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Saawanva Umda Aaye Ho

Posted by: on: March 13, 2021


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 :

 4621 Post No. : 16267

‘Baabu Ji’ (1950) was directed by Bhagwan for Uday Productions, Bombay.  It had Bhagwan, Leela Gupte, Baburao, Usha Shukla, Vasant Rao, Azeem, Jani, Mirajkar, Zafar, Vitthalrao, Dhondu, Anmanta, Swami and others.

This movie has nine songs, all written by Ehsaan Rizvi and composed by music director P Ramakant. Going by the style of composition, it has been commented that the music is composed by C Ramchandra himself, under the name of P Ramakant. I request our more knowledgeable readers to be please comment on this observation.

HFGK Vol-II (1941-1950) lists the songs of this movie as given below; (in order of their appearing on this movie (Babooji-1950) page in HFGK)

Sl No

 Song Title Singer/s

Posted On

01

 Saawanwa umdaa aaye ho Sulochana Kadam Being presented today

02

 Baat meri maan lo ji, baat meri maan lo Sulochana Kadam,

Anna Saheb

03

 Milne nahin paate hain naina lachaaye huye Sulochana Kadam

04

 Zaraa sunte jaana ho do dilon ka afsaanaa Sulochana Kadam,

Anna Saheb

 23.08.2013

05

 Nazar se nazar lad gayi Sulochana Kadam 12.09.2018

06

 Rewdiyaan hain rewdiyaan Sulochana Kadam,

Anna Saheb

07

 Kyun pareshaan huye, Sulochana Kadam

08

 Jo bigad gayi wo qismat hoon Sulochana Kadam 22.11.2017

09

 Gorey gorey mukh se jo ghoonghat hataawjo Anna Saheb

As we can see above this movie had made its debut on the blog in 2013 and since then only three songs from the movie have been posted so far. As I was noting the song-list I realized that the voice of Sulochana Kadam is appearing in all songs of this movie, but it is not the case as the last song is a solo in the voice of Anna Saheb. And this is the only male solo in this movie.

Today 13th March 2021 is the eighty-eighth birth anniversary of Sulochana Kadam (born 1933) who later became Sulochana Chavan.  Her singing of many famous and popular ‘lavanis’ in Marathi brought her the honour as ‘Laavni-samradhni’ in Marathi music.

On this occasion here is the song from ‘Baabu Ji’ which is lying with us since August’2013.

Actually, during 2013 – 2015 when I was staying in Kachchh, I had shared some of her songs on the blog. And I had enjoyed listening many of her songs from Hindi movies of that era. The today’s song is also a song which I like very much. One other song “Kyun Preshaan Huye” from this movie is also pending with the editors since then. Let us see when it appears 😊 on the blog.

Let us now listen to the today’s song and wish ‘a very happy birthday’ to Sulochana ji on her birth anniversary today and also wishing her a healthy and peaceful life ahead. . .

Saawanwa Umdaa Aaye Ho

Song – Saawanva Umda Aaye Ho (Baabu Ji) (1950) Singer – Sulochana Kadam, Lyrics – Ehsaan Rizvi, MD – P Ramakant

Lyrics

saawanwa umda aaye ho
saawanwa umda aaye
barkhaa rim jhim jal barsaaye
mann mein aag lagaaye ho
saawanwa umda aaye
saawanwa umdaa aaye ho
saawanwa umdaa aaye

geet ke ras mein mann dooba hai
pyaar ke ras mein naina aa
yaad ke ras mein din dooba hai
birha ke ras mein rainaa
dhyan tera aa jaaye jo
bijli ye jo lehraaye
saawanwa umda aaye
saawanwa umda aaye ho
saawanwa umda aaye

tere sundar roop se akhiyaan
hate nahin hataaye
tujhko sabse nazar bachakar
koi dekhe jaaye
chupke chupke mann veena bhi
pyaar ke geet sunaaye ho
saawanwa umda aaye
saawanwa umda aaye ho
saawanwa umda aaye

kali kali par bhanwaraa doley ae ae ae
koyal shor mahcaaye
pihu pihu kare papiha aa aa
piya ki yaad dilaaye
sab ke mann se taan nikalti
mere mann se haaye
saawanwa umda aaye

saawanwa umda aaye ho
saawanwa umda aaye
barkhaa rim jhim jal barsaaye
mann mein aag lagaaye ho
saawanwa umda aaye

————————————————–
Devnagri Script lyrics (Provided by Sudhir)
————————————————–

सावनवा उमड़ा आए हो
सावनवा उमड़ा आए
बरखा रिमझिम जल बरसाए
मन में आग लगाए हो
सावनवा उमड़ा आए
सावनवा उमड़ा आए हो
सावनवा उमड़ा आए

गीत के रस में मन डूबा है
प्यार के रस में नैना॰ ॰ ॰
याद के रस में दिन डूबा है
बिरह के रस में रैना
ध्यान तेरा आ जाये जो
बिजली ये जो लहराए
सावनवा उमड़ा आए
सावनवा उमड़ा आए हो
सावनवा उमड़ा आए

तेरे सुंदर रूप से अखियाँ
हटे नहीं हटाये
तुझको सबसे नज़र बचाकर
कोई देखे जाये
चुपके चुपके मन वीणा भी
प्यार के गीत सुनाए हो
सावनवा उमड़ा आए
सावनवा उमड़ा आए हो
सावनवा उमड़ा आए

कली कली पर भँवरा डोले॰ ॰ ॰
कोयल शोर मचाये
पीहू पीहू करे पपीहा॰ ॰ ॰
पिया की याद दिलाये
सबके मन से तान निकलती
मेरे मन से हाए
सावनवा उमड़ा आए

सावनवा उमड़ा आए हो
सावनवा उमड़ा आए
बरखा रिमझिम जल बरसाए
मन में आग लगाए हो
सावनवा उमड़ा आए

 

Tags: , , , ,

Kabhi ganga ke paar kabhi jamuna kinaar

Posted by: on: November 23, 2020


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. : 16060

Today (23 november 2020) is the 90th birth anniversary of Geeta Dutt (23 November 1930- 20 July 1972). I was aware of this fact yesterday itself, seeing that I had received several contributions for the occasion. Moreover, this date, which happens to be a monday, is also a day when I present my weekly series of Lata Mangeshkar songs sung in a particular calender year- a very research heavy project. So, my hands were full on sunday (22 november) preparing for all these articles to be published on 23 november 2020.

By late night on 22 november 2020, I had four articles ready, one for Lata Mangeshkar and three for Geeta Dutt, to be published on the morning of 23 november 2020. I had plans to post another article on Geeta Dutt (this one), as that article was going to be a special article on the occasion of Geeta Dutt’s birth anniversary.

I was not the only one who was busy on sunday. It turns out that our own Gajendra Khanna was also busy. A big Geeta Dutt fan and the administrator of Geeta Dutt site geetadutt.com, Gajendra Khanna had prepared a one hour long programme on the occasion and had left a link of the programme on our whatsapp group. I listened to this programme in the morning. As is his wont, Gajendra Khanna’s programme was extremely well researched and contained new, eye opening informations. It was through this programme that I realised that Geeta Dutt (nee Roy) had not made her debut in Hindi movies in 1946, but it was in 1945 in “Aadhaar”(1945). HFGK contains very sketchy information on this movie and mentions name of movie characters as singers. “Aadhaar” (1945) is her first Hindi movie as a playback singer. I notice that a song Aayi balloon waali aayi re in Geeta Dutt’s voice (alongwith S N Tripathi) is actually posted in the blog with correct attribution. That was thanks to information provide by geetadutt.com, ofcourse. HFGK mentions this song as sung by Shehzaadi. Shehzaadi could well be the name of the character who lip syncs this song in the movie.

This programme also contains some other interesting information about Geeta Dutt. For instance, she has sung over 90 songs in Gujarati. She has also sung in Bangla (her mother tongue), Marathi, Punjabi etc. What is very special is the fact that she sounds a natural in all these languages. For instance, Gajendra Khanna finds her Punjabi diction impeccable in her Punjabi language song that he played in his programme.

It is unfortunate that her married life turned out to be disastrous and such a god given singing talent like hers, that should have blossomed, instead got withered and finally got cut short prematurely, because of the after effects of her unhappy marriage with Guru Dutt.

Despite all the circumstances that impeded her after her marriage, Geeta Dutt has still left us with more than a thousand songs to savour. The blog has 899 songs so far and this article is being written to mark the 900th song of Geeta Dutt in the blog. I was wondering what song to showcase as her 900th song in the blog. Most of her well known songs, including iconic songs are already showcased in the blog. Many of the songs not yet covered either did not fit the bill, or their audio quality was not upto the mark, or the genre of the song did not suit the occasion.

I covered a song that I thought was a nice discovery. But a few hours later it was pointed out that the song was already covered in the past.

So it was back to the drawing board.

Now I have picked another special song. This song is from an obscure movie called “Putli”(1950). “Putli”(1950) was produced and directed by Wali Sahab for Punjab Film Corporation, Bombay. The movie had Mumtaz Shanti ,Pran, Yaqoob, Husn Banu, Srinath, Majnu, Prem Dhawan, Ramesh Thakur, Sheela Naik etc in it.

The movie had eleven songs in it. Four songs have been covered in the past. HFGK mentions singers only for three songs. The singers mentioned for these songs are Meena Kapoor for all three songs and a male voice in one of these three songs. There is no mention of singers for remaining eight songs.

What is special about this song is that HFGK is silent about the singers of this song. On listening to the song, it is clear that the song contains the voices of Geeta Dutt and Shamshad Begam. So this song is a “new” discovery as a Geeta Dutt song as well as a Shamshad Begam song.

Uploader of the audio of the song mentions Harikrishn as the lyricist and Aziz Hindi as the music director. While the music director matches with the entry of HFGK, the lyricist does not as HFGK is silent about the lyricist. HFGK Wali Sahab and Abid Gulrej are mentioned as the two lyricists. I think that the uploader of this song has more information about this song as he may have taken this information from the record label.

With this song, Geeta Dutt now has exactly 900 songs in the blog as a playback singer. It is befitting that she should reach this mark on the occasion of her 90th birth anniversary today. What a delightful song to bring up this occasion.

As a great coincidence, this song is the 700th song for Shamshad Begam in the blog and she too completes her century with this song.

PS-Sadanand Kamath Jee has located the video of the song. He identifies the two female dancers as Sheela Naik (lip syncing in Geeta Dutt’s voice) and Cuckkoo (lip syncing in Shamshad Begam’s voice).

Audio

Video

Song-Kabhi ganga ke paar kabhi jamuna kinaar (Putli)(1950) Singers-Geeta Dutt, Shamshad Begam, Lyrics-Harikrishn, MD-Aziz Hindi
Both

Lyrics

kabhi ganga ke paar
kabhi jamuna kinaar
chale aana
main tera intezaar karoongi
ho chale aana
main tera intezaar karoongi
ho naina chaar karoongi
tohe pyaar karoongi
hoy naina chaar karoongi
tohe pyaar karoongi
chale aana
oye bhool na jaanaa
main tera intezaar karoongi
ho chale aana
main tera intezaar karoongi
kabhi ganga ke paar
kabhi jamuna kinaar
chale aana
main tera intezaar karoongi
ho chale aana
main tera intezar karoongi

ooo tu jo dil dega balma
main jaan de doongi
haaye main jaan de doongi
aur main hans hans kar
aur main hans hans kar donon jahaan de doongi
aur main hans hans kar donon jahaan de doongi
o o o
tu jo dil dega balma
main jaan de doongi
aur main hans hans kar donon jahaan de doongi

jaan de kar bhi
jaan de kar bhi tera deedaar karoongi
jaan de kar bhi tera deedaar karoongi
chale aana
main tera intezaar karoongi
ho chale aana main tera intezaar karoongi
kabhi ganga ke paar
kabhi jamuna kinaar
chale aana
main tera intezaar karoongi
ho chale aana main tera intezaar karoongi

lalalaa lalla lalla la
lalalaa lalla lalla la
lalalaa lalla lalla la
lalalaa lalla lalla la

mere angna mein
haaye mere angna mein saavan ke mele piya
aa aa aa aa
mere angna mein saavan ke mele piya
aa aa
kaise dekhoon akele akele piya
haaye
akele piya

tum jo aao
tum jo aao main saula-singaar karoongi
tum jo aao main saul-singaar karoongi
chale aana main tera intezaar karoongi
ho chale aana main tera intezaar karoongi
kabhi ganga ke paar
kabhi jamuna kinaar
chale aana
main tera intezaar karoongi
ho chale aana
main tera intezaar karoongi

gehri gehri nadiya hai
gehri gehri nadiya aur door kinaara re
door kinaara
gehri gehri nadiya aur door kinaara re
door kinaara
tere bina koi nahin apna sahaara re
haaye apna sahaara
apni naiyya ko
apni naiyya ko nadiya ke paar karoongi
apni naiyya ko nadiya ke paar karoongi
chale aana main tera intezaar karoongi
ho chale aana main tera intezaar karoongi
kabhi ganga ke paar
kabhi jamuna kinaar

Tags: , , , , , , ,

Aayi milan ki raat karo meethhi meethhi baat

Posted by: on: November 23, 2020


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

Blog Day :

 4511 Post No. : 16059

kuchh aur zamaana kehta hai kuchh aur hai zidd mere dil ki
main baat zamaane ki maanoon ya baat sunoon apne dil ki

This was the swan song from ‘Chhoti Chhoti Baaten’ (1965) both for the singer and the music director of the song as this was their last film in Mumbai before shifting lock stock and barrel to Delhi in 1963. The playback singer was Meena Kapoor and the music director was Anil Biswas. In relation to her romantic affairs with Anil Biswas in the early 1950s, just like in the above two-liner, she was in a quandary. But her heart was adamant (aur hai zidd mere dil ki) that led to a long partnership with Anil Biswas irrespective of what the society said about their relationship.

Today, November 23rd is the 3rd Remembrance Day of Meena Kapoor. The day also happens to be 90th birth anniversary of Geeta Dutt. Both were born in the year 1930 in Bengal Presidency of British India. Both started their playback singing career in Mumbai in the year 1946 – Geeta Dutt with ‘Bhakt Prahlad’ (1946) and Meena Kapoor with ‘Pul’ (1947) in 1946 though her first released song was from ‘Eight Days’ (1946). The similarities do not end here.

Both Geeta Dutt and Meena Kapoor got recognition as playback singers under S D Burman – Meena Kapoor in ‘Aath Din’ (1946) and Geeta Dutt in ‘Do Bhai’ (1947). Both virtually ended their playback singing career around mid-1960s though there were few spill-over of their songs thereafter. Both had almost similar vocal cords giving an impression to the listeners that their singing voices sound more or less the same. And what was more important was that despite being in the competitive field of playback singing career, both were close friends to such an extent that they both became a part of extended family of Roys and Kapoors.

Unfortunately, their similarities of Geeta Dutt and Meena Kapoor did not reflect in their playback singing career. During their active years (1946-65) of playback singing career, Meena Kapoor’s output (around 175 songs) has no match with that of Geeta Dutt (around 1400 songs). Out of curiosity, I checked the year-wise growth of the playback singing career of both of them beginning with the year 1946 and up to 1955, the year from which Meena Kapoor had Anil Biswas as his life partner, almost retiring from her playback singing career except singing mainly for Anil Biswas. The statistics given in the table below reveal that Geeta Dutt was quite ahead of Meena Kapoor for all the years – both in terms of aggregate number of songs as well as films.

Year Geeta Dutt Meena Kapoor
Films Songs Films Songs
1946 12 21 2 5
1947 22 52 5 9
1948 37 107 15 43
1949 34 97 8 15
1950 50 169 12 17
1951 30 81 4 11
1952 42 122 5 8
1953 25 59 14 27
1954 25 54 7 10
1955 34 84 – –

[Source: List of songs of Geeta Dutt from http://www.geetadutt.com counter-checked with http://www.myswar.co and list of songs of Meena Kapoor from http://www.myswar.co]

What could be the reasons for such a significant difference in their output of songs? At the outset, I could not see any reason other than ascribing it to a pure bad luck for Meena Kapoor in the sense that she was born with a voice almost similar to Geeta Dutt. And it was Geeta Dutt’s voice which seems to have been preferred by most of the music directors over that of Meena Kapoor.

In Lata Khubchandani’s article reproduced in RMIM’s Article Archive (No.324), Meena Kapoor had said that she had never been ambitious and she had not taken her music seriously. She also did not make any effort towards furtherance of her playback singing career. Her father, Bikram Kapoor who was a character actor in New Theatre, Kolkata and later in Mumbai, wanted his daughter to excel in singing only after completing her education. When she started living with Anil Biswas sometime in mid-1950s, she was happier as a housewife than pursuing the playback singing profession.

There is an interesting trivia as to how Meena Kapoor met Anil Biswas for the first time. In the interview referred to above, she had revealed that she refused to give audition to Anil Biswas when he was planning to get some songs sung by her for ‘Anokha Pyaar’ (1948) under the recommendation from his brother-in-law, Pandit Pannalal Ghosh. She had already recorded many film songs under many composers. As such, she felt that it was not necessary to her to give a fresh audition to Anil Biswas. It was her father who took a few recorded songs of her to Anil Biswas. After listening to her song, tod gaye haaye tod gaye armaan bhara dil tod gaye from ‘Khel’ (1950) under the music direction of Sajjad Hussain, Anil Biswas called her for rehearsal without audition. This incidence also shows as to how casual Meena Kapoor was in regard to her playback singing career.

Geeta Dutt on the other hand was interested in pursuing the playback singing career in films and her parents encouraged her by arranging music teachers. It was exactly at a time when Meena Kapoor’s restrictive playback singing career due to her education gave opportunity for Geeta Dutt to get a strong foothold as a playback singer as the statistics in the above table reveal. For example, S D Burman after giving two songs to Meena Kapoor in ‘Aath Din’ (1946), he switched over to Geeta Dutt during 1948-55 beside Lata Mangeshkar. It was only after 1957 when Geeta Dutt could not give sufficient time to S D Burman for rehearsals, he switched over to Asha Bhosle (Lata Mangeshkar not singing for him due to some misunderstanding). It is interesting to note that after her marriage with Guru Dutt in 1953, the yearly aggregate number of songs sung by Geeta Dutt post-1953 have fallen mainly due to a stiff competition from Lata Mangeshkar coupled with her domestic compulsion.

Both Geeta Dutt and Meena Kapoor have emotional tone in their voices which suits the genre of poignant and devotional songs. However, going by a large number of songs sung by Geeta Dutt relative to that of Meena Kapoor, the former’s versatilities are evident to general listeners of her songs. Just note as to how S D Burman had been instrumental in making Geeta Dutt a versatile singer. From emotional mera sundar sapna beet gaya in ‘Do Bhai’ (1947) to light-hearted tadbeer se bigdi huyi taqdeer bana le in ‘Baazi’ (1951), to coquettish song, jaane kya toone kahi jaane kya maine suni, teasing song, janoon jaanoon re chhupke kaun aaya in ‘Insaan Jaag Utha’ (1959) and many of her club songs. Her repertoire of songs under other music directors is also large.

Meena Kapoor did not get much opportunities to display her versatilities as her singing output was less than 200 songs as compared to Geeta Dutt’s around 1400 songs. But Meena Kapoor had also a good repertoire of songs like waltz type song, aate hain wo aate hain wo in ‘Chalte Chalte’ (1947), light-hearted meri jaan meri jaan sunday ke sunday in ‘Shehnaai’ (1947), romance in ye samaa ham tum jawaan in ‘Maashooka’ (1953), folk song, rimjhim barse paani aaj more angna in ‘Pardesi’ (1957), Rabindra sangeet, mere chanchal naina madhur ras ke bhare in ‘Angoolimal’ (1960) etc.

With almost similar voice timbre, Geeta Dutt and Meena Kapoor had very few occasions to sing together during their active years of playback singing career as detailed below:

Films Songs (Geeta-Meena) Co-singers Music Director
Hip Hip Hurray (1948) Main jaan gayi jaan gayi – Hanuman Prasad
Aadhi Raat (1950) Maine baalam se poochha – Hansraj Bahl
Jalte Deep (1950) Aayi milne ki raat – Shardul Kwatra
Hulchul (1951) Mile dil aankh sharmaayi – Mohd. Shafi
Ghaayal (1951) O rani mainwati -1 G M Durrani Gyan Dutt
Ghaayal (1951) O rani mainwati -2 G M Durrani Gyan Dutt
Ghaayal (1951) Tera kisi pe aaye dil – Gyan Dutt

Before I conclude my article, I would like to give links of a solo song each of Meena Kapoor and Geeta Dutt for the purpose of their voice comparison. I have deliberately selected the songs of the same genre (Meera bhajans) so that the comparison is on the even keel.

Meena Kapoor main birhan baithi jaagoon ‘Gopinath’ (1948)
Geeta Dutt ae ri main to prem deewaani ‘Jogan’ (1950)

After repeatedly listening to these two songs, I can feel some differences in voices but I am unable to explain as to what are the differences. Probably, Meena Kapoor sounds slight nasal in her singing than Geeta Dutt. Of course, musicologists like the late Ashok Ranade would have technically explained their voice differences.

On the occasion of the 90th birth anniversary of Geeta Dutt and 3rd Remembrance Day of Meena Kapoor on November 23, 2020, I am presenting their duet song, aayi milne ki raat karo meethi meethi baat from an obscure film ‘Jalte Deep’ (1950). The song is written by Aziz Kashmiri which is set to music by Shardul Kwatra. The film was produced by R Vasudeva under the banner of Nihal Film Corporation and was directed by Deepak Asha. The star cast included Nimmi, Amarnath, Randhir, Sophia, Deepak, Kuldeep, Leela Mishra etc. The film had 12 songs of which one song has been covered in the Blog.

The voices of Geeta Dutt and Meena Kapoor are so similar that I get a feeling whether the song I am presenting is solo or duet. However, the lyrics do give an impression of a duet and HFGK mentions Geeta Dutt and Meena Kapoor as playback singers for the song.

Since the film’s VCD/DVD is not available, one can listen to the song only on the audio clip. I have a photograph from the film in which Nimmi and Sophia are seen holding a tray each with lamps. Based on the photograph, my guess is that the song may have been picturised on Nimmi and Sophia welcoming their ‘balam’ and ‘sajan’.

Audio Clip:

Song-Aayi milan ki raat karo meethhi meethhi baat(Jalte Deep)(1950) Singers-Geeta Dutt, Meena Kapoor, Lyrics-Aziz Kashmiri, MD-Sardul Kwatra

Lyrics

aayi milne ki raat
karo meethhi meethhi baat
tumhen meri kasam
o mere achhe balam
aayi milne ki raat
karo meethhi meethi baat
tumhen
o tumhe meri kasam
o mere achhe balam
aayi milne ki raat
karo meethhi meethhi baat

raat hai suhaag ki
chhaayi hai bahaar sajan
chhaayi hai bahaar
nainwa se phoot pada
meethha meethha pyaar
nainwa se phoot pada
meetha meetha pyaar
zara thhaamo ji haath
karo meethhi meethhi baat
tumhen
o tumhe meri kasam
o mere achhe balam
aayi milne ki raat
karo meethhi meethhi baat
tumhen meri kasam
o mere achhe balam
aayi milne ki raat
karo meethhi meethhi baat

taaron ne dekh liya tera mera mel sajan
tera mera mel
ankhiyon ne khel liya naya naya khel
ankhiyon ne khle liya naya naya khel
zara thhaamo ji haath
karo meethhi meethhi baat
tumhen
o tumhe meri kasam
o mere achhe balam
aayi milne ki raat
karo meethhi meethhi baat
o tumhen meri kasam
o mere achhe balam
aayi milne ki raat
karo meethhi meethhi baat

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Mere nainon mein preet mere honthhon pe geet

Posted by: on: November 12, 2020


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 :

 4500 Post No. : 16034

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Blog 10-Year Challenge (2010-2020) – Song No. 91
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Welcome all to this post under the ‘Blog Ten Year Challenge 2010-2020’. Considering that we have already now entered into the ninetees, let us see if this ‘ten-year challenge for the year ‘2010-2020’ gets to a first ‘hundred’ in this category or not? It all depends upon the movies who started their journey on the blog in ‘2010’ (now for November -remaining days, and the next month December only) and are yet to all their songs posted or they are ‘un-Yippeee’ed’ so far 😊

Well today we have two movies due for a song in this challenge viz. ‘Shree Ganesh Mahima-1950’ and ‘Roopkumari-1956’.

Ten years back on this day i.e. 12th November 2010 saw as many as five songs posted on the blog. Here is the list of these songs, their movies and the status of these movies on the blog;

Song Title Movie & Year Status of songs of the movie on the blog
Ulfat ke jaadoo ka dil mein asar hai Sangram-1950 All Songs covered
Sakhi mera man naache mera tan naache Shri Ganesh Mahimaa-1950 04 of 11 songs posted
Aayi bahaar muskuraayi bahaar Roopkumari-1956 02 of songs posted
Main to tere haseen khayaalon mein kho gayaa Sangram-1965 All Songs covered
Raju ka hai ek khwaab Raja Saahab-1969 All Songs covered

‘Shri Ganesh Mahima-1950’ (aka ‘Shri Krishna Vivaah) was directed by Homi Wadia for ‘Basant Pictures, Bombay’.
It was a mythological movie having star cast as Meena Kumari, Mahipal, S.N. Tripathi, Moolchand, Dalpat, Amarnath and others.

This movie had eleven songs written by Anjum Jaipuri and Ramesh Pande. Music for this movie was composed by S.N. Tripathi.

HFGK (Vol-II, 1941-1950) mentions the song titles of these eleven songs as per following order, however it mentioned the singer name for only four songs and i.e. of Geeta Roy (Dutt) and lyricist name is mentioned only for one song (sakhi ri mera man naache, mera tan naache).

S.No. Song Title Posted on
01 Gaayiye Ganpati jag vandan Shankar suvan
02 Shambho Mahadev, Shankar trilochan
03 Mere nainon mein preet hai, mere honthon par geet Being posted today
04 Surya dev Dinesh hey 13.07.2015
05 Rahe aasha ke geet adhoore, na honge poore
06 O Mohan murliwaale raakho laaj hamaari
07 Kartab hain balwaan jagat mein kartab hain balwaan
08 Man Mohan raas rachaayo ri madhuban mein
09 Taaron ke palne mein jhoole chaand hamaaraa ho 03.08.2019
10 Hey Ganesh Jai Ganesh 09.09.2013
11 Sakhi mera man naache mera tan naache 12.11.2010

Our in-house encyclopaedia respected Arun Kumar ji described the story of this movie in his post Hey Ganesh Jai Ganesh which I am reproducing below;

He has also mentioned that

“Although the title of the film was about Ganesha, most of the film centred around Lord Shri Krishna”.

The story of the film was-

Great and Miraculous power are attributed to Shri Ganesh the benefactor of mortals as well as the immortals. Such a benign being was once laughted at by Chandra only to be cursed by him. Realising his folly Chandra begged her forgivenness and the curse was modified by the merciful divinity to be effective only on the day of Ganesh Chaturthi. He ordained that anybody looking at the moon on that day will be a victim of false accusations. It was on such a day that Shri Krishna unwittingly looked at the moon and had to suffer the indignity of being falsely accused of theft of Syamantak Mani. This jewel was acquired by Satrajit, one of the Yadavas as a boon from God Sun. Shri Krishna had sent Narad to Satrajit expressing his desire to possess the Mani. The events took such a turn that there was circumstantial evidence against Shri Krishna who happened to be at the Chambers of Satrajit’s daughter Satyabhama, devotee of Lord Krishna on the night prior to Satrajits losing the Mani. Shri Krishna was shocked at such allegation made by Satrajit and Shatadhanva (Another Yadava) who had been promised by Satrajit the hand of his daughter Satyabhama.

Shri Krishna took upon himself to find out the jewel and redeem it to its rightful owner only to clear himself of the allegation. A search party was organised which came across the dead body of Prasain, a carcass of lion and also the foot-prints of a bear blazing a new trail which when followed led the party to a cave. Shri Krishna went inside the cave telling the followers to wait at the cave entrance for seven days and if he did not return by then, to go back to Dwarka. Inside the cave Shri Krishna found the Syamantak Mani and also Jambuwanti, the daughter of the powerful bear king Jambuwant. There ensued a fight between Shri Krishna and Jambuwant lasting for twenty-one days. The people at the entrance of the cave returned as per instruction after the seventh day. The duration of this fight gave Shatadhanva a real chance for villainy. He puts in an all over effort to win the hand of Satyabhama who would marry none but Shri Krishna. Jambuwant after losing the battle gave away his daughter in marriage and Syamantak Mani as dowry to Shri Krishna.

Coming to Dwarka, Shri Krishna returned the jewel to its rightful owner, Satrajit repented and made amends by giving away his daughter to Shri Krishna in marriage. Shatadhanva came to know of this alliance and made short work of his unsuspecting father Satrajit and decamped with the Mani. Shri Krishna brought justice to the evil doer and the villain Shatachanva fell a victim to his famous Sudershana Chakra.

Arun Kumar ji has written two more posts with songs of this movie and they are;
Surya dev Dinesh hey and Taaron ke palne mein jhoole chaand hamaaraa ho.

Today I am presenting a song from this movie sung by Geeta Dutt (Geeta Roy then).
This lovely melodious song is composed by S.N. Tripathi and it is performed on screen by Meena Kumari.

Let us now enjoy this beautiful song …

Video

Audio

Song-Mere nainon mein preet mere honthon pe geet(Shree Ganesh Mahima)(1950) Singer-Geeta Dutt, MD-S N Tripathi

Lyrics

mere nainon mein preet
mere honthon pe geet
mere sapnon mein tumhi samaaye ae
mere nainon mein preet
mere honthon pe geet
mere sapnon mein tumhi samaaye ae

aaj man ki kali
phool ban kar khili ee
chaandni jaise chandaa se hanskar mili
aaj man ki kali
phool ban kar khili
chaandni jaise chandaa se hanskar mili ee
baji murli mohan
baji murli mohan
lagi man mein lagan
meri aasha ne deep jalaaye
mere nainon mein preet
mere honthon pe geet
mere sapnon mein tumhi samaaye ae

hans rahaa hai jeewan
chamki man mein kiran
mere praanon ki jyoti
tumhi ho mohan
hans rahaa hai jeewan
chamki man mein kiran
mere praanon ki jyoti
tumhi ho mohan
meri chanchal umang
nache murli ke sang
man mein preetam ki yaad chhupaaye
mere nainon mein preet
mere honthon pe geet
mere sapnon mein tumhi samaaye ae
mere nainon mein preet

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Taaron se ab chaand ki kuchh baat ho gayi

Posted by: on: November 11, 2020


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 :

 4499 Post No. : 16032

Today’s song is from film Pagle-1950.

1950 was the last year of the second decade of Talkie cinema. The effects of Partition had started showing effects. Entry of actors, directors and composers from Bengal – due to the crumbling of New Theatres – entry of newer artistes to replace the migrators and the changing tastes of the Indian people was being reflected in the films made in this year. The migration of artistes-both ways-continued with force till about the early 50s and slowed down in the early 60s, where finally it was stopped in 1965 by Pakistan rulers.

The social film Pagle-50 was produced and directed by Protima Dasgupta. The cast of the film was Begum Para, Madhuri, Jagirdar, Pratima Devi, Mubarak, David, Cuckoo etc.etc. The music was by V.G. Bhatkar – who was no one else, but Snehal Bhatkar. Since he was still w2orking in H.M.V., he could not use his real name. Some other composers also did this under same conditions. For example, C Ramchandra was working Filmistan, under a contract and he gave music to his friend Master Bhagwan’s films like Bhedi Bungala-49, Bhole Bhale-49, Babuji t50 and Bakshish-50. For these films CR used the name of his long time assistant P.Ramakant (Ramakant Paingankar). Similarly, Anil Biswas, while in contract with National Studios, gave music to Bombay Talkies film Basant-1942, using the name of Pannalal Ghosh, his own Brother in Law (sister singer Parul Ghosh’s husband). In 1942, Anil Biswas was very busy with as many as 5 films – Vijay, Jawani, Gareeb, Apna Paraya and his famous film Roti.

Under such situations, normally just one pseudo-name is used to hide the real identity legally, but in the case of Snehal Bhatkar he used several names for different films-
Rukmini Swayamwar-46….Vasudev-Sudhir (Phadke)
Neel Kamal-47….B.Vasudev
Sant Tukaram, Sati Ahilya-48 and Pagle-50….V.G.Bhatkar
Suhag Raat-48….Snehal
Thes-49….Snehal and finally
Hamari beti-50….Snehal Bhatkar. By this time he had resigned from HMV and was a free bird !

The film’s director Pratima Dasgupta started as an actress and then turned to be a Producer and Director. She was born on 5-9-1922 into a wealthy family of Bhavnagar, in Kathiyawar state. Her father was the Chief Engineer of Kathiyawar state. Her family was related to Rabindranath Tagore. So, after the initial education in England, she came to Shanti Niketan and completed her studies. She was a favourite and a favoured student throughout.

Looking at her acting skills, it was Tagore himself who recommended her to act in the Bangla film “Gora”-38, based on his own novel. Her role of Latika-daughter of Paresh babu in the film-who falls in Love with Bijoy and marries her- was liked by Tagore. She did one more film ‘Na hone wali baat’-38 in Hindi, followed by the Hindi version of Rukmini in 1939. After doing 4 Bangla films, she did the Trilingual film (Bangla, Hindi and English)- Raj nartaki-1941. This was made by Wadia movietone in Bombay and was directed by Modhu Bose, husband of the Heroine Sadhana Bose-the international dancer. She married Major Manzoor-ul- Huq, brother of actress Begum Para.

Her other Hindi films were Kunwara baap-42,Raja-43 and Shararat-44, all directed by Kishore Sahu. She also did Namaste in 1943.. After this she turned to Direction and did her first film Chhamiya-45, with Begum Para and David as a Lead pair. She repeated this team again in Pagle-50 also. However her second film ‘Jharna ‘-48 was banned by Morarji Desai, the then Chief Minister of Bombay Province, on the plea that the film had explicit sexual scenes in it. This was a financial disaster for Pratima and she decided to quit films.

In all, Pratima Dasgupta did 10 Hindi films and 8 Bangla films.

In Hindi film industry, branding is very common or rather Popular, from the beginning. Actually, Branding reconfirms the actor’s strong points, his expertise in acting. For example, Ashok kumar and Motilal were known for Natural acting, for beauty it was Madhubala, for excellence in acting- Meena kumari, Sanjeev kumar for variety in roles, Sohrab Modi and Raaj Kumar for dialogue delivery, Tragedy king was Dilip Kumar (only till 1955), Ajit was Sophisticated Villain etc. etc. There was one actress who was famous for her ” Oomph”. It is said that her sexy photos were pasted by U.S. soldiers in their rooms, during Vietnam war. The ” TIME ” photographer did a Photo session with her. She too conscientiously maintained her ‘ Sexy ‘ image and so she was never known as a good actress in acting. Her name – BEGUM PARA.

Begum Para (née Para Haq; 25 December 1926 – 9 December 2008) was a Hindi film actress who was active mostly in the 1940s and 1950s. After 50 years, she returned to films with her last role in Sanjay Leela Bhansali’s Saawariya (2007) as Sonam Kapoor’s grandmother. In her times in 1950s, she was considered a glamour girl of Bollywood, so much so, that Life magazine had a special session with her devoted to her fine sensuous photographs.

Begum Para was born as Para Haq in Jehlum now a days in Pakistan. Her family was from Aligarh. Her father, Mian Ehsanul-Haq, was a judge who at some point in his life went into the judicial service of the princely state of Bikaner, now northern Rajasthan, where he became chief justice of its highest court. He was a fine cricketer of his time. She was brought up very disciplined yet liberal. She spent her childhood in Bikaner. She was educated at the Aligarh Muslim University. Her elder brother Haq, had gone off to Bombay in the late 1930s to become an actor. There he met and fell in love with the Bengali actress Protima Dasgupta, and married her.
Whenever she visited them in Bombay, she was quite taken up with the glitzy world of her sister-in-law. She used to accompany her on many occasions and get-togethers. People would get quite impressed with her looks and offer her a lot of roles. One such offer came from Shashadhar Mukherjee and Devika Rani. Her father consented to her wishes reluctantly, and requested her to never work in Lahore.

Begum Para’s first break turned out to be 1944 film Chand, from Prabhat Studios in Poona. Prem Adib was the hero, and Sitara Devi was the vamp in the film. It did extremely well and Para started getting paid about Rs. 1500 a month. Soon after, she and her sister-in-law Protima made a film called Chamia (1945) based on the novel ‘Pygmalion’, which again was a huge success. Para signed a lot of films after Chamia, but she couldn’t quite establish herself as an actress. Because she had a highly scandalous image, people always gave her the role of glamour doll in most films. She didn’t mind it because she always played herself on screen.

She did Sohni Mahiwal (1946) and Zanjeer (1947) with Ishwarlal and Dikshit; Neel Kamal (1947) with Raj Kapoor; Mehendi (1947) with Nargis; Suhaag Raat (1948) with Bharat Bhushan and Geeta Bali; Jhalka (1948); and Meherbani (1950) with Ajit Khan. She also worked in Ustad Pedro (1951), produced and directed by the then well-known actor, Sheikh Mukhtar. It was a fun film, and was packed with action, romance, and stunts.

In 1951 she posed for photographer James Burke for a Life magazine photo shoot. Para’s last role was in the movie Kar Bhala in 1956. She was also offered to play Nigar Sultana’s role ‘Bahar’ in Mughal-e-Azam (1960). However, she refused to play the role because she considered it against her image. In all, she acted in 34 films in her career.

She made a comeback on the silver screen in Sanjay Leela Bhansali’s Saawariya in 2007 as Sonam Kapoor’s grandmother.

She married actor Nasir Khan, the younger brother of Bollywood actor Dilip Kumar. They had three children, including the actor Ayub Khan. Begum Para’s father Mian Ehsan-ul-Haq of Jalandhar, was a judge who joined the princely state of Bikaner, now northern Rajasthan, where he became chief justice of its highest court. Her husband died in 1974. Following her husband’s death, she briefly migrated to Pakistan in 1975. Two years later, she relocated back to India.

She died in her sleep on 9-12-2008, at the age of 81 years. (Thanks to wikipedia).

Film Pagle-50 had 9 songs. 6 songs are already presented here. Today’s duet would be its 7th song to be discussed here. It is a duet sung by Rajkumari and Talat Mehmood. The song is quite ordinary. As such, Snehal Bhatkar was not known for many melodious songs in his films. This duet is an average one.


Song-Taaron se ab chaand ki kuchh baat ho gayi (Pagle)(1950) Singers- Rajkumari, Talat mehmood, Lyricist- Qabil Amritsari, MD-V G Bhatkar (Snehal Bhatkar)
Both

Lyrics

Taaron se ab chaand ki kuchh baat ho gayi
Taaron se ab chaand ki kuchh baat ho gayi
aapas mein do dilon ki ee mulaakaat ho gayi ee
aapas mein do dilon ki ee mulaakaat ho gayi
taaron se ab chaand ki kuchh baat ho gayi
taaron se ab chaand ki kuchh baat ho gayi
aapas mein do dilon ki ee mulaakaat ho gayi ee
aapas mein do dilon ki ee mulaakaat ho gayi

koi nazar milaa ke mohabbat dikhaa gaya
dil ko khushi se aaj dhadakna bhi aa gaya
kya jaane aankhon aankhon mein kya ghaat ho gayi
kya jaane aankhon aankhon mein kya ghaat ho gayi
aapas mein do dilon ki ee mulaakaat ho gayi ee
aapas mein do dilon ki ee mulaakaat ho gayi

aankhon mein tere khwaab hain
honthon pe tere geet
aankhon mein tere khwaab hain
honthon pe tere geet
tu aarzoo hai dil ki
har saans tera meet
tu aarzoo hai dil ki
har saans tera meet
ab meri zindagi bhi tere saath ho gayi
ab meri zindagi bhi tere saath ho gayi
aapas mein do dilon ki ee mulaakaat ho gayi ee
aapas mein do dilon ki ee mulaakaat ho gayi

apna bana ke dekho daaman na chhod dena
apna bana ke dekho daaman na chhod dena
dil mein samaane waale
dil ko na tod dena
dil mein samaane waale
dil ko na tod dena
manzoor unki dil ko har baat ho gayi
manzoor unki dil ko har baat ho gayi
aapas mein do dilon ki ee mulaakaat ho gayi ee
aapas mein do dilon ki ee mulaakaat ho gayi
taaron se ab chaand ki kuchh baat ho gayi
taaron se ab chaand ki kuchh baat ho gayi
aapas mein do dilon ki ee mulaakaat ho gayi ee
aapas mein do dilon ki ee mulaakaat ho gayi

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Ham se dil ki lagi na chhupaana

Posted by: on: November 8, 2020


This article is written by nahm, 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 :

 4496 Post No. : 16028

Munawwar Sultana – 96th Birth Anniversary on 08/11/2020

The name Munawwar means, shining brightly or aglow. Combined with Sultana, it becomes “an empress who shone with a bright light”. Munawwar Sultana was born on 8th November, 1924 at Lahore, she had a compact but meaningful career from 1941 to 1956 of working in 28 films. After this she settled down to married life and devoted her-self to raising her family. She expired at the age of 82 on 15th September 2007.

I have not seen any of the films she acted in but some of the songs picturised on her are my personal favorites. The song Afsaana likh rahi hoon de=il e bekaraar ka is one of those songs which will be remembered till hindi film songs are remembered. From what I have read about her career, she was very much part of the A list actors and film makers of the era, and she quit while still in demand. She might even have cut down on films because she wanted to quit. She never made a comeback despite living in Mumbai all her life and in the thick of things at Pali Hill. The busiest and eventful time of her career is from 1947 to 1952.

Another important film of Munawwar Sultana is Babul 1950, which has her lip syncing this famous unforgettable duet Milte hi aankhen dil huaa deewaana kisi ka .

I was looking for a song picturised on her and found this film “Pyar Ki Manzil” 1950, with music by Husnlal Bhagartam. It is my experience that whenever I have stumbled upon their songs, I have not moved on to look for a better choice. So here is the melodious, female duet by Lata Mangeshkar and Shamshad Begum.

Here is the list of this films songs already posted in the blog;

Song Date of posting
Aankhon mein aankhen daal ke 16 May 2011
Bichhde huye saajan ki 20 June 2011
Ae chaand zaraa sun le 28 September 2011
Padosan ke ladke ne dil mera chheena 2 February 2015
Bheega hua daaman hai to aankhon mein hai paani 17 December 2017

Though the film “Pyar Ki Manzil” is available on youtube, only audio of songs are there. In the absence of video, I have no way of knowing which song is pictured on Munawwar Sultana, among the remaining 5 songs of the film, not yet posted. So it is doubly prudent that I chose this song, a female duet, the chances of it featuring Munnawar Sultana doubles. Actually Rehman is the hero, and two singers are talking about him in the song.

Shewan Rizvi is the lyricist, of this wonderfully tuned song. It should have been a popular song, even in 1950 crowded as it was with all the great songs of the era.

This is the present tally of Huslal-Bhagatram and Shewan Rizvi in the blog:

Artist Songs in the blog Career tally of songs
Husnlal Bhagatram 289 451 (50 movies)
Shewan Rizvi 118 381

100th song of Shewan Rizvi was some years ago, which raises the thought that it is time to improve this poets tally in the blog. Some of the 28 movies starring Munawwar Sultana, not yet yippeed or represented in the blog, may have a few more songs filmed on her, and who knows what all pearls are lying in wait to be discovered.


Song-Ham se dil ki lagi na chhupaana (Pyaar Ki Manzil)(1950) Singers-Lata Mangeshkar, Shamshad Begum, Lyrics-Shewan Rizvi, MD-Husnlal Bhagatram

Lyrics

Ham se dil ki lagi na chhupaana
ham se dil ki lagi na chhupaana
dekho ji kahin keh de na nigaahen yeh fasaanaa
dekho ji kahin keh de na nigaahen yeh fasaanaa
ham se dil ki lagi na chhupaana
ham se dil ki lagi na chhupaana
dekho ji kahin keh de na nigaahen yeh fasaanaa
dekho ji kahin keh de na nigaahen yeh fasaanaa

thhandi hawaaon ka kar ke bahaana
kar ke bahaana
kahaani hamaari
hamin se chhupaana
hamin se chhupaana
bhole balmaa ne yeh nahin jaana
dekho ji kahin keh de na nigaahen yeh fasaanaa
dekho ji kahin keh de na nigaahen yeh fasaanaa

na be-chainiyan dil ki na tum se chhupengi
na tum se chhupengi
zubaan chup rahi to
nagaahen kahengi
nagaahen kahengi
lagi dil ki hai mushkil chhupaana
dekho ji kahin keh de na nigaahen yeh fasaanaa
dekho ji kahin keh de na nigaahen yeh fasaanaa

wo ruk ruk ke kehnaa
mazaa de rahaa thha
mazaa de rahaa thha
ke nazaron ka jhuknaa
pataa de rahaa thha
pataa de rahaa thha
lagaa dil pe nazar ka nishaana
dekho ji kahin keh de na nigaahen yeh fasaanaa
dekho ji kahin keh de na nigaahen yeh fasaanaa

yahi dekhnaa hai
na kab tak kahoge
na kab tak kahoge
kahaan tak muhobbat mein
chup chup rahoge ae
chup chup rahoge
piya kab tak karoge bahaana
dekho ji kahin keh de na nigaahen yeh fasaanaa
dekho ji kahin keh de na nigaahen yeh fasaanaa
ham se dil ki lagi na chhupaana
ham se dil ki lagi na chhupaana
dekho ji kahin keh de na nigaahen yeh fasaanaa
dekho ji kahin keh de na nigaahen yeh fasaanaa

Tags: , , , , ,

Aao sajan tum aao

Posted by: on: October 27, 2020


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 :

 4484 Post No. : 15997

Today’s song is from a film made by Calcutta’s New Theatres – Roop Kahani-1950.

The film was directed by Sauren Sen, who was also the writer of its story. Music was by the Last Mughal of New Theatres – Pankaj Mullik. The film cast was Asit Baran Mukherji, Ashita Bose, Khursheed, Vijay Kumar, Tulsi Chakrawarty, Jahar Roy etc.etc. The film, like many of its predecessors, was a Bi-Lingual film- Hindi and Bangla (Bangla name Roop Katha).

In this world only two things are truly permanent, inevitable and the main cause for the world to go on and on. Death and Change. Death keeps the balance of the numbers and Change means improvement, development and survival. Those who do not adapt to changes, perish. Everything in Life undergoes a change – clothes, friends, values, attitudes et.. If you want to succeed in life, you must learn to adapt to changes. Those who do not change lose their relevance and existence. The same thing happened to a Giant called New Theatres of Calcutta.

NEW THEATRES ( NT ) was established by B.N. Sircar, on 10-2-1931,in Tollygunge, Calcutta. It had 3 studio floors for shooting. It had the best Technicians, the best actors and the best Musicians. From 1931 to 1955,NT produced 177 films, a Record unlikely to be broken in future by any single production house. The nearest rival was Ranjit studios, with 175 films produced. It is not there was no competition in Bengal. In 1935,there were 14 production houses in Calcutta and in 1938,there were 38 of them, though some ,like Madon Theatres closed down sooner.

NT was mammoth, peopled by giants. Through the 30s and early 40s,NT had the biggest names in Indian cinema, on their payrolls. K L Saigal, Pahadi Sanyal, Jamuna Debi and Leela Desai were ‘discovered’ by NT. Others like P C Barua, Kanan Devi, Umashashi, Molina and Chandrabati emerged as stars at NT. Some like Durgadas Bandopadyaya and Prithviraj Kapoor had been stars before coming to NT. They had directors like Premankur Attorthy, Debki Bose, Madhu Bose, D N Ganguly, Nitin Bose, Hiren Bose, R C Boral (only Bangla), Profulla Roy, Phani Mujumdar, Bimal Roy, Hemchandra Chunder, sound recordist Mukul Bose and Musical giants like R C Boral, Pankaj Mullick, Timir Baran and K C Dey.

B N Sircar was the Patriarch, the disciplinarian, who held them together like in a big family. NT had a veritable galaxy and clashes between the Titans were inevitable. NT had its own share of fallouts, peer rivalries, squabbles and scandals. Due to the stern and uncompromising nature of B N Sircar, the first to leave was Pramathesh Barua, then Nitin Bose, and Kanan Devi. There was that famous spat between Debki Bose and Nitin Bose on the sets of Meerabai-1933 itself and they stopped talking to each others. Add to this the heavy drinking of Saigal and Umashashi’s elopement with the heir of Shova bazar palace. Each of this has an independent story.

The political situation in Bengal after the WW II, i.e. 1945 also caused the journey of NT towards its downfall and eventual closure in 1956. If only B N Sircar had changed his attitude, NT would not have died so soon, at least not without a fight and not so tamely, in the face of the competition. The biggest bank of Bengal, which financed NT- The National bank also went into liquidation at the same time to add to their woes further.

Personally, I would not hold B N Sircar alone, responsible for the decline of NT, which was Hindi cinema from Bengal itself in reality. Another very important factor was,while many stalwarts like Saigal, Prithviraj Kapoor, Kidar Sharma, R C Boral, etc made a beeline for Bombay, Hindi cinema music in Calcutta remained the same, where it was in 1931,without any change. On the other hand, Bombay had enriched its music by adapting to the changing times with a mix of music from Goa, Maharashtra, Gujarat, Rajasthan, UP, Himachal Pradesh, Punjab, Lahore and the south. The music of the 40s in Bombay had become Vibrant, whereas there was no change whatsoever in Bengal Hindi music. It kept on hankering on Robindra Sangeet and Nazrul Geeti. Maybe, the extreme variety of Regional pride of Bengal came in the way of adopting and adapting to the changes. (This Pride has, even Today, kept Bengal much behind the rest of India.) Thus Bombay became the undisputed capital of Hindi Cinema and Music.

New Theatres was established in 1931,as a family business, with B.N. Sircar as the Managing Director. Once NT started growing, the local regional pride almost forced Madan Theatres-belonging to a Parsee family from the western India-to pack up. By 1937,Madan Theatres had produced over 50 films-silent and Talkie. They made their last Talkie, appropriately named ” Zinda Bhoot” in 1937 and the company closed down.

New Theatres had the Best actors, best Directors, Best composers and the very best Technical staff in India. They had 4 distinct strengths….

1. Right from beginning, Bengal had an edge over Bombay and Lahore etc in that the Educated and Respectable family members did not hesitate to join the Film Industry in Bengal. In fact, over 90% of its people were educated-some of them even Foreign educated too. In this ,Bengal was very Progressive. On the contrary, the western centres of film making were confined to Courtesans, Tawayafs and uneducated run-aways in its film industry.

2. NT or the Bengali film industry had a very wide market spread out over entire West and East Bengal, Bihar, orissa, Assam, the N-E states and Burma. Their Distribution network included Madras,Madurai,Erode,Trichannapally,Bangalore,Mysore,Poona,Bombay,Cawnpore(Kanpur),Kangra valley and Lahore circuits.

3.People who worked for NT were like a united family. Feelings of Goodwill and Happiness permeated the studio. Workers came in the morning and worked till it was finished. Discipline and adherence to deadlines and principles regulated their lives. projects were, therefore, completed always as planned and in time.
( Only Madras of the 40s and 50s came near this. Bombay and Lahore were exactly the opposite, where discipline and punctuality were never a Virtue (Tradition continues…)

4. Almost all films made in Bengal by NT or any other company, were based on either stories or dramas or Novels, by renowned authors from the East(read Bengal). Thus, the film’s story content was so solid that they did not need appendages of comedians or a CSP (comic side plot) or too many songs.
( IN other parts like Bombay and Lahore, studios had what was called “The story Departments”, consisting of 4-5 writers, the owners, directors, who would work up a story in unison !)

NT popularised a new brand of Music.i.e. Rabindra Sangeet, which was hitherto confined to only Shantiniketan. With all this in place,NT was on its peak in 1940,when their slide started. One of their pillars P.C.Barua left NT. This was the beginning. Debki Bose left. Nitin Bose left after completing ‘Kashinath’ in 1943. Kanan Devi left to join Barua and Uma Shashi eloped with her lover.
Pankaj Mallick, though unhappy over the treatment meted out to him in NT, did not leave till the end. He did Bombay film music at Calcutta-like Kasturi or Zalzala etc. He always considered NT as his Alma Mater.
The ongoing II world war, the communal riots of 1946.the Partition of 1947 and the deteriorating civil conditions of Bengal (specially Calcutta),due to the influx of Refugees, broke NT completely. The Govt. had regulated supply of Raw Film, East Bengal market was lost totally, artistes left for Dhaka or Bombay…all this took NT to its end rapidly.

In such worsening conditions in 1944/45, Sircar tried to mend things by replacing the II and III level artistes to fill up gaps left by departed people. Thus, Bimal Roy, who was a Cinematographer and an Editor, got an opportunity to sit in the Director’s Chair. They made an ambitious film ” Udayer Pathe” -44. A Hindi version was made as “Hamraahi”-45. It was Bimal Roy’s First brush with a Hindi Film Direction. Both versions were successful. But with major things remaining the same for years, without any changes, the house of New Theatres became a dilapidated, colourless, tattered big empty Palace. It’s sad to write about the fall of an Empire- a Giant !

Dilip Sircar,son of B N Sircar said in 1951,” Our people left for Bombay, Film industry was in disarray, there were several court cases….my father had virtually closed shop ! ”

Today’s song is from film Roop kahani-50, a bi-lingual film( Roop katha-50 in Bangla), made by New Theatres during their last years. It was probably after this film that they closed shop for ever. The film was directed by Souren Sen. Souren Sen was a product of New Theatre’s policy of producing directors from within the company. Examples are Premankur Atorthy ( ex writer), Nitin Bose ( ex Editor) and Bimal Roy ( ex Editor). Souren Sen had started as an Art Director for film Desher Mati or Dharati mata-3 and followed it by films like Kashinath-43,Dui Purush-45, Milan-46, Desher Dabi-47, Nauka Dubi-47, Ramer Sumati-47, Manzoor-49 etc. He got a break as Director only in the last film of New Theatres Roop katha-50 Bangla and Roop kahani-50 Hindi version. Later he also directed one more film from Ashok Films, Calcutta- Chitrangada-54 in Bangla and Hindi. Thereafter he shifted to Bombay and he was an Art Director in Sahib bibi aur Ghulam-56, he did Shankar Narayan Bank-56 and Girls school-5 in Calcutta again. He did in Bombay Ek musafir ek haseena-62,Leader-64, Bahren phir bhi aayengi-66, Shikar-68 and Abhilasha-68.

The cast of Roop kahani was Asit Baran, Ashita Bose, Natwar, Vijay Kumar, Rajlakshmi, Tulsi Chakraborty etc etc. During my visit to Calcutta somewhere in 1992, I saw this film in the “New Theatres film festival” in one of the theatres. The print was terrible and songs were inaudible, but the theatre was overflowing, with extra chairs in the gangway too, to see the films of New Theatres.

As far as Pankaj Mullik, the film’s MD is concerned, if I start writing about him, I will not be able to stop myself. So, suffice to say only this much for now. Pankaj Mullick acted in 6 Hindi films. He sang 41 songs in 15 Hindi films and as a MD for 26 Hindi films, he composed 205 songs, in all.

Pankaj Mullick wrote many books, a few of them are : Geet Valmiki, Swara Lipika, Raga Lakshana Geet Manjari and Mahishasura Mardina. He received Dada Saheb Phalke Award in 1972. He died on 19th February 1978. The first person to reach his residence was R.C.Boral.

According to an article in Apna archieve, Pankaj Mullick’s FIRSTS are-

1. Playback singing in films started under his music direction in 1935,along with R.C.Boral.
2. Pankaj Mullick was one of the first to incorporate western instruments and elements of western music such as harmony and counter melody in Indian cinema.
3. He was the first teacher to teach music to millions via radio. The number of singers whom Pankaj Babu trained who then went on to scale extraordinary heights in their field is at least twenty names long beginning with Kundan Lal Saigal, Kanan Devi, Suchitra Mitra and more.
4. He was the first person to win Gurudev Rabindranath Tagore’s approval and permission to tune his poems, sing them in public and incorporate them in cinema. To quote Gurudev (Jorasanko Thakubari, 1937): “All those lyrics of mine that I will not get the opportunity to set tune during my lifetime, I leave to you to embellish them with your music.” Gurudev’s trust and Pankaj Babu’s dedication helped spread the tranquility and beauty of Rabindra Sangeet all over India. He is fittingly recognized as the foremost ambassador of Rabindra Sangeet.
5. Pankaj Babu introduced tabla in Rabindra Sangeet and also made harmonium an integral part even though Tagore had disliked the use of harmonium.
6. Pankaj Babu was the first music composer to be awarded the Dadasaheb Phalke award in 1972.
7. The longest running program on AIR remains the classic live early morning broadcast of Chandipath and Mahishasura Mardini on Mahalaya Amavasya that Pankaj Babu started in 1931 and conducted every year until 1975 (except 1944). The program continues even today.

Pankaj Mullick’s name became famous all over India in the late 30s,40s and early 50s. Readers who grew up in this period will know the craze of his songs amongst the music lovers. I,for one, remember listening to his records on our gramophone. One of my uncles was very fond of his songs and had a box full of records of Pankaj and Jagmohan. In the film ” Yatrik”-1952,Pankaj Mullick sang lines from Shiv stotra and Kumarsambhav etc. His diction and pronunciation of Sanskrit was absolutely flawless. He will be remembered for his delightful Non Film Songs too.

The singers of today’s song are not mentioned in HFGK. When I requested Sadanand Kamath ji to upload this song from my collection, he did it as always, with this remark about this song…..” The song is not only a rare one, it is also melodious. In fact, the other two songs which have been covered in our Blog are also very melodious. These songs take me back to the era of unique song compositions of R C Boral and Pankaj Mullick. I actually feel the atmosphere of the early 1950s surrounding me while listening to such songs.

As discussed, I guess that the female singer could be Utpala Sen. I am, however, certain that the male singer is Asit Baran.”

I agree with him in toto about the songs of 50’s. It is my favourite opinion that ” the essence and greatness of Hindi Film Music is concentrated in songs of films from 1947 to 1957, both years inclusive “. What do you say ?

( I have used information from article ” The glory that was-New Theatres ” by Sharmishtha Gooptu and from book ” सुंदर ती दुसरी दुनिया ” – a Marathi book by Ambarish Mishra, with Thanks, along with my old writings and notes, for this post )


Song- Aao sajan tum aao (Roop Kahaani)(1950) Singers-Unknown female voice, Asit Baran, Lyrics-Prakash, MD-Pankaj Mullick
Both

Lyrics

Aao sajan tum aao o
Aao sajan tum aao
aao re nainon ke pyaare sajan
aao sajan tum aao
o o o
masti mein jhoom ke bhola sa man bahe chanchal pawan
aao
in nainon ke pyaare sapan
aao sajan tum aao
sooratiya tori dekh ke pyaari
sab sukh chain hai paaya
haaye sab sukh chain hai paaya
tere matwaale nainon ne mujhko mast banaaya
haaye
chain jiya ko aaya
haaye
chain jiya ko aaya

door jab tum thhe nayan se
praan mein thhi peer
birah mein tere sajan
ankhiyaan bahaati neer
door jab tum thhi nayan se
praan mein thhi peer
tum mili mujhse sajan
ab khul gayi taqdeer

anjaane
anjaane ik door desh se
rajkumar ik aaya
rajkumar ik aaya
dil ke sinhaasan par
dil ke sinhaasan par
armaanon ne usey bithhaaya
dil ne ab usko apnaaya
aasha ne deepak daale
man jhoole prem hindole
dheere se prem ki maala
rani tere gale mein doley
prem milan se man ki veena
madhur madhur kuchh boley
prem milan se man ki veena
madhur madhur kuchh boley
ab boley
kuchh boley
ab boley
ab boleykuchh boley
ab boley
kuchh boley
ab boley

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Kaho bhaabhi meri kab aayegi

Posted by: on: October 19, 2020


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 :

 4476 Post No. : 15979

Yearwise discussion of Lata Mangeshkar songs in HFM: Part IV: Overview of the decade 1946-1950
———————————————————————————————————

When Lata Mangeshkar began her playback career in HFM, she got to sing only nine songs in the first two years (1946 and 1947). By the time the decade ended in 1950, her playback career had seemingly reached dizzying heights. In subsequent years and decades, she would scale far higher peaks.

So far, we have discussed yearwise breakup of songs of Lata Mangeshkar from 1946 to 1950. In this episode we will take a pause and review her career from 1946 till 1950, in what was her first decade (out of so many decades) as a playback singer in HFM.

Here is the yearwise summary of her career from 1946 till 1950:

Year Movies Music director Lata song in the blog Lata HFM songs recorded in the year Lata solo songs Male duet Female duet Other songs Lyricists
1946 Three movies Two music directors 4 4 4 0 0 0 Four lyricists
1947 Three movies Three music directors 5 5 3 1 0 1 Three lyricists
1948 17 movies 14 MDs 50 50 37 6 4 3 19 lyricists
1949 38 movies 15 MDs 133 157 103 35 12 7 35 Lyricists
1950 36 movies 15 MDs 111 143 93 32 14 4 40 lyricists
1946 to 1950 97 movies 31 MDs 305 359 240 74 30 15 66 lyricists

From the above, we notice that Lata Mangeshkar had already sung more songs in five years of her fledgling singing career than what several wellknown HFM singer would sing in their entire careers. To put things in perspective, K L Saigal sang less that 150 HFM songs and Suraiyya sang less that 350 songs in HFM.

While the figures of most columns add up in the above table, the number of music directors and lyricists do not add up, because the same music directors and lyricists who worked with Lata Mangeshkar in one year would often work with her repeatedly in future as well. It is interesting to note that she had already worked with 31 Music directors and 66 lyricists within a five year long playback career. Majority of her songs were solo songs, which meant that music directors had full faith in her voice carrying the playback singing of the movie on her shoulders.

Let us now take a look at the music directors who used Lata Mangeshkar’s voice during this period.

Music directors of Lata Mangeshkar from 1946 to 1950
—————————————————–

Those music directors who composed 10 plus songs with Lata Mangeshkar from 1946 to 1950.

Music Director Number of movies Number of songs
Anil Biswas 8 43
C Ramchandra 14 52
Ghulam Mohammad 6 22
Hansraj Bahl 6 17
Khemchand Prakash 3 14
Naushaad 4 19
Pt Govindram 5 14
Shankar Jaikishan 1 10
Shyam Sundar 6 16
Vasant Desai 4 15
Vinod 3 19

Those who composed less than 10 songs with Lata Mangeshkar from 1946 to 1950.
————————————————————-

Music Director Number of movies Number of songs
Aziz Khan/ Khayyam 1 3
D C Dutt 1 1
Datta Davjekar 1 3
Ghulam Haider 2 8
Gyan Dutt 1 1
Hafeez Khan 1 5
Krishn Dayal B Sc 1 2
Madhusudan Acharya 1 1
Mukund Masurekar 1 1
Naashaad 1 7
P Ramakant 1 5
Paingankar 1 1
Premnath (MD) 1 3
Purushottam 1 1
Ramkrishna Shinde 1 1
S D Burman 1 2
S Mohinder 1 1
Sajjad Hussain 1 2
Wadhwa 1 1

We can see from the above that 50 % of all her songs (175 numbers) were compositions of just four music directors viz. Husnlal Bhagatram, C Ramchandra, Anil Biswas and Ghulam Mohammad. Many music directors who would subsequently use Lata Mangeshkar extensively and create timeless classics with her voice had yet to arrive on the scene.

Similar was the case with lyricists who worked with her. Let us take a look at the lyricists who worked with her during this period.

——————————————————
Lyricists of Lata Mangeshkar from 1946 to 1950
—————————————————–

Lyricists who penned 10 plus songs with Lata Mangeshkar from 1946 to 1950

Lyricist Number of movies Number of songs
Ehsan Rizvi 3 11
Majrooh Sultanpuri 3 13
Mulkraj Bhakri 5 19
Nakshab 5 13
P L Santoshi 9 31
Prem Dhawan 4 13
Pt Narendra Sharma 2 11
Qamar Jalalabadi 5 20
Rajinder Krishan 6 19
Sarshar Sailani 5 11
Shakeel Badayuni 7 28

Lyricists who penned less than 10 songs with Lata Mangeshkar (from 1946 to 1950)
————————————————————-

Lyricist Number of movies Number of songs
A Shah Shikarpuri 1 2
Aabid Gulrej 1/td> 2
Aarzoo Lucknowi 2 4
Anjum Jaipuri 1 2
Asad Bhopali 2 4
Aziz Kashmiri 2 9
Bahzad Lucknowi 2 3
Banwaasi 1 1
Bharat Vyas 1 4
Chandrashekhar 1 2
Chopra 1 1
D N Madhok 2 9
Darbari Lal 1 1
Dewan Sharar 1 1
F M Kaiser 1 1
Feroz 1 1
Gopal Singh Nepali 2 5
Gafil Harnalvi 1 1
Gulshan Jalalabadi 1 1
Habib Sarhadi 1 5
Hasrat Jaipuri 2 9
Huda 1 1
I C Kapoor 4 9
Indeewar 1 1
Jalal Malihabadi 1 1
Kaif Irfani 1 1
Kavi Pradeep 2 5
Khawar Zamaan 1 2
Khumar Barabankwi 1 1
L Meghani 1 5
Lekhraj Bhakri 1 1
Mahipal 2 4
Mashhar 1 1
Moti B A 1 1
Nizam 1 1
Partab 1 1
Prakash 1 1
Pt Indra Chandra 1 1
Pt Mukhram Sharma 1 1
Pt Phani 1 3
Pt Sudarshan 1 1
Raghupat Rai 1 1
Raja Mehdi Ali Khan 5 6
Ramesh Shashtri 1 1
Rammurty Chaturvedi 2 6
Safdar Aah Sitapuri 1 2
Saaghar Nizami 1 1
Shailendra 1 2
Shams Azimabadi 1 1
Shekhar 1 2
Unknown 3 4
Vrajendra Gaur 1 2
Wahid Qureshy 1 2
Wali Sahab 3 5
Zia Sarhadi 1 3

From the above, we notice that some usual suspects like Rajinder Krishan and Majrooh Sultanpuri had already started working with Lata Mangeshkar by this time. They along with three other lyricists had penned one third (117 songs) of the songs that Lata Mangeshkar had sung by then. We also notice that the number of lyricists that she worked with is about twice the number of music directors that she worked with.

We also notice that the blog contains 305 out of 359 Lata Mangeshkar songs from this period. So we have just over 50 more Lata Mangeshkar songs left to be discussed. Most well known songs have already been covered. These 50 odd songs are likely to be lesser known, and even rare songs.

On this occasion, here is one such song. This song is from “Shaadi Ki Raat”(1950). This movie was directed by Yashwant Pethkar for Prakash Pictures, Bombay. This “social” picture had Geeta Bali, Rehman, Vijaylaxmi, Leela Mishra, Jankidas, Ansari, Shanta Kunwar, Baby Durga, , Anwari Bai, Arun etc in it. The movie had twelve songs in it. Pt Govindram was the music director of the movie, but three of the songs were composed by S Mohinder and one by Aziz Hindi.

Three songs have been covered in the past, but none of them were sung by Lata Mangeshkar. The movie had two Lata Mangeshkar solo songs in it. One was composed by S Mohinder and another by Pt Govindram. Both were rare songs.

Here is one of these songs. It is sung by Lata Mangeshkar. Sarshar Sailaani is the lyricist. Music is composed by Pt Govindram.

The song is 70 year old, and I listened to it for the first time just now. What a fresh as dew voice it sounds even today !

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

Lyrics


Song-Kaho Bhabhi meri kab aayegi (Shaadi Ki Raat)(1950) Singer-Lata, Lyrics-Sarshar Sailaani, MD-Pt Govindram

Lyrics

O bhaiyya
O bhaiyya

kaho bhaabhi meri kab aayegi
mere bhaiyya ke man ko lubhaayegi
haan kaho bhaabhi meri kab aayegi
mere bhaiyya ke man ko lubhaayegi
nanhi nanadiya bhaabhi ki baat take
bhaabhi ki baat take
bhaiyya judaai ki ghadiyaan na kaat sake
ghadiyaan na kaat sake
jaane kab tak jiya tadpaayegi
jaane kab tak jiya tadpaayegi
o bhaiyya
kaho bhaabhi meri kab aayegi
mere bhaiyya ke man ko lubhaayegi
haan
kaho bhaabhi meri kab aayegi
mere bhaiyya ke man ko lubhaayegi

jaise chanda sitaaron mein ek hai
jaise chanda sitaaron mein ek hai
meri bhaabhi hazaaron mein ek hai
jaise chanda sitaaron mein ek hai
meri bhaabhi hazaaron mein ek hai
choom lengin
choom lengin mohalle ki goriyaan
chum lengin
choom lengin mohalle ki goriyaan
wo jo mukhde se ghoonghat uthhaayegi
wo jo mukhde se ghoonghat uthhaayegi
o bhaiyya
kaho bhaabhi meri kab aayegi
mere bhaiyya ke man ko lubhaayegi
haan
kaho bhaabhi meri kab aayegi
mere bhaiyya ke man ko lubhaayegi

zara shaadi rachaane ki der hai
zara shaadi rachaane ki der hai
meri bhaabhi ke aane ki der hai
o bhaiyya
meri bhaabhi ke aane ki der hai
usne dekha
usne dekha jo aankhen nikaal ke
saari git mit tumhen bhool jaayegi
o bhaiyya
kaho bhaabhi meri kab aayegi
mere bhaiyya ke man ko lubhaayegi
haan
kaho bhaabhi meri kab aayegi
mere bhaiyya ke man ko lubhaayegi

Tags: , , , ,

Alakh niranjan alakh niranjan

Posted by: on: October 14, 2020


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 :

 4471 Post No. : 15970

Today’s song is from the film Alakh Niranjan-1950. This film is based on a story from Nath – Puran. In India, the Nath Sampraday (Sect) is spread over the whole country. In every place it has its local name and own folk lores. Now, what is this Nath Sampraday ? Few years ago, in one of posts, i had given all detailed information about it. To refresh your memory and for the benefit of new readers, here is a short note again on Nath Sampraday.

In the Hindu Sanaatan traditions the worship of Lord Shiva is called Shaivism and the worshippers and followers of Lord Shiva are called Shaivs. Nath Sampradaay is a sub tradition within Shaivism. The followers of this tradition consider Adinath or Lord Shiva as their first Lord. The word Nath implies Master. In this tradition, there is a lineage of nine Gurus or Teachers. The form of sadhna practiced by the followers of this tradition is called Hath Yog (हठ योग).

The first Guru in this lineage is Matsyendra Nath, who is better known as Machhindra Nath. The traditional history recounts that Matsyendra was born under an inauspicious star. This warranted his parents to throw the baby into the ocean. In the ocean the baby was swallowed by a large fish, and he lived and grew up inside the belly of the fish, for many years. The fish swam to the bottom of the ocean where Lord Shiva was imparting the secrets of yoga to Mata Parvati. Matsyendra overheard this discourse and learnt the secrets of yoga. He began to practice this yog sadhana inside the fish’s belly. After twelve years he finally emerged as an enlightened Siddha.

There is a list of Nine Nath Gurus, who are called Navnath. The first Nath Guru is Machhindra. The complete list is as follows

Machhindranath
Gorakhnath
Jalandhar Nath
Kanif Nath (Kanhoba)
Gahini Nath
Raja Bhartrihari Nath (Bharthari)
Revan Sidha Nath
Charpati Nath
Naag Nath

The stories surrounding every Nath Guru, especially the earlier ones, are very exciting, thrilling and entertaining. One must read them from the original Nath Puraan or NavNath Pothi. I have read all of them. These stories are in no way less than any Arabian Night stories. Due to their entertainment value, several films in several languages have been made on the early Gurus like Machhindranath and Gorakhnath.

Films on Machhindranath were made as ‘Maaya Machhindra’ in Hindi, in 1932, 1951, 1960 and 1975. Films on Gorakhnath as ‘Alakh Niranjan’, were made in 1940, 1950 and 1975. Films on Bharthari were made in 1932 and 1944. Films on other Naths were made as ‘Raja Gopichand’ in 1933, 1938 and 1950. Same way films on Naths in Telugu, Tamil, Gujarati and other languages were also made.

Film Alakh Niranjan-50 is a story from Bengal, where Raja Gopichand was ruling. Alakh Niranjan is the call, which a Gosavi gives, when he visits a house for his daily Bhiksha. These Gosavis do not accept cooked food. They take only the raw material, as they are supposed to cook and eat. I remember, when I was a kid and used to visit my Nanihal ( a small village in Marathwada, Maharashtra), few Gosavis used to visit the house and call out loudly “Alakh Niranjan”.It was my duty to give them the wheat or Jowar flour, which they would smilingly store in their multi-pocketed Zolis. Nowadays, even in the remotest villages, one cant find these Gosavis.

The film was directed by a veteran of the silent films – Dada Gunjal. The younger generation is unlikely to have even heard about him, because he ended his career in 1959 only. Director Vishnupant Mathaji Gunjal or simply Dada Gunjal, was born in Kolhapur on 25-1- 1904. He was not interested in education, so after passing his Matriculation, he joined the film industry. Initially he worked in various capacities, but concentrated on Directing the films. He established his own Gunjal Production company at Bombay and directed his first silent film Collegian in 1929. Soon ,realising that producing films was not his cake, he shifted to Directing films for Vishwesh film company, Bombay. Making silent films like Bharati, The Bandit, Vijeta, Bewafa qatil, khabardar, Bhedi khanjar etc.

When Talkie films started, he directed Bhakta ke Bhagwan and Ambarish in 1934. Dada Gunjal directed in all 37 films ( 30 Talkie and 7 Silent). Some of his films were, Bhakta dhruv, Panihari,Aparadhi, Ekadashi, Mata, Mamta, Tulsi, Bhakta ke Bhagwan, Noorjehan, Baraat, Kirti, Pati patni, Alakh Niranjan, Mother India -1938 etc. His last film was Ek Armaan mera-59. Dada Gunjal died on 16-11- 1968.

The music director of this film was Premnath….a case of ‘ Same Name Confusion’ . He is often confused with actor Premnath and his films are credited to the actor’s filmography.

PREMNATH the Music Director was born on 5-7-1918 in Gujranwala,Punjab. He learnt music from experts in Amritsar,Multan and Lahore.He acted in films like Shahr-e-khamoshi and also sang in Sohni Mahiwal-1938.

After marriage,he moved to Bombay. His first film as a Music Director was Rangbhoomi-1946. In this film ,a novice Mohd. Rafi sang many songs for him. His other films were Dharti-47,Chandrahas-47,Sagar’s Pehla pyar-47. He then produced a film ” Chand sitare”-48 under the banner of Ravindra Art productions. Mukesh,Lata and Geeta Roy sang in it. In the film ‘Alakh Niranjan’-50,he used Mohd. Faruqi, Sulochana kadam and Rajkumari.

Premnath gave music to many films of Super pictures of Aspy Irani like Bade Bhaiya-51 and Maya Machhindra-51, in which Surendra, Geeta,Rafi and Shamshad sang. His another film ‘Qatil kaun’ in late 50s was not released. For this film, Rafi, Asha, Manna Dey, Mubarak Begum and Shamshad had given songs.

His films diminished. Sati Vaishalini-59,Main hoon jaadugar-65 and Tarzan in Fairyland-68 were his last films.
After he stopped work as MD,he devoted his time for the welfare of Cine Artists as a trade union leader. As a Secretary,he served the music Directors Assn. for 30 years.

He died on 27-4-1993 at the age of 75 years.

The cast of the film was Nirupa Roy, Trilok Kapoor, Durga Khote, Ulhas, Sapru etc etc. There were 10 songs in the film. Today’s song is the third song here. It is sung by singer Mohammed Faruqi. In fact today’s song is the last song that he sang to end his singing career.

Mohammed Hussain Farooqi,the singer may not be known to many of our readers.

Mohd.Farooqi was born on 17-8-1915 at jhunjhunu in Rajasthan. He was keen on Music from childhood,but his religious Haji father was against it,as he wanted him to become a Teacher.

In 1945,Farooqi came to Bombay with a letter for Khemchand Prakash(originally from Rajasthan).He stayed in old khar with a friend.After an year KP called him to his house.When Farooqi went there,K.L.Saigal was also sitting there.KP asked him to sing a song.He sang Saigal’s ‘So ja rajkumari so ja’.Saigal was impressed and he was employed by Ranjeet Movietone on a princely monthly salary of 200 rupees.
He got his first break with ‘Chcheen lo Azaadi-1947.His song ‘kamzoronki nahi hai duniya’ was popular with freedom fighters.
He sang 15 songs in 12 movies, all with Bulo.C Rani and Hansraj Behl only. His voice and style became very popular,but he had to return to Rajasthan to look after ailing father and his huge property there. He never came back after 1950 and died on 8-2-1990 peacefully.

Filmography

Chheen le azadi (1947)
Duniyan ek sarai (1947)
Lakhon mein ek (1947)
Pehli pehchan (1947)
Piya ghar aja (1947) Acting only
Neel kamal (1947) Acting only
Bichhde balam (1948)
Jai hanuman (1948)
Mitti ke khilone (1948)
Pardesi mehman (1948)
Bhool bhulaiyan (1949)
Alakh niranjan (1950)

( courtesy- Dr.Surjit Singh ji’s site, with thanks.)

The story of the film shows how Raja Gopichand changes his mindset about the Nath Sampraday, to which his mother also belongs, how he renounces his Throne and how he joins as a Gosavi of the Nath Sampradaya.


Song- Alakh Niranjan Alakh niranjan (Alakh Niranjan)(1950) Singer- Mohd. Farooqi, Lyricist- Manohar Khanna, MD- Premnath
Chorus)

Lyrics

alakh niranjan
alakh niranjan
alakh niranjan
alakh niranjan
alakh niranjan
alakh niranjan
alakh niranjan
jai satguru jai dukh bhanjan (alakh niranjan alakh niranjan)
alakh niranjan alakh niranjan (alakh niranjan alakh niranjan )
alakh niranjan alakh niranjan (alakh niranjan alakh niranjan)

o o o o o(alakh niranjan
alakh niranjan
alakh niranjan
alakh niranjan
alakh niranjan)
o sansaari har ko jap le (alakh niranjan alakh niranjan)
saari uski maaya hai (alakh niranjan alakh niranjan)
o sansaaari har ko jap le(alakh niranjan alakh niranjan)
saari uski maaya hai(alakh niranjan alakh niranjan)
wo tera hai tu jan ??ka (alakh niranjan alakh niranjan)
jisne tujhey banaaya hai(alakh niranjan alakh niranjan)
tod de saare jhoothe bandhan (alakh niranjan alakh niranjan)
alakh niranjan alakh niranjan (alakh niranjan alakh niranjan )
alakh niranjan alakh niranjan (alakh niranjan alakh niranjan

o o o o o o o o(alakh niranjan alakh niranjan)
o o o o o o o o(alakh niranjan)
alakh niranjan alakh niranjan (alakh niranjan alakh niranjan)
alakh niranjan alakh niranjan (alakh niranjan alakh niranjan)
tujhmein mujhmein yahaan wahaan (alakh niranjan alakh niranjan)
ghat ghat mein hai wo basa hua(alakh niranjan alakh niranjan)
tujhmein mujhmein yahaan wahaan(alakh niranjan alakh niranjan)
ghat ghat mein hai wo basa hua(alakh niranjan alakh niranjan)
antar ke pat khol ke moorkh apne man mein jhaank zara (alakh niranjan alakh niranjan)
sukh ka sthaan hai ye tera man (alakh niranjan alakh niranjan)
alakh niranjan alakh niranjan (alakh niranjan alakh niranjan)
alakh niranjan alakh niranjan (alakh niranjan alakh niranjan)
alakh niranjan

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Ae jee bade bade mehlon se wo ghar bhale

Posted by: on: October 12, 2020


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Blog Day :

 4469 Post No. : 15964

Yearwise discussion of Lata Mangeshkar songs in HFM: Part III: 1950
——————————————————————————————

So, we come to the year 1950. Lata Mangeshkar had announced her arrival on HFM scene in 1949. That year also marked the beginning of the golden era of HFM, which lasted till 1980.

Here are the details of the songs that Lata Mangeshkar sang in HFM in movies that were released in 1950:-

S N Movie Music director Lata song in the blog Lata HFM songs recorded in the year Lata solo songs Male duet Female duet Other songs Lyricists
1 Aadhi Raat Husnlal Bhagatram 6 6 5 1 0 0 Asad Bhopali (3) Sarshar Sailaani (2) Khumar Barabankvi (1)
2 Anmol Ratan Vinod 7 7 5 2 0 0 D N Madhok
3 Apni Chhaaya C Ramchandra 1 2 1 1 0 0 P L Santoshi
4 Aarzoo Anil Biswas 5 5 5 0 0 0 Majrooh Sultanpuri (3) Prem Dhawan (2)
5 Baawra Krishn Dayal B Sc 2 2 2 0 0 0 Raghupat Rai (1) Gafil Harnalwi (1)
6 Baabul Naushaad 3 3 2 0 1 0 Shakeel Badayuni
7 Beqasoor Anil Biswas (4) Hansraj Bahl (2) 6 6 4 2 0 0 Ehsan Rizvi (4) Aarzoo Lucknowi (2)
8 Bhai Bahan Shyam Sundar 1 1 1 0 0 0 Rajinder Krishan
9 Birha Ki Raat Husnlal Bhagatram 2 2 1 1 0 0 Sarshar Sailaani
10 Chhoti Bhaabhi Husnlal Bhagatram 4 5 3 2 0 0 Qamar Jalalabadi
11 Chore Pt Govindram 3 4 3 0 1 0 Rammurty Chaturvedi (3) I C Kapoor (1)
12 Gauna Husnlal Bhagatram 0 1 1 0 0 0 Qamar Jalalabadi
13 Hamaari Beti Snehal Bhatkar 1 3 3 0 0 0 Pt Phani (1) Unknown (2)
14 Hanste Aansoo Ghulam Mohammad 1 1 0 1 0 0 Shewan Rizvi
15 Hanste Rahna Wadhwa 0 1 1 0 0 0 Unknown
16 Khel Sajjad Hussain 2 2 2 0 0 0 Saaghar Nizami (1) Shams Azimabadi (1)
17 Khilaadi Hansraj Bahl 1 1 1 0 0 0 Nakshab
18 Laajawaab Anil Biswas 5 9 4 2 1 2 Prem Dhawan (4) Shekhar (2) Safdar Aah Sitapuri (2)
19 Maang Ghulam Mohammad 4 5 3 1 1 0 Sagheer Usmani (2) Nizaam (1) Raja Mehdi Ali Khan (1) Prakash (1)
20 Mashaal S D Burman 2 2 2 0 0 0 Kavi Pradeep
21 Meena Baaazaar Husnlal Bhagatram 6 6 1 5 0 0 Qamar Jalalabadi
22 Meharbaani Hafeez Khan 1 5 2 2 1 0 Anjum Jaipuri (2) Mashhar (1) Khawar Zamaan (2)
23 Niraala C Ramchandra 5 5 5 0 0 0 P L Santoshi
24 Nirdosh Shyam Sundar 1 1 1 0 0 0 Asad Bhopali
25 Pardes Ghulam Mohammad 6 6 5 1 0 0 Shakeel Badayuni
26 Pyaar Ki Manzil Husnlal Bhagatram 3 6 4 1 1 0 Shewan Rizvi (4) Rajinder Krishan (2)
27 Raaj Mukut Pt Govind Ram 1 4 2 1 1 0 Bharat Vyas
28 Raaj Raani Hansraj Bahl 1 2 2 0 0 0 D N Madhok
29 Samaadhi C Ramchandra 3 3 2 0 1 0 Rajinder Krishan
30 Sangeeta C Ramchandra 8 8 7 1 0 0 P L Santoshi
31 Sangraam C Ramchandra 5 5 3 1 1 0 Brajendra Gaud (2) Raja Mehdi Ali Khan (2) P L Santoshi (1)
32 Sargam C Ramchandra 9 9 2 4 1 2 P L Santoshi
33 Sartaj Husnlal Bhagatram 2 6 3 1 2 0 Majrooh (4) Partab (1) Shewan (1)
34 Shaadi Ki Raat Pt Govind Ram 0 2 2 0 0 0 Sarshar Sailaani (1) Feroz (1)
35 Surajmukhi Husnlal Bhagatram 1 2 0 1 1 0 Aabid Gulrej
36 Wafa Vinod 3 5 3 1 1 0 Hasrat Jaipuri(3) Aziz Kashmiri(2)
Total 36 movies 15 MDs 111 143 93 32 14 4 40 lyricists

Thus we can see that Lata Mangeshkar sang 143 songs under the music direction of 15 Music composers in 1950.

But during those days no one knew what future had in store. If one thinks about it, Geeta Roy was also doing very well. During 1949, she sang 103 songs while Lata Mangeshkar had sung 157 songs 143 songs. In 1950, Geeta Roy sang 166 songs ! More than what Lata Mangeshkar sang in the year ! So, it was Geeta Roy who was ahead of Lata Mangeshkar in 190s in the race for the leading female playback singer of HFM.

Out of 36 movies of 1950, all Lata songs of as many as 20 movies have already been covered. So, only 16 movies of 1950 can be taken up for discussing a Lata song in the blog.

“Apni Chhaayaa”(1950) is alphabetically the first such movie of 1950. This movie was directed by P L Santoshi for Chitralaya Limited, Bombay. This “social” movie had Sulochana Chatterjee, Balwant singh, Radhakishan, Mumtaz Ali, Sajjan, tiwari, Ram Singh, Dulaari, Mona, Neelam, Satyarani, Jawahar Kaul, Bab Raja, Narbada Shankar, Karadkar, Niranjan, Madan singh, Cuckoo etc in it.

The movie had ten songs in it, including two Lata songs. Four songs from the movie, including one Lata solo (incorrecly mentioned in HFGK as a Lata Chitalkar duet), namely Andhiyaare ghar mein jyot jali has been covered in the blog.

Here is the second and final Lata song from “Apni Chhaayaa”(1950) to appear in the blog. This song is sung by Lata and Chitalkar. P L Santoshi is the lyricist.

The movie had two music directors, via=z Husnlal Bhagatram Nd Hanuman Prasad. HFGK mentions two songs as Hanuman Prasad composion and is silent about the music directors of other movies. Here I have assumed Husnlal Bhagatram as the music director of the song.

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


Song-Ae jee bade bade mahlon se wo ghar bhale (Apni Chhaaya)(1950) Singers-Lata, C Ramchandra, Lyrics-P L Santoshi, MD-Husnlal Bhagatram
Both

Lyrics

Ae jee bade bade
Ae jee bade bade mehlon se wo ghar bhale
jinmein nanha sa preet ka deepak jale
Ae jee bade bade
Ae jee bade bade mehlon se wo ghar bhale
jinmein nanha sa preet ka deepak jale
ae jee bade bade

un mehlon pe laanat
un mehlon pe thhoo
un mehlon pe thhoo
jin ki deewaaron mein daulat ki boo
aji daulat ki boo
jo dukhiyon ke aahon se ban ke khade
jo dukhiyon ke aahon se ban ke khade
Ae jee bade bade
Ae jee bade bade mehlon se wo ghar bhale
jinmein nanha sa preet ka deepak jale
Ae jee bade bade

daulat jahaan hai wahaan laakhon beemaari
laakhon beemaari
laakhon beemaari ki ek hai beemaari
ek hai beemaari
jis mein ghul ghul ke rahne waale maren
jis mein ghul ghul ke rahne waale maren
Ae jee bade bade
Ae jee bade bade mehlon se wo ghar bhale
jinmein nanha sa preet ka deepak jale
Ae jee bade bade

o jee duniya se door kahin ambuwa tale
duniya se door kahin ambuwa tale
chhoti hamaari madhhaiyya bane
tum Radha bano
tum Radha bano
ham Kanhaiyya banen
jahaan preet ki paavan jamuna bahe
aur prem ki mohan bansi baje
Ae jee bade bade
Ae jee bade bade mehlon se wo ghar bhale
jinmein nanha sa preet ka deepak jale
Ae jee bade bade

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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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