Archive for the ‘Songs of 1950’ Category
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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
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.
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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
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.
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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
Ham se dil ki lagi na chhupaana
Posted 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.
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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
Kaho bhaabhi meri kab aayegi
Posted 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.
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Blog Day : |
4476 | Post No. : | 15979 |
Yearwise discussion of Lata Mangeshkar songs in HFM: Part IV: Overview of the decade 1946-1950
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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
Alakh niranjan alakh niranjan
Posted 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.
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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 |
| 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
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.
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Blog Day : |
4469 | Post No. : | 15964 |
Yearwise discussion of Lata Mangeshkar songs in HFM: Part III: 1950
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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
Ritu pyaar karan ki aayi
Posted on: September 20, 2020
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This article is the 15900th song post for the blog
|
Blog Day : |
4447 | Post No. : | 15900 |
So we reach another blog century with this post. This century materializes in 39 days, which appears like a fast century vis a vis the previous eleven centuries that took an average of 61 days each. These eleven centuries were took nearly two years (from August 2018 till July 2020). If we look at the rate of centuries ten years ago, then we had achieved a blog century on 20 september 2010 as well. That was the 30th century for the blog and that had been achieved in 17 days flat !. Eleven centuries (viz 20th century to 30th century were achieved at an average rate of 33 days per century.
The quickest rate of centuries were achieved during 2011 and 2012. Calendar year of 2012 saw 21 blog centuries, a record not surpassed since ! These 21 centuries were achieved at an average rate of one century every 18th day !
When I try to think about the by now barely believable rate of posts and centuries in the past, I can pinpoint a few reasons. And I also learn a few lessons from them.
Ten years ago, I was ten years younger. at that stage in my life, I was perhaps at the most productive and creative stage of my life. My enery level and motivation level were on a different plane. I also realise that my eyesight was still good and I did not need glasses to read fine prints. It was sometime in 2011 that I began to realise that my eyesight was going downhill. That is when I needed glasses for the first time. With that being the case, it was no longer possible for me to pore over the computer screen with the same comfort as before. This may be one reason why I hav slowed down. I need to take breaks from computer for the sake of my eyes, which was not the case prior to 2011.
Secondly, at that stage, I found it easy to wake up early in the morning and staying up late as well. My wife complained that I was neglecting my health by not getting enough sleep. Her constant nagging has finally had its effect on me. For the last two years, I no longer wake up at 5 AM in the morning and finish off six or seven posts for the day in three hours.
25 september 2011 was a crazy day when as many as 13 writeups were posted. First post appeared at 8:10 PM and the last post at 23:59 PM ! It means that I devoted the entire day at the computer doing nothing but posting articles all th time ! The same feat was repeated on 6 september 2012. The first post of the day appeared at 7:32 AM. The thirteenth and final post of the day appeared at 23:47 PM and that marked the 66th blog century for the blog !
Those were crazy days for the blog! The concepts of movies making their debuts, moving getting YIPPEED in the blog etc were not known. I did not have access to HFGK, so I was blissfully unaware if all the songs of a movie were covered in the blog. Unburdened by all these considerations, and helped by the fact that most well known songs of well known movies were still up for grabs, we had no problem finding sngs to discuss. All those songs, not yet dscovered were like low hanging fruits that were easy to pluck. We have dealt with all those low handing fruits and now we are dealing with songs that were relatively less popular and lesser known. I was gifted HFGK on july 2014 by our two Maharathi contributors Mr Arunkumar Deshmukh and Sudhir Jee, on the occasion of the blog completing 10000th post. By that time, we were also on to concepts like individual artists centuries, blog contributors centuries etc. We had also evolved the concept of YIPPEE thanks to the ever enthusiastic Pradeep Raghunathan. All these factors meant that we had to do more research that before to locate specific songs that met specific requirements.
These days we are not able to score our centuries at Sehwag like rate (16-17 days) but even scoring centuries at test match rate is not bad. What matters is that the musical juggesrnaut keeps moving and does not remain stand still. We have managed to remain free of a DOT day in the blog for this entire calendar year 2020. There were three DOT days in 2019, 7 in 2018 and ZERO in 2017. So we have ben like a non stop musical bandwagon for the last four years with hardly any stoppages. And let us hope that it continues that way.
Another thing where we had managed to staay true to form is in the selection of our Century songs. We manage to come up with special songs for such special occasions. Seeing that we have had 158 Blog centuries so far, we have discussed 158 special songs on these occasions. 158 is not a small number by any stretch of imagination. One would need more than 8 hours to listen to these special songs !
The 15900th song of the blog is a special song as well. It is special because
(i) it is a rare and obscure song
(ii) the singer is also obscure, though she comes from a well known musical family
(iii) The song is one that has been reused in at least two movies, both obscure.
The song is from “Bhed”(1950). This movie was produced by Amba Cinetone(Jal K Baliwala Productions Bombay). That is all that HFGK contains for this movie. HFGK tells us that this movie had at least nine songs in it, may be more. Mukul Roy (brother of Geeta Roy, later Geeta Dutt) was the music director.
Three songs from this movie have been discussed so far. All these three songs were sung by Geeta Dutt.
Here is another song from “Bhed”(1950). Is it sung by Geeta Dutt ? No, it is sung by Lakshmi Roy, sister of Geeta Dutt. Geeta Dutt is a legendary singer in HFM, but her sister Lakshmi Roy has sung very few songs in HFM. Most of her songs are duets with other singers. This song is an axception. It is a solo song.
This song is penned by Madhukar Rajasthani.
I made another interesting discovery. Five songs from “Bhed” (1953) were later reused in “Do Bahaadur”(1953). Unlike “Bhed”(1950), details of starcast of “Do Bahaadur”(1953) is known. “Do Bahaadur”(1953) was produced by Nari Cawasji and drected by Baburao Pahalwan for Baghdad Pictures under supervision of Shantaram Athwale. The movie had John Cawas, Shanta Patel, Rohini, Dalpat, Goldstein, Rajni, Chitalkar, Dilawar, Baby Balo, Aziz Premi, Madhu Apte, Ali, Baburao Pahalwan etc in it.
This movie too had music by Mukul Roy. The movie had six songs in it. Five of these songs were same as those of “Bhed”(1950). the sixth song was taken from “Ustaad Pedro”(1951).
Such cut and paste job for music did not help the cause of “Do Bahaadur”(1953). For that matter even “Bhed”(1950) is a rare and forgotten movie.
Coming to Lakshmi Roy, she married producer director Pramod Chakraborty. Unlike her unfortunate sister Geeta, she enjoyed a long and happy married life.
As the 15900th song of the blog, here is this rare and special song from “Bhed”(1950).
A blog century on 20 september 2010 and a blog century on 20 september 2020 as well. So we have mnaged to achieve a different kind of “Blog Ten Year Challenge” today with this post. 🙂
As we can see, we are now just one more century away from the magic 16000 mark. Here is hoping that we will not just reach that landmark but also reach many distant landmarks in future. I take this opportunity to thank one and all for their continued support and encouragement.
Song-Ritu Pyar karan ki aayi (Bhed) (1950)/(Do Bahaadur)(1953) Singer-Laxmi Roy, Lyrics-Madhukar Rajasthani, MD-Mukul Roy
Lyrics
Ritu Pyaar karan ki aayi
jawaani
saawan ban ke chhaayee
saawan ban ke chhaayee
Ritu Pyaar karan ki aayi
jawaani
saawan ban ke chhaayee
saawan ban ke chhaayee
mastiyaan le le kar angdaayi
mastiyaan le le kar angdaayi
kahi haan aayi haan aayi
saawan ban ke chhaayee
Ritu Pyaar karan ki aayi
jawaani
saawan ban ke chhaayee
saawan ban ke chhaayee
chhaayee huyi khushrang(?) ghataayen
chhaayee huyi khushrang(?) ghataayen
naach rahi hain mast hawaayen
naach rahi hain mast hawaayen
koyal ne kook
koyal ne kook lagaayee
papeeha preetam ka saudaayee
kahen haan aayi haan aayi
Ritu Pyaar karan ki aayi
jawaani
saawan ban ke chhaayee
saawan ban ke chhaayee
shama se kehta hai parwaana
shama se kehta hai parwaana
bulb(?) se hai gul suhaana
bulb(?) se hai gul suhaana
bhanwron se hai kaliyaan kehtin
chanda se kahen chakori
kya
kahen haan aayi haan aayi
kahen haan aayi haan aayi
Rut pyaar karan ki aayi
jawaani
saawan ban ke chhaayee
saawan ban ke chhaayee
rut pyaar karan ki aayi
jawaani
saawan ban ke chhaayee
saawan ban ke chhaayee
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