Archive for the ‘Songs of 1950’ Category
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3830 | Post No. : | 14837 |
Mohammed Rafi – Duets – ‘अ’ से ‘ह’ तक (From ‘अ’ to ‘ह’) – 31
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –
‘व’ – वो तो चुटकी में दिल लेके चलते हुये ॰ ॰ ॰
– – – –
याद ना जाये, बीते दिनों की. . .
So difficult it is to forget, the days that have gone by. Yes, you voice remains with us to be heard, just as a consolation.
– – – –
In a departure from the pattern in this series so far, today I am presenting an all male duet. As I was searching for a song starting with ‘व’, I came across this very interesting song from the 1950 film ‘Shaadi Ki Raat’. This one is a male-male duet in which Rafi Sb’s voice is accompanied by that of Raja Gul. And this made me think. I checked back on the songs posted so far in this series, only to find that I have only been posting male-female duets. Then, as I scanned the list of songs, I came across so many male-male duets. And I was asking myself – does that mean another series? I don’t know. Let’s wait and see.
This film has 12 songs listed as per HFGK, eight of which are penned by Sarshaar Sailaani, with other songwriters identified as Firoz, Surjeet and Nazim Panipati having contributed one song each. One song is unattributed as far as songwriter is concerned. Music is by Pt Gobind Ram. Two songs of this film are already showcased on our blog. Today’s song is from the pen of Sarshaar Sailaani.
The film is a social drama produced under the banner of Prakash Pictures and is directed by Yashwant Pethkar. List of actors is given as Geeta Bali, Rehman, Vijaylakshmi, Leela Mishra, Jankidas, Ansari, Shanta Kunwar, Baby Durga, Anwari Bai, and Arun. Given this list of actors, it may be surmised that this song would have been picturized on Rehman and another male actor. Names that figure are Jankidas, Ansari (could that be NA Ansari??), and Arun (possibly Arun Ahuja??), but I am not ready to hazard a guess. I would request other knowledgeable readers and friends to please add more information about this song and the film, if available.
The song tells of a young heart, that has recently been stolen by a femme fatale. The pilferage seemed to have happened in a jiffy, and the aggrieved party, whose heart is stolen, was just left surprised. A fun song in which one friend is describing this episode to another, and the other also joins in and tries to give some worldly advise. But alas, the laments of woe do not cease as the robbed victim continues to bemoan
wo to chutki mein dil le ke chalte huye
reh gaye hum yahan haath malte huye
Song – Wo To Chutki Mein Dil Le Ke Chalte Huye (Shaadi Ki Raat) (1950) Singer – Mohammed Rafi, Raja Gul, Lyrics – Sarshaar Sailaani, MD – Pt Gobind Ram
Mohammed Rafi + Raja Gul
Lyrics
wo to chutki mein dil le ke chalte huye
haaye chalte huye
wo to chutki mein dil le ke chalte huye
haaye chalte huye
wo to chutki..ee mein dil le ke
chalte huye..ae
aur reh gaye hum yahaan
reh gaye
hum yahan
haath malte huye
haath malte huye
wo to chutki mein dil le ke chalte huye
haaye chalte huye
wo hamen
aur hum
un ko takte rahe
aankh milti rahi dil dhadakte rahe
aankh milti rahi dil dhadakte rahe
aur paanv sambhale na
paa..aanv
sambhale na zaalim phisalte huye
haan phisalte huye
wo to chutki mein dil le ke chalte huye
haaye chalte huye
ik balaa ho gai
dillagi aap ki
aur baaz aaya main
tauba
tauba mere baap ki..ee..ee
aur raat kat’ti hai
kat’ti hai naa
arey par kaise
kaise
raat kat’ti hai karwat badalte huye
haan badalte huye
raat kat’ti hai karwat badalte huye..ae..ae
haaye raat kat’ti hai karwat badalte huye
lekin wo to
o wo to chutki mein dil le ke chalte huye
haaye chalte huye
wo to chutki mein dil le ke chalte huye
haaye chalte huye
dekho bhai
jaate jaate
mohabbat ka rang jaayega
aate aate
tabiyat ko chain aayega
aur bhai der lagti hai
haan
der lagti hai dil ko sambhalte huye
haan sambhalte huye
wo to chutki mein dil le ke chalte huye
haaye chalte huye
haa..aaye
kyon kya hua
haa..aan
ishq ne jis musibat mein daala hamen
us musibat se padta na paala hamen
arre bhai soch lete
kya soch lete
soch lete jo ghar se nikalte huye
haan nikalte huye
soch lete jo ghar se nikalte huye
haan nikalte huye
wo to chutki mein dil le ke chalte huye
haaye chalte huye. . .
———————————————————
Hindi Script Lyrics (Provided by Sudhir)
———————————————————
वो तो चुटकी में दिल लेके चलते हुये
हाए चलते हुये
वो तो चुटकी में दिल लेके चलते हुये
हाए चलते हुये
वो तो चुटकी॰॰ई में दिल लेके
चलते हुये॰॰ए
और रह गए हम यहाँ
रह गए
हम यहाँ
हाथ मलते हुये
हाथ मलते हुये
वो तो चुटकी में दिल लेके चलते हुये
हाए चलते हुये
वो हमें
और हम
उनको ताकते रहे
आँख मिलती रही दिल धड़कते रहे
आँख मिलती रही दिल धड़कते रहे
और पाँव संभले ना
पा॰॰आँव
संभले ना
ज़ालिम फिसलते हुये
हाँ फिसलते हुये
वो तो चुटकी में दिल लेके चलते हुये
हाए चलते हुये
इक बला हो गई
दिल्लगी आपकी
और बाज़ आया मैं
तौबा
तौबा मेरे बाप की॰॰ई॰॰ई
और रात कटती है
कटती है ना
अरे पर कैसे
कैसे
रात कटती है करवट बदलते हुये
हाँ बदलते हुये
लेकिन वो तो
ओ वो तो चुटकी में दिल लेके चलते हुये
हाए चलते हुये
वो तो चुटकी में दिल लेके चलते हुये
हाए चलते हुये
देखो भाई
जाते जाते
मोहब्बत का रंग जाएगा
आते आते
तबीयत को चैन आएगा
और भाई देर लगती है
हाँ
देर लगती है दिल को संभलते हुये
हाँ संभलते हुये
वो तो चुटकी में दिल लेके चलते हुये
हाए चलते हुये
हाए॰॰
क्यों क्या हुआ
हाँ॰॰
इश्क़ ने जिस मुसीबत में डाला हमें
उस मुसीबत से पड़ता ना पाला हमें
अरे भाई सोच लेते
क्या सोच लेते
सोच लेते जो घर से निकलते हुये
हाँ निकलते हुये
सोच लेते जो घर से निकलते हुये
हाँ निकलते हुये
वो तो चुटकी में दिल लेके चलते हुये
हाए चलते हुये॰ ॰ ॰
M m m m m main teri hoon
Posted on: January 4, 2019
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 : | 3822 | Post No. : | 14821 |
Today’s song is from film Wafa-50. The film was made by Good luck Pictures and directed by the veteran expert J.P. Advani. For this film, there were two Music Directors- Vinod and Bulo C Rani. For 11 songs, there were 4 Lyricists. Today’s song is written by Aziz Kashmiri, sung by Shamshad Begum and composed by Vinod. The cast of the film was Karan Dewan, Nimmi, Bipin Gupta, Shyama, Bimla, Anwari, Gope, Yaqub, Cuckoo etc etc. One of the most often seen in films of the 50s but least written about artiste was Bipin Gupta.
Bipin Gupta was born in a Bengali family on 27th August 1905 in Meerut, the 5th child of his parents- Trailokya Nath Gupta and Khemankari Devi.They later moved to Barrackpore. He attended the Chinsura Training School and the Barrackpore Government High School. He was married to Annapurna Devi.
Gupta’s first Bengali film was Chokher Bali directed by Sotu Sen in 1938. Throughout his career he had worked on almost 300 films ( Bangla and Hindi), though only played the hero once, in the film Noori-1934. It was produced by Durga International Films, Calcutta. His Heroine was Sheela Devi. It was a flop movie.
He started working in Radio in 1934 and by 1936 he became a professional stage artist. He stayed for 30 years in Bombay to establish himself in Bollywood. His first film Shri Ramanuj came in 1943 at Calcutta. His last film was in 1979 at Bombay.
In 1964 he produced the film Daal Me Kala, directed by Satyen Bose and starring Nimmi, Kishore Kumar and Abhi Bhattacharya.The film took almost 4 years to make. Bipin Gupta worked in 128 Hindi films. He did 60 films in a period of 10 years-between 1950 and 1960, which is a very high average of one film every 2 months for 10 years !
He generally did the roles of Zamindar, teacher, father, Grandfather etc. All character roles. His voice was very good. Once, in Madras,while shooting for film “Teen Bahuraniya” at Gemini Studios, Prithviraj Kapoor lost his voice, for some time. Bipin Gupta dubbed all his film dialogues.
He died on 8th September 1981 in Calcutta. His son married Kajri- the daughter of Sailesh Mukherjee, actor,singer and composer. She too was an actress.
In Hindi films, for the first 10-15 years of the Talkie era, there were no separate dancers. The Heroines were expected to sing as well as dance, if need be. Somehow, dance was not an essential part of cinema ( except Mythological to some extent), till Azuri and Cuckoo came on the Horizon. It was almost from the mid 40s, the dancers became prominent and dance sequence became a Must in all films.Even in social films, the dance situations were created to include a dance. In crime stories, a Moll was usually a dancer. Azuri was perhaps the lone exclusive female dancer in films of the late 30s. By mid 40s, came Cuckoo and by mid 50s, it was Helen all the way for the next 20 years or so.
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 mid forties. 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 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 and 67 songs were shot on her.
Cuckoo, the legendary cabaret queen of the 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 protégée 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).
I started seeing films since my early childhood in the late 40s. I was lucky enough to see many films of the 30’s too, in their second or third runs. By the early 50s, most films from the 30s were gone but almost all films of the 40s were still available.
English, Hindi, Marathi, Telugu or Kannada- language was no bar as far as watching movies of these languages was concerned . Those were the days when 78 RPM records used to be played by Hotels on gramophone. This helped me to hear the latest songs. In the 1960s Posh hotels had Juke Box. Soon it became common and Juke Boxes were seen everywhere. You needed just a coin of 4 Annas to listen to your desired song on it. Usually 4 songs in a row were lined up and they could all be listed to by putting 4 coins in it.
I liked Shamshad Begum songs from the beginning. Uneducated but immensely talented Shamshad was the reigning queen of the HFM in the 40s and till about ’55. Her seniors and co-singers bowed out, but she continued-first with C. Ramchandra, then with Naushad and later with O P Nayyar. Her Luck began to run out in 1950s and all the composers who previously supported her left her and started using the rising singing stars. From 1949 onwards, C Ramchandra was totally devoted to Lata, Naushad too had realised that the new crop of Heroines wanted only Lata and so he quietly went for her and O P Nayyar-when he found a soulmate in Asha, he simply forgot Shamshad and Geeta. So much for the “professional” composers !
In my opinion, two things went against Shamshad. One, in the early phase of Hindi cinema, the story lines of the films used to be very strong. Consequently, songs were inserted considering the need of the plot and to enhance the value of music in the film. As a result, songs were given to side Hero/heroines, special dancers or character roles. Naturally Shamshad sang for artistes other than the Heroines. The singing Heroines sang their own songs. If an analysis is done, it will be seen that till about early 50s, 70% songs in a film were sung by artistes other than the Lead pairs.
It was only after the new crop of Hero/Heroines came and when they realised ( particularly Dev Anand, for example) that songs can help them become popular, they started demanding more songs on them in the films. Slowly,the ratio reversed and after 1955-56, 80% of songs were picturised on the Lead pairs and the rest-if any-on others. Thus singers like Shamshad, who sang for all and sundry found her singing opportunities dwindling. In those days, Lata, very cleverly, chose to sing only for the Heroines and according to her, for all ‘others ‘ there were Asha, Geeta and Shamshad. This badly affected Shamshad’s career.
Secondly, when Lata came on the scene, the older generation female singers like Ameerbai, Zohrabai etc were already on the wane. Only Geeta and Shamshad were left. Geeta got all songs of Guru Dutt films. Additionally,the Bengali lobby of Burman, Hemant, Salil and A Biswas was in her support. Shamshad had no one to back her up. It was Naushad, who first indicated that he had tilted towards Lata, when Lata sang all songs of Andaz-49 for the heroines and Shamshad sang only for Cuckoo. Next was C Ramchandra, when he fired Shamshad in front of the orchestra players when she could not sing to his satisfaction. She was so much hurt that she closed her song book and walked out. Normally, C Ramchandra would have apologised soon after, but this time nothing like this happened and Shamshad understood that everything was finished. ( Shamshad, however,in a later day interview denied that anything like this had happened). In case of O P Nayyar, in one of the interviews he gave in 2003 to Dr. Mandar, he admitted that “his lead singer” in those days prevented “others” from singing for him.
Shamshad being too gentle and straightforward gave up the fight too meekly, in my opinion. Even her last attempt to remain in Limelight with a ‘Shamshad Stage Show’, did not bear any fruits as she did not do any follow up after that, due to her self respect.
In my opinion, Shamshad could have continued for another 8 to 10 years easily if only she had fought it out, but it was not to be and a vibrant, youthful, solid voice disappeared from the musical scene. I feel that it was not she but millions of music lovers who were the losers because of her ouster from the music scene.
Today’s Shamshad song is one of my most favourite songs. I was actually pleasantly surprised to note that this song was yet to be discussed here. Out of the 100 odd select Shamshad songs in my collection, this song is within the first top 10 songs in my Play list.Great composer Vinod and great singer Shamshad- this sangam providing such a Gem is no wonder. I am sure, you too will fall in love with this song the moment you listen to it. Enjoy….
Song-M m m m m main teri hoon (Wafa)(1950) Singer-Shamshad Begam, Lyrics-Aziz Kashmiri, MD-Vinod
Lyrics
m m m m m m m main teri hoon
m m m main teri hoon
teri hoon o raaja
m m m m m
m m m m m m m main teri hoon
teri hoon ho raaja
m m m m m main teri hoon
kaali kaali ghat khule nainon ke pat
hatt
kaali kaali ghat
khule nainon ke pat
haathon mein haath hua tera mera saath
haathon mein haath hua tera mera saath
m m m m m main teri hoon
teri hoon ho raaja
m m m m m main teri hoon
chori chori aa
mere man mein sama
o raaja
chori chori aa
mere man mein sama
tera mera pyaar hua raaja pahli baar
tera mera pyaar hua raaja pahli baar
m m m m m main teri hoon
teri hoon ho raaja
m m m m m main teri hoon
papeeha bole pee
raaja dhadke mera jee
o papeeha bole pee
raaja dhadke mera jee
ambuwa ki daali pe koyal bole yoon
ambuwa ki daali pe koyal bole yoon
kya
m m m m m main teri hoon
m m m m m main teri hoon
teri hoon ho raaja
m m m m m main teri hoon
- In: Baag/Bagiya song | Dance song | Enticement Song | expression of love | Feelings of heart | Guest posts | Lyrics by Sudhir | Lyrics contributed by readers | P Bhanumati Solo Songs | P Bhanumati Songs | Post by Arunkumar Deshmukh | Songs of 1940s (1941 to 1950) | Songs of 1950 | Yearwise breakup of songs
- 4 Comments
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 : | 3800 | Post No. : | 14792 |
Today’s song is from film ‘Mangala’ (1950). This was a film made by Gemini Films of Madras and directed by its boss SS Vasan. The music was given by a team of Balkrishna Kalla, MD Parthasarathy and E Sankar Sastry. The cast of this film was P Bhanumathi, Ranjan, Agha, David, Badri Pershad, BS Kalla etc.
The film was a remake of the hit Tamil film ‘Mangamma Sapatham’ (1943). After the unprecedented foray of Gemini’s Vasan’s hit film ‘Chandralekha’ (1948) into the All India market, Subramaniam Srini Vasan or simply SS Vasan, became aware of the unlimited scope of the Hindi belt market for south-made Hindi films. Vasan was a writer, editor, producer and director, but above all, he was a business tycoon. He had established the popular Tamil magazine “Anand Vikatan”, and owned Gemini Studios, Gemini Laboratories and Gemini distribution circuits.
He soon decided to take advantage of the success of ‘Chandralekha’ and made another tri-lingual film . In Tamil it was called ‘Apoorva Sahodarargal’, in Telugu, it was ‘Apoorva Sahodaralu’, and in Hindi it was called ‘Nishan’ (1949). This film too was a great success. Encouraged by this, SS Vasan made his 1943 Tamil Hit film ‘Mangamma Sapatham’, into a remake in Hindi with the name ‘Mangala’.
Not by coincidence, but by design, the hero for all these 3 remakes and the originals was Ranjan. (This film was remade in Simhalese as ‘Mathalan’ in 1955, and in Telugu as ‘Mangamma Shapatham’ in 1965, featuring NT Ramarao, later the Chief Minister of erstwhile Andhra Pradesh, and Jamuna).
Enthused and inspired with Vasan’s success in the Hindi belt, another giant from the South came forward. AVM’s Tamil film ‘Vazhkai’ (1949) was a big hit in south. AVM made a Telugu version of it with the name ‘Jeevitham’ (1950) followed by a Hindi version ‘Bahaar’ (1951). They introduced Vyjayantimala with this film, in Hindi. The story of the film and the Music by SD Burman made film a big hit in Hindi too. AVM then made Hindi film ‘Ladki’ (1953), with a Tamil and Telugu version. This too became a hit film. However by that time the South market had grown manifolds and there was no need for the south film makers to venture into the Hindi belt to earn money. Thus, there was a slow down in this type of activity. The south now started making Hindi films directly in Madras by calling actors from Bombay. And some films were dubbed too.
Actually, the southern film activity, though as old as Hindi talkie films, is strictly limited to four southern states. It was only the adventurous SS Vasan who ventured into the bastion of Hindi film markets, by promoting his film ‘Chandralekha’. In fact this had encouraged other producers like AVM, Prasad, Vijaya etc. to tap the Hindi belt. While making a multilingual film, the south producers always called the Hindi artistes, be it actors, directors ,composers or singers to come to Madras, but they never went to Bombay. It was only through dubbed or remade films that south actors, composers or actors were exposed to the Hindi arena. Those days anyone from south was a ‘madrasi‘ and likewise anyone from other than south was a North Indian or a Punjabi ! No one from the North bothered to distinguish between Tamil, Telugu, Kannada or Malayalam – films or people. Everything was ‘madrasi‘.
The divide between the north and the south went on widening, which finally resulted in the anti-Hindi agitations of the 60s and 70s in Madras and other southern places. Fortunately, in recent times and with the new generation, thanks to the coalition politics at the centre and states as well as IT centres at Hyderabad and Bangalore, the North-South exchange is much better and each state is identified individually. Thanks also to writers like Chetan Bhagat’s novels. Thanks to Modernization.
In the early times of the film industry, very few educated people used to join here. That is why graduates or postgraduates used to flaunt their degrees with pride – like Moti, BA – the lyricist (though he was actually MA), or Kavi Pradeep’s pseudo name – Miss Kamal BA or even singer Surendra as BA, LLB etc.
A highly qualified person and that too in an unrelated subject joining films was a wonder then. Thus, a young man with an unlikely name for a hero, like RAMNARAYAN VENKATRAMAN SARMA alias actor RANJAN was a novelty. Ranjan was born in Madras on 2-3-1918 in an orthodox Brahmin family. He did his BA with Physics and then completed M Litt in Carnatak music and dance, and became a Research Fellow for Ph.D. He also became the managing editor of ‘NATYAM‘ a magazine for dance, drama and music. In total contrast to his expertise in fine arts, he learnt fencing (sword fighting) after he saw it in the Olympic Games.
He was spotted by a Tamil producer and he made his debut in the film ‘Ashok Kumar’ (1941). After a few films in Tamil and Telugu he got the role of Shashank in the magnum opus film ‘Chandralekha’ in 1948. The drum dance and his fencing were the two main attractions in the film. The final sword fighting is considered the longest ever fencing fight in films till today ! The film was a hit and Ranjan became type cast in action films. Ranjan was a very poor actor, but his fencing skills were marvelous.
In 1949 came ‘Nishaan’, based on the Hollywood film ‘The Corsican Brothers’ – one good and one bad. It was a story of twins. The audience liked a scene from the film which showed that there were marks on one brother’s back if the other one was whipped ! The film, in Hindi, Tamil and Telugu, was a hit everywhere mainly for its fencing scenes. In ‘Mangala’ opposite Bhanumati, he was the villain and the hero too.
He was invited by New York University for a research fellowship, but Vasan did not leave him, so after ‘Mangala’, as soon as the contract was over, Ranjan came to Bombay.
‘Shin Shinaki Boobla Boo’ (1952) saw him with Rehana but as a romantic hero, he was worse than Bharat Bhushan or Pradeep Kumar ! He acted in ‘Sindbad The Sailor’ (1952), ‘Nishan Danka’ (1952), ‘Kafila’ (1952), ‘Baaghi’ (1953), ‘Shahenshah’ (1953), ‘Baap Beti’ (1954), ‘Baghdad’ (1961), and a host of B and C grade films, many of them dubbed or remakes of southern films. He was known for only fencing. But he never became famous like Stewart Granger in ‘Scaramouche’ for his fencing. In the 1950s he acted in 23 films, in 1960s he did 18 films and in 1970s his tally was 17 films. A total of 58 films in Hindi.
After sword fighting became obsolete he shifted to writing. The story of film ‘Munim ji’ (1955) was written by him. After few years in south he was seen again in ‘Chor Chor’ (1974) and ‘Chaitali’ (1976). ‘Ram Balram’ (1980) was his last film.
He married a Muslim girl and she converted to Hinduism taking the name of Laxmi. Ranjan wrote 12 books on dancing and music. He shifted to USA to live with his son in New Jersey. He passed away 12-9-1983, due to a heart attack. He was so much forgotten that even the news of his death was not published in India.
The composers of ‘Mangala’ was a team of D Parthsarthi, Balkrishna Kalla and E Shanker. This team also gave music to few other films like ‘Sansaar’ (1951), ‘Mr Sampat’ (1952), ‘Bahut Din Huye’ (1954). Balkrishna Kalla with Mohd Shafi gave music to ‘Krishna Kanhaiya’ (1952). Independently he gave music to only one film – ‘Do Dulhe’ (1954). The southern composers gave music only to dubbed films or remakes.
In the original version of ‘Mangala’, which was ‘Mangamma Shapatham’ (1943), the heroine was Vasundhara Devi – mother of Vaijayantimala. In Hindi film ‘Mangala’, the heroine was P Bhanumathi, but the hero was same – Ranjan. There were some Hindi actors like Agha, David and Badriprasad. The composer of today’s song, Balkrishna Kalla also did a small role in this film. When Shamshad Begum sang songs for ‘Chandralekha’, her songs were recorded in Bombay, but for ‘Mangala’, Shamshad went to Madras first time and sang 9 songs out of its 15 songs. In this film the songs and dances of Carmen Miranda were freely copied in the Tamil, Telugu and Hindi versions.
The late 1940’s was marked in Bollywood with the remake of several super hit movies from south, especially from Tamil. The 1950 hit ‘Mangala’, produced by Gemini Pictures, was one such movie which was originally made in Tamil. SS Vasan was the director of the Hindi version. The newspaper, The Hindu, in its issue of 3-2-2013 has said this, about film ‘Mangala’,
Bhanumathi Ramakrishna was so bowled over by the performance of Vasundhara Devi (mother of yesteryear heroine Vyjayanthimala Bali) in Gemini’s blockbuster 1943 Tamil hit, Mangamma Sabadham , that she wished, if at all the film were to be remade in Telugu, she would act in it. In fact, the Tamil movie was released by Gemini supremo S.S. Vasan at a few centres in Andhra also and was well received there too. A few years later, Vasan decided to remake the movie in Telugu and Hindi under the title Mangala . Impressed by Bhanumathi’s performance in the Tamil film, Rajamukthi , he decided to sign her and approached her husband, Ramakrishna Rao. It was an opportunity she was waiting for and Bhanumathi immediately accepted the offer. She was paid a remuneration of Rs. 1 lakh for both the versions. Ranjan, who did the hero’s role in Mangamma Sabadham , was retained to play the lead role in both Telugu and Hindi versions. Popular editor of the time, Chandru (who had done commendable work as editor for Gemini’s earlier trilingual, Apoorva Sahodarulu) was entrusted with the job of directing the Telugu movie.
Based on a popular folklore, an engrossing narrative was weaved by Gemini’s story department. Mangala (Bhanumathi), the charming daughter of a rich farmer, is very haughty by temperament. When Prince Sugunapal (Ranjan) fails to win her love, he throws a challenge that he would marry her and then imprison her for life, denying her the marital bliss. She counter-challenges him that she would bear a child from him and make the child whip him in his court.
The prince marries her and puts her in a lonely palace. She makes her father (Doraiswamy) dig a tunnel from the palace to her village, sneaks through it to her house and learns dance. Disguised as a gypsy, she entices the Prince, secretly gives birth to a child, and when he grows up (Ranjan – dual role) gets her vow fulfilled through him. Realisation dawns on the Prince and the tale ends on a happy note.
All through it is Mangala’s show and Bhanumathi essayed it brilliantly. If Vasundhara Devi was admired for her nice dances in the Tamil version, Bhanumathi scored through her acting prowess. Ranjan made his presence felt in dual role.
The songs and dance sequences were all hits of that time. Music was composed by Partha Sarathi, Kalla and E Sankar Sastri. Two songs from this film were inspired by the famous Brazilian dancer Carmen Miranda’s classics. The song “Ma Ma Ma Ma Ma Mummy” was based on Carmen Miranda’s “Mama Yo Quiero” and “Ayyi Ayyi Ayyi Ayyi Mari Main To Laaj Se” (today’s song) in which Bhanumathi is dressed like Carmen, was based on “I Yi Yi Yi Yi — I Like You Very Much” from the film “That Night in Rio ” (1941), sung by Carmen Miranda herself.
Enjoy the dance and song video….
Song – Ayyi Ayyi Ayyi Ayyi Mari Main To Laaj Se (Mangala) (1950) Singer – P Bhanumati, Lyrics – Pt Indra, Music – MD Parthasarthy, BK Kalla, E Shankar Shastri
Lyrics (Provided by Sudhir)
ta na na naa raa nanna
ta na na naa raa nanna
taa naa naanaa
ch ch ch ch..ch
ta na na naa raa nanna
ta na na naa raa nanna
taa naa naanaa
ch ch ch ch..ch
ta na na naa raa nanna
ta na na naa raa nanna
taa naa naanaa
ch ch ch ch..ch
ta na na naa raa nanna
ta na na naa raa nanna
taa naa naanaa. . .
ta na na na ra naa naa. . .
ta na na na na naa. . .
ta na na na ra naa naa. . .
ta na na na na naa. . .
ta na na na na naa
ta na na na na naa
taa na na naa raa nanna
naa raa nanna
naa raa nannaa
ta na na na na naa. . .
ch ch ch ch..ch
taa na na naa raa nanna
taa na na naa raa nanna
taa raa nanna
ta na na naa raa nanna
ta na na na na naa. . .
taa naa naa naa. . .
ayyi ayyi ayyi ayyi mari main to laaj se
sainyyaan dekhe mohey pyaar se
aayi aayi raja torey paas re
piya se milan ki aas re
ayyi ayyi ayyi yaa. . .
ahaa haa haa haa. . .
ayyi ayyi ayyi yaa. . .
ahaa haa haa haa. . .
ahaa haa haa haa. . .
kaun jaane kaisa jaadu daal ke
chheen liya dil mora haaye
khili khili khili rahe chaandni
chanda sa ye much muskaaye
chhoti si raat
chhoti si baat
dil ki pukaar
sumba limbaa. . .
suno suno pyaare morey saajna
baaje morey dil ka sitar
gori gori chhori main to baalma
puchho reejho reejho hai kyon nikhar
ayyi ayyi ayyi yaa. . .
ahaa haa haa haa. . .
ayyi ayyi ayyi yaa. . .
ahaa haa haa haa. . .
ahaa haa haa haa. . .
meri chaal nihaar
kaisi thummakdaar
meri kamar nihaar
kaisi lachakdaar
mere nain nihaar
jaise tez kataar
meri nath nihaar
kaisi hai chammakdaar
ye bahaar
ye nikhaar
tum shikaar
main shikaar
phadak phadak
thadak thadak
ayyi ayyi ayyi ayyi mari main to laaj se
haaye ri main to laajon mari
hanh hanh
ayyi ayyi ayyi ayyi mari main to laaj se
saayyaa ji jee
du du de de dor
ka ka ki ki ku ku ke ke kaye kekor
piya se milan ki aas re
chhoti si raat
chhoti si baat
dil ki pukaar
sumba limbaa. . . aa. . .
suno suno pyaare morey saajna
cha cha chu chu chu chu chaye chechor
ka ka ki ki ku ku ke ke kaye kekor
ta tta ta ti tu tu tuteyi tetor
ayyi ayyi ayyi yaa. . .
ahaa haa haa haa. . .
ayyi ayyi ayyi yaa. . .
ahaa haa haa haa. . .
ayyi ayyi ayyi yayyi yayyi yaa. . .
ta na na naa raa nanna
ta na na naa raa nanna
taa naa naanaa
ta na na naa raa nanna
ta na na naa raa nanna
taa naa naanaa
ta ra ra na na naa naa. . .
ta ra ra na na naa. . .
ta ra ra na na naa naa. . .
ta na na naa raa naa
ta na na naa raa naa
ta na na naa raa nanna naa raa nanna naa raa nanna
taa naa naa naa raa. . .
ta na na naa raa nanna
ta na naa raa nanna
ta na na na naa. . .
ta. . na. . na. . naa. . .
———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-
Kisi ko yaad karta hai mera dil
Posted on: November 28, 2018
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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3785 | Post No. : | 14768 |
Today’s song is from the film Madhubala-50.
What is the meaning of ‘Sone pe suhaga ‘ or ‘Doodh mein shakkar ‘ or even ‘Saatwe aasmaan par’ ? These and similar expressions are used when more than one pleasing matters are combined. Same is the case with film Madhubala. The most beautiful actress in Hindi film history and the most charming and handsome actor in Hindi cinema worked in this film as the lead pair in this film.Yes, Madhubala and Dev Anand.
It was a dream for many to see these two beautiful and handsome creations of the Almighty together. people would become ecstatic in the theatres, when they sang together or exchanged love dialogues on the screen. I know, because I too was one of them. Those days, Dev Anand was becoming the heart throb of many a college girls and young ladies. In the later years of the 50’s decade, Dev Anand was the most popular actor in the Hindi films.
In this film Madhubala-50, Dev and Madhubala acted together for the second time . Their first film was Nirala also made in 1950, but released first.In all they acted together in 8 films. This was a record till the Dream girl Hema Malini broke it with 11 films with Dev Anand.
Though Dev ( 26-9-1923) was 10 years older than Madhubala ( 14-2-1933), he was very junior to her in the Film industry. By the time Dev Anand did his first film Hum Ek Hain-1946, Madhubala had already done 13 films. She had started as a child artist in Swastik-1939. Madhubala-50 was her 35th film and Dev’s 13th film ! Fron Nirala-50 to Sharabi-64, they did 8 films together. Dev Anand did 116 films and sang 303 songs on screen. Madhubala did only 81 films and sang 189 songs on screen. Her speed came down drastically, after her Heart ailment was detected while shooting in Madras and the treatment had started.
Dev of course continued steadily for a much longer period, but out of his 116 films how many films were actually watchable is a moot question.
Film Madhubala-50 was made by Ranjit Movietone. There is an interesting story behind this film’s making. When Madhubala was about 13-14 years old, Chandulal knew her and also liked her. He had already predicted a bright future for her. Her father Ataulla Khan was a very careless and irresponsible person. One day, when Chandulal Shah was playing cards with his friends, he got a phone call from his nephew, Ratilal Punatar, saying that Madhubala had come and she is asking for a loan of Rs. 2000, on interest, immediately. Her mother was in serious condition to deliver for the 10th time and her father was not at home. Chandulal asked Ratilal to give the money to her without interest, but to tell her that in future if Ranjit needed her, she should work for them.
In the end of 40’s decade, due to a heavy loss in gambling, Ranjit had seen bad days. They decided to make a film with Dev and Madhubala. Ratilal went to Ataulla Khan, but he quoted an astronomical amount. Ratilal returned. Next day Madhubala herself came to Ranjit and told them that she will work in their film and that too without any money. Those were the days, when she had become famous after the success of film Mahal-49. But she worked in the film and Ranjit, as a mark of gratitude, named the film as Madhubala.
The film was directed by an outsider named Prahlad Dutt. He was actually a foreign trained photographer and Cameraman-expert in Trick scenes. He was working in Lahore in the early 40s. Pancholi’s film ” Shirin Farhad”-45 was getting ready and Prahlad Dutt was its Director and trick scene Master. His work was applauded by everyone. The scene where Farhad digs out a canal from a big mountain single handedly, was done by Prahlad with astounding results. After the Partition, he ran away from Lahore to Bombay. He soon got work here as his name was well known and famous.
Author Vithal Pandya, in his book ” Sapnon ke saudagar” has described an incident about Prahlad Dutt.
” Dutt was working in Ranjit, directing a film ” Mitti ke Khiloune”-48. It was in early 1948. Gandhiji was killed on 30th January. 4-5 days after that, Ranjit studio workers were shocked to find a Police Jeep entering the studio,in speed. Out jumped an Inspector and asked, ” Where is Prahlad Dutt?” Ranjit Manager asked” why?” the answer was ” We have his arrest warrant in connection with Gandhi killing”. While the Manager offered to call him here from another floor where he was shooting, the Police ran towards that place. As soon as Prahlad saw the Police, he started running, with Police chasing him and shouting stop stop. He tried to climb the wall and disappear, but the inspector warned him first and then shot him with his pistol in his thigh. He fell down. He was arrested and taken away.
He was charged with various crimes and a case was put on him. However, he was released unblemished after 4 months. Ranjit management helped him quite a lot in those days. ”
Prahlad Dutt acted in only one film-Ek hi Bhool-40 ( There was another actor S.Prahlad in films same time, but he was different). He directed 5 films in all- Shirin Farhad-45, Piya Ghar aajaa-47, Mitti ka khilouna-48, Nazare-49 and Madhubala-50.
The music of film Madhubala was by Lachhiram Tamar. LACHHIRAM is a name not known to many readers. Most people think that his family name is TOMAR. Many sites and books also say so. However, one of his family members has clarified on the Blog,’ Songs Of Yore’ that the correct surname is TAMAR. He was a very talented but unlucky composer, who, despite his good work was never counted among the A grade composers.
LACHHIRAM TAMAR was a Punjabi Chaudhary born in 1914 in the princely state of Kuthar in the present day Himachal Pradesh. His father died early and he was brought up and trained in music by the Rana Jagjit Chandra of Kuthar, under the tutelage of Ustad Noore Khan. He came to Delhi at the age of 20 years and served in H.M.V.Company as a singer. He cut many records there. Side by side he was singing on A.I.R. also.
Aziz Kashmiri, writer and Director of Shorey Films, Lahore came scouting for talents and engaged him as an assistant to music composer for a salary of Rs.750 per month. He assisted in films like Champa, Badnami and Shalimar. His first independent film as a composer was Kahaan Gaye-46. Then he did Aarsi-47, Mohini, Birhan and Director in 47-48 and did Guru Dakshina and Madhubala in 1950.
The songs of Madhubala became Hits, but his luck misfired. He suffered from T.B. and had to leave everything. He lost one Lung also in it. However this brave man came back and did Ameer, Shaheed Bhagat Singh-54 (Sarfaroshi ki tamanna-Rafi), Maharani Jhansi, Guru Ghantal and Hazaar pariyaan-59. In his last spell he did Do Shahzade, Razia Sultan and his Last film was Main Suhagan Hoon-64.
Lachhiram Tamar died on 5-2-1966 at Bombay.
Today’s song is sung by G M Durrani – a singer who had a natural charm in his voice. I like many of his songs. His career was a ” Riches to Rags” story, which I will discuss some other day. Let us now enjoy his song today.
Song-kisiko yaad karta hai mera dil (Madhubala)(1950) Singer-G M Durrani, Lyrics- I C Kapoor, MD-Lachhiram Tamar
Lyrics
kisi ko yaad karta hai
mera dil raat din
haaye mera dil raat din
akela aahen bharta hai
mera dil raat din
haaye mera dil raat din
chaman mein gar bahar aaye hamen kya
kali gar phul ban jaye hamen kya
chaman me agar bahar aaye hame kya
kali gar phul ban jaye hame kya
chahak kar aam ki daai pe bulbul
khushi ke geet gar gaye
hame kya
hame kya
judai me tadapta hai
mera dil raat din
kisi ko yaad karta hai
mera dil raat din
haaye mera dil raat din
akela aahen bharta hai
mera dil raat din
haaye mera dil raat din
ye aansu aankh mein jo aa rahe hain
fasaana ishq ka dohra rahe hain
ye aansu aankh mein jo aa rahe hain
fasana ishk ka dohra rahe hain
tujhe meri kasam ik baar aaja
aaja
tujhe meri kasam ik baar aaja
sandeshe maut ke bhi aa rahe hain
aa rahe hain
yahi fariyaad karta hai
mera dil raat din
kisi ko yaad karta hai
mera dil raat din
haay mera dil raat din
akela aahen bharta hai mera dil raat din
haay mera dil raat din
raat din
Mere ghoonghat mein do nain
Posted on: November 20, 2018
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3777 | Post No. : | 14755 |
“Anmol Ratan”(1950) was directed by M Sadiq for Jaimini Dewan Productions, Bombay. The movie had Meena (Shorey ?), Karan Dewan, Gope, Gulab, Madan Puri, Nirmala ec in it. The movie had eleven songs in it. As many as ten songs have been covered in the past.
Here are the details of the ten songs from the movie that are already covered:-
|
Song Title |
Post No. |
Post Date |
| Laakhon mein ek hamaare sainyya laakhon mein ek | 3652 | 14-Mar-11 |
| Jab kisi ke rukh pe zulfen | 5519 | 24-Feb-12 |
| Taare wohi hain chaand wohi hai | 6090 | 17-Jun-12 |
| Yaad aane waale phir yaad aa rahe hain | 7573 | 28-Feb-13 |
| Dard mila hai tere pyaar ki nishaani | 7711 | 19-Mar-13 |
| Morey dwaar khule hain | 7750 | 25-Mar-13 |
| Shiqwa tere main gaaun | 8333 | 12-Jul-13 |
| Sajan aaye aadhi raat | 12408 | 28-Sep-16 |
| Kaale kaale baadalon mein paani | 13884 | 7-Jan-18 |
| Koi kah de balamwa se ut nahin jaaye | 14743 | 12-Nov-18 |
Here is the eleventh and final song from “Anmol Ratan”(1950) to appear in the blog. This song is sung by Lata. D N Madhok is the lyricist. Music is composed by Vinod.
Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song.
With this song, “Anmol Ratan”(1950) joins the list of movies that have all their songs covered in the blog.
Song-Mere ghoonghat mein do nain pukaaren piya piya din rain (Anmol Ratan)(1950) Singer-Lata, Lyrics-D N Madhok, MD-Vinod
Lyrics
mere ghoonghat mein do nain
pukaaren piya piya din rain
ho mere ghoonghat mein do nain
pukaaren piya piya din rain
ho o o
bedardi aaja re
bedardi aaja re
naina dete duhaai
duhaai re ae
naina dete duhaai
mere ghoonghat mein do nain
pukaaren piya piya din rain
raat pade sab jag soye
birhan ko neend na aaye
raat pade sab jag soye
birhan ko neend na aaye
taaron ki jhurmath mein aen aen chanda hansi udaaye
taaron ki jhurmath mein aen aen chanda hansi udaaye
o o
door desh ke vaasi tohe zara laaj na aayi
laaj na aayi re
naina dete duhaai
mere ghoonghat mein do nain
pukaaren piya piya din rain
ho o o
bedardi aaja re
bedardi aaja re
naina dete duhaai
duhaai re
naina dete duhaai
aa main tere dil mein bhar doon apne dil ki haaye
aa main tere dil mein bhar doon apne dil ki haaye
phir tu jaan sakega aa aa
kya hai peer paraayi
phir tu jaan sakega aa aa
kya hai peer paraayi
o o
bedardi ke pyaar mein
maine yoonhi umar ganwaai
umar ganwaai re ae
naina dete duhaai
mere ghoonghat mein do nain
pukaaren piya piya din rain
ho o o
bedardi aaja re
bedardi aaja re
naina dete duhaai
duhaai re
naina dete duhaai
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3769 | Post No. : | 14743 |
“Anmol Ratan”(1950) was directed by M Sadiq for Jaimini Dewan Productions, Bombay. The movie had Meena (Shorey ?), Karan Dewan, Gope, Gulab, Madan Puri, Nirmala etc in it. The movie had eleven songs in it. Nine of these songs have been covered in the past.
Here is the tenth song from “Anmol Ratan”(1950) to appear in the blog. This song is sung by Nirmala devi. D N Madhok is the lyricist. Music is composed by Vinod.
Only the audio of the song is available. Nirmala devi(mother of Govinda) appeared in the movie so it can be assumed that the song was picturised on her. Moreover, the lyrics suggest that it was a mujra song. So it is a mujra song picturised on Nirmala devi
Song-Koi kah do balamwa se ut nahin jaaye(Anmol Ratan)(1950) Singer-Nirmala devi, Lyrics-D N Madhok, MD-Vinod
Lyrics
koi kah do balmva se ut nahin jaaye
koi kah do balmva se ut nahin jaaye
jit jaayike more tan aag lagaaye
jit jaayike haan jit jaayike
ho jit jaayike
more tan aag lagaaye
koi kah do balmva se ut nahin jaaye
koi kah do
daaman mere mein daal na duniya ki daulaten aen
haan
de daulaten unhen
jo inhen pa ke khush rahen
apni to maang ek hai
bolo to hum kahen
maangoon main sainya ji ka pyaar mil jaaye haaye
maangoon main sainya ji ka pyaar mil jaaye
koi kah do balmva se ut nahin jaaye
koi kah do balmva se ut nahin jaaye
jit jaayike more tan aag lagaaye
jit jaayike haan jit jaayike
ho jit jaayike
more tan aag lagaaye
koi kah do balmva se ut nahin jaaye
koi kah do
meri bala se abr ho saawan ki jhadi ho o o
haan aan
shabnam ke motiyon mein kali jhoom rahi ho
meri nazar ke saamne nazaara wahi ho
naynon mein nayna daal piya muskaaye haaye
nayno mein nayna daal piya muskaaye
koi kah do balmva se ut nahin jaaye
koi kah do balmva se ut nahin jaaye
koi kah do
Jab kaari badariya chhaayegi
Posted on: October 22, 2018
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3748 | Post No. : | 14712 |
“Laajawaab”(1950) was produced by Ashalata Biswas and directed by J P Advani for Variety pictures, Bombay. The movie had Sohan, Rehana, Kuldip, David, Kavita, Pran, Iftikhar, Prem Dhavan, Randhir etc.in it.
The movie had eleven songs in it. Five songs have been covered in the past.
Here is the sixth song from “Laajawaab”(1950) to appear in the blog. The song is sung by Meena Kapoor. Prem Dhawan is the lyricist. Music is composed by Anil Biswas.
Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this song.
Song-Jab kaari badariya chhaayegi (Laajawaab)(1950) Singer-Meena Kapoor, Lyrics-Prem Dhawan, MD-Anil Biswas
Lyrics
jab kaari badariya chhaayegi
aur yaad teri tadpaayegi
jab kaari badariya chhaayegi
aur yaad teri tadpaayegi
main kiski raah takoon
sajanwa kiski raah takoon
jab kaari badariya chhaayegi
aur yaad teri tadpaayegi
jab kaari badariya chhaayegi
aur yaad teri tadpaayegi
jab chaand jhalak dikhlaayega
chaandi ke rath mein aayega aa aa
jab chaand jhalak dikhlayega
chaandi ke rath mein aayega aa
mohe bairan neend na aayegi
jab bairan neend na aayegi
main kiski raah takoon
main kiski raah takoon
sajanwa kiski raah takoon oon
jab kaari badariya chhaayegi
aur yaad teri tadpaayegi
jab kaari badariya chhaayegi
aur yaad teri tadpaayegi
saawan ki bhari barsaaton mein
in bheegi bheegi raaton mein aen aen
saawan ki bhari barsaaton mein
in bheegi bheegi raaton mein aen
jab rimjhim aag lagaayegi ee
jab rimjhim aag lagaayegi
main kiski raah takoon
main kiski raah takoon
sajanwa kiski raah takoon oon
jab kaari badariya chhaayegi
aur yaad teri tadpaayegi
jab kaari badariya chhaayegi
aur yaad teri tadpaayegi
main kiski raah takoon
sajanwa kiski raah takoon
Ab to hand mein hand nahin
Posted on: October 20, 2018
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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3746 | Post No. : | 14705 |
Today’s song is the 5th song from the film Aahuti-50, to be discussed here. I have not seen this film, but from its second Title ” Anokhi Kurbani “, the movie seems to be about some kind of sacrifice. Whether it was for the country, family or just a Lover is not known. This was one of those films, made by a less known banner, directed by one whose name I read first time- Kulbhushan and the MD, who left no trace of him either of origin or the end- D.C.Dutt.
D C Dutt is its Music Director. His name is not known to many. All of us know that Lata Mangeshkar had to struggle very hard in her initial attempts of getting into Playback singing in Hindi films. In her early struggle, three Duttas helped her. The first was of course Datta Davjekar who gave her the first opportunity to sing a playback song for his film Aapki sewa mein-47. The second was K.Datta or Datta Korgaonkar, who, after his favourite singer Noorjehan left India, took Lata under his wings and gave her songs. The third Dutt was this-D C Dutt. No information is available about him whatsoever, except what is printed in HFGK and its duplication in Pankaj Raag’s book “Dhunon ki Yatra”. Thanks to this, we know that his debut was through film Sona Chandi-1946. Out of 12 songs of that film, only two were his and one of them was by Lata Mangeshkar. For rest, the composer was Tufail Faruqi.
This Lata song has a history. Film Sona Chandi was censored first on 19-7-46 and released. That time these 2 songs of D.C.Dutt were not there. In January 1948, when Gandhi ji’s death took place, many songs on Gandhi ji were recorded by many singers and composers. One of the most famous, popular and successful song was “Suno suno aye duniya walon, Bapuji ki amar kahani” sung by Mohd. Rafi in 4 parts and recorded by its composers Husnalal-Bhagatram. In this spate, D.C.Dutt also recorded a Gandhi ji song by Lata in 1948. Producers of film Sona Chandi got this and one more song ( by Saroj Borkar) included in the film and the film was re-censored on 9-4-48. Thus an early song of Lata was in a film, because of D.C.Dutt. Meanwhile the original Music Director of the film Sona Chandi-46 aka Bhai-Bhai, Tufail Faruqi ( brother in law of Ghulam Haider) had already migrated to Pakistan after the Partition.
D C Dutt later did some more films like, Sarai ke bahar-47, Dil ki Awaz-48, Anjana-48 ( he even acted in this film), Ram Darshan-50 ( he was one of the 6 Music Directors that the film had), Aahuti-50, Simba-51, Ranee-52 and lastly Sahil-59. Very surprisingly, after film Sona Chandi-46, Lata did not sing a single song in any of his films. After 48-49, Lata had become a very busy and ‘in demand’ singer and she would sing only for established composers ( we all know that she did not sing even in Madan Mohan’s debut film Aankhen-50, just because he was new).
The cast of the film, Aahuti-50 consists of Mumtaz Shanti, Ranjit Kumari ( who married actor Ramsingh and settled in UP), Sapru, Kesari, Bikram Kapoor, Struggling actress Shyama, Sudhir, Indubala and many others.
Mumtaz Shanti or Mumtaz Begum was born in 1922 at village Dinga in Punjab (now in Pakistan). She lost her parents early and she was brought up by her uncle who was a Police constable. After his transfer to Lahore, Mumtaz was able to continue her schooling. She learnt dancing and Music.She was also an expert in household chores. She was first rejected by Shorey Pictures,but then the famous writer/Lyricist Wali Saheb helped her and took her to Calcutta’s East India Film co. to work in a Punjabi film ‘Sohni Kumharan’-37. She also did another Punjabi film ‘Chambai ki Dali’-41 in Calcutta. Meanwhile,she was invited by Shorey pictures to Lahore to act in their Punjabi film ‘Mangti ‘-42. This film ran for 65 weeks giving her name and fame.
Barkat Nizami was the uncle of actress Mumtaz Shanti. It was through the efforts of Barkat Nizami that she was introduced to the Hindi film screen. This person had a knack for recruiting girls to cinema. First he brought in Mumtaz Shanti and then his own wife, Geeta Nizami. According to him this was a business, more than a marriage. He used to take 50% of earnings from Mumtaz Shanti, but after she married Wali Saheb, this stopped.
Rai Bahadur Chunilal Of Bombay Talkies offered her a role in their film Basant-42. She did Basant and Kismet-43. Both the films were hits and famous all over India. Mumtaz was good looking,tall and lithe,so looked attractive. After Kismet she became a freelancer and worked with many different studios, in Badalti Duniya and Sawal-43,Bharthari, Lady Doctor and Pagli Duniya-44,Chand chakori-45,Shravan Kumar, Dharati, Magadhraj and Pujari-46, Dekhojee and Doosri Shaadi-47,Padmini, Heer Ranjha and Ghar ki izzat-48,Putali, Biwi and Aahuti-50. Her last film in India was Zamane ki Hawa-52. In all she worked in 21 Hindi and 4 Punjabi films. She did 2 films in Calcutta, 4 in Lahore and the rest in Bombay.
She had married Lyricist/writer/Director Wali Saheb in 1947. He directed her in 3 films in India. He was very strict and forced her to come to studios only in Burqa. She was not allowed to talk to anyone. Manto has written some interesting incidents about her in his sketch of Ashok Kumar. According to him after marriage she used to come for shootings wearing ‘Burqa’. And Wali Saheb told the Producer/Director that no one should touch her. She was the second wife of Wali Saheb and she didn’t have any issue. Wali Saheb, however adopted a son for her ( who was a child of Wali Saheb’s brother, another famous lyricist, Nazim Panipati). This adopted son, Sikander Bin Wali lives in Washington D.C. Wali Saheb’s elder son from his first marriage, Zafar was Assistant Director of film Ghunghat-1962. They migrated to Pakistan after 1953. She retired from films and remained a housewife only. Walisaheb did 3-4 films,without much success. He died in 1977. Mumtaz Shanti also died in 93/94,unsung and unknown in Pakistan. ( information culled from articles provided by shri Harish Raghuwanshi ji, Filmdom-46, Khwaja Irfan Anwar and my notes).
Many actors, Directors and few actresses came from Kashmir, to join Hindi films. In olden times, some prominent names were Jeevan, Chandra Mohan and Sapru, besides many others. Actresses were Shyama Zutshi and Yashodhara Katju in early times. Here is some information about D.K.Sapru, based on an edited article from Chinar Shade.com, and from shri M.N.Sardana ji with thanks…
“ Where from have you come ? You look like an European . Please sit . I need to talk to you .”
This is what V Shantaram had told the young boy in 1944 who had come all the way from Jalandhar to Prabhat Studios Poona . Shantaram , Babu Rao Pai and S. Fatehlal were the partners of Prabhat Studios present at that point of time.
Looking at his face and after the usual introduction ,V Shantaram signed the blue eyed handsome Daya kishen Sapru for a role in his next movie RAM SHASTRI.. The character of a Peshwa played by him was well noticed and the movie turned out a big hit.. He was signed as lead hero by the Company on a monthly salary of Rs3000/= highest ever paid to any hero during those days . It was a hefty sum that enabled him to live a princely life during those days .It was somewhere around 1945-46.
Films started pouring in later .He acted in Romeo and Juliet ( opposite Nargis . Nargis’s Mother Jaddan Bai was all praise for Sapru. The film was produced by Nargis’s brother Akhtar Hussain . ) ,Jhansi Ki Rani ,Kalapaani , Hum Hindustaani , Sahib Bibi Aur Ghulam, Mujhe Jeene Do , Leader and Shaheed . Who does not remember his role as Majhale Sarkar ( Chaudhary ) in Sahib Bibi Aur Ghulam. Again as Zamindaar in Mujhe Jeene Do , he became quite popular. We saw him in some wonderful roles in Naya Daur , Prem Pujari ,Jewel Thief , Krodhi , Kudrat ,Dharm Veer, Dream Girl, Zanjeer , Pakeezah and many more such films .It was a period when story writers would create a character for him in the story or script. He was seen either as a Zamindaar or a Police commissioner or a Judge in most of his later films .
In Total, he must have acted in more than 350 films and out of which he played lead role in more than 50 films. He also played lead roles in some Gujarati and Punjabi films.
Saprus are Sarswat Brahmins from Kashmir known as kashmiri Pandits who belong to DIPAT SAMAN AUPAMANYAVA Gotra or the lineage of an Aryan Rishi .This clan of kashmiri Pandits actually belongs to village SAPREIN in present day Kulgam district of kashmir and could be safely called as aboriginal kashmiris . some other prominent Saprus are Sir Tej Bahadur Sapru , Jagdish Narayan Sapru ( Prominent Businessman of the country ) Sahaj Ram Sapru Revenue collector during the rule of Afghan Governor Azim Khan ( 1809-1819 ) and Dr Allama Iqbal Urdu poet and Islamic scholar ( He too belonged to a Sapru family from kulgam that had converted to Islam )
Daya kishen Sapru belonged to a well off family from Kashmir and his father was employed in Maharaja’s Treasury . That made the family to move to Jammu and Lahore during winters. Daya Krishen was born at Jammu and had his early education at Jammu and Lahore .Fluent in Punjabi , he was also proficient in Hindi , Urdu and English .From his childhood days , he would love music and singing . He could easily play on his Harmonium.
Before moving to PUNE , D K as he was known amongst his numerous friends lived at Jalandhar cantt for some time where he took up the job of a contractor .He had four brothers and two sisters and D K happened to be the fourth child in this joint family.
D K Sapru met Marathi actress and IPTA activist Hemvati and they fell in love. They married in 1948 .Hemvati was a noted Marathi actress who also worked at PRITHVI Theatres. She acted in SANGRAM with Ashok Kumar and Nalini Jaywant in lead roles. She had also worked with Dev Anand in MOHAN ,Mubarak and Renuka in Ghar Ghar Ki Kahaani and Raj Kapoor in Jail Yatra . A play of Prithvi Theatres, named Deewar had Hemvati and Raj kapoor in lead roles and the play became quite popular on stage during those days.
After marriage , Hemvati played the role of a caring wife and an affectionate mother in her family. After marriage,She possibly acted only in one movie PATIT PAAVAN a home production of sapru family. Hemavati died on 10-4-2005.
Sapru children are also in films. To quote their elder daughter REEMA is a well known script writer while second daughter PREETI is a successful Punjabi actress while their son Tej is a noted film and TV actor. The brother and sisters are closely attached to each other. They too live by the family values that they inherited from their father .
D K Sapru also acquired good and working knowledge of Homeopathy and was seen reading Homeopathic books quite often during his spare time. He then started practicing this school of medicine and would treat everybody without any charge often Buying medicines and distributing them free.
Sapru also committed a folly of producing films . One can say that he was misguided by some selfish friends .Though he had learnt some lessons from his first home production Patit paavan , a movie that earned him a few thousands only yet he took up another production project ” Bahadur Shah Zaffar”’ and brought in a large star cast that included Sudesh Kumar , Chand Usmani ,Shyama , Rehman ,Jeevan, Ulhaas ( M N kaul ) and Nirupa Roy .He pooled in all his resources and raised loans for the project mortgaging his spacious new Bunglow .The movie did not sell on Box office. That landed the family in great trouble. The house had to be sold to repay debts .
Sapru turned diabetic during his later life. Inspite of his failing health he decided to make a last attempt to produce another film JEEVAN CHALNE KAA NAAM. By Now Reema was a trained screen play / script writer . She wrote the script and the family signed in Sanjeev Kumar , Rekha , Shashi Kapoor . DK fell ill suddenly and had to be hospitalized for about an year. The project was abandoned. D K was also operated upon for a malignant growth in his shoulder and finaly died of a heart attack at a young age of 63 years in 1979. His favourite child Reema was already married at that time . And by then he had also turned a grandfather.
It was big blow to the judiciary when Mr Daya Kishen Sapru departed for heavenly abode. There were other esteemed judges, who graced the self-righteous chair of the temple of justice but could not create a niche for them like Mr Sapru and Mr Murad, in Hindi films . It is to their credit ,that they both not only enhanced the prestige of judiciary ,but they were also apt in enacting all types of characters.
Mr D K Sapru,scion of an influential Pandit family of J & K and one of the most handsome actor of his time ,like other young men joined the film line to become hero. Fair complexioned with expressive light eyes like his senior actor & fellow Kashmiri Pandit Chandra Mohan ,soon he became a known actor. His cousin Mr Jeevan was already an established actor in Hindi Films .
In 1948, Jaddan Bai produced a movie which was based upon the tragic tale of Romeo And Juliet, written by William Shakespeare,in which the female leading role was played by her daughter Nargis, opposite Sapru Saab. In the same year he married Hemavati ,a Marathi actress ,who mostly had worked on stage of IPTA and Prithvi Theatres and also in few movies. Interestingly ,she was leading lady in 1947 movie Mohan ,in which the struggling actor Dev Anand was her hero. Hemvati & Sapru ,looked as if they were made for each other ,as both were good looking ,fair coloured and had similar light eyes.
There was a big advertisement in Film India and other papers ,when K Asif announced Mughal E Azam ,for which he took Sapru and Nargis as jilted lovers with Chandra Mohan in the title role of the Great Mughal. The movie could not progress , as firstly the financier migrated to Pakistan and in 49 , Chandra Mohan passed away . Mr Sapru became a full time character actor and his versatility came to the forefront , when he portrayed dissimilar character in different movies . Sapru Saab was man for all seasons ,and could portray saintly person/villain/cop/ foreigner/ villager / sophisticated person /King/ Sultan .all type of characters with ease.
He looked so charming person as rich Jeweller ,father of Tanuja in Jewel Thief and in Tere Mere Sapne, he was a humble villager. In Zanzeer ,he was a mafia lord and in Majboor (1964) ,he was prosecuting lawyer. He appeared in numerous mythological movies and in fact made Patit Pawan in 1955 ,which did average business.
As an actor, he was doing well, therefore one fails to appreciate the reasons as to why he thought of producing movies. He made Bahadur Shah Zafar ,in which he himself essayed the role of unfortunate last Mughal. He took Chand Usmani, Shyama, Jeevan, Sudesh Kumar , Ullhas etc in the movie. Unaware of the lack of honesty of his production team , Mr Sapru kept faith on them and could not monitor the expenses and the movie was over budgeted .He spend all his money and even mortgaged his unmoveable assets to make the movie spectacular and completed the movie. But sadly the movie could not be released and remained in cans . It was a big blow for him.
Today’s song is sung by Uma Devi and Shanti Varma, as per HFGK. However, as per one comment on You Tube by a known collector, she was Shanti Sharma, and not Varma.’Swaron ki Yatra’, by Anil Bhargav also credits this song to Shanti Sharma. I have not found any singer Shanti Varma, but Shanti Sharma’s name as a singer is found in films Raees-48, Kinara, Shaukeen, Dhoom Dham, Rimzim and Veer Ghatotkach-all of 49, and Azmaish-52 in HFGK.
With this song, the blog now has 3000 songs from the decade of 1940s (viz from years between 1941 to 1950).
Song-Ab to hand mein hand nahin(Aahuti)(1950) Singers- Uma Devi, Shanti Sharma, Lyrics- Indeevar, MD- D C Dutt
Lyrics
Ab to hand mein hand nahin
ab dil me bajta
ab dil mein bajta band nahin
oh my dear
o dear
o dear
tum badal gaye
tum pahle se husband nahin
aa ha
ab to hand mein
ab to hand mein hand nahin
ye meri India hai
ye tera to England nahin
ye tera to England nahin
ho ho
ab to hand mein
ab to hand mein hand nahin
o o
yahaan na hogi whisky brandi
aur club ke dance
yahaan na hogi whisky brandi
aur club ke dance
yahaan na hogi whisky brandi
aur club ke dance
yahaan na hogi gitpit gitpit
aur nahin romance
yahaan na hogi gitpit gitpit
aur nahi romance
maal judaane ka na milega
yahaan koi ab chance
maal judaane ka na milega
yahaan koi ab chance
daal diya aafat mein toone
daal diya aafat mein toone
aafat ka koi end nahin
aa haa
ab to hand mein
ab to hand mein hand nahin
ab laut chalo laut chalo
ghar o meri sister
hawa vatan ki lagte hi
badal gaye mister
badal gaye mister
tumhen banaaye rakhne ko main
tumhen banaaye rakhne ko main
kar sakta recommand nahin
aa haa
ab to hand mein
ab to hand mein hand nahin
o ho
tum mere man ke paati
main hoon charnon ki daasi
nyochhaawar ka charanon pe
mathura ho ya kaashi
haath chhodkar saath mera
ab jaana tum england nahin
ab jaana tum england nahin
ho ho
ab to hand mein
ab to hand mein hand nahin
ab dil mein bajta
ab dil mein bajta band nahin
oh my dear
o dear
o dear
tum badal gaye
tum pahle se husband nahin
aa haa
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