Duryodhana’s brother, Dushasana, attempts to disrobe Draupadi. He is seen by Krishna, who, furious, comes to her rescue.
On hearing what happened to the Pandavas, Balarama decides to teach the Kauravas a lesson and travels to their capital Hastinapuram. Shakuni and Duryodhana approach Balarama with an insincere respectful manner, then seek his approval of a marriage between Vatsala and Duryodhana’s son Lakshmana Kumara. Their true goal is to force Balarama and Krishna to support them if the Pandavas wage war. Unaware of their real intentions, Balarama agrees to the marriage.

Because of the ruined financial state of Pandavas, Balarama’s wife, Revati, refuses to honour her commitment to marry Vatsala and Abhimanyu and expresses her support for the alliance with the Kauravas. Krishna, who is aware of Duryodhana and Shakuni’s real intentions, orders his charioteer Daaruka to take Subhadra and Abhimanyu through the forests to Ghatotkacha’s hermitage.

Ghatotkacha, who happens to be Abhimanyu’s brother, at first thinks they are intruders in his forest and attacks them but later apologises for the misunderstanding. When Subhadra explains the change in the marriage arrangements, Ghatotkacha decides to wage war against both the Kauravas and Balarama. At the urging of his mother, Hidimbi, and Subhadra, Ghatotkacha abandons his plans and is advised instead to try some trickery in Dwaraka.

With the knowledge of Krishna and Vatsala’s servant, he carries the sleeping Vatsala in her bed from Dwaraka, and flies to his hermitage. Assuming Vatsala’s form, he returns to Dwaraka and, with the help of his assistants, wreaks havoc on her wedding to Lakshmana Kumara, preventing the marriage from being carried out.

With the help of assistants, Ghatotkacha creates a magical town consisting of an illusory marketplace and palace. He names the town Mayabazar and invites the Kauravas to stay there. Assistants introduce themselves to the Kauravas as servants appointed by Balarama to look after them. They manage to trick Shakuni’s lackeys. Ghatotkacha (in Vatsala’s form) makes Duryodhana’s wife rethink the marriage arrangement and teases Lakshmana Kumara. He plans the wedding of the real Vatsala and Abhimanyu in his hermitage which is attended by Krishna. Using his divine powers, Krishna also attends as a guest for the marriage taking place in the Mayabazar.

On the wedding day, Ghatotkacha appears before Lakshmana Kumara in various tantalising forms while, at the hermitage, Vatsala marries Abhimanyu. When Shakuni discovers what has really happened, he blames Krishna. Satyaki, Arjuna’s disciple, asks Shakuni to speak standing on a magical box. He proceeds to stand on the box, which makes him involuntarily explain the Kauravas’ real intentions behind the marriage proposal. Ghatotkacha then reveals his identity. After humiliating the Kauravas, Ghatotkacha sends them back to Hastinapur. Vatsala’s parents accept her marriage. They thank Ghatotkacha, who credits Krishna as the mastermind behind everything, including Abhimanyu and Vatsala’s marriage. ( just for information…. this Laxman Kumar is killed by Abhimanyu on the 13th day of the Mahabharat war).

Today’s song is a ‘Sales Pitch’ song- one of the earliest in its category. The singer is Sudhir Phadke, whose voice is so fresh. This was the first Hindi film, in which he sang a song. Same year he also sang in film Sant Janabai-49. That way, this is a rare song. Thanks to Sadanand kamath ji, who uploaded this song on my request.

(I also thank book “Silent Cinema” by Dr. R K Varma, baklol.com and The Hindu article of 30-4-2015 on this film, for information used herein.)


Song-Phatey puraane kapde phenko naye naye tum le lo (Maaya Baazaar)(1949) Singer- Sudhir Phadke, Lyrics- Pt Mukhram Sharma, MD- Sudhir Phadke

Lyrics

Ho o
Nagarvasiyon suno
dhyaan de kar suno
aisa swarn awsar phir kabhi haath na aayega
puraana do
naya lo
puraana
do naya lo

phate puraane kapde phenko
phate puraane kapde phenko
naye naye tum le lo
naye naye tum le lo
gaya samay phir haath na aaye
soch rahe kya le lo
soch rahe kya le lo
soch rahe kya le lo
makhmal pahno
resham pahno
mor mukut peetaambar pahno
maile chithhde phenko phenko o
maile chithhde phenko phenko
naye naye tum le lo
naye naye tum le lo
soch rahe kya le lo
aasmaani ?? chunariyaan
indrdhanush ki lagi chunariyaan
lagi chunariyaan
angiya mein hain chaand sitaare
aawo
le lo
le lo
aao le lo le lo
aao le lo le lo
soch rahe kya le lo
saadi le lo
hanse jawaani
hanse jawaani
hanse jawaani
phoohad pahne
bane sayaani
bane sayaani
bane sayaani
dhaani dhaani jaali waali
kaali peeli choli le lo
le lo
le lo le lo
aao le lo le lo
aao le lo le lo
soch rahe kya le lo
toote phoote bartan phenko
nakkaashi ke bartan dekho
toote phoote bartan phenko
nakkaashi ke bartan dekho
daan dharm ki lagin dukaanen
lagin dukaanen

daan dharm ki lagin dukaanen
lagin dukaanen
lagin dukaanen
muft maal hai le lo
muft maal hai le lo
soch rahe kya le lo
maanik moti heere pehno
ratan jadaau gehne pehno
maanik moti heere pehno
ratan jadaau gehne pehno
Laxmi ka bhandar khula hai
Laxmi ka bhandar khula hai
nagarwaasiyon aao le lo
nagarwaasiyon aao le lo
le lo le lo
le lo le lo
le lo le lo
le lo le lo
le lo le lo
le lo le lo
le lo le lo
le lo le lo
le lo le lo
le lo le lo
le lo le lo


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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.

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