Archive for the ‘Songs of 1950’ Category
Agar dil kisi per lutaayaa na hotaa
Posted on: April 8, 2024
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 : |
5743 | Post No. : | 18265 |
Today’s song is from the film Gauna-1950. Out of 7 songs of this film, 6 are already discussed here. This is the last and the final song to make the film YIPPEED !
The film was made by Jagat Pictures. It was directed by Amiya Chakravarti. Music was by Husnlal-Bhagatram for the songs written by Qamar Jalalabadi. The cast of the film was Usha Kiran, Anup Kumar, Poornima, S.Nazir, Kesari, Wasti, Indumati etc.
Change of name is not a novelty in Film industry. Many Muslim actors such as Kumar, and actresses such as Meena Kumari, took Hindu names to appeal to a bigger audience. But there are cases where Hindus took Muslim names. One such person was Qamar Jalalabadi – Lyricist of this film. Om Prakash Bhandari (9 March 1917 – 9 January 2003), better known as Qamar Jalalabadi, was a poet and lyricist. He composed the title track of the popular television serial Vikram Aur Betaal.
He was born as Om Prakash Bhandari in a Punjabi family on 9 March 1917 in Jalalabad, a village near Beas in Amritsar district, Punjab, India. Right from the age of seven, he started writing poetry in Urdu. There was no encouragement from home, but a wandering poet named Amar Chand Amar met him in his hometown and encouraged him to write, recognising his immense talent and potential. He also gave him the pen name of Qamar which means moon, and Jalalabadi was added for his native town. It was the general trend in those days for writers to name themselves after the towns they hailed from. After completing his matriculation from Amritsar, he embarked on his journalistic career journey by writing for Lahore-based newspapers like Daily Milap, Daily Pratap, Nirala, Star Sahakar etc.
Attracted by the promise of a career in the film industry, Qamar Jalalabadi came to Pune in the early 1940s. In 1942, he wrote lyrics for his first film Zamindar which was a Pancholi Pictures production and the songs of this film were very well received, especially the song sung by Shamshad Begum “Duniya Mein Garibon Ko Aaram Nahi Milta”, which also had a line or two written by writer and poet Behzad Lucknawi.
Subsequently, Jalalabadi relocated to Bombay, and worked there as a lyricist for nearly four decades. His songs were sung by many notable singers including S. D. Batish, Noor Jehan, G. M. Durrani, Zeenat Begum, Manju, Amirbai Karnataki, Mohammad Rafi, Talat Mahmood, Geeta Dutt, Suraiya, Mukesh, Manna Dey, Asha Bhosle, Kishore Kumar and Lata Mangeshkar. He worked with many popular composers including S. D. Burman and Sardar Malik.
As a lyricist, Qamar Jalalabadi was very versatile. On one hand he wrote mesmeric duets like “Sun Meri Sawari Mujhko Kahin Tum Bhool Na Jaana…” sung by Lata Mangeshkar and Mohammed Rafi (film: Aansoo 1953) and on the other hand he penned comic relief songs like “Khush Hai Zamana Aaj Pehli Tarikh Hai” endured with full throttle gusto by Kishore Kumar (film: Pehli Tarikh-1954). This song became very popular and was played on Radio Ceylon on the first of every month for decades, and it probably continues like this.
The film Howrah Bridge (1958) skyrocketed his career as lyricist to unprecedented heights. Songs like “Mera Naam Chin Chin Chu” (Geeta Dutt) and “Aaiye Meherbaan, Baithiye Jaanejaan….” (Asha Bhosle) became highly popular.
In his long career span he worked for several film companies like Prabhat Film Company, Pancholi Pictures, Filmistan Ltd., Famous Pictures, Minerva Movietone, Prakash Pictures, Wadia Films Ltd., Filmkar Ltd., Sippy Films, N.C. Sippy Films, Shri Shakti Films, Mitra Productions and many more.
He was one of the founder members of prestigious organisations like Film Writers Association & IPRS in Mumbai. The music composers he worked with were: Ghulam Haider, G. Damle, Pandit Amarnath, Khemchand Prakash, Husnlal Bhagatram, S.D. Burman, Anil Biswas, Shyam Sunder, Sajjad Hussain, C. Ramchandra, Madan Mohan, Sudhir Phadke, S.D. Batish, Sardar Malik, Ravi, Avinash Vyas and in the latter phase of his career with O. P. Nayyar, Kalyanji-Anandji, Sonik–Omi, Uttam Singh and Laxmikant–Pyarelal as well. Qamar Jalalabadi wrote song lyrics for 155 films and wrote a total of 709 songs in his long career. He was a poet (shayar) and participated in several mushairas all over India.
In his personal life, Jalalabadi was a highly religious person and he chanted excerpts from the Bhagavad Gita, the Koran as well as the Bible. He was deeply into transcendental meditation, and was mostly embedded in his writing for most part of the day. He once gifted a bungalow in Khar, Mumbai to one of his married sisters to save her from a difficult marriage, and shifted to simpler accommodation in Juhu with his own family. He and his wife Leelawati had seven children.
He had several friends and hundreds of fans whom he called his “pankhe”. His fan mail came in various languages; Hindi, English, Urdu and many regional languages as well. He replied to all his fan mail and judiciously sent an autographed photo as well. ( adapted from the book Filmi Geetkar, wiki, muVys and my notes).
The Heroine’s real name was Usha Marathe. She had debuted in the film ‘Lalaat’-1947 with this name. However, director Amiya Chakravarti, who had a ” Special’ bond with Usha, changed her name to Usha Kiran. The Hero Anup Kumar was actually Kalyan Kumar and actress Poornima was in reality Meher Bano. The film’s story and screenplay was by Ali Sagheer Usmani and Devi Sharan. Dialogues were by Vrajendra Gaud.
Ego Clashes and professional jealousies were quite common in older days when the Studio system was firmly saddled in the industry. Sometimes it even destroyed the studio like what happened in Calcutta’s New Theatres. B.N.Sircar and P.C.Barua spite forced Barua to quit. Later Sircar and Nitin Bose ego clash took New Theatres to its downfall and the exit of not only Nitin Bose but also Prithviraj kapoor, K.N.Singh, Kidar Sharma, K.L.Saigal and many others.
Same thing happened in Prabhat film company, where clashes of Shantaram with other directors prompted him to quit, with his group. Amiya Chakravarti came over to Bombay and, being a Bengali, joined Bombay Talkies owned by Bengalees, first as a Tutor for Bangla for the children of Niranjan Pal. Niranjan Pal had spent all his life in the UK and came to India with friend Himanshu Rai ( within a few years they fought bitterly and separated). Amiya first started as a Canteen Manager and then worked as assistant to Himanshu Rai. After Himanshu Rai’s death, there were two groups. Amiya joined Devika Rani’s group,being her favourite. She gave him the reward by allowing him to direct the film Anjaan-41, a Devika-Ashok Kumar love story.
Though, for director Naqvi’s film Punarmilan, Amiya and Gyan Mukherji wrote the screenplay together, they were never comfortable with each other. After the split in Bombay talkies,when Gyan Mukherjee went with the opposition group, their competition increased since now both were directors. When the other group started work on Kismet, with Anil Biswas as MD, Amiya also started Basant, with the same Heroine- Mumtaz Shanti- and Anil Biswas incognito with Pannalal Ghosh as a Front.
Even after Bombay talkies closed down, their competition continued. When Amiya did Baadal-51, on the same story, Gyan Mukherjee made the film Shamsheer-53 ( originally this film was made by Sargam films, but Bombay Talkies purchased its rights and released it.) Further in 1957, both started a film each with the same Heroine-Vyjayantimala. Amiya did Kathputli-57, but he died before this film was completed and Nitin Bose completed the remaining film. Similarly Gyan mukherjee started the film Sitaron se aagey, but he too died before the film was completed. After some time Satyen Bose was commissioned to complete the film, thus delaying its release in 1958. Their competition ended only after their deaths !
Husnlal-Bhagatram was one of the most popular composer pairs of their times. They started in 1944 with Chand. Their peak was achieved in 1949 and their magic ended with the sixth decade. They gave music to 49 films and most films’ music became popular. Although Bhagatram was the Elder of the two brothers, their name was famous as Husnlal – Bhagatram. During the peak of their career, the handsome,good looking Husnlal’s name was linked to the upcoming singer of those days-Lata Mangeshkar. This episode is described by C. Ramchandra in his autobiography in Marathi.
Elder brother Bhagatram had given music to 9 films in 1939 and 1940, independently, under the name Bhagatram Batish, but the brothers prospered only after Husnlal joined his brother and they gave music as Husnlal-Bhagatram.
Pandit Husn Lal was born in Kahma Village, district Jalandhar, Punjab, on 8-4-1920. He was initiated into music by his father, the Late Devi Chand and elder brother Pandit Amar Nath, (the famous music composer of the ‘40s). Later he became the disciple of Sangeet Maha Mahopadhyaya Pandit Dilip Chandra Vedi Ji.
Pandit Husn Lal’s first passion was playing the violin, and he learned further under Ustad Bashir Khan. Pandit Husn Lal was a performer par excellence in Khyal, Thumri, Dadra, Gazal, and Bhajan. He had a voice range of three octaves and was an accomplished master of complicated patterns of Taans, like his Guru Vedi Ji.
Pandit Husn Lal was an accomplished Violinist, a renowned Classical singer and an ace Music Director. He, along with his elder brother Bhagat Ram (an ace harmonium player, born in 1914), were the first prolific Hindi film music directors to work as a duo and went by the name of “HusnLal-Bhagat Ram”. The beauty and command over the violin can be seen in different compositions of the duo’s songs in films. They popularized Punjabi folk music as an art form, with a range of music that has a rare lilt and rhythm, yet soulful and poignant, thus becoming the most sought after composers. Their first hit was a film named Chand, after which they never looked back. They gave super hit melodies for more than 80 Hindi films. One point to be noted is that most of his films celebrated their Golden Jubilee with a credit to the music compositions and songs.
Their film Badi Behan (1949) was a classic in the history of Indian cine music. Besides the most popular song, ‘Chup chup kharay ho…‘ there are other seven numbers which gave the audiences the pleasure of music as an art form – ‘Wo pass rahein, ya door rahein‘, ‘Tum mujhko bhool jao, ab hum na mil sakeinge‘, ‘Likhnein waley ney likh dee meri taqdeer mein barbaadi likhnein waley ney‘ and ‘Bigree bananey wale, bigree banaa dey‘ (Suraiya) and ‘Muhabbat ke dhoke mein koi naa akey‘ (Mohammed Rafi).
In ‘Chaley janaa nahin‘ and ‘Jo dil mein khushi ban kar ayey‘ Lata Mangeshkar was perhaps at her best and there could not have been a better return gift to the composer Husan Lal on her 20th birthday (Lata Mangeshkar was born in 1929). The utterance coming straight from the singer’s heart, at times makes the listener cry, as a spontaneous outcome of eternal pleasure. The quality of a diamond cutter in master violinist Husan Lal can be visualized through these two immortal melodies of Lata Mangeshkar. The Punjabi style dholak played by their musician, Shanker (of Shanker-Jaikishan fame) was again a notable landmark!
The song “Suno Suno Aye Duniya Walo Bapu Ki Yeh Amar Kahani”, sung by Mohammed Rafi, was a milestone in the history of music. This song was composed by the duo within a record time of just 24 hours; soon after the demise of Mahatma Gandhi, the Father of the Nation. More than a million copies of a set of two 78 rpm discs of this recording were sold, within one month.
Husn Lal-Bhagat Ram worked with famous playback singers like Ameerbai Karnataki, Suraiyya, Shamshad Begum, Zohrabai Ambala, Lata Mangeshkar, Geeta Dutt, Suman Kalyanpur, and Kishore Kumar, Mohammed Rafi, amongst others. He also composed and played alongside Pandit Ravi Shankar and Pandit Jasraj.
Pandit Husn Lal performed as a violinist on All India Radio and at other renowned music festivals and concerts and taught music to his music-loving disciples. In the late 60s,this pair parted company with each other. Husnlal’s father in law was an influential person. With his help,Husnlal settled in Delhi and started teaching music to aspirants.
One day morning, while on a morning walk, he fell dead in a garden. Someone recognised him and informed his family. The day was 28-12-1968.
Bhagatram too spent his last days in pathetic condition,working for other composers.one day in 1973,he died in Bombay. His son Ashok,who uses the surname Sharma, is an artiste with Doordarshan. ( I had the opportunity to speak to Shri Ashok Sharma ji, about his father,a few months back).
Bhagatram was the elder brother, Husnlal was the younger brother. Have you anytime wondered why the younger brother’s name comes first in this pair ?
Normally, when a pair of brothers is referred, it is the elder brother’s name that comes first. For example, Ram-Laxman or Balram – Srikrishna or even Kalyanji – Anand ji, Jatin-Lalit or Anand-Milind. For many years, this matter was bothering me, but I could not find any justification for this unusual way of pairing. I was sure that there must be some story behind this.
The Blog “Songs of yore” published the second part of Husnlal-Bhagatram post on 11-8-2017, based on the interview of Dinesh Prabhakar, son of Husnlal and Ms. Nirmala Devi, wife of Husnlal. During her talk, Nirmala Devi explained the reasons for calling the pair as Husnlal-Bhagatram, in spite of Bhagatram being the elder one and more experienced of the two. Bhagatram had already given music, individually to 9 films, in the late 30s and early 40s, before the pair was formed. Her statement answered my long awaited query about the unusual name of the pair. Here is the related portion of her interview….
” The 90-year old Shrimati Nirmala Devi is an amazing lady. She still has a razor-sharp memory and superb knowledge of music and music personalities of that era. She gave me a lot of interesting information, not available elsewhere – for example, the reason why the younger brother Husnlal’s name comes first in the duo’s name. Her talk also revealed that other family commitments, too, in Delhi were contributory factors for their decline in the film music.
Shrimati Nirmala Devi speaks about her husband (late) Pt Husnlal….
“DD Kashyap, who was directing Chaand (1944) for Prabhat Films, wanted to engage Pt Amarnath based in Lahore, who was a towering figure in music. As he was heavily preoccupied, he strongly recommended his younger brother Pt Husnlal who was staying with him and assisting him in Lahore-based films of Pancholi and others, assuring Kashyap that Pt Husnlal was no less talented than him. Pt Amarnath was like a father-figure to his younger brothers, especially to Pt Husnlal. A music session was organized to demonstrate Pt Husnlal’s talent. Kashyap was highly impressed. When it was time for Pt Husnlal to proceed for Poona/Bombay, Pt Amarnath, out of concern for his kid-brother, suggested to Kashyap to also engage Pt Bhagatram with him. Kashyap expressed difficulty in arranging the payment for two as the contract was already made out. Pt Amarnath assured him that he should not bother about increasing the fee, but the two brothers must work together. Thus it was that Bhagatram got appended to Husnlal, forming the duo HB. ” Another reason why the younger brother’s name preceded the elder brother was simply the aesthetics – Husnlal-Bhagatram sounding better than the other way around. (Thanks to Blog “songs of yore” for this information.)
Today’s song is sung by Lata Mangeshkar. With this song the film gets YIPPEED, with all its songs covered on this Blog.
Song-Agar dil kisi per lutaaya na hota (Gauna)(1950) Singer- Lata, Lyricist-Qamar Jalalabadi, MD- Husnlal Bhagatram
Lyrics
hum jaisa kaun hoga zamaane mein badnaseeb
manzil se door ho gaye manzil ke saamne
agar dil kisi par lutaaya na hota
agar dil kisi par lutaaya na hota
agar dil kisi par
to ashqon ka dariya bahaaya na hota
agar dil kisi par lutaaya na hota
agar dil kisi par
jo maaloom hota ki hoga andhera
ki hoga andhera
jo maaloom hota ki hoga andhera
ki hoga andhera
charaag-e-mohabbat jalaaya na hota
charaag-e-mohabbat jalaaya na hota
agar dil kisi par
o duniya ke maalik
judaa thha jo karna
judaa thaa jo karna
o duniya ke maalik
judaa thha jo karna
judaa thha jo karna
to achcha thha unse milaaya na hota
to achcha thha unse milaaya na hota
agar dil kisi par
to ashqon ka dariya bahaaya na hota
agar dil kisi par lutaaya na hota
agar dil kisi par
Dheerey dheerey haank re gaadee
Posted on: April 7, 2024
- In: "Dheere dheere" song | Asha Bhonsle songs | Bullock cart song | Duet | Guest posts | Lyrics by Prakashchandra | Lyrics contributed by readers | Post by Arunkumar Deshmukh | Songs of 1940s (1941 to 1950) | Songs of 1950 | Surinder Kaur songs | Surinder Kaur-Asha Bhonsle duet | Yearwise breakup of songs
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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 : |
5742 | Post No. : | 18264 |
Today’s song is from a ‘not so well known’ film Sabak-1950. Out of 10 songs of this film, 9 are already discussed here. This is the last and final song for YIPPEE.
The sudden demise of Saigal in the early part of 1947 and the stir created by India’s Independence in the latter half of 1947 sent shock waves to the film industry. The exodus of Muslim artistes from India to the newly created nation Pakistan created a void in the industry. The Indian film industry had always been a dynamic one, because it was never tied to any particular style or system. As per need it had always moulded itself to newer environments and adapted to changes – be it style of acting or drama-classical type of songs. Due to its secular nature and readiness to assimilate newer styles and music, the Indian film industry continued to prosper.
From 1947 to 1950 was a period to shed the carried forward outdated music and imbibe new popular music from all over the world. The void in the stock of actors, Lyricists and Composers was almost immediately filled up by the waiting second line trained artistes in every field. In these 3 years new Music directors like Shankar Jaikishen, S.D.Burman, Roshan, Madan Mohan, Khayyam’s entry brought a new breeze of music. New lyricists like Shailendra, Hasrat, Shakeel, Majrooh, Rajendra Krishna, Sahir, Indivar etc pumped in fresh sounding songs and Rafi, Mukesh, Kishore, Talat, Manna Dey etc sang with fresh gusto and the public became ecstatic.
The year 1950 was full of films trying to reestablish Indian traditions and values through its family and social films and the stress on the popular mythologicals and stunt films continued, along with fresh lilting music to cheer up. D.C.Dutt, Ninu Mujumdar, Sardul Kwatra, S.Mohinder, O.P.Nayyar, Ram ganguli etc were new MDs to add to the melody of the old stalwarts like Naushad, C.Ramchandra, Husnlal-Bhagatram, Hansraj Behl, Vasant Desai etc.
Let us take a look at some important films of 1950, out of the total 113 Hindi films made in this year….
AFSAR – Based on the famous ” Inspector General” by Gogol. Suraiya regaled with her songs.
AANKHEN – Debut of Madan Mohan. Odd singers like Raj Khosla and Madan Mohan sang in it. Some songs of Meena Kapoor and Mukesh were hits.
AARZOO – Dilip Kumar- Kamini Kaushal love story on silver screen (and also off screen).
BABUL – The love tragedy of Dilip-Nargis.Excellent songs by Naushad.
BAWRE NAIN – First musical hit of Roshan. A Tragedy film.
DAASAAN – Yet another Tragedy, laced with good songs by Naushad.
JOGAN – Bulo. C. Rani’s best music.
SAMADHI – With the background of Netaji, a story of two brothers. Song ‘ Gore gore, o baanke chhore’ became a Hit.
SARGAM – Another filmistan musical. C.Ramchandra gave excellent songs on classical music, Rock and Roll, African Folk song and even an Arabic music song. All in one film.
GAUNA – Usha Marathe renamed Usha Kiran by Amiya Chakravarti. Anup kumar was the hero.
HAMARI BETI – Nutan launched at 14 years of age. Mother Shobhana Samarth debuted as a Director.
MASHAL – Based on Bankim Chandra’s novel ‘Rajani’. Manna Dey sang one of his best songs ‘ Upar gagan vishaal’.
MUQADDAR – Kishore acted and sang songs.
HAR HAR MAHADEV – Nirupa Roy and Trilok Kapoor made this Mythological, a great Hit. ( they went on to act in 7 more films together). Songs were popular too.
In addition a few films from Madras also enriched Hindi cinema in 1950.
Today’s film Sabak-1950 was neither a Hit film nor its songs became popular. But I can vouch for the fact that this film had very good songs.
SABAK(1950), produced and directed by M.Sadiq under the banner of Sadiq Productions, had music by A.R.Qureshi (the famous Tabla nawaz Allarakha and father of the famous Tabla player Zakir Hussain) with songs by D.N.Madhok.
The cast was Karan Dewan, Munawwar Sultana, Omprakash, Jahgirdar, Abbas, Jillo, Kumar, Cuckoo etc.
The story was interesting.
Thakur(Jagirdar) is a rich person,owner of 10 villages and 10000 bighas of land. Badrikaka (Omprakash) is a poor cultivator, who is Thakur’s enemy. But Thakur’s son Manohar (karan Dewan) is in love with Lajwanti (Munawwar Sultana), daughter of Badri kaka. Both parents warn their children. When Lajo does not stop, Badrikaka takes her to Thakur and demands that both be married. He is insulted and thrown out. Next day, Badri’s Mango grove is destroyed and burnt. He wants to leave the town, but in the fields, he finds a pot of Gold and papers which prove that Thakur is a cheat and all his property belongs to Badrikaka.
Now the situation is reversed. Thakur is poor and Badri is rich, so are their children. The film details how everybody learns the importance of love more than money. It is a SABAK (Lesson) to all.
The director of this film was M.Sadiq, who had ups and downs in his career, but he succeeded, both in India and later on in Pakistan, where he migrated in 1970. He was born in Lahore on 10-3-1910 and died in Lahore on 3-10-1971.
Sadiq was a Cinematographer, writer, s/p and dialogue writer, producer and director-all in one. Kardar knew Sadiq from 1932. M.Sadiq’s father was a Tailor and he was looking after the Kardar Studio’s costume department. He requested that his son may be taken by Kardar. Kardar took him also When he first directed the First Talkie from Lahore ” Heer Ranjha”-1932, its story and screenplay was by Sadiq. He started his career with Thokar-39 as a writer. Around 1940, he shifted to Bombay along with his mentor A.R.Kardar, actor Suresh ( Nazim Ahmed), actor Amar and a few others. While working as Kardar’s assistant, slowly he developed into a Director who directed about 27 films.He directed films like- Namaste, Rattan, Anmol Ratan, Saiyan, Shabab, Musafirkhana, Chhoo mantar, Chaudhavin ka chaand, Tajmahal and Bahu Begum for which he also wrote story and dialogues.
After Khota Paisa-58 Sadiq fell on bad times. He had no films on hand.That was the period when Guru Dutt was also in problems of debts. He wanted to make a film but did not want to direct it. That time Johny Walker suggested the name of M.Sadiq,whose first movie Namastey & another movie Sanjog,both produced by A R Kardar,were released in 1943 & were big hits.His Rattan,released in 1944 ,broke the records all over, in box office sweep. Poonam, Shabab,Anmol Rattan, Pardes, Jawani Ki Hawa, Anjan, were few of his famous movies. The prolific director,however, was now passing through a lean phase & of late he had made light comedies,like Chhoo Mantar, Duniya Rang Rangeeli, Khota Paisa, Musafir Khana etc.
M.Sadiq was brought in & he made the movie at break neck speed & released in 1960. Film Chaudhvin ka Chand needed a director who was fully equipped with muslim background and observation of even small presentations of voice, etiquettes, religion etc. It is all that M Sadiq performed but we must keep in mind Guru Dutt was behind the screen, though uncredited but he had the lion share to beautify the film. The movie proved to be the biggest hit and earned a lot more than other movies made by Gurudutt.M.Sadiq proved to be the saviour for Gurudutt. Gurudutt,not only came out of the cesspool of debt ,but earned enough money to plan his next movie.
The movie proved to be lucky for the good Samaritan M.Sadiq also who was recognized as a specialist of the movies having Muslim background.He got big movies Taj Mahal,Noor Jahan & Bahu Begum (1967),to direct.
Riding on the peak of popularity, after Bahu Begum, Sadiq Sahab left India & migrated to Pakistan. In 1971,there under his own banner he decided to produce Baharo Phool Barsao & for the music & songs he signed Nashad & Shewan Rizvi,respectively. Both had already migrated to Pakistan from India. He started shooting at Lahore Studio. But a calamity struck & Sadiq Sahab passed away after a brief illness on 03-10-1971. The movie was completed by Hasan Tariq & was released in 1972. The movie opened to full houses & celebrated Golden Jubilee at many places in Pakistan. Even in the re-run the movie was a jubilee hit.
M.Sadiq was destined to die at his birth place Lahore.
Today’s song is the last and final song of this film. The film will be YIPPEED with this song. It is a duet by Asha Bhosle and Surinder Kaur. Enjoy….
Song- Dheere dheere haank re gaadi(Sabak)(1950) Singers-Surinder Kaur,Asha Bhosle, Lyricist- D.N.Madhok, MD- A.R.Qureshi
Lyrics(Provided by Prakashchandra)
din gayaa aa aaa aa
shaam aayee eee eee
lekar aayee taaron ke paighaam
ke jaago dil waalon o oo
dilon ki dhadkan par ulfat
ulfat waalon
dheerey dheere haank rey gaadi
dheerey ae dheere haank rey
dheerey dheere haank rey gaadi
dheerey ae dheere haank rey ae
tik na sakengey morey
nain unn raahon pe ae
tik na sakengey morey
nain unn raahon pe aey ae
jaan dil dekar dil liyaa thhaa hamne
pyaar ka saudaa kiyaa thhaa hamne
dheerey dheere haank rey ae ae
dheerey dheere hank rey gaadi..ee..eee
meri raam kahaanee
ambuwaa ke ped sunaayen suntey jaanaa
meri raam kahaanee
ambuwaa ke ped sunaayen suntey jaanaa
jhoom rahaa hai mere saamney
woh samaa suhaanaa
jhoom rahaa hai mere saamney
woh samaa suhaanaa
ang ang ne thirakna seekhaa thhaa
mere dil ne dhadknaa aan aaa
o mere dil ne dhadknaa seekhaa thhaa
dheerey dheere haank rey ae ae
dheerey dheere haank rey gaadi
dheerey ae dheerey haank rey ae
tik na sakengey morey
nain unn raahon pe ae
dheerey dheere haank rey gaadi..ee ee eee
raftaar teri hai ae ae
tez badee o gaadi waaley ae ae
raftaar teri hai ae
tez badee o gaadi waaley ae ae
aisey mein kaisey koyi
meethhi meethhi yaad sambhaaley
aisey mein kaisey koyi
meethhi meethhi yaad sambhaaley ae
peechhey reh gaye khet suhaaney
gaaye jahaan aan aaa
o gaaye jahaan mil milke gaaney
dheerey dheere haank rey aey ae ae
dheerey dheere haank rey gaadi
dheerey ae dheere haank rey
tik na sakengey morey
nain unn raahon pe ae ae
dheerey dheere haank rey gaadi..ee
Jeet ho hamaari jeet ho
Posted on: March 11, 2024
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 : |
5715 | Post No. : | 18234 |
Today’s song is a marching song from the film ‘Veer Babruwahan’ (1950).
Now, the name ‘Babruwahan’ is a strange name and I am sure most readers have never heard it, at least those who are below 60 years of age. I heard his story for the first time from my grandfather when I was about 8 years old. Being an odd name and sounding even funny, it remained in my memory. Later I found his story in the 14th parva – The Ashwamedha Parva of Mahabharat in the sub–parva 91-92.
When I saw this film, I was actually surprised how the filmmakers even chose this story, which was not a very well known one from Mahabharat. But then, 1950 was a period when the entire country and the film industry was in a turmoil and both were trying hard to set the things in an order, with whatever efforts were needed.
After the unexpected and suddenly shocking demise of KL Saigal Sb in the beginning of 1947, India getting its Independence in August 1947 and then the ruling government trying to cope up with the huge migration of population on both sides of the newly created borders, the period from 1947 to 1950 was a testing time, both for the country and the film industry. Finally the Indian Dominion became the Republic of India on 26-1-1950 and the British finally repealed their article 395 to declare India to be a fully independent Democratic Republic.
The year 1950 also began an attempt by the film industry to make and present films on traditional value building, stories from our glorious history, importance of joint family and building Patriotism, Socialism and the stress on Indian folk music and dances, like in films ‘Mother India’ and ‘Naya Daur’ (both 1957) etc. Ace producers and Nehru fans like Bimal Roy, Raj Kapoor, Mehboob etc. also tried to push the Nehruvian philosophy of Socialism through their films. This period also saw stress on presenting our Mythology and Religious stories through films. To make films more interesting, melody and musical entertainments were made in bulk. As the decade of 1950-1960 was ending, the impact of western world in lifestyles and music (like Rock N Roll, Cha Cha Cha, Hawaian and Spanish tunes etc) became pronounced and the next decade i.e. 1960-1970 was full of such films. But that is another story…..
It was not just the impact of the western music but also the flow of films from Hollywood like ‘Ben Hur’, ‘My Fair Lady’, ‘Sound of Music’, ‘Ten Commandments’, ‘Quo Vadis’, ‘Samson and Delialah’, ‘Seven Samurai’ etc. became very popular in India. These films taught the Indian film makers that even smaller films (in terms of duration) can be popular if the content is solid and handled properly. Hitchcock films inspired films like ‘Apradhi Kaun’ (1957) etc. The end part of the 1950 was a mixture of films, as if the industry was in a fix as to which way it should go in the 1960’s decade !
Some of the interesting films in the year 1950 were….
- ‘DAHEJ’ – V Shantaram’s film depicted the sad plight and the defeat of a girl’s father to refuse giving dowry in his daughter’s marriage. This effective film paved the way to the enactment of the ‘ Prevention of Dowry’ act in later years.
- JOGAN – a love and hate story of an atheist and temple Nun. Excellent songs.
- BAWRE NAIN – a tragic love story is remembered as the first hit film of composer Roshan. Superb songs.
- SAMADHI – the conflict of two brothers, patriotism and hit songs.
- SARGAM – a musical story of 7 sisters. Memorable songs by C Ramchandra.
- MASHAAL, SANGRAM and MUQADDAR – all good films, but could not stop the eclipse of the giant Bombay Talkies.
- HAR HAR MAHADEV – An unexpected hit indicated the oncoming years of Mythology and Religious films till 1960, in a record number – 124 films in 10 years.
- AFSAR – the first film of Navketan banner. Based on Gogol’s The inspector General could not do justice to the original, in spite of good songs.
Other good films were
- BABUL – a tragedy love story of Dilip and Nargis
- SHEESH MAHAL – a depiction of the collapse of the old social systems.
- ARZOO – had excellent songs by Anil Biswas.
- PEHLA ADMI – Bimal Roy’s film had a backdrop of the Indian National Army of Subhash Bose.
- DASTAAN was yet another tragedy film.
- AANKHEN was composer Madan Mohan’s first film.
‘Veer Babruwahan’ was made by Homi Wadia’s Basant Pictures. It was directed by Nanabhai Bhatt (aka Batuk Bhai) who had earlier directed the film ‘Muqabala’ (1942), husband of a small-time actress Shirin and father of Mahesh Bhatt. Music was by the king of melody – Chitragupt, MA. The film’s cast consisted of Shashi Kapoor Sr., Mrudula, Urmila, Amarnath, Baby Madhuri, SN Tripathi, Umakant and many others.
Baby Madhuri – her real name was Maahe Laqa (meaning moon faced). She was the daughter of Master Ali Baksh, MD and Iqbal Begum, a cine artiste. In other words Baby Madhuri was the youngest sister of actress Meena Kumari and her sister actress Khurshid Jr. Born in a family of film people, Baby Madhuri was good at acting and singing. She was picked up by Director Nazir of Hind Pictures who took her for his film ‘Sandesha’ (1940). He is the same Nazir, whose first wife was Sitara Devi. He was the maternal uncle i.e. maama of K Asif (of ‘Mughal-e-Azam’ fame) . He later divorced Sitara devi (actually, she had eloped with K Asif ) and married actress Swarnalata and both migrated to Pakistan. Nazir’s studio was burnt during the communal riots in Bombay. Author Manto has detailed all this in his book.
In Wadia’s film ‘Vishwas’ (1943), the talents of Baby Madhuri in acting and singing flowered and she was appreciated much. Then she acted and sang some songs in films like ‘Anjaan’, ‘Jungle Princess’, ‘Muqabala’, ‘Ekta’ (Sindhi), ‘Andhera’, ‘Mahatma Vidur’, ‘Paraya Dhan’, ‘Bachpan’, ‘Nai Maa’ etc.
She was also called Madhu. She later married actor Mehmood. She was very fond of new fashions and western clothes. Due to this, she became a kleptomaniac and was caught many times stealing things and shoplifting. She knew riding, cycling and swimming too. She spoke good English, though not much educated.
After Mehmood divorced her, she got married to barrister Kishore Sharma, an associate of Nani Palkhivala.
[Thanks to shri Harish Raghuwanshi ji for info on Baby Madhuri].
The story of the film ‘Veer Babruvahan’, is as follows,
Babruvahan was the son of Arjun and Chitrangada, the princess of Manipur. He did not participate in the Mahabharat war from the side of Pandavas and remained in Manipur because he was the heir to the throne of Manipur after his maternal grandfather as he was adopted as his son by his maternal grandfather.
During the Ashwamedh Yagna, Babruvahan caught the horse and had a fight with Arjun. In the fight, he was able to kill Arjun as Arjun was cursed by Devi Ganga, mother of Bhishma, to die at the hands of his son. Thereafter, Ulupi, the other wife of Arjun, who knew about this curse, revived Arjun to life with the help of a special gem from the Naaglok.
Today’s song is a song to inspire the army of Babruwahan, who is proceeding to fight and kill Arjun – without knowing that Arjun was his father. This is the 6th song of this film and is a sweet song. Enjoy the song video….
Song- Jeet ho hamaari jeet ho (Veer Babruwahan)(1950) Singers-Amirbai Karnataki, Mohd. Rafi, Lyrics-Anjum Jaipuri, MD-Chitragupta MA
Female chorus
Male chorus
All chorus
Lyrics
jeet ho o hamaari jeet ho
jeet ho o
hamaari jeet ho
ye geet milke gaayenge
jeet ho
hamaari jeet ho
amar rahega ye nishaan
amar rahega raaj ye
amar rahega ye nishaan
amar rahega raaj ye
suhaag ghar ke aangnon mein kah raha hai aaj ye
kah raha hai aaj ye
pran deke laaj apne desh ki bachaayenge
pran deke laaj apne desh ki bachaayenge
ye geet milke gaayenge
jeet ho
hamaari jeet ho
jeet ho
hamaari jeet ho
chale hain yudhh bhoomi mein
wo kaun hai jo rok de
chale hain yudhh bhoomi mein
wo kaun hai jo rok de
ghamand apni veerta pe jisko hai wo tok de
ghamand apni veerta pe jisko hai wo tok de
tani hui kamaan se ye bijliyaan giraayenge
tani hui kamaan se ye bijliyaan giraayenge
ye geet milke gaayenge
jeet ho
hamaari jeet ho
jeet ho
hamaari jeet ho
hai chhatr-chhaaya veer ma ki maamta kiye huye
hai chhatr-chhaaya veer ma ki maamta kiye huye
kisi ki maang ka sindoor aasra diye hue
kisi ki mang ka sindoor aasra diye hue
isi sindoor ki chamk mein aage badhte jayenge
isi sindoor ki chamk mein aage badhte jayenge
ye geet milke gayenge
jeet ho
hamaari jeet ho
jeet ho
hamaari jeet ho
——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————
जीत हो
हमारी जीत हो
जीत हो
हमारी जीत हो
ये गीत मिल के गायेंगे
जीत हो
हमारी जीत हो
अमर रहेगा ये निशां
अमर रहेगा राज ये
अमर रहेगा ये निशां
अमर रहेगा राज ये
सुहाग घर के आँगनों में
कह रहा है आज ये
कह रहा है आज ये
प्राण दे के लाज अपने देश की बचाएंगे
प्राण दे के लाज अपने देश की बचाएंगे
ये गीत मिल के गायेंगे
जीत हो
हमारी जीत हो
जीत हो
हमारी जीत हो
चले हैं युद्ध भूमि में
वो कौन है जो रोक दे
चले हैं युद्ध भूमि में
वो कौन है जो रोक दे
घमंड अपनी वीरता पे जिसको है वो टोक दे
घमंड अपनी वीरता पे जिसको है वो टोक दे
तनी हुई कमान से ये बीजलियाँ गिराएँगे
तनी हुई कमान से ये बीजलियाँ गिराएँगे
ये गीत मिल के गायेंगे
जीत हो
हमारी जीत हो
जीत हो
हमारी जीत हो
है छत्र छाया वीर माँ की मामता किए हुये
है छत्र छाया वीर माँ की मामता किए हुये
किसी की मांग का सिंदूर आसरा दिये हुये
किसी की मांग का सिंदूर आसरा दिये हुये
इसी सिंदूर कि चमक में आगे बढ़ते जाएँगे
इसी सिंदूर कि चमक में आगे बढ़ते जाएँगे
ये गीत मिल के गायेंगे
जीत हो
हमारी जीत हो
जीत हो
हमारी जीत हो
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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5673 | Post No. : | 18183 |
Today’s song is a duet from the film ‘Pehla Aadmi’ (1950). This was a film from New Theaters, Calcutta, which had a background of Netaji Subhash Chandra Bose’s I.N.A. (Indian National Army or Azad Hind Fauz).
Following the outbreak of World War II, Japan invaded Southeast Asia. At the time 70,000 troops were stationed in the region, most of them along the Malayan coast. Japan conducted a lightning campaign which culminated in the fall of the Malayan peninsula and Singapore in 1942. In the Singapore campaign alone, 45,000 Indian prisoners of war were captured. It was from these prisoners of war that the Japanese decided to create an auxiliary army which would fight against the British.
The first INA was formed under Mohan Singh, a former officer of the British Indian Army captured during the Malay campaign. Conditions in the prisoner-of-war camps, as well as resentment against the British in general, saw many prisoners of war volunteer to join the Indian National Army. The initiative received considerable support from the Imperial Japanese Army and from the ethnic Indian population of Southeast Asia. However, disagreements between Mohan Singh and the Japanese Army Command regarding the autonomy of the Indian National Army led to the disbandment of the first INA in December 1942.
Although Mohan Singh had angered the Japanese Army Command through his actions, they relented to form a second Indian National Army. Mohan Singh himself recommended Subash Chandra Bose for the leadership role. His reputation as a committed nationalist was known to both the Indian diaspora of Southeast Asia and the Imperial Japanese Army. As such, they were more open to the idea of a nationalist army led by Subash Chandra Bose. The activities of Subash Chandra Bose in India had forced the British authorities to imprison him, but he escaped and reached Berlin in 1941.
Although the German leadership were sympathetic to his cause, logistic problems prevented them from granting any support to his quest for raising an army to fight the British. However, the Japanese were ready to support him and upon their personal invitation, Subash Chandra Bose arrived in Singapore in July 1943 to take command of what would be known as the Second Indian National Army, now known by its alternative name, the Azad Hind Fauj.
Rash Behari Bose had founded the Indian Independence League in March 1942. During the Second World War, Bose convinced the Japanese authorities to support the Indian independence movement. He was instrumental in raising support for the Indian freedom movement abroad. In the League’s second conference in June 1942, it was decided to invite and appoint Subhash Chandra Bose as the President of the League. The Indian National Army (INA), built by Subhash Chandra Bose on the broad framework given by Rash Behari Bose, was the military arm of the League.
After Subhash Chandra Bose took command of the Azad Hind Fauj, there was a swell of volunteers looking to join the INA. Although Subash Chandra Bose agreed for the INA to remain subordinate to the Japanese Army, he saw it as a necessary sacrifice towards the fulfillment of the ultimate goal of freeing India from the British Empire. The Azad Hind Fauj participated in Operation U-Go, the 1944 Japanese campaign towards British India. Although the INA saw initial success during the early phases of the operation, they were forced to withdraw during the Battle of Imphal and the Battle of Kohima (Fought on April 4th, 1944) which saw a disastrous defeat for the Japanese Army at the hands of the British.
The INA lost a substantial number of men and materiel in this retreat. A number of units were disbanded or used to feed into new divisions of the now-declining Japanese Army. Following the Japanese defeat in World War 2, most of the members of the INA were captured by the British. Subhash Chandra Bose himself eluded capture and was reported to have died in a plane crash near Taiwan in September 1945. (adapted from notes by Karthik of Byju’s study PDF, with thanks).
The film was directed by Bimal Roy. This was his last film with and for New Theaters. The music was by Rai Chand Boral. The cast of the film was Smriti Biswas, Balraj Vij, Pahadi Sanyal, Zahar Roy, Asit Sen, Bela Bose and many others. The 11 songs of the film were written by Prakash BA, Shyamal Gupta, Anant Krishnan and Deshraj.
The story of the film was,
Vijay Kumar and Chaudhari are thick friends, living in Rangoon, Burma. They have a son Kumar and daughter Lata. The children fall in love when young, and decide to get married, with elders’ consent. The year is 1943. Netaji Subhash Chandra Bose arrives in Singapore and tours Far Eastern areas. He invites the youngsters to join his INA to serve the motherland.
Kumar decides to join INA and promises Lata that they will get married after the war is over. Before going, Kumar’s father gives him a sword to use in the war. Kumar, after his training is over, is sent to the war front. During a battle, his leader is shot. Before dying he gives the Indian flag to Kumar and asks him to hoist it after victory.
The battle is won by Kumar’s unit and Kumar proudly unfurls the Indian Flag for the first time on a liberated Indian town. He becomes the ‘Pehla Aadmi’ to do so. Unfortunately, after hoisting the flag Kumar is shot dead. His body is brought to Rangoon for last rites. Lata is weeping. Kumar’s colleague in the war tells Lata to fulfill Kumar’s job in liberating the country. Lata too joins INA.
A cursory look at the Film Index book for 1931 to 2012, I found some names of films which were made on Netaji Subhash Chandra Bose. Film ‘Samadhi’ (1950), like today’s film had a background of I.N.A. or Azad Hind Fauz.
Netaji Subhash-1947
Subhash Chandra Bose-1966
Subhash Chandra Bose-1978 and
Netaji Subhash Chandra Bose – The forgotten Hero-2004.
While surfing on the Internet for more information, I found an article in The Economic Times dated 23-1-2023, which listed the names of 5 films that brought Netaji to life on screen….
1. ‘Netaji Subhash Chandra Bose- The Forgotten Hero’ (2004), written and directed by Shyam Benegal. The main actor was Sachin Khedekar.
2. ‘Bose – Dead/Alive’ (2017). This was based on the novel ‘India’s Biggest Cover Up or Netaji Rahasya Gatha’ by Anuj Dhar. The main actor was A Raj kumar Rao. This was a Web Series.
3. ‘Gumnami’ (2019). This was based on Mukherjee Commission hearings and the book ‘Counundrum’ by Anuj Dhar. Movie focusses on Bose’s retreat into anonymity post the plane crash and forging a career as a sadhu. He becomes known as The Gumnami Baba, an ascetic in Uttar Pradesh. The film starred Anirban Bhattacharya.
4. ‘Subhash Chandra’ (Bengali) (1966), directed by Piyush Bose. Shows his early years like student to a fighter, childhood and his ICS exam etc.
5. ‘Ami Subhash Bolchi’ (2011). Directed by Mahesh Manjrekar. Hero Mithun Chakraborti. this film is about the spirit of Netaji which motivates Deb Brata Bose to boost up his self confidence.
The story of ‘Pehla Aadmi’ was written by actor Nazir Hussain (ex INA), the lyrics were by Prakash (ex INA), and the music was by RC Boral. The film was directed by Bimal Roy, assisted by Hrishikesh Mukherjee. This was Bimal Roy’s last film with New Theaters. When he came to Bombay for the premier of the film, he met Hiten Chaudhari, who had worked in New Theaters earlier. He was the Pehla Aadmi to leave New Theaters and join Bombay Talkies in Bombay. Hiten took Bimal Roy to Bombay Talkies where he was offered the director’s position for the upcoming film ‘Maa’ (1952). Bimal Roy accepted it and settled in Bombay thereafter.
Bimal Roy was born on 26-7-1909, in Suvapur village in East Bengal. His father Hemchandra Roy was a very rich landlord. He was a simple and kind person. After he died, it was known that his servants had misappropriated all his money and land, and the family came on the road. The big family shifted to Calcutta in 1930-31.
Bimal Roy joined New Theaters as an assistant to Nitin Bose. He soon became an expert cameraman and shot films like ‘Chandidas’, ‘Devdas’, ‘Manzil’, ‘Grihdaah’, ‘Maya’, ‘Mukti’ etc. In 1937, he was married to Manobina Sen. He continued as a cameraman till 1942 doing more films like ‘Abhagin’, ‘Badi Didi’, ‘Abhinetri’, ‘Haar Jeet’ and ‘Meenakshi’.
By 1942, due to restrictions on supply of raw film and financial crisis, added to ego problems of big artistes and the management, New Theaters came into problems. One after another most artistes like Barua, Debaki Bose, Nitin Bose, Saigal, Prithviraj Kapoor, Kumar, Kidar Sharma etc left Calcutta and reached Bombay. Bimal Roy did a documentary on the Bengal Famine in 1943 and then directed his first Bangla/Hindi bilingual film ‘Udayer Pathe’/’Hamraahi’ in 1944. The successful film ran for an year in Calcutta and established him. Then came ‘Anjangadh’, ‘Mantramugdha’ and ‘Pehla Aadmi’.
Bimal Roy came to Bombay for the premiere of the film ‘Pehla Aadmi’ (1950). Here he met his old colleague Hiten Chaudhari,who was working in Bombay Talkies, which was supposed to be a hub for all artistes coming from Bengal. He took Bimal Roy to Bombay Talkies and he got his first film in Bombay- ‘Maa’ (1952), as a director. Then came ‘Parineeta’ (1953). Bimal Roy then established his own Bimal Roy Productions and made many films. He directed films like ‘Do Bigha Zamin’, ‘Naukri’, ‘Devdas’, ‘Madhumati’, ‘Sujata’, ‘Parakh’, ‘Prempatra’ and ‘Bandini’ for his own productions. For others too he directed films like ‘Biraj Bahu’, ‘Baap Beti’ and ‘Yahudi’. Bimal Roy Productions made films like ‘Amaanat’, ‘Parivaar’, ‘Apradhi Kaun’, ‘Usne Kaha Tha’, ‘Kabuliwala’ and ‘Benazir’ where other directors did the films.
Bimal Roy got 11 Film Fare Awards for Best films and Best Direction in all. He got several National and International awards too. He was a heavy smoker. In 1965, lung cncer was detected and he died on 8-1-1966
Bimal Roy was not only a very sensitive person, but he was like an institution for subordinates, who learnt a lot from him. He was like a complete school of film making and gave the film industry great filmmakers and writers like Hrishikesh Mukherjee, Gulzar, Nabendu Ghosh, Basu Bhattacharya, and Salil Chaudhari. ‘Do Bigha Zameen’ (1953) was based on Salil Da’s story ‘Rikshawala’, written in the 40s. ‘Parakh’ was also his story. He also wrote the screenplay for ‘Prem Patra’ and. After Bimal Roy’s death, Hrishikesh Mukherjee dedicated the film ‘Anupama’ to his memory.
One special characteristic of Bimal Roy was song picturisation on character and unknown artistes (like Guru Dutt). Sachin Shankar sang ‘Parakh’ song “Kya Hawa Chali”. His production manager’s wife Dolly Kapoor sang 2 songs in ‘Bandini’. Rajdeep, a character artiste sang “Mat Ro Mata Laal Tere Bahutere” in the same film. Wazir Mohammed Khan sang in ‘Kabuliwala’. In the same film a small-time actor MV Rajan also sang a song.
Bimal Roy shot a major part of the film ‘Madhumati’ in Nainital. When he came back to Bombay, to his dismay, he found that 60% of the shots were spoiled. Without losing head, he shot all those scenes in Bhandardara, near Bombay and the film was edited so well that nobody felt any difference !
[Adapted, with thanks, from the book ‘Bimal Roy’ by Shashikant Kinikar.]
Today’s song is a duet sung by Aparesh Lahiri (father of Bappi Lahiri) and Sandhya Mukherjee. Aparesh Lahiri was the inhabitant of Jalpaiguri, West Bengal. He was a famous Bengali singer. He was born in 1924. He used to sing in All India Radio, Calcutta. In one of the sessions, he met Bansuri Ghosh, a singer. They fell in love and got married.
Bappi Lahiri is the only child of Aparesh Lahiri. Aparesh Lahiri trained Bappi Lahiri about each and every aspect of music. The modern age of Bengali song can be said to have begun from the middle of the 19th century. Aparesh contributed quite a lot to this. Aparesh died on 28-5-1998.
Enjoy the song video. . .
Song-Taaron ki Raushni mein duniya nayi basaayen (Pahla Aadmi)(1950) Singers-Aparesh Lahiri, Sandhya Mukherjee, Lyrics-Prakash BA, MD-R C Boral
Both
Lyrics
o o o o o
o o o o o
taaron ki raushni mein duniya nayi basaayen
taaron ki raushni mein duniya nayi basaayen
rangeen bahaaren hain masti bhari fijaayen
rangeen bahaare hain masti bhari fijaayen
ye kaun aun
ye kaun sunaata hai mujhe prem ka gaana aa
ye kaun sunaata hai mujhe prem ka gaana aa
madhosh banaata hai mujhe kiska fasaana
afsaana nahin hai ye meri zindagi ka taar
afsaana nahin hai ye meri zindagi ka taar
duniya se door hamko basaana hai ye sansaar
raaten hon suhani khilen phoolon ki chaandni
phoolon ki chaandni
raaten hon suhaani khilen phoolon ki chaandni
phoolon ki chaandni
bajti ho mast jhoomke lehron ki raagini
lehron ki raagini
is prem ki duniya mein
is prem ki duniya mein
is prem ki duniya mein hamen do preet jhalak do
o o o
o o o
khaamosh nigaahon mein mohabbat ki chamak ho
o o o o
bedard zamaane ki wo baaten na sataayen aen aen
bedard zamaane ki wo baaten na sataayen
taaron ki raushni mein ham ek duniya basaayen
taaron ki raushni mein ham ek duniya basaayen
taaron ki raushni mein duniya nayi basaayen
taaron ki raushni mein
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 : |
5656 | Post No. : | 18156 |
“Sati Narmada” (1950) was directed by Ishwarlal for Abhimanyu Chitra productions. The movie had Jeevan, Sulochana Chatterji, Umakant, Salvi, Babu, Raje etc in it.
“Sati Narmada” (1950) had ten songs in it. One song has been covered in the blog. That was nearly ten years ago.
Here is the second song from this movie. Asha Bhonsle is the singer. Neelkath Tripathi is the lyricist. Music is composed by Khemchand Prakash.
Only audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this song.
Song-Lajaaye rahin ankhiyaan nigodi re (Sati Narmada)(1950) Singer-Asha Bhonsle, Lyrics-Neelkanth Tiwari, MD-Khemchand Prakash
Lyrics
lajaaye rahin aankhiyaan nigodi re
lajaaye rahin aankhiyaan nigodi re
kaise milaaun najariya najariya raama
kaise milaaun najariya
meethhi meethhi chaahen dabi dabi aahen aen aen
chup ke bulaaye neechi nigaahen aen aen
laagi lagan tosey haaye jiya jaaye ae
haaye
chhalke hai ras ki gagariya gagariya raama
chhalke hai ras ki gagariya gagariya raama
kaise milaaun najariya najariya raama
kaise milaaun najariya
pahla pahla pyaar hai kahaa nahin jaaye
pahla pahla pyaar hai kaha nahin jaye
raha nahin jaaye saha nahin janye
raha nahin jaaye saha nahin jaaye
bairan nindiya haaye sataaye ae
haaye
kaise main jaaun atariya atariya raama
kaise main jaaun atariya atariya raama
kaise milaaun najariya najariya raama
kaise milaaun najariya
lajaaye rahin aankhiyaan nigodi re
lajaaye rahin aankhiyaan nigodi re ae
kaise milaaun najariya najariya raama
kaise milaaun najariya
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 : |
5588 | Post No. : | 18062 |
Today’s song is from a social film Dolti Naiya-1950.
The film had a record 8 Lyricists writing 10 songs, sung by 8 singers. The cast of the film was Nigar Sultana, Shyama Dulari, Amarnath, S.Mazhar, Bhudo Advani and many others, including 3 Mirzas, namely Sharif Mirza, Agha Mirza and Mirza Musharraf.
Everyone who is working or doing a business has ambitions. A simple clerk wants to become a Manager, a Manager wants to become General Manager etc. Similarly a shop owner wants to increase his business so that he can have a chain of shops. This is a very commonly found human quality. Nothing wrong with it. I started my career as a Medical Representative with the Multinational Glaxo Laboratories of U.K. and ambitious as I was, I went on climbing the steps and became company’s General Manager, then a Management Consultant and presently a Director in a couple of Companies.
Film industry was not an exception. Everybody who joined was eager to do a better job. Actors wanted to become Heroes. Heroes wanted to become Directors. There are quite a few examples like Master Vithal, M.Kumar, Shahu Modak, Prem Adib etc who became directors. Fatima Begum from old times and Hema Malini from recent times also directed films. Among all these the No.1 goes to actor Dev Anand for directing 19 films. He had, of course, had the quantity but the quality can not be vouched.
Many comedians too directed films, like Mehmood, I.S.Johar, Radhakishen, Asrani, Deven Verma, Kishore kumar etc. Guru Dutt became an actor and a director from being just a Choreographer, while singer Uma Devi became Tun Tun, a Comedienne. The ways of the film industry are strange indeed !
One of the old time comedians Mirza Musharraf also had harboured a desire to become a Director. With today’s film, his desire was fulfilled for once. This was his first and the last film as a Director. The name of MIRZA MUSHARRAF AGHA may not ring any bells in the newer generation, as he was a comedian in the 30s and 40s-till the late 60s.
During the 30s and 40s there were quite a few real comedians, who regaled the audiences with their humour. Comedians like V.H.Desai, Ghory and Dikshit (the jodi like Laurel and Hardy),Mirza Musharraf, Bhudo Advani, Noor Mohammad Charlie, Yakub (he had travelled to 15 countries including UK and USA,before joining films) and Gope, Fatty prasad and Durga Mota were much in demand for comic roles in the films. With the times, one by one, all went behind the curtains, giving way to newer set of comedians like Bhagwan, Sunder, Radhakishen, Mukri, I.S.Johar, Majnu,etc. Nowadays, of course, Comedians have disappeared from films, because almost everyone in a film does Comedy, these days.
Somewhere in 2013, when I interviewed the son of comedian Bhudo Advani in Mumbai, he told me that his family and Mirza Musharraf’s family were very close. I naturally asked him if there are any close relatives of Musharraf that he knows of, so that I could contact them and try to get an interview. To my good luck he told me that Mirza’s daughter stays in our area of Andheri only and also gave me her address. Next Sunday I searched for that address and met the son in law of Mirza Musharraf. I explained to him my purpose for the visit that I wanted to interview Mirza’s daughter. However he clearly told me that it was not possible as Muslim married women do not talk with strangers. He further said that if I was keen he could give me the interview, but he demanded a heavy amount of money for that. I was disappointed, as any amount of my statements that I do not earn money from these interviews, he was not convinced and was adamant about money. Finally I returned from there empty handed and disillusioned. Then I collated information on Mirza Musharraf from various other credible sources.
Mirza Musharraf was born in a sophisticated educated family, on 12-6-1912, at Shujabad-Punjab. His father was an inspector of Police and claimed to be a scion of the Royal Mughal family. He matriculated from Lahore in 1930. He was keen on becoming a Journalist, so he worked in Daily Zamindar, Tariq and Shahid. He was a Nationalist, joined Congress and became Secretary of Lahore Congress committee. He was imprisoned but father got him released. He decided to change profession to films.
He got a small role of a party guest in the film ” Qazak ki beti-37′, which was being made by one of his acquaintances in Lahore. His second film was Prem Yatra-37. These were uncredited and insignificant roles, but they gave his clever mind a good idea of film line and acting.
A R Kardar who was into films was known to him in Lahore. Kardar took Mirza to Calcutta. There he acted in the film Milap-37. The Hero was Gul Hamid, who died in between and was replaced by Prithviraj Kapoor. Mirza also acted in the film Mandir-37. When Kardar shifted to Bombay, he too shifted.
He was very fond of writing Lyrics. He came to Bombay to write film songs and was employed by General films. Those days educated persons were eagerly employed by film studios. He first wrote Lyrics for A.R.Kardar’s film “Baghban”-1938. This was the film in which K N Singh did his first role as a villain. In this period, Mirza got married also.
During shootings Kardar required an artist and Mirza was called to fill up the slot, as per the studio norms. Mirza had no dialogues, but he exhibited excellent use of facial expressions and comic timing. This actually killed his dream of becoming a lyrics writer, because after that he was made a comedian and got several films. As a comedian,Mirza worked from 1938 to 1972,working in over 400 films. His last film was Roop tera Mastana-1972, where he was credited. Later he made appearances in films like Pathar se takkar-80 and Anjaam khuda jaane-89 uncredited.
When he was at the peak of his career, a happy producer gave his Bungalow at Versova free to him for living. Though Versova was then quite far off and sparsely populated, Mirza lived there like a king. The marriages of both of his daughters took place there.
Mr. Sanjit Narwekar-the famous Film historian/journalist writes in his book, “The story of Hindi Film comedy “,about Mirza. His specialty was interspersing his Hindi dialogues with English words-quite a curiosity in the pre-independence days. He was almost a permanent with V.M.Vyas and played cameo roles in a fairly long career. According to Saadat Hasan Manto in his book, stars of another sky -whichever film he acted, he used to be the darling of the Heroes.He was particularly liked by Kardar, K.Asif and Rafiq Gaznavi. In many films Mirza lip synched songs,but only in ONE film,he got to sing himself. That was the film Gharib ka laal-1939, in a duet and a solo. He also sung a few lines in the films Piya Milan-45 and CAPTAIN KISHORE-1957. He sang along with Mohd.Rafi and Tun Tun.
In one of the interviews Mirza gave to magazine Shama, in August 1981, he described some of his experiences in the film world. This interview is a part of the book ” Ye un dinon ki baat hai” written by my friend Yasir Abbasi. Here are a few of his stories. In Bombay, he got to know Nazir-actor, director, producer and owner of Hind Pictures studios, and his nephew K.Asif (Mughal-E-Azam fame). Asif did not work, so Nazir opened a Tailor’s shop for him, but still he did nothing. His interests were different.
Mirza also came closer to director S M Yousuf. Mirza was present in his marriage to actress Nigar Sultana. Mirza describes how K.Asif eloped with Nazir’s wife and his Mami(aunt) Sitara Devi. Asif later married Yousuf’s wife Nigar Sultana also. Still later Asif married Dilip kumar’s sister too. Asif was notorious in such matters.
Mirza knew Mohd. Rafi since Lahore days. When Rafi came to Bombay, Mirza introduced Rafi to many film people. Mirza claims that Rafi’s first Hindi recorded song was from the film Kul Kalank-45, ” Topiwale Babu'[ a duet with Amirbai karnataki. This song was shot on Mirza and Amirbai on screen. Rafi, it seems, got Rs. 75 for this song. Mirza acted in the film Grihasti-48, which became a Hit film, running for 105 weeks in Bombay. In a public poll, Mirza got a second prize for acting in this film (first was Yaqub) and he got a Gold medal of 3 Tolas. In his difficult days, Mirza sold it, he says.
There are many more anecdotes he describes, but maybe some other time. Mirza Musharraf died in 1991.
In this film, there is an actress called Shyama Dulari. During this period there were few other actresses having the name Shyama. This caused a “Same Name Confusion” about their Filmographies. Here is some information about this Shyama (Shama) Dulari. Not much is known about her personal life. Shyama Dulari hailed from a small city of Madhya Pradesh. She was interested in acting and had acted in school and college dramas. After education, she came to Bombay and appeared for a screen test and interview at Filmistan. She passed the test, but did not like the salary that was offered.
She went to Poona and met W.Z. Ahmed of Shalimar Pictures. He was quite impressed with her and signed an exclusive contract for 3 years, offering her a very lucrative salary. However in the next two years she acted only in two films – Meerabai-1947 and Shehzadi-47. Due to the contract, she could not work anywhere else also. After 1947, when Ahmed migrated to Pakistan along with Neena, she came to Bombay. Jayant Desai signed her for the lead role in the film Lakhpati. Unfortunately, due to her father’s illness, she had to leave Bombay and go back to her native city in M.P.
She came back and tried to get work. She worked in films like Rangeela Rajasthan-1949, Shair-49,Roshni-49,Rooplekha-49, Nakli Baap-49, Jal Tarang-49, Ek Teri Nishani-49, Char Din and Dolti naiya-1950. Her last known film was Babul-50 wherein she did a small role.
No information after that. Problem was that at the same time the famous actresses Shyama (Khurshid Akhtar) and Shyama Dulari were in the film line. Shyama initially was acting under the names like Baby Akhtar, Baby Khurshid and Baby Shyama; whereas Shama Dulari was credited as Shama, Shama Dulari and sometimes Shyama also. I listed films in Shyama’s name and tried to see the credits of films which were available. Though very few films are available on You Tube, I tried to separate the films for Shama Dulari based on her credits and by conjuncture. Still there could be some errors, which will be corrected when proof comes up suitably.
The story of this film is not known. One of the singers of this film is ‘Nargis’. She is not that famous Nargis from RK films. This Nargis was the first wife of Music Director Nashaad aka Shaukat Ali, Shaukat Dehalavi, Shaukat Hussain and Shaukat Hussain Haidari.
Today’s song is sung by Rajkumari Dubey.
Song-Duniya mein raha aaj nahin koi hamaara (Dolti Naiyya)(1950) Singer- Rajkumari, Lyricist- Prakash B.A., MD- Ram Prasad
Lyrics
Duniya mein rahaa aaj nahin koi hamaaraa aa aa
koi hamaaraa
deta nahin mujhko to sahaaraa bhi sahaaraa
sahaaraa bhi sahaaraa
armnaanon ki ik chhoti si basti ujad gayee
ban’ne se pahle haaye ye qismat bigad gayee
bigdee huyee taqdeer ko kisne hai sanwaaraa
kisne hai sanwaaraa
toofaan mein naiyya ko to har koi bachaa le ae
haan naiyya mein ho toofaan to o
phir kaun sambhaaley
parwaah nahin doobe ya mil jaaye kinaaraa
mil jaaye kinaaraa
deta nahin mujhko to sahaaraa bhi sahaaraa
sahaaraa bhi sahaaraa
aahen meree gairon ki hansee baun ke rah gayee
aankhen meree bewaqt ki baaarish se bah gayee
chamke baghair kho gaya ummeed ka taaraa
ummeed ka taaraa
duniya mein rahaa aaj nahin koi hamaaraa aa aa
koi hamaaraa
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 : |
5572 | Post No. : | 18044 |
Today’s song is from the film Gauna-1950.
Some of the readers may wonder about this title. The meaning of this word may not be known to readers from Non-Hindi states. Google defines it as….
” Gauna is a North Indian Hindu custom and the ceremony associated with the consummation of marriage is prevalent in the states of Bihar, U.P. and Rajasthan. It is associated with the custom of Child Marriage. The ceremony takes place several years after marriage.”
Hindus all over India have this custom in almost every state, but with a different name in every language. Of course now that the child marriage is illegal by law, this custom is out of date. However it is still performed immediately after all marriage rituals even these days in every Hindu marriage performed traditionally. These days the Bride and the Groom are quite matured at marriage time – mostly in their mid 20’s or even late 20’s. They already know everything about ‘ everything’ and the custom is followed only symbolically most times.
This film was made about 75 years ago. All this was a regular practice then. This was the first major film for the Heroine Usha Kiran. She got this name from this film. Earlier she used her real name Usha Marathe in films like “Lalaat”-1947. It was the director of this film Amiya Chakravarti, who gave her this name in the film Gauna-1950.
Born on 30-11-1912 Bogra,Rangpur District in East Bengal (now Bangladesh), Amiya Chakravarti worked as a child actor and singer on local stage. Later he joined the freedom struggle and courted arrest during Gandhi’s salt Satyagraha. Then he came over to Bombay and, being a Bengali, joined Bombay Talkies owned by Bengalees, first as a Tutor for Bangla for the children of Niranjan Pal. Niranjan Pal had spent all his life in the UK and came to India with friend Himanshu Rai ( within a few years they fought bitterly and separated). Amiya first started as a Canteen manager and then worked as assistant to Himanshu Rai. After Himanshu Rai’s death, there were two groups. Amiya joined Devika Rani’s group,being her favourite. She gave him the reward by allowing him to direct the film Anjaan-41, a Devika-Ashok Kumar love story.
Though, for director Naqvi’s film Punarmilan, Amiya and Gyan Mukherji wrote the screenplay together, they were never comfortable with each other. After the split in Bombay talkies,when Gyan Mukherjee went with the opposition group, their competition increased since now both were directors. When the other group started work on Kismet, with Anil Biswas as MD, Amiya also started Basant, with the same Heroine- Mumtaz Shanti- and Anil Biswas incognito with Pannalal Ghosh as a Front.
Even after Bombay talkies closed down , their competition continued. When Amiya did Baadal-51, on the same story, Gyan Mukherjee made the film Shamsheer-53 ( originally this film was made by Sargam films, but Bombay Talkies purchased its rights and released it.) Further in 1957, both started a film each with the same Heroine-Vyjayantimala. Amiya did Kathputli-57, but he died before this film was completed and Nitin Bose completed the remaining film. Similarly Gyan mukherjee started the film Sitaron se aagey, but he too died before the film was completed. After some time Satyen Bose was commissioned to complete the film, thus delaying its release in 1958. Even earlier Gauna-50 made by Amiya and Leela-47 made by Gyan Mukherjee had the same story. Their competition ended only after their deaths !
During his Bombay Talkies days, Amiya directed Anjaan-41,Basant-42 and Jwar Bhata-44. For his own Mars and Movies, he directed Daag-52,Patita-53,Baadshah-54, Seema-55,Dekh kabira Roya-57 and Kathputli-57. For other producers,he directed films like Mera Suhag-47,Girls school -49, Gauna-50, Baadal-51 and Shehenshah-53. In a career spanning 16 years he directed only 14 films. He also wrote story and screenplays for films like Bandhan-40, Anjaan-41, Baadal-51,Daag-52, Dekh kabira roya-57 and Kathputli-57.
Amiya introduced Dilip Kumar in Jwar Bhata-44, Usha Kiran in Gauna-50 ( though she had acted in film Lalaat-47 in her real name-Usha Marathe) and Shubha khote in film Seema-55. He promoted Jawahar Kaul, Daljeet and Anup Kumar as Heroes in the film Dekh kabira roya-57. He handled problems like Alcoholism in film Daag-52,Rape victim’s rehabilitation in Patita-53, Injustice in Seema -55, and problems of an Actress in film Kathputli-57. Amiya got involved with Usha Kiran during the film Gauna,but his wife sorted out the problem by meeting Usha Kiran and offering her divorce, upon which Usha Kiran wisely decided to break the affair herself to save Amiya’s marriage. Later Usha Kiran got married in 1954 with Dr. Manohar kher, who was given all information about this.
Amiya Chakravarty died of Heart attack on 6-3-57, at a young age of only 45 years. Till the end he donned only White Shirt and White Pants-the uniform of Bombay Talkies !
Film gauna-1950 had a starcast of a New heroine-Usha Kiran and a New Hero- Anup Kumar ( real name Kalyan Kumar Ganguly, younger brother of Ashok Kumar and elder brother of Kishore Kumar. Born on 9-1-1926, he acted in 47 films, directed 1 film-Nafrat-1987 and sang 3 songs in 3 films. Gauna-50 was his first film. He died on 20-9-1997), Poornima, S.Nazir, Indumati, Wasti and others. The MD was Husnalal-Bhagatram. All the 7 songs of this film were written by Qamar Jalalabadi (real name Om Prakash Bhandari-9-3-1917 to 9-1-2003).
One of the actresses was Indumati Lele in this film. She acted in only one film as a Heroine- Mazdoor-1945, opposite debutant Nasir khan. INDUMATI LELE (Born 18 December 1927 – Died 11 September 2013), forgotten Yesteryear Indian Theatre and Film Actress turned Folk Artiste.
Indumati and Kumudini Lele who were once famous as ‘Lele Sisters’ in Hindi and Marathi Theatre and Cinema fields, have been forgotten today. Indumati Lele, died at the age of 86, when she was still working as an examiner for the television program ‘Dum Damadam’.
Kumud and Indumati, were both known as ‘Lele Sisters” in the fifties. Both of them originally hailed from Ujjain in Madhya Pradesh. Their father Girdhar Lele was in Government job as Director of Agriculture, at Indore. From an early age, the two sisters loved acting and dancing. Both were involved in dance and dance related activities in their school. Prithviraj Kapoor saw the two at one of the school events and talked to their father and brought them straight to Mumbai. For the next two years, both sisters worked as artists in Prithviraj Kapoor’s ‘Prithvi Theatres” until the company closed. They played different roles in several of his Plays and had the fortune of touring India all along with Prithviraj Kapoor.
While Kumudini acted in Bimal Roy’s ‘Parivar’, ‘Bandini’ etc. and in few Marathi films like ‘Ram Ram Pauna’ etc., Indumati Lele acted in Prithviraj Kapoor’s Shakuntala’ and other plays. She also acted in some films while working in ‘Prithvi Theaters’, like Mazdoor-45, ‘Shehnai’ (1947), ‘Aag’ (1948), ‘Sunahare Din’ (1949), ‘Gauna’ (1950), Actor-51, ‘Chaudhwin ka Chand’ (1960), ‘Budtameez’ (1966), ‘Man Mandir’ (1971), to name a few. In Raj Kapoor’s ‘Aag’ (1948), she acted as his mother. She also appeared in two English films, ‘Householder’ with Leela Naidu and ‘Shakespeare wala” both with Shashi Kapoor.
Today’s song is sung by Shamshad Begum and chorus. This is the sixth song from this film to feature here. Now only one more song remains uncovered.
Song- Haseen chehre pe ye zulfen giraanaa–Unhen chhup chhup ke dekha hai (Gauna)(1950) Singer-Shamshad Begam, Lyrics-Qamar Jalalabadi, MD-Husnlal Bhagatram
Chorus
Lyrics
haseen chehre pe ye zulfen giraanaa
kis’se seekhaa hai
meree jaan
chaand badlee mein chhupaanaa
kisne seekhha hai
unhen chhup chhup ke dekha hai
unhen chhup chhup ke dekha hai
ise deedaar kahte hain
ise deedaar kehte hain
diya pehlee nazar mein dil
diya pehlee nazar mein dil
isi ko pyaar kehte hain
isi ko pyaar kehte hain
unhen chhup chhup ke dekha hai
unhen chhup chhup ke dekha hai
ise deedaar kehte hain
ise deedaar kehte hain
zara aanchal uthha ke dekhne do
chaand sa mukhdaa
ajee haan chaand sa mukhdaa
ajee haan chaand sa mukhdaa
ajee haan chaand sa mukhdaa
kaho tum isko aanchal
kaho tum isko aanchal
ise deewaar kehte hain
ise deewaar kehte hain
unhen chhup chhup ke dekha hai
unhen chhup chhup ke dekha hai
ise deedaar kahte hain
ise deedaar kahte hain
idhar bhee ik nazar daalo
bhhikaaree ban ke aaye hain
bhhikaaree ban ke aaye hain
bhhikaaree ban ke aaye hain
bhhikaaree ban ke aaye hain
unhen ye duniya waale
unhen ye duniyaa waale
husn ki sarkaar kehte hain
aejee sarkaar kehte hain
unhen chhup chhup ke dekha hai
unhen chhup chhup ke dekha hai
ise deedaar kahte hain
ise deedaar kahte hain
hamaaraa kaam dil denaa
tumhaaraa kaam dil lenaa
tumhaaraa kaam dil lenaa
tumhaaraa kaam dil lenaa
tumhaaraa kaam dil lenaa
hamen kehte hain dil waale
hamen kehte hain dil waale
tumhen dildaar kehte hain
tumhen dildaar kehte hain
unhen chhup chhup ke dekha hai
ise deedaar kehte hain
ise deedaar kehte hain
Lehron se khele chandaa
Posted on: October 8, 2023
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 : |
5560 | Post No. : | 18027 |
Today’s song is from the film Aahuti-1950.
I have not seen this film and I could not get any details of this film like its story etc from any source, so I do not know what kind of ‘ sacrifice ‘(aahuti) this film was about. From some of the songs, this film Aahuti aka Anokhi qurbani seems to be a film about Independence struggle or on conditions soon after India’s independence. This also looks like having a love story in the background.
The film was directed by Kulbhushan. He seems to have also produced and directed the film Saahi-1959 under the name Kulbhushan Agarwal. He acted in it as Kulbhushan and also wrote one duet song for Saahil-1959. It had the same music director, D.C.Dutta as for Aahuti-1950.
D.C.Dutt – 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 to get into Playback singing in Hindi films. In her early struggle, 3 Duttas helped her. The first was of course Datta Davjekar who gave her the first opportunity to sing a 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 Dutta 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 the film, only two were his and one of them was by Lata Mangeshkar.
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 songs was “Suno suno aye duniya walo, Bapuji ki amar kahani” sung by Mohd. Rafi in 4 parts and recorded by its composer Husnalal-Bhagatram. In this spate, even 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.
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, Aahuti-50, Simba-51, Ranee-52 and lastly Sahil-59. Very surprisingly, after the 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. It is said that Lata had also not sung for Music Director Khurshid Anwar, when she learnt that he could not play any musical instrument.
Today’s song is a duet sung by Geeta Dutt and Shankar Dasgupta. I am a great fan of Geeta Dutt and her songs. Long back,in our Management class, our Professor conducted a survey in the class. He asked us to write the name of the Toothpaste we were using. Those days too, Colgate was the Brand leader. There were 30 students in the class. I was using Macleans’ (a brand that was available in India in those days), so I wrote Macleans’. Then he collected all 30 chits, added his own and started reading. The result was Macleans’-8,Kolynos-7,Colgate-7,Forhans-6 and 3 were using tooth powder. He explained to us that even the Brand leader, not necessarily always, will lead in all consumer groups. It is a collective total which gives the leader its position.
The same is the case in any other field. Take the case of female playback Singers. In the 50s to 70s, Lata was the Brand Leader, but personally I always liked Geeta Dutt. I simply loved Geeta’s voice which had so much flexibility and was also so soulful.
When you hear her sing Meera Bhajan, you get lost in Bhakti Ras, listen to her sad songs and gloom descends on you and hear her club/cabaret song, you feel like tapping or dancing. It seems as if Geeta never bothered to be the No.1,she only wanted to be honest to her singing. She was a pure soul bearing no envy towards anyone. There is always a discussion whether she gave her best to S.D.Burman or O.P.Nayyar songs. Not many know that Geeta worked with more than 150 composers. I personally don’t believe she ever compromised in her performance. Whether she sang for a well known composer, or an unknown one like M.A.Rouf, S.L.Pardeshi, Manohar, D.V.Gadekar, Kumar, M.Masurekar, T.K.Das, Ali Husain, Pt.Harbans Lal or Rajhans, she put all her soul and skill in rendering the song.
There is, however, always a personal liking. I always liked Geeta’s songs with O P Nayyar. Their association started with the film Aasman (1952). Though her songs like “dekho jadu bhare more nain’ were very melodious and became quite popular,the film flopped. The subsequent film Baaz (1953) was also the same story. Good songs-film flopped. But then Aarpar (1954), Mr. and Mrs.55, Musafirkhana (1955) and Miss Cocacola and C.I.D.-in 1956 brought commercial success. After C.I.D. in 1957, Geeta suffered on 2 counts. One, O.P.Nayyar started grooming Asha Bhosale and secondly Geeta was facing a lot of personal problems. The singing assignments coming her way were getting lesser and even she was cutting down on the same. In fact, she had expressed a desire to completely stop singing in the year 1957.
In the year 1958 she got only 10 songs from O.P.Nayyar. But then she sang the iconic song in Howrah Bridge which made her name Amar in the history of the Golden Age of HFM forever. This incident has been narrated by the famous film/music writer Issac Mujaawar in the Marathi magazine Rasrang. When Howrah Bridge was being made, it was evident that all the songs would go to Asha. By that time ASHA had mastered the art of singing club/cabaret songs. It is said that rehearsals were done for ”Mera naam chin chin chu”. Shakti Samanta was the Director of the film. O.P.Nayyar never tolerated any interference from the Producers or the Directors. Shakti da wanted that song to go to Geeta, as he genuinely felt that she is better suited to sing it. He called Nayyar one day and coolly explained to him the situation. Miraculously, Nayyar accepted the suggestion without a word of protest. Maybe his conscience was biting him, or maybe he too thought on those lines. Whatever be the reason, Geeta was summoned the next day and the song was given to her. The rest is History…….as they say.
Geeta’s younger brother Milan Roy Choudhari, who was in the USA for education and later to build a career, was 10 years younger to her. She was very much attached to him. It was Geeta who financed his US visit and his education. He recently died in America. He was well known to me. He used to read all my articles on HFM till his death. About 10 years ago, I had written an article on Geeta Dutt, on somebody’s request for her Death Anniversary. When Milan read my article, he wept like a child. Then he wrote a sentimental letter to one of our common friends.
Here is the relevant portion….
” I am a huge fan of Arunji and his writings. I really admire his vast knowledge and his expertise on details. There were tears in my eyes when I first read this article at Geeta Dutt blog on her death anniversary. Mr Deshmukh has depicted some aspects of my sister’s singing very accurately. She indeed always tried to understand the words of the song thoroughly before she sang in order to give the proper feeling to her singing. I am 11 yrs younger than her and I was very close to her.In 1961 she was the one who sent me to the USA for further studies. She used to always take me to recordings and Functions with her. To me she was not only a great singer but also a great human being. I am very grateful to Arunji for writing such a beautiful write up on her.”
Here is that article for our readers, which was written on Geeta Dutt, 10 years ago…..
“City- Bombay (Now Mumbai)
Date- 20th july 1972
Place- Harkisandas Hospital, BombayFew people were standing in the corridor . Anxiety, sorrow, helplessness and a little hope was clearly written on their faces. They were all quiet. No one was talking to anyone. Their body language gave away their agony and restlessness.
Suddenly, a Doctor came out of a patient’s room. All ran to him and then stopped. The Doctor’s face and the tears in his eyes told them what they were afraid of.
No one said anything. No one asked anything. The Doctor said, ” I am sorry. She is no more.” He left, dragging his heavy feet.The end of an Angel had come !
Geeta Dutt has left us forever !!
Only her memories and the inimitable voice were left behind !!!Born on 23-11-1930 at Idlapur in Faridkot District of East Bengal,to a big Zamindar, Devendranath Roy Chaudhury and Amiya Roy Chaudhury,Geeta inherited her mother’s love for music. She learnt Classical Music from Pt.Hirendranath Chaudhury, while studying in an Anglo-Bangla school.
When she was just 12 year old, the family had to run away from East Bengal, to save their lives-leaving all property behind- to Bombay. In Bombay, we all know how Pt. Hanuman Prasad, MD(ex husband of Lalita Pawar) discovered her for playback in Hindi films. Later when S D Burman heard her singing, he knew instinctively that this was the voice which would make him successful and establish in Bombay. Until then Burman had not succeeded much to his satisfaction. To give her songs in ‘ Do Bhai ‘, he had to convince Chunilal of Filmistan, with great difficulty.
Geeta did not disappoint.’ Mera sunder sapna beet gaya” and ” Yaad karoge” made history and put both Geeta and Burman in the Top league overnight.
Do Bhai made other famous composers to sit up and take notice of this new voice. They lined up to give Geeta ‘ Gaaon’-47(Khemchand Prakash), Leela,Shehnai and Saajan-47 ( C.Ramchandra),Geet Govind-47(Gyan Dutt),Actress-48(Shyamsunder),Chunariya-48(Hansraj Behl),Padmini-48(Ghulam Hyder) and Ek thi Larki-49(Vinod).
1950 was Geeta’s year.Many hits came Bawre nain,Har har mahadev and Jogan solidified her position on Top.Composers felt she was inevitable,for their success.
Before recording,Geeta used to sit with a Lyricist,understand the words and the implied meanings,then hear the tune from the composer and then sing in her own style. Basically,Geeta was very Gifted and hence with just one rehearsal,she could record the song to the entire satisfaction of all concerned.This made her the darling of the Composers.
Now, the newer MDs like Hemant Kumar,Vasat Desai, Madan Mohan and O P Nayyar also vied with each other to take Geeta. While doing Baazi, she met Guru Dutt and they got married on 26-5-1953. She was earning thousands of rupees in singing, but that time Guru Dutt was not that successful. Some magazines and Papers said that he married Geeta for her money. Guru Dutt was furious and asked Geeta NOT to sing for others, restricting her to only his films. This supposedly suffocated her and she rebelled against it, which affected their relationship further.
Geeta had a liking and flair for acting. In Calcutta, she acted as a Heroine in the Bangla film-‘ Badhu baran”. She did get some more offers but once she decided to settle in Bombay she refused all offers. Few people know that in Bombay a Hindi film- ‘ Tera saath hai Pyaara ‘, with Geeta as a Heroine had started, but unfortunately, after a few reels, the film got shelved. To give a chance to her and to mend their relationship, Guru Dutt started filming “Gauri” with Geeta as a heroine, a bi-lingual in Bengali and Hindi. However due to reasons not known to us, Guru Dutt shelved this Bangla film after shooting a few reels. This made the couple more distanced from each other. We all know the story’s end…..
Somewhere in 1971, there was a programme ” Yaaden Shakeel ki” in Bhaidas Hall, Parle. I had gone to that programme and I saw Geeta Dutt there. Many singers had come there-Rafi, Mukesh, Mahendra Kapoor, Chandru Atma and Lata. When Lata was to come for singing there was a flurry of activity on the stage with everybody trying to please Lata. Lata came, sang and left like a Queen. When Geeta came on the stage, hardly anyone did anything for her. This is how this world is ! Geeta came, drew Harmonium near her and sang a Ghazal of Shakeel Badayuni “Ujaale apni yaadon ke”. When she finished, there was a clapping louder that what Lata had received, from the Audience-people knew her value !!
Geeta was optimistic even in the year 1971. She used to say, ” If 2 hit songs in Aradhana can take Kishore Kumar to the Top, even 2 Hit songs for me will do the same.” But it was not to be. Even the regular composers like O P Nayyar already turned their backs on her. Destiny decided to call her back !!!
One of my regrets was that if only Naushad had supported Geeta, she would have gained eminence for his songs for ever, like Saigal, Surendra, Parul Ghosh, Zohrabai, Amirbai, Naseem Akhtar, Shamshad, Noorjehan, Suraiya, Uma Devi, Talat, Mukesh, Rafi and Lata….but Geeta’s name was not in this list. I am not a statistician, so I can not say how many songs she sang for Naushad, but I am sure it was almost nothing except a half song in Dillagi (1949) and a club song in Son of India (1962).
Geeta’s voice was typical Bengali. She sang all kinds of songs wonderfully but was truly a master at melancholies. Burman da who gave her emotional songs in Do Bhai, also gave her peppy club songs in Baazi, to make use of the sexy tinge in her voice. Further O P Nayyar fully exploited this special feature in Geeta’s voice. Her voice was sometimes sweet, sometimes namkeen. It had depth. In this case Geeta was one step ahead of Lata. Geeta’s voice was different for every situation. When she sang, ’Baat chalat nayi chunari’, you felt she would have been a better classical singer than Laxmishankar. When she sang,’ Main to Girdhar ke ghar jaoon ‘, you felt Oneness with God, hearing her Bhakti ras dripping voice.
Juthika Roy was famous for Meera Bhajans, but I always felt that her voice was the same in any Bhajan, while Geeta’s Bhajans exuded different emotions in every bhajan.
While singing Club songs, Geeta was a different person. Just recall that “Hey hey hey hey Tadbeer se bigdi hui taqdeer bana le” song or listen to “O Babu O Lala” or “mera naam chin chin chu”, then you will realise what I am saying !
One very important point in Geeta’s singing is not highlighted by many. In Hindi films there are many Male and Female versions of songs called Tandem songs and many singers have sung them. While singing such female version songs, Geeta never lost to the male singers ! All Geeta versions were more popular than the Male versions.
Both Asha and Lata have not a great record on this count.
You will remember Kishore’s ”Jeevan ke safar me raahi” but not Lata’s version. You will remember Talat’s ” Aye gham-e-dil kya karoon’ but not Asha’s version. Kishore was better than Asha in “Zindagi ek safar hai Suhana” versions and also Kishore was better than Lata’s version of “Khilte hain gul yahan”.
When it comes to Geeta, she never lost to male versions. C H Atma’s ”Preetam aan milo” is remembered by less people that Geeta’s ” Preetam aan milo” from mr. and Mrs.55 (same song.written by Saroj Mohini Nayyar,O.P.’s wife). Geeta’s “Kaise koi jiye” (Baadbaan) is much better than Hemant Kumar’s version. Similarly,” Hai ye duniya kaun si'(Sailaab) and “Na yeh chand hoga”(Shart). In both songs,Geeta is superior and more popular than Hemant Kumar. (There is a story behind the song-Na yeh chand Hoga. Once a jilted young lover committed suicide under train at Patna. In his pocket these lines were written on a paper-Tumhare liye hain,tumhare rahenge,Na yeh chand hoga,na taare rahenge,magar hum hamesha tumhare rahenge. Lyricist S.H.Bihari used these lines in his song).
On 22nd July 1972,just 2 days after Geeta’s death, there was a preplanned programme of Juthika Roy in Birla Matoshri Sabhagriha, Bombay. I had booked my tickets well in advance, so I went there. In the beginning everyone paid respects to Geeta Dutt, by standing for 2 Minutes. Talat, Jagmohan and Surendra were also there. Then Juthika Roy came on stage,drew Harmonium near her and started singing ” Pag ghungroo bandh…” .
I was lost in Geeta’s memory and saw Geeta with a Harmonium singing ” Main to Girdhar ke ghar jaoon………………….”
Let us now listen to today’s duet by Geeta and Shankar Dasgupta.
Song- Lehron se khele chanda (Aahuti)(1950) Singers- Geeta Roy, Shankar Dasgupta, Lyricist- Tandon, MD- D.C.Dutt
Both
Lyrics
lehron se khele chanda
chanda se khelen taare
lehron se khele chanda
chanda se khelen taare
o o
main tere dil se kheloon
tu mere dil se pyaare
lehron se khele chanda
chanda se khelen taare
o o
main tere dil se kheloon
tu mere dil se pyaare
haaye na jaanoon piya
nainon ki preet kya hai
jaanoon to ye na jaanoon
kehne ki reet kya hai
haaye na jaanoon piya
nainon ki preet kya hai
jaanoon to ye na jaanoon
kehne ki reet kya hai
nainon se nain mila ja nadiya kinaare
haan nadiya kinaare
main tere dil se kheloon
tu mere dil se pyaare
lehron se khele chanda
chanda se khelen taare
o o
main tere dil se kheloon
tu mere dil se pyaare
chhip sakte hain tori ankhiyon mein sapne gori
chhip sakte hain tori ankhiyon mein sapne gori
kaise chhipega lekin
milna ye chori chori
kaise chhipega lekin
milna ye chori chori
sapnon ki nagri aaja nadiya kinaare
haan nadiya kinaare
main tere dil se kheloon
tu mere dil se pyaare
lehron se khele chanda
chanda se khelen taare
o o
main tere dil se kheloon
tu mere dil se pyaare
Nanhi munni chaand ka tukdaa
Posted on: August 6, 2023
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Blog Day : |
5497 | Post No. : | 17938 |
“Hamaari Beti”(1950) was produced and directed by Shobhana Samarth for Shobhana Pictures, Bombay. This movie was produced by Shobana Samarth to launch her daughter Nutan in the movie world. The movie had Nutan, Shekhar, Baby Tanuja, Motilal, Shobhana Samarth, Veera, David, K.N.Singh, Randhir, Agha, Pramila, Cuckkoo, Amir bai, Nandani, Master Ratan etc in it.
“Hamaari Beti”(1950) had ten songs in it. Seven songs have been covered in the past.
Here is the eighth song from the movie to appear in the blog. This song is sung by Rajkumari. Lyricist of the song is not known. Music is composed by Snehal Bhatkar.
Lyrics of the song indicate that a mother is singing this song adoringly for her young daughter. Only audio of the song is available. My guess is that this song is lip synced by Shobhana Samarth for Baby Tanuja (younger daughter of Shobhana Samarth, then 7 years old) playing the role of child version of Nutan in the movie. I request our knowledgeable readers to throw light on the picturisation of the song.
Lyrics of the song were sent to me by Prakashchandra.
Audio link:
Song-Nanhi munni chaand ka tukda (Hamaari Beti)(1950) Singer-Rajkumari, MD-Snehal Bhatkar
Lyrics(Provided by Prakashchandra)
nanhi munhi
nanhi munhi chaand ka tukdaa
beti ek hamaaree
beti ek hamaaree
ek din bolee
ghodaa laa do
us par karoon sawaaree
maa ne mukhdaa chhoom liyaa aa
ho o ho o o
maa ne mukhdaa chhoom liyaa
aur pyaar se poochhaa betee
kaun des hai jaanaa tujhko
hamein chhod ke pyaaree
beti ek hamaaree
ab beti ka nakhraa dekho
haath jhatak kar bolee
is motor kee sair to kar lee
ab ghode ki baaree
betee ek hamaaree
beti kaa dil khush karne ko
maa ne bhi khush ho kar
arabee ghodaa
arabee ghodaa ek khareedaa
dekar keemat bhaaree
haath mein chaabuk lekar beti
ghode par jaa baithee
chaal pawan kee chalaa jo ghodaa
naachee dharti saaree
ho o ho
naachee dhartee saaree
chaand ne dekhaa chaand ka tukdaa
chaand se milne ae aayaa aaa aaa
taaron ke sang kiyaa aaa swaagat
bolaa pyaaree aa jaa aa
haath badhaa kar bolee betee
thhak gayee rey main..aen chandaa
god mein lekar bolaa chandaa
so jaa aaaa
so jaa raajkumaaree..ee ee so jaa
so jaa aa raajkumaaree..ee..eee
so jaa
hmm…hmmm..hmmm…hmmm…hmm
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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