Archive for the ‘Songs of 1950’ Category
This article is written by nahm, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws
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Blog Day : |
4724 | Post No. : | 16436 |
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Geeta Dutt – Solos and Duets (06)
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Question:
Kitaaben bahot si
padhi hongi tum ne
magar koyi chehra bhi
tum na padha hai
Answer:
Padha hai meri jaan
Nazar se padha hai
Next Question:
Bata mere chehre pe
Kya kya likha hai
The above is a film song from the film ‘Baazigar” written by Zafar Gorakhpuri. There have been some songs in hindi films which refer to ‘Kitaab’, like
Dil ki kitaab kori hai kori hi rehne do and Haathhon mein kitaab baalon mein gulaab.
The second song above is my own post from 2015. As I read it again today, I found that I referred to the ‘Baazigar’ song in that post as written by Sameer, but that’s incorrect. Another reason why I am talking about books today is, in a recent post I talked about film magazines. That evoked a few comments from regulars, which in turn made me remember a lot of mishaps or near misses, which have happened in my life.
My love for reading has always been an important factor in my life. Not necessarily, useful things or text book learnings, but anything on any topic that catches my fancy and is readable and reasonably understandable to my unscientific mind. Scientific theories are beyond me, and maths was my weakest subject in school. But I was not at all lacking in analytical abilities and general knowledge, which seems to have gotten me through at least one all india level competitive exam, where lakhs of people aspiring for government jobs tried. It could have been sheer luck that I got most of ‘analytical ability’ part objective type answers correct. It certainly cannot have been the mathematical portion of the exams. One portion was of English language, that must have helped. I kept the ‘Maths’ part for the last, and some of the answers I just marked randomly :-). The exam was for undergraduates, but my father still could not believe it, when he saw the merit list.
Reading, reading and more reading, has made me a more balanced person, where I don’t get easily rattled. Never bored under any circumstances. Magazine is ‘risaala’ in urdu language. I have grown up with all kinds of publications, periodicals, weekly, fortnightly, monthly, and of course the daily newspapers. Digests also, in Urdu and ‘Reader’s digest’ in English. I have read many novels in Urdu too, which are difficult to come by now. I know, digital version is available, if I really want to read them now. All my maternal uncles and paternal uncle, would carry some newspaper or magazine with them whenever they came to our place. Now I go to their places, there is no sign of magazine or newspapers in their household. We can blame this on digital media, which has put paid to the printed material’s role, in our daily lives. It comes DTH, appears cheaper, requires no hard-work or maintenance even. Don’t have to save it from small children. That the children should be kept away from things digital, is another matter.
Thus, I was exposed to different type of publications in English, Urdu, Hindi and Marathi, while growing up. I consider myself fortunate to have seen “Blitz” in English and in Urdu, for e.g. All periodicals published in the south also I have read while growing up, be they political, sports or financial. Maybe in 1993 people still referred to books as ‘kitaab’, but now the word is rarely heard, unless I am watching an urdu drama series. There also only the older generation is heard talking of ‘kitaab’. In school textbooks were ‘kitaab’ and notebooks were ‘copy’ or kaapi.
Living and growing up in a metropolitan city has its own advantages. Major ones in my opinion are, the cosmopolitan outlook that one develops in personal and social aspects, plus the opportunities for growth and success in life professionally, are better. A thriving city is like a big machinery, it cannot afford to let any part of it be disrupted. Be it the lowest of slums or the poshest of locality. And overall people are not bothered what others are doing, which augers well in some ways. In terms of personal freedom and mental well-being.
So here I was, growing up in Mumbai, in which good fortune I had no contribution to make. It was destiny. A couple of things, like missed opportunities that have surfaced in the memory, is a job opportunity in a financial magazine. I got a call for some sort of test they were taking, I must have applied for the ‘trainee’ job, right after graduation. I attempted that test, without knowing what to expect there. I may not have fared well there, as I never got a call or any communication.
Another instance of a missed opportunity is one where I attended a walk-in interview somewhere in the Fort area for some trainee post at TCS in 1990-91. Computers were the new in-thing in the late 80’s and in college we had ‘computer science’ as optional subject. TCS was on its way up to the greater things it achieved in later years. There was group discussion also among the candidates who had turned up that day. I remember there were around 15-20 of us. At the end of it all some were shortlisted, then were told to take up the course, which was costing may be 10000/- or so, I don’t exactly remember. They said that the candidates will be absorbed in the company after that course, but the fees had to be paid. I came home and discussed all this with my parents. I was not so keen on computer programming, as it is, so didn’t press the issue. Theory subject were my forte, and I used to do well in subjects like economics. Late 80’s and early 90’s was also a period of great boom in share markets investments. It turned out that my father has shares of TCS, which he obviously got at the time of issue years ago. Lo and behold, if he knew or had an inkling of the company’s prospects and potential, then he could have guided me in that direction. But that was not to be, as it was not destined to be. After all God Almighty is the best of planners, and it is his will and his alone, that can take us in a particular direction.
Nida Fazli has said accurately:
“waqt se pehle qismat se zyada, kisi ko mila hai na kisi ko milegaa”
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Lakdi jal koyla bhayee
koyla bhayee raakh
Main baawri aisi jali
koyla bhayee na raakh
This is the actual doha, from which the initial lines of the song are inspired. Lyricist is Anjum and the composer of this truet song is Chitragupt. The singers are Geeta Dutt, Shamshad Begum, and Shanti Sharma. Shanti Sharma is a new name for me, but I see in the stats page that she has 2 songs in the blog.
This is a nice qawwali style song, I had saved the link for featuring in this series of Geeta Dutt. One more variation, in the singer’s repertoire for sure. She has been part of many qawwali’s in the career, as she was capable of singing all types and moods of film songs. She was comfortable in the mischievous songs also, with her strong vocals, with a hint of khanak, like Shamshad Begum. Asha Bhosle has in later years, tried to adopt the strength in voice which was a signature of Shamshad Begum and which Geeta Dutt has demonstrated in many songs.
Song-Dekho to dil hi dil mein jalte hain jalne waale (Hamaara Ghar)(1950) Singers- Geeta Roy, Shamshad Begum , Shanti Sharma, Lyrics-Anjum, MD-Chitragupta
All
Lyrics
Lakdi jal koylaa bhayee
Aur koyla jal bhayaa raakh
baaki dushman yoon jale ae ae
ki koyla bhaye na raakh
dekho to dil hi dil mein ean
dekho to dil hi dil mein
jalte hain jalne waale
haay jalte hain jalne waale
dekho to dil hi dil mein
jalte hain jalne waale
haay jalte hain jalne waale
aapas mein mil jul kar hansnaa
khel naseebe waalon ka
haay khel naseebe waalon kaa
aapas mein mil jul kar hansnaa
khel naseebe waalon ka
haay khel naseebe waalon kaa
ho oo oooo
kaam nahin duniya mein kisi ko
dekh ke jalne waalon ka
haan dekh ke jalne waalon ka
aaa aa aa aa
khoob samjhte hain matlab
in ulti seedhi chaalon kaa
hai dhokhe ki ye duniyaa aa
hai dhokhe ki ye duniyaa
kehte hain kehne waale
haay kehte hain kehne waale
dekho to dil hi dil mein
jalte hain jalne waale
haay jalte hain jalne waale
dekh ke ham ko jalte ho
kya seekhe chaal zamaane ki
haay seekhe chaal zamaane ki
dekh ke ham ko jalte ho
kya seekhe chaal zamaane ki
haay seekhe chaal zamaane ki
ho oo o o o
aankhen ho to haalat dekho
deepak ki parwaane ki
haay deepak ki parwaane ki
ooo oooooo
ye baat magar kapti dil ke
nahin samajh mein aane ki
qismat mein jab likkha hai
qismat mein jab likkha hai
rote hain rone waale
haay rote hain rone waale
dekho to dil hi dil mein
jalte hain jalne waale
haay jalte hain jalne waale
Mere dil ko jalaaya na karo
Posted on: June 10, 2021
This article is written by nahm, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4710 | Post No. : | 16416 |
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Rafi Sahab’s Legendary Associations – 5
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The fifth post in this series is taking care of 4 artists, who are majorly important and fruitful associations of first decade of Rafi Sahab’s career. First and foremost is the composer duo of Husnlal-Bhagatram who composed many melodious scores in late 40’s and early fifties. I counted 100 plus songs in the excel sheet of Rafi sahab’s songs, which are composed by Husnlal-Bhagatram. 45 of these are written by Qamar Jalalabadi. I found these 6 songs of this team’s duets sung by Mohammad Rafi and Shamshad Begum.
| Song | Movie (Year) | Singer(s) | MD | Lyricist |
|---|---|---|---|---|
| Ladka Aur Ladki Mile Pyar Ka Gaana | Chhoti Bhabhi(1950) | Mohd Rafi, Shamshad Begum | Husnlal Bhagatram | Qamar Jalalabadi |
| Mere Dil Ko Jalaaya Na Karo | Gauna(1950) | Mohd Rafi, Shamshad Begum | Husnlal Bhagatram | Qamar Jalalabadi |
| Chod Diya Ghar Baar Rani Tere Liye | Meena Bazaar(1950) | Mohd Rafi, Shamshad Begum | Husnlal Bhagatram | Qamar Jalalabadi |
| Gori Bahon Mein Chudiyan Kaali Saja Lo | Meena Bazaar(1950) | Mohd Rafi, Shamshad Begum | Husnlal Bhagatram | Qamar Jalalabadi |
| Le Lo Ji Maharaja Dupatta Mera Saat Rang Ka | Meena Bazaar(1950) | Mohd Rafi, Shamshad Begum | Husnlal Bhagatram | Qamar Jalalabadi |
| Tera Mera Ho Gaya Prem Main Hun Saheb Tu Hai Mem | Farmaaish(1953) | Mohd Rafi, Shamshad Begum | Husnlal Bhagatram | Qamar Jalalabadi |
As for pure duets of Rafi-Shamshad are concerned, I counted 150 in the list, out of which 94 are posted in the blog. There are many Punjabi films songs also in the 150 duets of Rafi-Shamshad. Apart from these there are many group songs of three or more singers, with these two stalwarts, who started the journey of duets right in 1946 and continued till late 60’s. There is no way I am not listing my favourite Rafi-Shamshad duets here.
| Song | Movie (Year) | Singer(s) | MD | Lyricist |
|---|---|---|---|---|
| Solah Baras Ki Bhai Umariya | Aag(1948) | Mohd Rafi, Shamshad Begum | Ram Ganguly | Bahzad Lakhnavi |
| Mohabbat Mein Kise Maloom Tha Ye Din Bhi Aayega | Paaras(1949) | Mohd Rafi, Shamshad Begum | Ghulam Mohammad | Shakeel Badayuni |
| Bolo Ji Dil Loge-2 To Kya Kya Doge | Patanga(1949) | Mohd Rafi, Shamshad Begum | C Ramachandra | Rajendra Krishna |
| Leke Pehla Pehla Pyar Bharke Aankhon Men Khumaar | C I D(1956) | Mohd Rafi, Shamshad Begum | O P Nayyar | Majrooh Sultanpuri |
| Khat Khut Karti Chham Chhum Karti Gaadi Hamaari | Mother India(1957) | Mohd Rafi, Shamshad Begum | Naushad Ali | Shakeel Badayuni |
| Bheega Bheega Pyar Ka Sama Bata De Tujhe Jaana | Sawan(1959) | Mohd Rafi, Shamshad Begum | Hans Raj Bahal | Prem Dhawan |
I found this song in the list credited to Pakeezah, but it is not available:
| Song | Movie (Year) | Singer(s) | MD | Lyricist |
|---|---|---|---|---|
| Jayen To Kahan Jaaye Ab Tera Ye Deewana Hatkar (Unreleased) | Pakeezah(1971) | Mohd Rafi, Shamshad Begum | Ghulam Mohammad | Kaif Irfani |
Guess what, there are exactly 151 songs in the list of Rafi sahab’s song where the lyricist is Qamar Jalalabadi. There seems to be perfect symmetry, here as I counted 151 for Rafi-Shamshad and 101 for rafi-Husnlal Bhagatram.
Here is the total tally of these artists in the blog so far:
| Artist | Songs posted in the blog | Total songs |
|---|---|---|
| Husnlal-Bhagatram | 296 | 451 |
| Qamar Jalalabadi | 393 | 721 |
| Shamshad Begam | 713 | 1273 |
** Shamshad Begam’s posted songs are not yet updated, after the recent 4-5 posts of her songs.
Coming to the song under discussion, it is from the film’Gauna’ 1950. A very sweet chhed-chhad genre song, very early 50ish. I had not head this song too like many of Husnlal-bhagatram’s songs, until a few days ago. I had to post a Rafi-Shamshad duet, and it is was a melodious one composed by HB, it was a double ‘sone pe suhaaga’.
Following songs of Gauna (1950) have been covered in the blog:-
| Song | Date of posting |
|---|---|
| Ban ban ke mit gayin hain taqdeer ki lakeeren | 26 February 2012 |
| Aaj kisi se ho gayin aankhen chaar chaar chaar | 22 October 2016 |
The song reminded me of this famous song.
While seeing to the Rafi-Shamshad duets in the excel sheet, I could see a few, that I have written the post myself, but I have listed only the songs that are readily recognisable and are part of my old film songs listening memory. With only 94 songs posted so far in the blog, there are at least 40 such sweet/meloncholy/mischievious/romantic duets that remain to be posted. Enough for another series, if any one is of the mind. Arunkumar Deshmukh Sir, is fond of the older duets of these two singers as has posted a lion’s share of the last few such duets.
Lastly, I cannot stop listening to the duets of these two, whenever I reach one. Even unknown songs are like fresh fruit juice. The khanak in Shamshad Begum’s singing, and the soft smooth tones of Rafi Sahab, make for a delightful duet, always.
Mere dil ko jalaaya na karo – Gauna (1950)
Song-Mere dil ko jalaaya na karo (Gauna)(1950) Singers-Shamshad Begum, Mohammed Rafi, Lyrics-Qamar Jalalabadi, MD-Husnlal-Bhagatram
Lyrics
Mere dil ko jalaaya na karo o o
mere dil ko jalaaya na karo
mere sang bolte nahin een
na bolo
mere sang bolte nahin een
na bolo
meri gali mein bhi ee
meri gali mein bhi aaya na karo o
mere dil ko jalaaya na karo
haha
badi aayi gali wali
dekh liya ra’ub teraa
kar chuki sawaal gori
sun lo jawaab meraa
gali tere baap ki nahin een
baap ki nahin
ho mujhe ankhiyaan dikhaaya na karo o
o o
mujhe ankhiyaan dikhaaya na karo
mere dil ko jalaaya na karo o
mere dil ko jalaaya na karo
achha meri baat suno
tab tumhen jaanen
ek baat tum maano
ek ham maanen
gali mein to aao baabuji ee
aao baabuji
mere sapnon mein aaya na karo o o
mere sapnon mein aaya na karo
mere dil ko jalaaya na karo
waah waah khoob soojhi
main na qaaboo aaungaa
gali mein bhi aaungaa aa
sapnon mein bhi aaungaa
jise nahin saathh rakhnaa aa
saathh rakhnaa
usse apnaa banaaya na karo o
usse apnaa banaaya na karo
mere dil ko jalaaya na karo o o
mere dil ko jalaaya na karo
This article is written by Sadanand Kamath, 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 : |
4708 | Post No. : | 16413 |
In the initial years of sound films, some of the story, screen-play, dialogue and song writers came with literary background who had been well-known in the literary circle due to their published works. Gaurishankar Lal ‘Akhtar’, ‘Narayan Prasad ‘Betab’, Munshi Premchand, Amritlal Nagar, Dr. Safdar Aah Sitapuri, Krishan Chander, Dewan Sharar, Pandit Mukhram Sharma, Pandit Anand Kumar were some of such writers who started their association with Hindi films in the 1930s and 40s. Vrajendra Gaur, writer, poet and journalist was one among them.
Vrajendra Gaur had a long inning of 35 years in Hindi film industry as a screen-play/dialogue writer and the lyricist, aggregating around 70 films. A good number of photos I have browsed through on the google images, gives me an impression that Vrajnedra Gaur had friendly relationship with almost all the stalwarts of Hindi film industry during 1950-1980. In Bollywood, to have a successful career, one requires building up friendly relationship with those who matters in the film industry apart from the talent. It appears that this combination was a success formula for Vrajendra Gaur in his filmy career.
Etawah-born and Lucknow-settled Vrajendra Gaur (01/04/1924 – 07/08/1980) had already published his novels like ‘Sindoor Ki Laaj’, ‘Aadhi Raat Ka Sooraj’ ‘Jaagte Raho’ and ‘Manzil’. His other novels, ‘Kalkatte Ka Qatl-E-Aam’ and ‘Parole Par’ were banned by the British government for creating anti-British sentiment. He joined Hindi film industry in 1945 not on his own volition but on an invitation from Motilal after he heard his radio play, ‘Dhai Lakh’ on All India Radio. Motilal was so impressed with his presentation on AIR that he entrusted Vrajendra Gaur to write screen-play and dialogue for Motilal-Shanta Apte film, ‘Saawan’ (1945).
After writing lyrics for the films like ‘Ratnavali’ (1945), ‘Panihaari’ (1946), ‘Mangalsutra’ (1947), ‘Gunjan’ (1948), Vrajendra Gaur was disillusioned by the way the Hindi film industry works. He went back to Lucknow and worked in different capacity including editing some Hindi periodicals.
It was in 1950 when Bombay Talkies invited him to write dialogues for their film ‘Sangram’ (1950) with Ashok Kumar and Nalini Jaywant in the lead role. The box office success of this film not only helped Bombay Talkies financially, it also gave a lease of life for the filmy career of Vrajendra Gaur who also wrote songs for the film. ‘Parineeta’ (1953) was his next major box office success film as a dialogue writer in which Ashok Kumar was the producer-actor.
Vrajendra Gaur‘ first and the only film which he directed was ‘Kasturi’ (1954) for which he also wrote dialogues and songs. In an article published in silhouette magazine, it was mentioned that during the making of ‘Kasturi’ (1954), Vrajendra Gaur was to direct ‘Bahu’ (1955). However, his contractual obligations as a director for ‘Kasturi’ (1954) under which he could not take up direction in any other film until ‘Kasturi’ 1954) was released, came in his way. So, Shakti Samanta got the opportunity to direct his debut film ‘Bahu’ (1955) as director. Vrajendra Gaur did get to write the dialogues for the film. This opened up Vrajendra Gaur’s long association with Shakti Samanta in many films as dialogue writers such as ‘Howrah Bridge (1958), Insaan Jaag Utha’ (1959) ‘Singapore’ (1960), ‘Jalli Note’ (1960), ‘China Town (1962), ‘Saawan Ki Ghata’ (1966), ‘Kati Patang’ (1970), Jaane Anjaane’ (1971), ‘Anuraag’ (1972), ‘Charitreheen’(1974), ‘The Great Gambler’ (1979) etc.
It would also appear that Vrajendra Gaur had a close rapport with Dev Anand if one goes by the number of films, he wrote story/screenplay/dialogues in which Dev Anand was the lead actor. ), ‘Baarish’ (1957), ‘Jalli Notes’ (1960), ‘Manzil’ (1960), ‘Sarhad’ (1960), ‘ Baat Ek Raat Ki’ (1962 ‘Teen Devian’ (1965), ‘Pyaar Mohabbat’ (1966), ‘Duniya’ (1968), ‘Mahal’ (1970), ‘Warrant’ (1975) were some of the films he was associated with Dev Anand. From a photograph I saw on the net of the Udaipur location shooting, it appears that Vrajendra Gaur was initially associated with ‘Guide’ (1965). Chetan Anand, who was to direct the film, had to leave the assignment when he got approval for his film ‘Haqeeqat’ (1964). Probably, when Vijay Anand took over as a director, he started with a clean slate by writing afresh, the screen-play and dialogues for ‘Guide’ (1965).
Other successful films for which Vrajendra Gaur wrote dialogues were ‘Saraswatichandra’ (1968), ‘Sharmeelee’ (1971), Geet Gaata Chal’ (1975), ‘Dulhan Wahi Jo Piya Man Bhaaye’ (1977), ‘Akhiyon Ke Jharokhon Se’ (1978) etc.
[Note: Some of the information about early life of Vrajendra Gaur mentioned in the article are gathered from the Facebook page, ‘Vrajendra Gaur’.]
Vrajendra Gaur’s stature as a dialogue writer has been so impressive that his contribution as a lyricist seems to have remained in the sideline. He had to write songs during the early phase of his career as at that time his assignments as a dialogue writer were few. After going through some of the songs among 60 odd songs he wrote for a dozen films, mainly during 1945-55, I feel that his literary bend of mind is reflected in some of the songs. A few examples:
| Song | Movie (Year) |
|---|---|
| nain baan se karke ghaayal | ‘Ratnavali’ (1945) |
| kiska saath nibhaaun | ‘Gunjan’ (1948) |
| wo unka muskuraanaa sharmaanaa chaley jaana | ‘Sangram’ (1950) |
| kabhi inko chaahen kabhi unko | ‘Zalzala’ (1952) |
| wo meri taraf yoon chale aa rahe hain | ‘Kaafila’ (1952) |
| main to haar gayi mann | ‘Kasturi’ (1954) |
Incidentally, lyricist Yogesh is the first cousin of Vrajendra Gaur.
To highlight Vrajendra Gaur also as a lyricist, I am presenting the only song he wrote for the film ‘Muqaddar’ (1950) out of 9 songs. The song is ‘tum mere paas raho mujhse kuchh baat kaho’ which is rendered by Shamshad Begum. During the making of the film, Khemchand Prakash, the music director for the film died. The songs were completed by his music assistant, Bhola Shreshta. The song is, therefore, accredited to Khemchand Prakash/Bhola Shreshta as the music directors.
A highlight of this song is that each antara of the song has been set in slightly different tune and pitch.
Audio Clip:
Song-Tum mere paas raho mujhse kuchh baat kaho (Muqaddar)(1950) Singer-Shamshad Begam, Lyrics-Vrajendra Gaur, MD-Khemchand Prakash
Lyrics
meri duniya mein bahaaren hain
chaman aabaad hai
roothh jaaoge jo tum
to zindagi barbaad hai
tum mere paas raho
mujhse kuchh baat kaho
tum mere paas raho
mujhse kuchh baat kaho
ho ho ho…o
o o o o
maine tumko jo kabhi pyaar kiya dil se kiya
maine tumko jo kabhi pyaar kiya dil se kiya
tumne badle mein mujhe dard diya dil na diya
meri ulfat mein sitam dhha ke mujhe loot liya
loot liya aa
tum mere paas raho
mujhse kuchh baat kaho
ho ho ho…o
o o o o
bewafa bhool na jaana meri aahon ko kabhi
bewafa bhool na jaana meri aahon ko kabhi
mere liye tum jo nahin haay to phir to kuchh bhi nahi
mere liye tum jo nahin haay to phir to kuchh bhi nahi
mere sapnon ko sawera dikha ke loot liya
loot liya aa
tum mere paas raho
mujhse kuchh baat kaho
ho ho ho…o
o o o o
tumne samjha hi nahin meri mohabbat ko kabhi
tumne samjha hi nahin meri mohabbat ko kabhi
agar jo hukm ho to jaan bhi de doon abhi
agar jo hukm ho to jaan bhi de doon abhi
mujhe ulfat ka tamaasha bana ke loot liya
loot liya aa
tum mere paas raho
mujhse kuchh baat kaho
ho ho ho…o
o o o o o
ho ho ho…o
o o o o o
o o o
Meharbaan main hoon tumhaari
Posted on: June 2, 2021
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 : |
4702 | Post No. : | 16404 |
During my school days it was my hobby (or habit?) to see films on every Saturday and Sunday. Ours was a big joint family and my absence was hardly noticed by anyone. May be my absence was welcome ! I do not know. Anyway, during the holidays more films were seen. Language was no bar. I saw Hindi, English, Marathi, Telugu, Tamil and Kannada films. Out of these Hindi films were kore and other languages films were much less.
The preference for films was Hindi-English-Telugu-Tamil-Marathi and kannada. The basis for this was that kannada films were rare. Marathi ran for a month, Telugu/Tamil changed every week and Hindi films were in many theatres and different films for Morning and Regular shows. English films were generally in Morning shows only. But there were some theatres which showed exclusively English films in regular shows. These were in the Cantonment area of Secunderabad-the twin city. We used to see films there also at night.
In the 50’s decade a lot of remakes of South films used to come. Sometimes the same film in 3 languages ran in 3 different theatres, like the film Miss Mary-57 for example. Hindi film Miss Mary was running in one Cinema, Missiamma, the Tamil original was in another and Missamma, Telugu version was in yet another theatre. It became a game for us friends to see these films and discuss what the differences were in each version.
Forget our game, but in South India, the game of competition in capturing the Hindi market was in full swing in the 50’s. Since the film Chandralekha-48 became extremely successful all over India, with its Hindi version, other producers of the South started observing SS Vasan, who had found ” Alibaba’s Cave ‘ in the Hindi market. He had started making films in 3 languages to capture Hindi markets.
He dug up his old Tamil hit films and made remakes in Telugu and Hindi. Thus Tamil film Apoorva Sahodargal-49 ( based on Alexandre Dumas’ ‘The Corsican Brothers’) was made in Telugu as Apoorva Sahodarlu and in Hindi as Nishan-49. Then Vasan remembered his hit film Mangamma Sabatham-1943 in Tamil. He made a Hindi remake as Mangala-50. Later a Telugu remake Mangala Shapatham-65 was made, with NTR and Jamuna in the lead.He even made a remake in Simhalese language as Mathalan.
Observing Vasan making remakes and running to his bank very often, the other South producers were not to be outdone. The giant AVM dug up their Tamil hit of the 1949 Vazhkai and made a Telugu remake Jeevitham-50 as well as a Hindi remake Bahar-50, introducing Vaijayanti mala. In 1953 AVM made the film Ladki in Hindi and its remakes in Tamil and Telugu. AVM’s Tamil hit film Missiamma was made in Telugu as Missamma and in Hindi as Miss Mary, all in 1957. Film Chandirani was made in 3 languages in 1953.
The number of multi language films was huge. If you visit IMDB and look for remade Hindi films, you will get a loooooong list.During the 50’s a time came when multi language films were made at Calcutta, Madras and Kolhapur/Poona/Bombay. To get the actors speaking both the language dialogues was comparatively easy in Maharashtra, where Hindi speaking is not a problem. But for films remade in Bangla-Hindi or Tamil/Telugu- Hindi was indeed a problem.
As a solution, while the original actors remained the same in all versions, their Hindi dialogues were dubbed. Sometimes it caused a lip-synch problem, especially in close-ups. Some actors spoke their dialogues in Hindi themselves, but the pronunciation was a give away. This problem caused most Bangla, Tamil and Telugu actors to independently work in Hindi films. So, we find that most lead actors of these languages stayed away from Bombay made Hindi films. There were, however, few actors who did this successfully.
Thus, while we can see most lead actors of South and Bangla films in either dubbed or remade versions, it is only Dr. Rajkumar- the Kannada Superstar who NEVER acted in any Hindi films. In fact except ONE Telugu film ” Kalahasti Mahatmyam”-1954, he did not act in any other language than only Kannada..
By the end of the 50’s the South markets developed rapidly and fully, so the necessity of Hindi market diminished and so also remade and dubbed films. Today’s song is from film Mangala-50. It was a Gemini film directed by SS Vasan. There was a team of 3 composers – M.D.Parthasarathy, Balkrishna Kalla and E.Sankar Sastry. Sometimes I wondered how a man like Sankar, who was an Internationally famous and honoured Instrumental (Veena) musician worked in a studio as a composer. But then I realised that in his first half of career he was in films, but the second half was more into Veena Vadan.
Emani Sankar Sastry was a very famous and renowned Veena player of International recognition. Born on 23-9-1922 in a small village of Andhra, he hailed from a family of celebrated classical musicians. He was trained in traditional Veena by several experts. He did independent concerts all over India.
He joined Gemini Studios in 1948 and stayed for 10 years as MD. During this period he was involved in the Music Direction of Hindi films like, Mangala, Sansar, Bahut din huye, Mr. Sampat, Krishna Kanhaiya and Do Dulhe, as well as the English version of Chandralekha-48.
He joined A.I.R Madras in 1959 and rose to become Director and Chief Producer of Music. He won several awards including Academy award, Kala Parishat Award and Padma Shri. He played Veena in the Rome Festival and at UNESCO in New York.
E.Sankar Sastry died in 1987.
In the cast of the film Mangala-50 one finds the name of Bhanumathi. Outside South India, most people are unaware of the greatness of some artistes from South. Here is a short Bio of Bhanumathi, but it brings out her greatness only partly.
P. Bhanumathi Ramakrishna (7 September 1925 – 24 December 2005) was an actress, director, music director, singer, producer, novelist and lyricist. Widely known as the first female super star of Telugu cinema, Bhanumathi appeared in over 100 films predominantly in Telugu and Tamil languages. She was awarded the Padma Bhushan in 2001 for her contribution to the Indian cinema. She was honored among “women in cinema” at the 30th International Film Festival of India.
Bhanumathi was born on 7 September 1925 in Doddavaram village of Prakasam district, near Ongole, Andhra Pradesh. She is the third child to Saraswatamma and Bommaraju Venkata Subbaiah. She grew up watching her father perform in various stage shows. Her father, Venkata Subbiah, was a lover of classical music and trained her in music from an early age.
Bhanumathi entered the film industry in 1939, and acted in over 100 films in Telugu and Tamil. She was also called Ashtavadhani by the film industry people as she was a writer, actor, director, producer, singer, music director, editor and studio owner. She also had a good knowledge of astrology and philosophy. She is regarded as the first female super star of Telugu cinema.
She made her debut in Telugu cinema in 1939 as Kalindi (a 13 years old girl who is forced to marry an old man and ended her life by committing suicide) in Vara Vikrayam (Telugu), directed by C. Pullaiah. Her first film in Tamil was Ratnakumar in the year 1949 along with the famous hero of those days P. U. Chinnappa. This film was directed by Krishnan–Panju. Her first Hindi film was Nishan-1949. In 1953, she made her directorial debut with Chandirani (made simultaneously in Tamil, Telugu and Hindi).
Her last film was made in 1998, entitled Pelli Kanuka. C. N. Annadurai gave her a title “Nadippukku Ilakkanam” (Grammar for acting) that suits her aptly. She was revered by many actors she had worked with like N.T.Rama Rao, Sivaji Ganesan, M. G. Ramachandran, Akkineni Nageswara Rao, Nagarjuna, Balakrishna, ChiranJeevi, Pawan Kalyan, Venkatesh for her bold and prolific versatility. One of her memorable movies in Tamil was Annai, in the year 1962 directed by Krishnan–Panju, where her acting was appreciated by all and also got the National Award for the film and for also performances in movies Anthasthulu and Palnati Yudham (1964) she received National Awards (Rashtrapati Award). She is the last recipient of Rashtrapati Award.
Due to her rift with Aluri Chakrapani, she left her role in Missamma movie (Initially Bhanumathi was shot for some scenes in the movie before being replaced by savitri ) but after the release of the movie she watched and commented that “she lost a wonderful role but industry gained a talented actress like savitri” which showed her sportiveness and encouragement towards new actors. Due to clash with Aluri Chakrapani, she produced a satirical movie on him titled Chakrapani which was a huge hit and became a classic in Tollywood for this movie she also worked as Music Director.
She acted in 8 Hindi films namely, Nishan-49, Mangala-49, Rani-52, Shamsheer-53, Chandirani-53, Hamen bhi jeene do-62, Nai Roshni-67 and Itni Jaldi kya hai-86. She directed 2 Hindi films – Chandirani-53 and Itni Jaldi kya hai-86. She also sang 12 songs in 4 Hindi films – Mangala, Rani, Shamsheer and Chandirani.
She is the first south Indian actress to receive Padma Awards. Apart from being a fine actress, she was also a talented musician. She was adept in both Carnatic and Hindustani music. She gave voice to her songs despite it being the norm to use playback singers for actors. Some of her songs are still popular.
During her later years, she served on various movie related organizations. She was a Member of the State Film Awards Committee for two years. She was also a Visiting Professor at the Film Institute for one year. She was a Member of Children Film Society for 5 years, from 1965 to 1970.
In India, she was the first and the only woman to have owned a film studio, first actress to act in a dual role and the first woman to have directed a movie simultaneously in three languages.
Bhanumati was also a talented writer with a number of short stories to her credit. Her autobiography Nalo Nenu was published in Telugu and later, released in English as Musings. Andhra Pradesh Sahitya Academy awarded her as the best short story writer for her popular short stories “Attagari Kathalu”. She was a Member of Lalit Kala Academy for 5 years, and Sahitya Academy, Andhra Pradesh for 10 years. She served as Director and Principal of the Tamil Nadu Government Music College,
During the shooting of the film Krishna Prema, she met P. S. Ramakrishna Rao, an assistant director for that film. He was a film producer, director and editor of Telugu and Tamil Films. The couple married on 8 August 1943 and have one son, Bharani. Later they launched a popular production company, Bharani Pictures on their son’s name. She died at the age of 81 years.( Thanks to wikipedia, Cinerang by Isak Mujawar, Ateet ke sitare, HFGK, muVyz and my notes ).
Today’s song is sung by Bhanumathi. many of the songs of this film are copies of songs by Carmen Miranda. Enjoy….
Song-Meherbaan main hoon tumhaari(Mangala)(1950) Singer- P Bhanumathi, Lyricist-Pt. Indra, MD- E Sankar Sastry
Lyrics
mamamamama
mamamami
mamamami
meharbaan main hoon tumhaari
tanananana
tanananana
tanananana
nanana
mamamamamami
mamamani
kadardaan tum ho hamaare
tanananana
tanananana
tanananana
nananana
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : |
4701 | Post No. : | 16402 |
Remembering Nargis today on the 91st anniversary of her birth.
Born in the year 1929, she made her debut in films as a child artist as early as 1935. And then starting with 1942, she moved on from child roles to adult roles. As I was searching for a song from her early years in films, I chanced to see this song, which is really very playful and chirpy. And listening to the song made me wonder why has this song so far been away from this blog.
Nargis is all of 21 years of age, as she is singing and trying to hold back Karan Dewan (her husband in the film) from going to office. The words of the song are simple and endearing and the whole ambiance of the scene is very charming. There is a childlike entreaty in the pleadings of the newlywed, as she recounts her hours of boredom when the husband is sway to office. And the husband too is in part a willing accomplice, only that near the end of the song, his elder brother (role played by Shyam Chadha) calls him to leave for office, and he has to perforce make a quick departure from the song and the beseeching wife.
The film is ‘Chhoti Bhabhi’ from 1950. It is produced under the banner of Filmkar Limited, Bombay and is directed by Shanti Kumar. The cast of actors in the film is listed as Nargis, Karan Diwan, Shyam, Kuldip Kaur, Gulab, Shyama, Suraiya Chaudhary, Yakub, Johar, Baby Tabassum, Gyani Jugnu, G Sarang, and Khushdil. Yes, the Johar we see in this list is IS Johar, doing a small role here.
The film has nine songs, all of them are from the pen of Qamar Jalaalabaadi. The music is from the duo of Husnlal Bhagatram. It is 1950 – and the voice of an equally young singer, Lata Mangeshkar, sounds so wonderful. The rendition by the singer and the performance on the screen, both are really superb. The outcome is a naughty playful song that is really endearing.
The film has a total of nine songs, of which seven songs are already showcased here. This is the eighth song to find its place on our blog today. With one more to go, this film is ready for the Yippeee category.
Video
Audio
Song – Na Jaana Na Jaana Mere Babu O Daftar Na Jaana (Chhoti Bhabhi) (1950) Singer – Lata Mangeshkar, Lyrics – Qamar Jalaalabaadi, MD – Husnlal Bhagatram
Lyrics
na jaana
na jaana na jaana mere babu
o daftar naa jaana
na jaana na jaana mere babu
o daftar naa jaana
mere dil ne tujhe pukaara
o babu zara ruk jaana..aa ho
babu zara ruk jaana
na jaana
na jaana na jaana mere babu
o daftar naa jaana
na jaana
tu daftar jaaye babu to mera dil na lagey
ho
ho mera dil na lagey
tu daftar jaaye babu to mera dil na lagey
ho
ho mera dil na lagey
ho dil na lagey
ho dil na lagey
hum ghar mein rahen akele
hum ghar mein rahen akele
na ji na na na
o na ji na na na
na jaana
na jaana na jaana mere babu
o daftar naa jaana
na jaana
tu file le ke chala to pyaar mera rone laga
ho
to pyaar mera rone laga
tu file le ke chala to pyaar mera rone laga
ho
to pyaar mera rone laga
ho rone laga
ho rone laga
meri aankh mein aansoo aaye
meri aankh mein aansoo aaye
chhalak gaya paimaana
na jaana
na jaana na jaana mere babu
o daftar naa jaana
na jaana
kyun kaisi mili hai biwi sunaaye ga ga ke
ho
rijhaaye ga ga ke
kyun kaisi mili hai biwi sunaaye ga ga ke
ho
rijhaaye ga ga ke
ho ga ga ke
ho ga ga ke
kyun kaisa laga hai gaana
kyun kaisa laga hai gaana
zara ye farmaana
na jaana
na jaana na jaana mere babu
o daftar naa jaana
na jaana
————————————————
Hindi script lyrics (Provided by Sudhir Kapur)
————————————————
ना जाना
ना जाना ना जाना मेरे बाबू
ओ दफ्तर ना जाना
ना जाना ना जाना मेरे बाबू
ओ दफ्तर ना जाना
मेरे दिल ने तुझे पुकारा
ओ बाबू ज़रा रुक जाना॰॰आ हो
बाबू ज़रा रुक जाना
ना जाना
ना जाना ना जाना मेरे बाबू
ओ दफ्तर ना जाना
ना जाना
तू दफ्तर जाये बाबू तो मेरा दिल ना लगे
हो
हो मेरा दिल ना लगे
तू दफ्तर जाये बाबू तो मेरा दिल ना लगे
हो
हो मेरा दिल ना लगे
हो दिल ना लगे
हो दिल ना लगे
हम घर में रहें अकेले
हम घर में रहें अकेले
ना जी ना ना ना
ओ ना जी ना ना ना
ना जाना
ना जाना ना जाना मेरे बाबू
ओ दफ्तर ना जाना
ना जाना
तू फाइल ले के चला तो प्यार मेरा रोने लगा
हो
तो प्यार मेरा रोने लगा
हो रोने लगा
हो रोने लगा
मेरी आँख में आँसू आए
मेरी आँख में आँसू आए
छलक गया पैमाना
ना जाना
ना जाना ना जाना मेरे बाबू
ओ दफ्तर ना जाना
ना जाना
क्यूँ कैसी मिली है बीवी सुनाये गा गा के
हो
हो रिझाये गा गा के
क्यूँ कैसी मिली है बीवी सुनाये गा गा के
हो
हो रिझाये गा गा के
हो गा गा के
हो गा गा के
क्यूँ कैसा लगा है गाना
क्यूँ कैसा लगा है गाना
ज़रा ये फरमाना
ना जाना
ना जाना ना जाना मेरे बाबू
ओ दफ्तर ना जाना
ना जाना
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 : |
4700 | Post No. : | 16395 |
“Pyaar Ki Manzil”(1950) was directed by Keki Mistry for Superteam Federal Productions, Bombay. The movie had Munawwar Sultana, Rehman, Gope, Kamal, Pratima devi, Ramesh Sinha, Seeta Bose, Niranjan Sharma, Jankidas, Roohi, Devaskar, Fazloo, Bheemji, Maqbool, Hari Bhai, Altaf etc in it.
The movie had ten songs in it. Six songs have been covered in the past.
Here is the seventh song from “Pyaar Ki Manzil”(1950) to appear in the blog. The song is sung by S D Batish. Shewan Rizvi is the lyricist. Music is composed by Husnlal Bhagatram.
Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song.
Lyrics of this song were sent to me by Prakashchandra.
Audio link:
Song-Kehti hain tere pyaaar ki mujhse kahaaniyaan (Pyaar Ki Manzil) (1950) Singer-S D Batish, Lyrics-Shewan Rizvi, MD-Husnlal Bhagatram
Lyrics(Provided by Prakashchandra)
kehti hain tere pyaar ki
mujhse kahaaniyaan
kehti hain tere pyaar ki
mujhse kahaaniyaan aan
teri nishaaniyaan aan
teri nishaaniyaan
teri nishaaniyaan aan
teri nishaaniyaan
barbaad hoke reh gayeen
donon jawaaniyaan
teri nishaaniyaan aan
teri nishaaniyaan
daaman bahaar kaa mere haathon se chhut gayaa aaa
chaman mera lut gayaa aa aa
mera lut gayaa
daaman bahaar kaa mere haathon se chhut gayaa aaa
chaman mera lut gayaa aa aa
mera lutt gayaa
dil se lagaaye baithhaa hoon teri nishaaniyaan
dil se lagaaye baithhaa hoon teri nishaaniyaan
teri nishaaniyaan aan
teri nishaaniyaan
taarey wohi hain chaand wohi wohi raat hai
magar gham ki baat hai ae
gham ki baat hai
taarey wohi hain chaand wohi wohi raat hai
magar gham ki baat hai ae
gham ki baat hai
ek tu naheen jo tujhse kahoon ye kahaaniyaan
ek tu naheen jo tujhse kahoon ye kahaaniyaan
teri nishaaniyaan aan
teri nishaaniyaan
guzrey huye dinon ko main aawaaz doon kahaan
miltaa nahin nishaan aan
milta nahin nishaan
guzrey huye dinon ko main aawaaz doon kahaan
miltaa nahin nishaan aan
milta nahin nishaan
aa jaa ke keh rahaa hoon main
teri kahaaniyaan
aa jaa ke keh rahaa hoon main
teri kahaaniyaan
teri nishaaniyaan aan
teri nishaaniyaan
teri nishaaniyaan aan
teri nishaaniyaan
Saawanva Umda Aaye Ho
Posted on: March 13, 2021
- In: "saawan" song | Devnagri script lyrics by Sudhir | expression of love | Feelings of heart | Guest posts | Happy song | Love song | Lyrics contributed by readers | Post by Avinash Scrapwala | Romantic song | Songs of 1940s (1941 to 1950) | Songs of 1950 | Sulochana Kadam solo | Sulochana Kadam songs | Yearwise breakup of songs
- 5 Comments
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4621 | Post No. : | 16267 |
‘Baabu Ji’ (1950) was directed by Bhagwan for Uday Productions, Bombay. It had Bhagwan, Leela Gupte, Baburao, Usha Shukla, Vasant Rao, Azeem, Jani, Mirajkar, Zafar, Vitthalrao, Dhondu, Anmanta, Swami and others.
This movie has nine songs, all written by Ehsaan Rizvi and composed by music director P Ramakant. Going by the style of composition, it has been commented that the music is composed by C Ramchandra himself, under the name of P Ramakant. I request our more knowledgeable readers to be please comment on this observation.
HFGK Vol-II (1941-1950) lists the songs of this movie as given below; (in order of their appearing on this movie (Babooji-1950) page in HFGK)
|
Sl No |
Song Title | Singer/s |
Posted On |
|
01 |
Saawanwa umdaa aaye ho | Sulochana Kadam | Being presented today |
|
02 |
Baat meri maan lo ji, baat meri maan lo | Sulochana Kadam,
Anna Saheb |
|
|
03 |
Milne nahin paate hain naina lachaaye huye | Sulochana Kadam | |
|
04 |
Zaraa sunte jaana ho do dilon ka afsaanaa | Sulochana Kadam,
Anna Saheb |
23.08.2013 |
|
05 |
Nazar se nazar lad gayi | Sulochana Kadam | 12.09.2018 |
|
06 |
Rewdiyaan hain rewdiyaan | Sulochana Kadam,
Anna Saheb |
|
|
07 |
Kyun pareshaan huye, | Sulochana Kadam | |
|
08 |
Jo bigad gayi wo qismat hoon | Sulochana Kadam | 22.11.2017 |
|
09 |
Gorey gorey mukh se jo ghoonghat hataawjo | Anna Saheb |
As we can see above this movie had made its debut on the blog in 2013 and since then only three songs from the movie have been posted so far. As I was noting the song-list I realized that the voice of Sulochana Kadam is appearing in all songs of this movie, but it is not the case as the last song is a solo in the voice of Anna Saheb. And this is the only male solo in this movie.
Today 13th March 2021 is the eighty-eighth birth anniversary of Sulochana Kadam (born 1933) who later became Sulochana Chavan. Her singing of many famous and popular ‘lavanis’ in Marathi brought her the honour as ‘Laavni-samradhni’ in Marathi music.
On this occasion here is the song from ‘Baabu Ji’ which is lying with us since August’2013.
Actually, during 2013 – 2015 when I was staying in Kachchh, I had shared some of her songs on the blog. And I had enjoyed listening many of her songs from Hindi movies of that era. The today’s song is also a song which I like very much. One other song “Kyun Preshaan Huye” from this movie is also pending with the editors since then. Let us see when it appears 😊 on the blog.
Let us now listen to the today’s song and wish ‘a very happy birthday’ to Sulochana ji on her birth anniversary today and also wishing her a healthy and peaceful life ahead. . .
Saawanwa Umdaa Aaye Ho
Song – Saawanva Umda Aaye Ho (Baabu Ji) (1950) Singer – Sulochana Kadam, Lyrics – Ehsaan Rizvi, MD – P Ramakant
Lyrics
saawanwa umda aaye ho
saawanwa umda aaye
barkhaa rim jhim jal barsaaye
mann mein aag lagaaye ho
saawanwa umda aaye
saawanwa umdaa aaye ho
saawanwa umdaa aaye
geet ke ras mein mann dooba hai
pyaar ke ras mein naina aa
yaad ke ras mein din dooba hai
birha ke ras mein rainaa
dhyan tera aa jaaye jo
bijli ye jo lehraaye
saawanwa umda aaye
saawanwa umda aaye ho
saawanwa umda aaye
tere sundar roop se akhiyaan
hate nahin hataaye
tujhko sabse nazar bachakar
koi dekhe jaaye
chupke chupke mann veena bhi
pyaar ke geet sunaaye ho
saawanwa umda aaye
saawanwa umda aaye ho
saawanwa umda aaye
kali kali par bhanwaraa doley ae ae ae
koyal shor mahcaaye
pihu pihu kare papiha aa aa
piya ki yaad dilaaye
sab ke mann se taan nikalti
mere mann se haaye
saawanwa umda aaye
saawanwa umda aaye ho
saawanwa umda aaye
barkhaa rim jhim jal barsaaye
mann mein aag lagaaye ho
saawanwa umda aaye
————————————————–
Devnagri Script lyrics (Provided by Sudhir)
————————————————–
सावनवा उमड़ा आए हो
सावनवा उमड़ा आए
बरखा रिमझिम जल बरसाए
मन में आग लगाए हो
सावनवा उमड़ा आए
सावनवा उमड़ा आए हो
सावनवा उमड़ा आए
गीत के रस में मन डूबा है
प्यार के रस में नैना॰ ॰ ॰
याद के रस में दिन डूबा है
बिरह के रस में रैना
ध्यान तेरा आ जाये जो
बिजली ये जो लहराए
सावनवा उमड़ा आए
सावनवा उमड़ा आए हो
सावनवा उमड़ा आए
तेरे सुंदर रूप से अखियाँ
हटे नहीं हटाये
तुझको सबसे नज़र बचाकर
कोई देखे जाये
चुपके चुपके मन वीणा भी
प्यार के गीत सुनाए हो
सावनवा उमड़ा आए
सावनवा उमड़ा आए हो
सावनवा उमड़ा आए
कली कली पर भँवरा डोले॰ ॰ ॰
कोयल शोर मचाये
पीहू पीहू करे पपीहा॰ ॰ ॰
पिया की याद दिलाये
सबके मन से तान निकलती
मेरे मन से हाए
सावनवा उमड़ा आए
सावनवा उमड़ा आए हो
सावनवा उमड़ा आए
बरखा रिमझिम जल बरसाए
मन में आग लगाए हो
सावनवा उमड़ा आए
- In: "Ganga" song | "Jamuna" song | Artist century song in blog | Calling the beloved | Century songs for the blog | Dance song | Duet | Geeta Dutt songs | Rare song | Shamshad Begam -Geeta Dutt duet | Shamshad Begam songs | Songs of 1940s (1941 to 1950) | Songs of 1950 | Yearwise breakup of songs
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Blog Day : |
4511 | Post No. : | 16060 |
Today (23 november 2020) is the 90th birth anniversary of Geeta Dutt (23 November 1930- 20 July 1972). I was aware of this fact yesterday itself, seeing that I had received several contributions for the occasion. Moreover, this date, which happens to be a monday, is also a day when I present my weekly series of Lata Mangeshkar songs sung in a particular calender year- a very research heavy project. So, my hands were full on sunday (22 november) preparing for all these articles to be published on 23 november 2020.
By late night on 22 november 2020, I had four articles ready, one for Lata Mangeshkar and three for Geeta Dutt, to be published on the morning of 23 november 2020. I had plans to post another article on Geeta Dutt (this one), as that article was going to be a special article on the occasion of Geeta Dutt’s birth anniversary.
I was not the only one who was busy on sunday. It turns out that our own Gajendra Khanna was also busy. A big Geeta Dutt fan and the administrator of Geeta Dutt site geetadutt.com, Gajendra Khanna had prepared a one hour long programme on the occasion and had left a link of the programme on our whatsapp group. I listened to this programme in the morning. As is his wont, Gajendra Khanna’s programme was extremely well researched and contained new, eye opening informations. It was through this programme that I realised that Geeta Dutt (nee Roy) had not made her debut in Hindi movies in 1946, but it was in 1945 in “Aadhaar”(1945). HFGK contains very sketchy information on this movie and mentions name of movie characters as singers. “Aadhaar” (1945) is her first Hindi movie as a playback singer. I notice that a song Aayi balloon waali aayi re in Geeta Dutt’s voice (alongwith S N Tripathi) is actually posted in the blog with correct attribution. That was thanks to information provide by geetadutt.com, ofcourse. HFGK mentions this song as sung by Shehzaadi. Shehzaadi could well be the name of the character who lip syncs this song in the movie.
This programme also contains some other interesting information about Geeta Dutt. For instance, she has sung over 90 songs in Gujarati. She has also sung in Bangla (her mother tongue), Marathi, Punjabi etc. What is very special is the fact that she sounds a natural in all these languages. For instance, Gajendra Khanna finds her Punjabi diction impeccable in her Punjabi language song that he played in his programme.
It is unfortunate that her married life turned out to be disastrous and such a god given singing talent like hers, that should have blossomed, instead got withered and finally got cut short prematurely, because of the after effects of her unhappy marriage with Guru Dutt.
Despite all the circumstances that impeded her after her marriage, Geeta Dutt has still left us with more than a thousand songs to savour. The blog has 899 songs so far and this article is being written to mark the 900th song of Geeta Dutt in the blog. I was wondering what song to showcase as her 900th song in the blog. Most of her well known songs, including iconic songs are already showcased in the blog. Many of the songs not yet covered either did not fit the bill, or their audio quality was not upto the mark, or the genre of the song did not suit the occasion.
I covered a song that I thought was a nice discovery. But a few hours later it was pointed out that the song was already covered in the past.
So it was back to the drawing board.
Now I have picked another special song. This song is from an obscure movie called “Putli”(1950). “Putli”(1950) was produced and directed by Wali Sahab for Punjab Film Corporation, Bombay. The movie had Mumtaz Shanti ,Pran, Yaqoob, Husn Banu, Srinath, Majnu, Prem Dhawan, Ramesh Thakur, Sheela Naik etc in it.
The movie had eleven songs in it. Four songs have been covered in the past. HFGK mentions singers only for three songs. The singers mentioned for these songs are Meena Kapoor for all three songs and a male voice in one of these three songs. There is no mention of singers for remaining eight songs.
What is special about this song is that HFGK is silent about the singers of this song. On listening to the song, it is clear that the song contains the voices of Geeta Dutt and Shamshad Begam. So this song is a “new” discovery as a Geeta Dutt song as well as a Shamshad Begam song.
Uploader of the audio of the song mentions Harikrishn as the lyricist and Aziz Hindi as the music director. While the music director matches with the entry of HFGK, the lyricist does not as HFGK is silent about the lyricist. HFGK Wali Sahab and Abid Gulrej are mentioned as the two lyricists. I think that the uploader of this song has more information about this song as he may have taken this information from the record label.
With this song, Geeta Dutt now has exactly 900 songs in the blog as a playback singer. It is befitting that she should reach this mark on the occasion of her 90th birth anniversary today. What a delightful song to bring up this occasion.
As a great coincidence, this song is the 700th song for Shamshad Begam in the blog and she too completes her century with this song.
PS-Sadanand Kamath Jee has located the video of the song. He identifies the two female dancers as Sheela Naik (lip syncing in Geeta Dutt’s voice) and Cuckkoo (lip syncing in Shamshad Begam’s voice).
Audio
Video
Song-Kabhi ganga ke paar kabhi jamuna kinaar (Putli)(1950) Singers-Geeta Dutt, Shamshad Begam, Lyrics-Harikrishn, MD-Aziz Hindi
Both
Lyrics
kabhi ganga ke paar
kabhi jamuna kinaar
chale aana
main tera intezaar karoongi
ho chale aana
main tera intezaar karoongi
ho naina chaar karoongi
tohe pyaar karoongi
hoy naina chaar karoongi
tohe pyaar karoongi
chale aana
oye bhool na jaanaa
main tera intezaar karoongi
ho chale aana
main tera intezaar karoongi
kabhi ganga ke paar
kabhi jamuna kinaar
chale aana
main tera intezaar karoongi
ho chale aana
main tera intezar karoongi
ooo tu jo dil dega balma
main jaan de doongi
haaye main jaan de doongi
aur main hans hans kar
aur main hans hans kar donon jahaan de doongi
aur main hans hans kar donon jahaan de doongi
o o o
tu jo dil dega balma
main jaan de doongi
aur main hans hans kar donon jahaan de doongi
jaan de kar bhi
jaan de kar bhi tera deedaar karoongi
jaan de kar bhi tera deedaar karoongi
chale aana
main tera intezaar karoongi
ho chale aana main tera intezaar karoongi
kabhi ganga ke paar
kabhi jamuna kinaar
chale aana
main tera intezaar karoongi
ho chale aana main tera intezaar karoongi
lalalaa lalla lalla la
lalalaa lalla lalla la
lalalaa lalla lalla la
lalalaa lalla lalla la
mere angna mein
haaye mere angna mein saavan ke mele piya
aa aa aa aa
mere angna mein saavan ke mele piya
aa aa
kaise dekhoon akele akele piya
haaye
akele piya
tum jo aao
tum jo aao main saula-singaar karoongi
tum jo aao main saul-singaar karoongi
chale aana main tera intezaar karoongi
ho chale aana main tera intezaar karoongi
kabhi ganga ke paar
kabhi jamuna kinaar
chale aana
main tera intezaar karoongi
ho chale aana
main tera intezaar karoongi
gehri gehri nadiya hai
gehri gehri nadiya aur door kinaara re
door kinaara
gehri gehri nadiya aur door kinaara re
door kinaara
tere bina koi nahin apna sahaara re
haaye apna sahaara
apni naiyya ko
apni naiyya ko nadiya ke paar karoongi
apni naiyya ko nadiya ke paar karoongi
chale aana main tera intezaar karoongi
ho chale aana main tera intezaar karoongi
kabhi ganga ke paar
kabhi jamuna kinaar
This article is written by Sadanand Kamath, a fellow enthusaist of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4511 | Post No. : | 16059 |
kuchh aur zamaana kehta hai kuchh aur hai zidd mere dil ki
main baat zamaane ki maanoon ya baat sunoon apne dil ki
This was the swan song from ‘Chhoti Chhoti Baaten’ (1965) both for the singer and the music director of the song as this was their last film in Mumbai before shifting lock stock and barrel to Delhi in 1963. The playback singer was Meena Kapoor and the music director was Anil Biswas. In relation to her romantic affairs with Anil Biswas in the early 1950s, just like in the above two-liner, she was in a quandary. But her heart was adamant (aur hai zidd mere dil ki) that led to a long partnership with Anil Biswas irrespective of what the society said about their relationship.
Today, November 23rd is the 3rd Remembrance Day of Meena Kapoor. The day also happens to be 90th birth anniversary of Geeta Dutt. Both were born in the year 1930 in Bengal Presidency of British India. Both started their playback singing career in Mumbai in the year 1946 – Geeta Dutt with ‘Bhakt Prahlad’ (1946) and Meena Kapoor with ‘Pul’ (1947) in 1946 though her first released song was from ‘Eight Days’ (1946). The similarities do not end here.
Both Geeta Dutt and Meena Kapoor got recognition as playback singers under S D Burman – Meena Kapoor in ‘Aath Din’ (1946) and Geeta Dutt in ‘Do Bhai’ (1947). Both virtually ended their playback singing career around mid-1960s though there were few spill-over of their songs thereafter. Both had almost similar vocal cords giving an impression to the listeners that their singing voices sound more or less the same. And what was more important was that despite being in the competitive field of playback singing career, both were close friends to such an extent that they both became a part of extended family of Roys and Kapoors.
Unfortunately, their similarities of Geeta Dutt and Meena Kapoor did not reflect in their playback singing career. During their active years (1946-65) of playback singing career, Meena Kapoor’s output (around 175 songs) has no match with that of Geeta Dutt (around 1400 songs). Out of curiosity, I checked the year-wise growth of the playback singing career of both of them beginning with the year 1946 and up to 1955, the year from which Meena Kapoor had Anil Biswas as his life partner, almost retiring from her playback singing career except singing mainly for Anil Biswas. The statistics given in the table below reveal that Geeta Dutt was quite ahead of Meena Kapoor for all the years – both in terms of aggregate number of songs as well as films.
| Year | Geeta Dutt | Meena Kapoor | |||
|---|---|---|---|---|---|
| Films | Songs | Films | Songs | ||
| 1946 | 12 | 21 | 2 | 5 | |
| 1947 | 22 | 52 | 5 | 9 | |
| 1948 | 37 | 107 | 15 | 43 | |
| 1949 | 34 | 97 | 8 | 15 | |
| 1950 | 50 | 169 | 12 | 17 | |
| 1951 | 30 | 81 | 4 | 11 | |
| 1952 | 42 | 122 | 5 | 8 | |
| 1953 | 25 | 59 | 14 | 27 | |
| 1954 | 25 | 54 | 7 | 10 | |
| 1955 | 34 | 84 | – | – | |
[Source: List of songs of Geeta Dutt from http://www.geetadutt.com counter-checked with http://www.myswar.co and list of songs of Meena Kapoor from http://www.myswar.co]
What could be the reasons for such a significant difference in their output of songs? At the outset, I could not see any reason other than ascribing it to a pure bad luck for Meena Kapoor in the sense that she was born with a voice almost similar to Geeta Dutt. And it was Geeta Dutt’s voice which seems to have been preferred by most of the music directors over that of Meena Kapoor.
In Lata Khubchandani’s article reproduced in RMIM’s Article Archive (No.324), Meena Kapoor had said that she had never been ambitious and she had not taken her music seriously. She also did not make any effort towards furtherance of her playback singing career. Her father, Bikram Kapoor who was a character actor in New Theatre, Kolkata and later in Mumbai, wanted his daughter to excel in singing only after completing her education. When she started living with Anil Biswas sometime in mid-1950s, she was happier as a housewife than pursuing the playback singing profession.
There is an interesting trivia as to how Meena Kapoor met Anil Biswas for the first time. In the interview referred to above, she had revealed that she refused to give audition to Anil Biswas when he was planning to get some songs sung by her for ‘Anokha Pyaar’ (1948) under the recommendation from his brother-in-law, Pandit Pannalal Ghosh. She had already recorded many film songs under many composers. As such, she felt that it was not necessary to her to give a fresh audition to Anil Biswas. It was her father who took a few recorded songs of her to Anil Biswas. After listening to her song, tod gaye haaye tod gaye armaan bhara dil tod gaye from ‘Khel’ (1950) under the music direction of Sajjad Hussain, Anil Biswas called her for rehearsal without audition. This incidence also shows as to how casual Meena Kapoor was in regard to her playback singing career.
Geeta Dutt on the other hand was interested in pursuing the playback singing career in films and her parents encouraged her by arranging music teachers. It was exactly at a time when Meena Kapoor’s restrictive playback singing career due to her education gave opportunity for Geeta Dutt to get a strong foothold as a playback singer as the statistics in the above table reveal. For example, S D Burman after giving two songs to Meena Kapoor in ‘Aath Din’ (1946), he switched over to Geeta Dutt during 1948-55 beside Lata Mangeshkar. It was only after 1957 when Geeta Dutt could not give sufficient time to S D Burman for rehearsals, he switched over to Asha Bhosle (Lata Mangeshkar not singing for him due to some misunderstanding). It is interesting to note that after her marriage with Guru Dutt in 1953, the yearly aggregate number of songs sung by Geeta Dutt post-1953 have fallen mainly due to a stiff competition from Lata Mangeshkar coupled with her domestic compulsion.
Both Geeta Dutt and Meena Kapoor have emotional tone in their voices which suits the genre of poignant and devotional songs. However, going by a large number of songs sung by Geeta Dutt relative to that of Meena Kapoor, the former’s versatilities are evident to general listeners of her songs. Just note as to how S D Burman had been instrumental in making Geeta Dutt a versatile singer. From emotional mera sundar sapna beet gaya in ‘Do Bhai’ (1947) to light-hearted tadbeer se bigdi huyi taqdeer bana le in ‘Baazi’ (1951), to coquettish song, jaane kya toone kahi jaane kya maine suni, teasing song, janoon jaanoon re chhupke kaun aaya in ‘Insaan Jaag Utha’ (1959) and many of her club songs. Her repertoire of songs under other music directors is also large.
Meena Kapoor did not get much opportunities to display her versatilities as her singing output was less than 200 songs as compared to Geeta Dutt’s around 1400 songs. But Meena Kapoor had also a good repertoire of songs like waltz type song, aate hain wo aate hain wo in ‘Chalte Chalte’ (1947), light-hearted meri jaan meri jaan sunday ke sunday in ‘Shehnaai’ (1947), romance in ye samaa ham tum jawaan in ‘Maashooka’ (1953), folk song, rimjhim barse paani aaj more angna in ‘Pardesi’ (1957), Rabindra sangeet, mere chanchal naina madhur ras ke bhare in ‘Angoolimal’ (1960) etc.
With almost similar voice timbre, Geeta Dutt and Meena Kapoor had very few occasions to sing together during their active years of playback singing career as detailed below:
| Films | Songs (Geeta-Meena) | Co-singers | Music Director |
|---|---|---|---|
| Hip Hip Hurray (1948) | Main jaan gayi jaan gayi | – | Hanuman Prasad |
| Aadhi Raat (1950) | Maine baalam se poochha | – | Hansraj Bahl |
| Jalte Deep (1950) | Aayi milne ki raat | – | Shardul Kwatra |
| Hulchul (1951) | Mile dil aankh sharmaayi | – | Mohd. Shafi |
| Ghaayal (1951) | O rani mainwati -1 | G M Durrani | Gyan Dutt |
| Ghaayal (1951) | O rani mainwati -2 | G M Durrani | Gyan Dutt |
| Ghaayal (1951) | Tera kisi pe aaye dil | – | Gyan Dutt |
Before I conclude my article, I would like to give links of a solo song each of Meena Kapoor and Geeta Dutt for the purpose of their voice comparison. I have deliberately selected the songs of the same genre (Meera bhajans) so that the comparison is on the even keel.
| Meena Kapoor | main birhan baithi jaagoon | ‘Gopinath’ (1948) |
| Geeta Dutt | ae ri main to prem deewaani | ‘Jogan’ (1950) |
After repeatedly listening to these two songs, I can feel some differences in voices but I am unable to explain as to what are the differences. Probably, Meena Kapoor sounds slight nasal in her singing than Geeta Dutt. Of course, musicologists like the late Ashok Ranade would have technically explained their voice differences.
On the occasion of the 90th birth anniversary of Geeta Dutt and 3rd Remembrance Day of Meena Kapoor on November 23, 2020, I am presenting their duet song, aayi milne ki raat karo meethi meethi baat from an obscure film ‘Jalte Deep’ (1950). The song is written by Aziz Kashmiri which is set to music by Shardul Kwatra. The film was produced by R Vasudeva under the banner of Nihal Film Corporation and was directed by Deepak Asha. The star cast included Nimmi, Amarnath, Randhir, Sophia, Deepak, Kuldeep, Leela Mishra etc. The film had 12 songs of which one song has been covered in the Blog.
The voices of Geeta Dutt and Meena Kapoor are so similar that I get a feeling whether the song I am presenting is solo or duet. However, the lyrics do give an impression of a duet and HFGK mentions Geeta Dutt and Meena Kapoor as playback singers for the song.
Since the film’s VCD/DVD is not available, one can listen to the song only on the audio clip. I have a photograph from the film in which Nimmi and Sophia are seen holding a tray each with lamps. Based on the photograph, my guess is that the song may have been picturised on Nimmi and Sophia welcoming their ‘balam’ and ‘sajan’.
Audio Clip:
Song-Aayi milan ki raat karo meethhi meethhi baat(Jalte Deep)(1950) Singers-Geeta Dutt, Meena Kapoor, Lyrics-Aziz Kashmiri, MD-Sardul Kwatra
Lyrics
aayi milne ki raat
karo meethhi meethhi baat
tumhen meri kasam
o mere achhe balam
aayi milne ki raat
karo meethhi meethi baat
tumhen
o tumhe meri kasam
o mere achhe balam
aayi milne ki raat
karo meethhi meethhi baat
raat hai suhaag ki
chhaayi hai bahaar sajan
chhaayi hai bahaar
nainwa se phoot pada
meethha meethha pyaar
nainwa se phoot pada
meetha meetha pyaar
zara thhaamo ji haath
karo meethhi meethhi baat
tumhen
o tumhe meri kasam
o mere achhe balam
aayi milne ki raat
karo meethhi meethhi baat
tumhen meri kasam
o mere achhe balam
aayi milne ki raat
karo meethhi meethhi baat
taaron ne dekh liya tera mera mel sajan
tera mera mel
ankhiyon ne khel liya naya naya khel
ankhiyon ne khle liya naya naya khel
zara thhaamo ji haath
karo meethhi meethhi baat
tumhen
o tumhe meri kasam
o mere achhe balam
aayi milne ki raat
karo meethhi meethhi baat
o tumhen meri kasam
o mere achhe balam
aayi milne ki raat
karo meethhi meethhi baat
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