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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs

Archive for the ‘Songs of 1950s (1951 to 1960)’ Category


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Kavi”(1954) was directed by Debki Bose for sunrise Pictures, Bombay. The movie had Bharat Bhushan, Geeta Bali, Nalini Jaywant, Chandrashekhar, B M Vyas, Jankidas, Om Prakash etc in it.

The movie had ten songs in it. Three songs have been discussed in the blog in the past.

Here is the fourth song from “Kavi”(1954) to appear in the blog. This song is sung by Talat Mehmood. Rajinder Krishan is the lyricist. Music is composed by C Ramchandra.

Only the audio of the song is available. Talat Mehmood was the main male playback singer in the movie whereas Bharat Bhhushan was the lead actor of the movie. So my guess is that this song was picturised on Bharat Bhushan. I request our knowledgeable readers to throw light on the picturisation of this song.

The songs of this movie, including this song, were quite unlike the usual music style of C Ramchandra.

It is a nice song to listen to. A large share of of the credit for this song should go to its imaginative lyrics.


Song-Ham kar ke mohabbat ye samjhe (Kavi)(1954) Singer-Talat Mehmood, Lyrics-Rajinder Krishan, MD-C Ramchandra

Lyrics

ham kar ke mohabbat ye samjhe
ham kar ke mohabbat ye samjhe
roney se hansi kuchh door nahin
roney se hansi kuchh door nahin
jis gham ko basaaya hai dil mein
us gham se khushi kuchh door nahin
us gham se khushi kuchh door nahin

kyun haar hui
kyun jeet hui
kyun haar hui
kyun jeet hui
mat soch ye pyaar ki baazi mein
patjhad ke soone mausam se
patjhad ke soone mausam se
saawan ki jhadi kuchh door nahin
saawan ki jhadi kuchh door nahin
ham kar ke mohabbat ye samjhe
roney se hansi kuchh door nahin
roney se hansi kuchh door nahin

jab chhupne lage taare to kaha
jab chhupne lage taare to kaha
usha ki suhaani laali mein
din bhar ke liye jaane waalon
din bhar ke liye jaane waalon
aane ki ghadi kuchh door nahin
aane ki ghadi kuchh door nahin
ham kar ke mohabbat ye samjhe
roney se hansi kuchh door nahin
roney se hansi kuchh door nahin

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This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Today (25 june 2017) is the 93rd birth anniversary of Madan Mohan (25 june 1924- 14 july 1975). We in this blog traditionally cover songs of artists on their anniversaries. Madan Mohan is a key artist for this blog and we indeed have discussed his songsextensively in the blog, not only on his anniversaries, but also on other days.

According to my records, Madan Mohan composed 627 songs in 93 released movies. This blog has 517 Madan Mohan compositions in the blog from 90 of these released movies, one unreleased movie and also one un-utilised song. 58 movies with Madan Mohan’s compositions are already YIPPEED in the blog. So only 31 movies (plus four movies as yet unrepresented in the blog) are left to be covered. In all, just over 110 odd Madan Mohan compositions are left to be covered.

It goes without saying that this blog is a one stop destination for lots and lots of Madan Mohan compositions at one location.

The earliest Madan Mohan movie that is not yet YIPPEED in “Anjaam”(1952). This movie was produced by V M Vyas and directed by Shanti Kumar for Sunrise Pictures, Bombay. The movie had Premnath, Vyjyanti Mala, Kuldeep Kaur, Yakoob, Dulari, Jankidas, H Prakash, Shammi, Chitralekha etc in it.

The movie had eight songs in it. Six of these songs are already covered. Only one out of the two remaining songs is available online. The one song that is available is a delightful light hearted song that tells us the qualities that a husband should possess. Then it is followed by a wishlist of qualities that a biwi should possess. This song is sung by Asha Bhonsle and Shamshad Begam. Asha Bhonsle tells us about the desirable qualities of a husband-“he should get you a home, a car, should be at your beck and call, etc). Shamshad Begam’s description of a biwi is quite togue in cheek though-“a biwi should divide her day in hotel and night at club. She should be interested in learning all kinds of dances and looking after household works should be least of her priorities”. 🙂

This light hearted song is written by Qamar Jalalabadi, who was quite adept in coming up with such fun songs dealing with Husband-wife nok jhonk. Later he would pen the immortal songs of “Pehli Taareekh”(1954) as well which dealt with the same topic.

Music is composed by Madan Mohan, of course.

The song is sung in one breath, and there is no gap anywhere. So this song, more than three minutes long has just one stanza in it, without any pause !

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

With this song, the seventh and penultimate song from “Anjaam”(1952), the only song remaining to be covered is a group song viz-“Saanwar ke rang raati”. I have not been able to locate this song online. So unless this song can be unearthed and posted, “Anjaan”(1952) will remain unYIPPEED. I request our knowledgeable readers to keep an eye on this missing song and inform us as and when this song gets located.

For now, here is this fun song from “Anjaam”(1952) on the occasion of Madan Mohan’s birth anniversary.


Song-Baalam ho to aisa (Anjaam)(1952) Singers-Asha Bhonsle, Shamshad Begam, Lyrics-Qamar Jalalabadi, MD-Madan Mohan

Lyrics

baalam ho to aisa
baalam ho to aisa
hoye baalam ho to aisa
baalam ho to aisa
mohe bangla bana de
car manga de
bank mein rakh de paisa
baalam ho to aisa
baalam ho to aisa
meri jaan
biwi ho to aisi
biwi ho to aisi
hoye biwi ho to aisi
biwi ho to aisi
din hotel mein raat club mein
shakl ho bulbul jaisi
meri jaan
biwi ho to aisi
biwi ho to aisi

hoye baalam ho to aisa
baalam ho to aisa
hoye baalam ho to aisa
baalam ho to aisa
subah shaam jo kare salaam
ban ke rahe biwi ka gulaam
subah shaam jo kare salaam
ban ke rahe biwi ka gulaam
biwi din ko raat kahe
to wo bhi kah de waisa
biwi din ko raat kahe
to wo bhi kah de waisa
baalam ho to aisa
baalam ho to aisa
meri jaan
biwi ho to aisi
biwi ho to aisi
hoye biwi ho to aisi
biwi ho to aisi
baalam se maange bechaari
naye naye jewar nayi nayi saadi
baalam se maange bechaari
naye naye jewar nayi nayi saadi
nikle baalam ka deewaala
haalat kar de aisi
nikle baalam ka deewaala
haalat kar de aisi
biwi ho to aisi
biwi ho to aisi

hoye baalam ho to aisa
baalam ho to aisa
hoye baalam ho to aisa
baalam ho to aisa
naukar jaaye chutti par to wo naukar ban jaaye
haath jodkar bole ae ji madam pi lo chaai
madam chaai pikar bole saahab ho to aisa
madam chaai pikar bole saahab ho to aisa
baalam ho to aisa
baalam ho to aisa
meri jaan
biwi ho to aisi
biwi ho to aisi
hoye biwi ho to aisi
biwi ho to aisi
ghar ke kaam pe daale khaakh
seekh chukhi ho saare naach
ghar ke kaam pe daale khaakh
seekh chukhi ho saare naach
ghar ki haalat jo bana de bilkul hotel jaisi
ghar ki haalat jo bana de bilkul hotel jaisi
biwi ho to aisi
biwi ho to aisi

hoye baalam ho to aisa
baalam ho to aisa
meri jaan
biwi ho to aisi
biwi ho to aisi

hoye baalam ho to aisa
baalam ho to aisa


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Pehli Shaadi”(1953) was produced by K S Daryani and directed by Ram Daryani for Krishin Productions, Bombay. The movie had Nargis, Bharat Bhushan, Motilal, Gope, Manorama, Gulab, Leela Mishra, Kammo, Chandu etc in it.

The movie had ten songs in it. One song from the movie has been covered in the blog in the past.

Here is the second song from “Pehli Shaadi”(1953) to appear in the blog. This song is sung by Asha Bhonsle. Kaif Irfani is the lyricist. Music is composed by Robin Chatterji.

Only the audio of this song is available. Seeing that Asha Bhonsle’s voice figured in six out of ten songs of the movie, it would seem that she was the playback singer for the leading lady of the movie, viz. Nargis. So, this song must have been picturised on Nargis.

I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song.

I am not fully satisfied with the lyrics of the song that I have noted down. i request our readers with keenera ears to fill in the blanks/ suggest corrections as applicable in the lyrics of the song.


Song-Ae dard e mohabbat rok unhen (Pehli Shaadi)(1953) Singer-Asha Bhonsle, Lyrics-Kaif Irfani, MD-Robin Chatterji

Lyrics

ae dard e mohabbat
rok unhen
wo jaate hain aen
wo jaate hain
ae dard e mohabbat
rok unhen
ae dard e mohabbat
rok unhen
wo jaate hain
wo jaate hain
ae dard e mohabbat rok unhen
o jaane waale ruk bhi ja
mere aansoo tujhe bulaate hain
ae dard e mohabbat rok unhen

jab aas kisi ki tooti hai
jab aas kisi ki tooti hai
fariyaad hi(?) lab par aayi hai
kya maalik teri duniya mein
dil yoon tadpaaye jaate hain
kya maalik teri duniya mein
dil yoon tadpaaye jaate hain
o jaane waale
ruk bhi ja
mere aansoo tujhe bulaate hain
ae dard e mohabbat rok unhen

wo zakhm jidhar(?) bal khaaya hai
wo zakhm jidhar(?) bal khaaya hai
ummeed tadap kar kehti hai
koi pal bhar jinko sah na sake
ye dard kahaan se aate hain
koi pal bhar jinko sah na sake
ye dard kahaan se aate hain
o jaane waale ruk bhi ja
mere aansu tujhe bulaate hain
ae dard e mohabbat rok unhen


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

In olden days, viz 1970s and prior to that, people, including kids, would wake up at 6 AM and would go to bed at 9 PM. There were elders who would managed to awake till about 10 PM or so. I, as a kid, found it extremely difficult to keep my eyes open after 9:30. Vividh Bharti those days used to have a radio programme called Hawamahal. As soon as I heard the signature tune of this programme, my eyelids would begin to get heavy and I would feel sleepy. This signature tune was more sleep inducing for me that any lullaby ever would be. 🙂 . For those who have not heard the signature song of “Hawamahal”, here is how it sounded like:

If you could somehow manage to keep your eys open till the end of hawamahal, then that programme was follwed by Chaayaageet programme at 10 PM. Most people were already asleep by that time, listening to the songs at nights with no other sound audible, with moonlight lighting the streets, it was an experience worth savouring. I as a kid did not get to listen to the songs of this programme much, because the songs of this programme were “old” songs that I did not like and moreover I would already be fast asleep by that time. But when I remember those days, I realise that the songs played in this programme were just perfect songs to be listened to, late at night.

I in this blog have classified certain songs as “Chaayaageet” songs. These are songs that are best heard at nighttime, when most people are asleep.

“Kaala Chor”(1956) was produced by Anoop Kwatra and directed by Ravi Kapoor for J H Films, Bombay. The movie had Chitra, Amarnath, Kumkum, Sundar, Madan Puri, Randheer, Amrit Rana, Indira, Manjeet, Iqbal Mishra, Panditji, Jerry, Shafiq, Uma Dutt etc in it. The movie had seven songs in it. One song from the movie has been covered in the blog in the past.

Here is a “Chaayaageet” genre of song from “Kaala Chor”(1956). This song is sung by Asha Bhonsle and chorus. Verma Malik is the lyricist. Music is composed by Sardul Kwatra.

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

I have not been able to get one word (may be more) right in the lyrics of this song. I request our readers with keener ears to help fill in the blanks/ suggest corrections in the lyrics as applicable.


Song-Gori gori chaandni hai saajna (Kaala Chor)(1956) Singer-Asha Bhonsle, Lyrics-Verma Malik, MD-Sardul Kwatra
Chorus
Asha Bhonsle + Chorus

Lyrics

hmm hmm hmm
hmm hmmm hmm
hmm hmh hmm hmm
hmm hmm
hmm hmm hmm
hm hmm hmm hmm
hmm hmm hmm
hmm hmm

gori gori chaandni hai saajna
hmm hmm hmm hmm
yaad teri aa rahi hai baalma
gori gori chaandni hai saajna
hmm hmm hmm hmm
yaad teri aa rahi hai baalma
o balma
o sajna aa
o balma
o sajna aa aa aa
o balma
o sajna aa
o balma
o sajna aa aa aa

gori gori chaandni hai saajna
hmm hmm hmm hmm
yaad teri aa rahi hai baalma

dil ki dhadkan
sun mere saajan
(?) hai raat suhaagan
dil ki dhadkan
sun mere saajan
(?) hai raat suhaagan

tu hi meri zindagi hai zaalima
hmm hmm hmm hmm
yaad teri aa rahi hai baalma aa aa
tu hi meri zindagi hai zaalima
hmm hmm hmm hmm
yaad teri aa rahi hai baalma
o balma
o sajna aa
o balma
o sajna aa

raat jawaan hai
soya jahaan hai
main to yahaan hoon
haaye tu kahaan hai
raat jawaan hai
soya jahaan hai
main to yahaan hoon
haaye tu kahaan hai

gori gori chaandni hai saajna
hmm hmm hmm hmm
yaad teri aa rahi hai baalma


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Mr John”(1959) was produced by Nigam and directed by Indar for N K Productions, Bombay. This “social” movie had Shyama, Johny Walker, Helen, Lalita Pawar, Ifthikar, Krishnakumari, Mumtaz, Tuntun, Mohan Choti, Kamal Mohan, Sampson, Uma Dutt, Ravi, Champak Lala, Rashid, Daraz, Wahid, Genius, Tiwari, Ramlal, Anil, Singh, Ghouse, Tarun Kumar, Ajay Kumar, Ajit, B Fazle Karim, Mukhtar, Pt Baijnath etc in it.

This movie had seven songs in it. One song from the movie has been covered in the blog in the past.

Here is the second song from “Mr John”(1959) to appear in the blog. This song is sung by Lata. Jaan Nisaar Akhtar is the lyricist. Music is composed by N Datta.

Only the audio of this song is available. It is almost certain that the song was picturised on Shyama, the leading lady of this movie in the company of Johny Walker.


Song-Aao ham pyaar karen pyaar karen pyaar karen(Mr John)(1959) Singer-Lata, Lyrics-Jaan Nisaar Akhtar, MD-N Datta

Lyrics

hmm
hmm hmm hmh hmh hmm
hmm hmm

aao ham pyaar karen
pyaar karen
pyaar karen
ho
koi ikraar karen
koi ikraar karen
aao ham pyaar karen
pyaar karen
pyaar karen
ho
koi ikraar karen
koi ikraar karen

saans reh reh ke ruke
nain kaise hain juke
saans reh reh ke ruke
nain kaise hain juke
ab to ham haaye tumhen
haaye tumhe
dil de chuke
jo bhi tum baat kaho
ham to na inkaar kare
koi ikraar karen
koi ikraar karen
aao ham pyaar karen
pyaar karen
pyaar karen
ho
koi ikraar karen
koi ikraar karen

haan mohabbat mein zara
chaahiye shokhh ada
haan mohabbat mein zara
chaahiye shokhh ada
kuchh na kuch chhed rahe
chhed rahe
jab hai maza
kabhi man jaaye
kabhi jaan ke takraar karen
koi ikraar karen
koi ikraar karen
aao ham pyar karen
pyaar karen
pyaar karen
ho
koi ikraar karen
koi ikraar karen


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Regulars may notice that nthese days we rarely discusss songs composed by music directors likr Naushad, O P Nayyar, Madan Mohan, S D Burman etc. It is not by choice but by “compulsion”. All these music directors composed around 550-750 songs each. Only around 100 odd songs and in some cases even less than 100 songs are left to be discussed.

Take the case of O P Nayyar. He composed 566 songs in 73 Hindi movies. The blog has 450 songs from 66 movies. So, we have only around 116 odd songs left to be discussed. 46 out of these 66 movies have already been YIPPEED.

When I looked up at the songs of O P Nayyar in the blog, I noticed that “Qaidi”(1957) is one of those films that still have several songs not yet discussed. This movie, which was produced by F C Mehra and directed by Mohammad Hussain for Eagle Films, Bombay. The movie had Padmini, Suresh, Agha, Anwar, Kumar, Kamal Mehra, Helen, Leela, Raagini, Rajan Kapoor, Amrit Rana, Tuntun, Munshi Munaqqa, Agha Miraz, Nazeera, Rafiq, Sattar etc with Johny Walker, Shyam Sundar and Randhir as guest artists in it.

The movie had eight songs in it and only three of these songs are covered in the blog so far.

Here is the fourth song from “Qaidi”(1957) t9o appear in the blog. This song is sung by Asha Bhonsle. Jaan Nisaar Akhtar is the lyricist. Music is composed by O P Nayyar.

Only the audio of this song is available. In O P Nayyar movies, Asha Bhonsle tended to sing for all female characters be they the heroine, the cabarat dancer or the mother. So I cannot vouch for the fact that this song is picturised on Padmini the leading lady, who indeed lip synced another Asha Bhonsle song in the movie that has been covered in the past. I request our knowledgeable readers to throw light on the picturisation of this song.

I heard this song for the first time only just now. And I found this song sound like a breath of fresh air. What a nice and breathtaking song song to listen to !

This song is only the 16th composition of O P Nayyar to appear in the blog this year. Even with this leisurely pace, we should hopefully be able to cover all available O P Nayyar compositions in a year or so.


Song-Hamse bhi aate jaate aankh milaana door se (Qaidi)(1957) Singer-Asha Bhonsle, Lyrics-Jaan Nisaar Akhtar, MD-O P Nayyar

Lyrics

aa aa aa aa aa aa
aa aa aa aa aa aa
aa aa aa aa aa aa
aa aa aa aa aa aa

aa haa ha haa aa ha
aa haa haa haa
aa haa ha aa aa ha
aa haa haa haa

hamse bhi aate jaate aankh milaana door se
o baabu door se
koi nishaana door se
hamse bhi aate jaate aankh milaana door se
o baabu door se
koi nishaana door se
aa haa haa aa aa haa
aa haa haa aa aa ha

aankhon mein bhar ke laayi
baahon mein bhar ke laayi
jalwe bahaar ke
ghaayal nazar se kar de
teeron se dil ko bhar de
din hain ye pyaar ke
o baabu pyaar ke
din hain ye pyaar ke
hamse bhi aate jaate
aankh milaana door se
o baabu door se
koi nishaana door se
hamse bhi aate jaate
aankh milaana door se
o baabu door se
koi nishaana door se
aa ha ha aa aa ha
aa ha ha aa aa ha

zulfen ye kaali kaali
lachke kamar ki daali
chalti main jhoom ke
hansti nazar jo loote
bijli dilon pe toote
dekho to ghoom ke
o baabu ghoom ke
dekho to ghoom ke
hamse bhi aate jaate
aankh milaana door se
o baabu door se
koi nishaana door se
hamse bhi aate jaate
aankh milaana door se
o baabu door se
koi nishana door se


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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

This post is 501st post by Sadanand Ji. Due to a tagging error, we all missed the event of 500th post by him (his previous post).

In the early part of the golden era of Hindi film music, there were many films which were box office disasters. These films got released but vanished from the theatres quickly. These films also got ‘erased’ from the memories of the film audience of that time except those who had interest in Hindi film history. Some of such obscure films had the treasures of melodious songs.

If I confine myself to the first half of 1950, I get quite a good numbers such obscure films having melodious songs. Some of such films were ‘Adaa’ (1951, Madan Mohan), ‘Malati Madhav’ (1951, Sudhir Phadke), ‘Ghunghroo’ (1952, C Ramchandra), ‘Nirmohi’ (1952, Madan Mohan), ‘Raag Rang’ (1952, Roshan), ‘Baaghi’ (1953, Madan Mohan), ‘Fareb’ (1953, Anil Biswas), ‘Jhaanjhar’ (1953, C Ramchandra), ‘Chor Baazar’ (1954, Sardar Malik), ‘Naaz’ (1954, Anil Biswas), ‘Rishta’ (1954, K Datta), ‘Garam Coat’ (1955, Amarnath Chawla), ‘Madhur Milan’ (1955, Bulo C Rani) etc. The list is not exhaustive.

These obscure films of early 1950s had the adverse impact on the careers of some of the music directors for no faults of theirs. The then upcoming music directors like Madan Mohan and Roshan had to struggle hard to establish themselves in the film industry. Like-wise, the already established music directors like Anil Biswas and Bulo C Rani had difficulties in retaining their positions in the film industry.

‘Maan’ (1954) was one such film which had very melodious songs from the baton of Anil Biswas. The film was directed by Dr Safdar Aah Sitapuri, a well-known lyricist, and screen play/dialogue writers of 1930s and 40s. This was his second and the last directorial venture, the first being ‘Bhook’ (1947). The star cast included Ajit, Chitra, Gajanan Jagirdar, Durga Khote, M Kumar, Achala Sachdev, Kamlesh Kumari, Yashodara Katju, Chandabai etc. The film belongs to the costume drama genre.

Dr.Safdar Aah Sitapuri was a Urdu laureate. He started his career in the Hindi film industry sometime in 1930s, probably with Mohan Pictures. He worked with Anil Biswas for the first time in ‘Comrades’ (1939) made under the banner of Sagar Movietone followed by ‘Alibaba’ (1940) and ‘Aurat’ (1940).

When Sagar Movietone was merged with General Films and renamed as National Studios in 1940, Dr Safdar Aah Sitapuri and Anil Biswas shifted to this banner. Under National Studio Banner, Dr Safdar Aah Sitapuri worked with Anil Biswas in films like ‘Aasra’ (1941), ‘Bahen’ (1941), ‘Nai Roshni’ (1941), ‘Roti’ (1942) etc. After Anil Biswas joined Bombay Talkies in 1942, he had to work with lyricists which were already in the pay roll with the banner. So he had no chance of working with Dr Safdar Sitapuri in Bombay Talkies but worked with lyricists Pt. Narendra Sharma and Kavi Pradeep among others.

After a gap of about 3 years, Dr. Safdar Aah Sitapuri got the opportunity to work with Anil Biswas for the film ‘Pehli Nazar’ (1945) in which he wrote, among other songs, “Dil Jaltaa Hai To Jalne De” and Mukesh sang from his heart to make the song an iconic one. Thereafter Dr.Safdar Aah Sitapuri had worked with Anil Biswas in films like ‘Laadli’ (1949), ‘Laajawaab’ (1950), ‘Badi Bahu’ (1951), ‘Naaz’ (1954) and ‘Maan’ (1954) which was his last film as the director and I guess, it was also his last film as a lyricist.

The information on the internet indicates that Dr Safdar Aah Sitapuri returned to his teaching profession sometime in the later 50s though it appears that he was involved with writing screen-play and dialogues for ‘Son Of India’ (1962). Post-retirement from the film industry, Dr, Safdar Aah Sitapuri wrote books like ‘Amir Khusro Bhaisiyat Hindi Shaayar’, ‘Rubiyaat-e-Zamzama’, ‘Tulsidas Aur Ramcharitmanas’. I came to know through internet a few years back that he was also a guide for students doing Ph.d in Urdu literature.

Coming back to Anil Biswas, I personally feel that after Lata Mangeshkar started singing for him from ‘Anokha Pyaar’ (1948) onwards, his song compositions attained a higher level of melody than what was earlier. For example, I find his song compositions in the film ‘Anokha Pyaar’ (1948) in which Lata Mangeshkar sang for him for the first time, superior to those in ‘Veena’ (1948) in which Lata Mangeshkar had no songs. Incidentally, stories of both these films revolved around love triangles.

I recall reading few years back that when Sardul Kwatra, the music director was asked as to how his compositions are so beautiful. His reply was that he got inspiration from the singers themselves to compose the beautiful songs. I think, Anil Biswas could compose some of the best soulful songs for Lata Mangeshkar because of her voice and the faster pick up of nuances of song compositions. This quality of her could inspire anyone to compose the songs for her better than their best.

Today, I am presenting one of the soulful songs ‘Guzraa Hua Ulfat Ka Zamaana Yaad Karke Royenge’ from the film ‘Maan’ (1954). The song is rendered by Lata Mangeshkar on the words of Dr. Safdar Aah Sitapuri.


Song – Guzra Hua Ulfat Ka Zamaana (Maan) (1954) Singer – Lata Mangeshkar, Lyrics – Safdar ‘Aah’ Sitapuri, MD – Anil Biswas

Lyrics

guzraa hua ulfat kaa zamaana
yaad karke royenge
yaad karke royenge
apni kahaani apna fasaana
yaad karke royenge
yaad karke royenge
guzraa huwa ulfat kaa zamaana
yaad karke royenge
yaad karke royenge

jab saawan ki mast ghataayen
dhoom machaati aayengi ee
jab saawan ki mast ghataayen
dhoom machaati aayengi  ee
jab koyal ki meethi taanen
kaanon mein bas jaayengi
ham ik bhoola hua taraana
yaad karke royenge
yaad karke royenge

kabhi kabhi jab tumko apne
dil kaa dard sunaate thhe
kabhi kabhi
kabhi kabhi jab tumko apne
dil kaa dard sunaate thhe
pyaar se dhaadas dekar saajan
hamko gale lagaate thhe
wahi pyaar se gale lagaana
yaad karke royenge
yaad karke royenge
guzraa hua ulfat kaa zamaana
yaad karke royenge
yaad karke royenge
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

गुज़रा हुआ उल्फ़त का ज़माना
याद करके रोएँगे
याद करके रोएँगे
अपनी कहानी अपना फसाना
याद करके रोएँगे
याद करके रोएँगे
गुज़रा हुआ उल्फ़त का ज़माना
याद करके रोएँगे
याद करके रोएँगे

जब सावन की मस्त घटाएँ
धूम मचाती आएंगी
जब सावन की मस्त घटाएँ
धूम मचाती आएंगी
जब कोयल की मीठी तानें
कानों में बस जाएंगी
हम इक भुला हुआ तराना
याद करके रोएँगे
याद करके रोएँगे

कभी कभी जब तुमको
अपने दिल का दर्द सुनाते थे
कभी कभी
कभी कभी जब तुमको
अपने दिल का दर्द सुनाते थे
प्यार से ढाढ़स दे कर साजन
हमको गले लगाते थे
वही प्यार से गले लगाना
याद करके रोएँगे
याद करके रोएँगे
गुज़रा हुआ उल्फ़त का ज़माना
याद करके रोएँगे
याद करके रोएँगे

 


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Wishing our Dear Atul ji, a very Happy Birthday. May this day be celebrated on this blog many, many, many more times.

Today’s song is from film ‘Do Behnen’ (1959). After KA Abbas’s film ‘Anhonee’ (1952), the attention of film makers was drawn to the theme of 2 sisters of same looks but different natures. Such themes provided a scope for double role. ‘Do Behnen’ (1959) was also inspired by this theme.

This reminds me of an early film based on this theme. The film was ‘ Muqaabla ‘ (1942). Fearless Nadia was the heroine and did the double role of both the good and bad sisters. It was very funny to see Nadia in a saree and doing pooja etc. It was funnier to listen to her broken, anglicised pure Hindi dialogues. Normally, in Nadia’s films, her dialogues used to be minimum – actions spoke for her. But ‘Muqaabla’ was such a story that dialogues were a must.

‘Do Behnen’ was a film in which Shyama had a double role. The other cast of the film was Rajendra Kumar, Chand Usmani, Ram Mohan, Tiwari, SK Prem, Mumtaz Begum etc. It was produced by Kailash Kapoor, JP Sehgal and Prakash Seth. The film was directed by Kedar Kapoor (2-9-1927 to 5-6-1987), who directed 35 films from 1954 to 1983. He was called Dara Singh expert, as he had directed 10 Dara Singh movies in the 1960s. Actress Madhu Kapoor is his daughter.

Chand Usmani was one of those actresses, who were good in acting but poor in good luck ! Actresses like Farida Jalal, Tabassum, Shubha Khote, Nazima, Zahira, Zahida, Yashodhara Katju and many more fall in this category. These actresses never made it to the regular heroine roles in A grade films, more than few films. They had some beginner’s luck but that was the end. They continued in side roles only.

Chand Usmani  was born in Agra, UP, and came to limelight by participating in ‘Kardar-Kolynos-Teresa Contest’ in 1949. She felt surprised when she was selected  for the contest and was overjoyed when she won the second spot in the finals. She acted as the female lead of ‘Jeevan Jyoti’ directed by Mahesh Kaul in 1953 opposite Shammi Kapoor. It was the debut film of Shammi Kapoor also.

Chand Usmani became an established actress later on, but she got only secondary roles which she performed always nicely. Gradually she accepted supporting roles, character roles, mother roles etc. She got Filmfare Best Supporting actress award for her portrayal of the character as ‘Champa’ in the 1970 film ‘Pehchan’. She acted in films of all prominent actors of that period.

In 1957, in the film ‘Naya Daur’ directed by BR Chopra, and in which Dilip Kumar-Vyjayantimal were the main pair, Chand Usmani acted as sister of the hero Dilip Kumar’s character ‘Shankar’. In the historical film ‘Samrat Pritviraj Chauvan’ (1959) she acted in the role of Rajkumari. ‘Prem Patra’ (1962) was a well noted film directed by Bimal Roy in 1962. A medical College student Arun Kumar Mathur (Shashi Kapoor) has a misunderstanding over a love letter and the consequences were the theme of the film. Sadhna was the heroine and Chand Usmani acted in the supporting role as ‘Sumitra’.

Biswajeet, Saira Banu, Jayant, Sajjan, Nazima, Chand Usmani etc. were the star cast of ‘April Fool’ (1964) directed by Subodh Mukherjee. This film pointed to the fact that sometimes even practical jokes done for just fun can also lead to unexpected serious problems.

In the super hit film ‘Khilona’ in which Sanjeev Kumar acted in leading role in 1970, Chand Usmani  acted as the character Laxmi Singh.  In the film ‘Ujala Hi Ujala’ (1974),  she portrayed mother’s role and acted as mother of Yogita Bali’s character Anuradha. She presented excellent acting skill  along with Shabana Azmi in the 1976 classic movie ‘Kadambari’. In the 1977 super hit movie of Manmohan Desai ‘Parvarish’ in which Amitabh Bachchan, Shammi Kapoor, Neetu Singh, Shabana Azmi, Vinod Khanna, Amjad Khan, Kader Khan etc acted, Chand Usmani acted skilfully as the mother of Neetu and Shabu (Neetu Singh and Shabana Azmi). She had well noted character role in another super hit film of Amitabh Bachchan-Neetu Singh pair ‘Yaarana’ in 1981 and yet another film ‘Pukar’ (1983) in which Amitabh Bachchan and Zeenat Aman were the main pair. She acted as mother of Suraj (Raj Babbar) in the film ‘Zakhmi Aurat’ (1988).

Chand Usmani passed away in 1989 at Mumbai.

There was one more name in the cast of this film – Ram Mohan. Actors like him are seen in many films, but their names are not known to many. He is the male version of actresses like Farida Jalal, in getting the lead roles. Good in acting but low in good luck !

Ram Mohan Sharma – a young, handsome lad from Ambala. Born in Ambala 0n 2-11-1929, Ram Mohan Sharma was a graduate (BA) and had come to Bombay in 1945 in search of a career in cinema. The youngster, who was in his early twenties, with fair colour, curly hair and sharp features, had approached Jagdish Sethi to get work in movies as an actor. The latter found him sincere and gave him a supporting role in ‘Jaggu’ (1952), which he was to make. The movie had very good music, scored by Hansraj Behl and it had moderate success, when released. Later, Ram Mohan got small roles in few movies in 1954, Sethi Sahab cast him in the romantic role opposite Shyama in ‘Pensioner’ (1954). The movie did not do well and it was the end of Ram Mohan’s career as hero.

Life goes on and he decided to accept any role offered to him and soon he was a known name in the film circle. In ‘Do Behnen’,which had Shyama in double role, Ram Mohan enacted the role of a villain, which gave his career a big boost as bad man . Later he came in touch with Sunil Dutt and Nargis, and forged a permanent friendship with them. Although Ram Mohan mostly got roles of tough characters, but inside he was soft hearted. He was a member of Film Artists Association. He requested Sunil Dutt Ji who was feeling depressed after Nargis Ji passed away, to help the ‘Have Nots’ of film industry.

Virtually an encyclopaedia of film industry, Ram Mohan knew every technician, junior artists as well as old and forgotten artists, who needed help. Whenever they both were free, they used to visit the ailing artists in hospital or their residences, to give them moral as well as financial support. Rajan Haksar was in a charity hospital, after failure of his kidneys. Both benevolent persons visited the hapless artist to boost his spirit. Ram Mohan was confidant of Asha Parekh, the kind hearted lady who was president of the Artists Association and they together helped many artists, who were in dire need of assistance.

Ram Mohan was vice president of CINTAA ( Cine and TV Artists Association) for 4 years and secretary for 6 years. Ram Mohan had a very good reputation every where and when he came to know about the miserable condition of AK Hangal, he met a political leader and arranged the financial help through Maharashtra Govt, on a regular basis. At the time of bereavement, he made it a point to help the family till all religious formalities were over. Every one in the film industry use to address him as Ram Mohan Ji ,to show their genuine respect for him.

In his career of more than five decades, Ram Mohan appeared in more than 250 movies (the number varies from 240 to 277), mostly in negative roles. He did not believe in self publicity and did his philanthropic work quietly. Ram Mohan was keeping indifferent health when his pillar of strength, his life partner passed away. Ram Mohan also followed suit and breathed his last six months later on 6th December 2015 .

Ram Mohan had 3 sons and 1 daughter, all very well settled in life. He will always be gratefully remembered by thousands of anonymous film artists who were helped by him. His memories will be cherished by his admirers, who loved his work on and off the screen. Truly, to find people like him, in this era is a rarity. Let us hope his selfless work will inspire other persons connected with the film industry to help their less fortunate colleagues and the tradition of “वसुधैव कुटुम्बकम” (“vasudhaiv kutumbakam“) set by him will continue. He found an admirer in Gulzar Sahab, who always referred him as Ram Mohan Ji. Please see the credit titles of film ‘Ijaazat’, where his name is listed as Ram Mohan ji. (Thanks to ‘Beete Huye Din’, and Shri MN Sardana ji, for some of the information included in the bio sketch above).

The film ‘Do Behnen’ was not on fire at the box office. Such films do average business. Double roles, in my opinion, help the film recover the costs and ensure that there are no losses. The story of this film was repeated in so many films, that after interval, almost every scene must be predictable. There is a famous saying in the film industry all over the world that there are only 36 stories in the world. All film stories are different versions and adaptations of one of these only.

The story of the film was written by eminent writer Pt. Mukhram Sharma (29-5-1909 to 25-4-2000), the most famous writer of stories with social themes in the 1950s. Pt Mukhram Sharma had a long association with BR Chopra. He had written stories for many of his hit films. Some of his notable films are ‘Ek Hi Raasta’, ‘Aulaad’, ‘Sadhna’ and ‘Dhool Ka Phool’. His other hit films include ‘Santaan’, ‘Do Kaliyan’, ‘Jeene Ki Raa’h, ‘Raja Aur Rank’, ‘Dadi Maa’, ‘Gharana’ and ‘Talaaq’. Pt. Sharma had won Filmfare awards for ‘Sadhna’, ‘Vachan’ and ‘Aulaad’. He was also honoured with the Sangeet Natak Academy Award in 1961.

Before coming to Bombay, he was a teacher in Meerut. In 1939, he came to Bombay, but could not get any job. He moved to Poona and joined Prabhat films as a tutor for Marathi and Hindi. In Poona, he married a Marathi actress Shanta Mujumdar. He was with Marathi films till 1952, then he came to Bombay and got the first Filmfare award for best story for his film ‘Aulaad’ (1954). After that, there was no looking back. After winning Filmfare awards 3 times, Academy Award and Lifetime achievement Zee award, Pt. Sharma retired in 1980 and went back to Meerut.

The story of ‘Do Behnen’ is summarized below.

Bombay-based look-alike twin sisters, Vasanti and Malti (roles played by Shyama), live a wealthy lifestyle with their parents. Their father, Raghunath (SK Prem), arranges devout Vasanti’s marriage with Ramesh (Rajendra Kumar), who lives with his widower father, a doctor (Tiwari), and a sister, Rekha (Chand Usmani). After the wedding, Raghunath is shocked to find Malti singing and dancing with a male named Anokhe (Ram Mohan) in a nightclub. He brings her home, admonishes her severely and forbids her to leave the home. In response, she elopes with Anokhe, travels to Poona and books a room in Paramount Hotel. Shortly thereafter Anokhe shows his true colors, squanders her money, starts drinking, and frequenting prostitutes. He then takes her jewellery and walks out of her life. In order to recover the rent, the hotel manager contacts the Mathurs. Vasanti and her mother (Mumtaz Begum) attend to take Malti back home. While traveling home, the train meets with an accident and Vasanti passes away. Her mother tells everyone that it is Malti who has passed away, and compels Malti to take over as Vasanti, which she does reluctantly.

After going to her house, she finds it very difficult to adjust to the sati savitri type behaviour. However, slowly  she starts loving the new house and also her husband. Ramesh many times gets puzzled with her behaviour, but ignores.

Finally the truth is out one day, but by that time Ramesh starts liking her and so a new Malti takes over her dead sister’s place officially. (636)

The film has 7 songs, all written by Kavi Pradeep. This is the fourth song to be discussed on our blog from this film. The music director is Vasant Desai. Pradeep had never teemed up with Desai. In 1959, their first film was ‘School Master’ (1959), made in Madras by BR Panthulu and then the second and the last film was ‘Do Behnen’. Vasant Desai never preferred Pradeep, because 1) he wanted at least one song for him to sing  and 2) he would insist for the tunes that he composed himself for his lyrics. This was precisely the reason why many  composers like Naushad always kept away from Pradeep, unless compelled. In ‘School Master’ as well as ‘Do Behnen’, Pradeep had one song each to sing.

Today’s song is sung by Lata, Mahendra Kapoor and chorus. Mahendra Kapoor has no lines to sing, only two short aalaps (lip synched on screen by Ram Mohan). The song is a lovely melody. It is picturized on Chand Usmani, Ram Mohan and their friends, having a frolic in boats in a lake. Enjoy…..


Song – Jhuk Jhuk Jhola Khaaye Re Badariya (Do Behnen) (1959) Singer – Lata Mangeshkar, Mahendra Kapoor, Lyrics – Pradeep, MD – Vasant Desai
Chorus

Lyrics

aaa aaa aaaaaaaaa
aaa aaaa aaaaaaa aaaaaa
aaa aaaa aaaaa aaaaa

jhuk jhuk jhola khaaye
jhuk jhuk jhola
jhuk jhuk jhola khaaye
jhuk jhuk jhola

ho oo oo oo
jhuk jhuk jhola khaaye re badariya
jhuk jhuk jhola khaaye
saawan ki rut aayi re
mero dheeraj chhooto jaaye
haaye haaye dheeraj chhooto jaaye
jhuk jhuk jhola khaaye
jhuk jhuk jhola
jhuk jhuk jhola khaaye
jhuk jhuk jhola

ho lo re lo chalne lagey hain
pawan ke chanchal jhonke
oo chanchal jhonke
oo haaye mere mann wich
mere mann wich
o mere mann wich dhuk dhuk hoye
ke jiyara chaunke
oo jiyara chaunke
ho oo oo
kitna achha ho sakey jo
aise mein koi aa jaaye
saawan ki rut aayi re
mero dheeraj chhooto jaaye
haaye haaye dheeraj chhooto jaaye
jhuk jhuk jhola khaaye
jhuk jhuk jhola
jhuk jhuk jhola khaaye
jhuk jhuk jhola

jhuk jhuk jhola khaaye
(aaa aaa aaaa aaa aaa)
jhuk jhuk jhola
(aaa aaa aaaa aaa aaa)
jhuk jhuk jhola khaaye
(aaa aaa aaaa aaa aaa)
jhuk jhuk jhola
(aaa aaa aaaa aaa aaa)
aaa aaa aaaa aaa aaa
aaa aaa aaaa aaa aaa
aaa aaa aaaa aaa aaa
aaa aaa aaaa aaa aaa

dekho re dekho kaun door se gaaye re. . .
aa ha aa ha haa
dekho re dekho kaun aaj lalchaaye re
aa ha aa ha haa
kaahe nazar meri chakraaye
mera manwa ud ud jaaye
kuchh bhi nahin samajh mein aaye re
ha ha
haa haa ha ha haa
oo oo aa ja re aa ja o pardesi
aa ja
aa ja re aa ja o pardesi
kyon mujhko tarsaaye
saawan ki rut aayi re
mero dheeraj chhooto jaaye
haaye haaye dheeraj chhooto jaaye
jhuk jhuk jhola khaaye
jhuk jhuk jhola
jhuk jhuk jhola khaaye
jhuk jhuk jhola

ho oo oo oo
jhuk jhuk jhola khaaye re badariya
jhuk jhuk jhola khaaye
saawan ki rut aayi re
mero dheeraj chhooto jaaye
haaye haaye dheeraj chhooto jaaye
jhuk jhuk jhola khaaye
jhuk jhuk jhola
jhuk jhuk jhola khaaye
jhuk jhuk jhola

jhuk jhuk jhola khaaye
(aaa aaa aaaa aaa aaa )
jhuk jhuk jhola
(aaa aaa aaaa aaa aaa)
jhuk jhuk jhola khaaye
(aaa aaa aaaa aaa aaa)
jhuk jhuk jhola
(aaa aaa aaaa aaa aaa)
jhuk jhuk jhola khaaye
(aaa aaa aaaa aaa aaa )
jhuk jhuk jhola
(aaa aaa aaaa aaa aaa)
jhuk jhuk jhola khaaye
(aaa aaa aaaa aaa aaa)
jhuk jhuk jhola
(aaa aaa aaaa aaa aaa)

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

आ आ आ
आ आ आ आ
आ आ आ आ

झुक झुक झोला खाये
झुक झुक झोला
झुक झुक झोला खाये
झुक झुक झोला

हो ओ ओ ओ
झुक झुक झोला खाये रे बदरीया
झुक झुक झोला खाये
सावन की रुत आई रे
मेरो धीरज छूटो जाये
हाय हाय मेरो धीरज छूटो जाये
झुक झुक झोला खाये
झुक झुक झोला
झुक झुक झोला खाये
झुक झुक झोला

हो लो रे लो चलने लगे हैं
पावन की चंचल झोंके
ओ चंचल झोंके
ओ हाए मेरे मन विच
मेरे मन विच
ओ मेरे मन विच धुक धुक होय
के जियरा चौंके
ओ जियरा चौंके
हो ओ ओ
कितना अच्छा हो सके जो
ऐसे में कोई आ जाये
सावन की रुत आई रे
मेरो धीरज छूटो जाये
हाय हाय मेरो धीरज छूटो जाये
झुक झुक झोला खाये
झुक झुक झोला
झुक झुक झोला खाये
झुक झुक झोला

झुक झुक झोला खाये
(आ आ आ आ आ)
झुक झुक झोला
(आ आ आ आ आ)
झुक झुक झोला खाये
(आ आ आ आ आ)
झुक झुक झोला
(आ आ आ आ आ)
आ आ आ आ आ
आ आ आ आ आ
आ आ आ आ आ
आ आ आ आ आ

देखो रे देखो कौन दूर से गाये रे॰ ॰ ॰
आ हा आ हा हाss
देखो रे देखो कौन आज ललचाये रे
आ हा आ हा हाss
काहे नज़र मेरी चकराये
मेरा मनवा उड़ उड़ जाये
कुछ भी नहीं समझ में आए
हा हा
हाss हाss हा हा हाss
ओ ओ आ जा रे परदेसी
क्यों मुझको तरसाये
सावन की रुत आई रे
मेरो धीरज छूटो जाये
हाय हाय मेरो धीरज छूटो जाये
झुक झुक झोला खाये
झुक झुक झोला
झुक झुक झोला खाये
झुक झुक झोला

हो ओ ओ ओ
झुक झुक झोला खाये रे बदरीया
झुक झुक झोला खाये
सावन की रुत आई रे
मेरो धीरज छूटो जाये
हाय हाय मेरो धीरज छूटो जाये
झुक झुक झोला खाये
झुक झुक झोला
झुक झुक झोला खाये
झुक झुक झोला

झुक झुक झोला खाये
(आ आ आ आ आ)
झुक झुक झोला
(आ आ आ आ आ)
झुक झुक झोला खाये
(आ आ आ आ आ)
झुक झुक झोला
(आ आ आ आ आ)
झुक झुक झोला खाये
(आ आ आ आ आ)
झुक झुक झोला
(आ आ आ आ आ)
झुक झुक झोला खाये
(आ आ आ आ आ)
झुक झुक झोला
(आ आ आ आ आ)


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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Today, I am presenting a duet song “Zulm Bhi Karten Hain Aur Kehten Hain Fariyaad Na Kar” sung by Suman Kalyanpur and Mohammed Rafi in ‘Mera Ghar Mere Bachche’ (1960). This song has been in my radar for more than two years, to present in the blog. However, I got overtly involved with locating the rare songs from the films of 1940s and share those. During this period, I thought that Rafi fans or ‘Sureeli’ Suman Kalyanpur fans among the Atulites would post this song on the Blog. But this did not happen. So I am destined to present this song.

I have been occasionally listening to this song during the last two years. Each time I heard this song, I felt that what a loss of opportunity for many top music directors to exploit Rafi-Suman Kalyanpur combination which has its own charm for listeners like me. There are obvious reasons for not utilising Rafi-Suman Kalyanpur combination by music directors which are known to most of the Hindi film music lovers. To evaluate what the Hindi film music lovers have lost, listen to some of her songs with Rafi given below:

Chand Takta Hai Idhar  –   Dooj Kaa Chaand (1964) – Roshan

Aapne Huzoor Mujhe Kya Se Kya Bana Diya – Fariyaad (1964) – Snehal Bhatkar

Mujhe Ye Phool Na De Tujhko Dilbari Ki Kasam –  Ghazal (1964) – Madan Mohan

Parbton Ke Pedon Par Shaam Ka Basera Hai – Shagoon (1964) – Khaiyyam

Agar Teri Jalwaa Numaayee Na Hoti –   Beti Bete (1964) – Shankar-Jaikishan

Thahariye Hosh Mein Aa Loon – Mohabbat Isko Kehten Hain (1965) – Khaiyyam

Aise To Na Dekho –   Bheegi Raat  (1965) – Roshan

Incidentally all the teasers listed above had been sung by Suman Kalyanpur with Rafi when Lata Mangeshkar  had stopped singing with him. I did not miss Lata Mangeshkar in the above listed songs.

I have done some approximate calculations of Suman Kalyanpur’s songs with Mohammed Rafi which gives me a tally of 133 songs out of the total of about 760 songs sung by her during her career.  I note from the right side of the home page of the blog that as many as 86 duets of Rafi-Suman Kalyanpur have been covered in the Blog.

While it is difficult of get the exact figure as to how many songs Suman Kalyanpur sang with Mohammed Rafi during the period when Lata Mangeshkar had stopped singing with him (1960-63). The reason is that the points of cessation/resumption of singing by Lata Mangeshkar with Rafi as well as the releases of the films are at different points of time.   One important advantage that Suman Kalyanpur got during 1963 to say 1967 was that  she started getting A grade films with top music directors as against mostly B grade films she used to get for singing during the earlier part of her playback singing career.

‘Mera Ghar Mere Bachche’ (1960) was a Minerva Movietone’s film, produced and directed by Sohrab Modi. The star cast included Sohrab Modi, Sulochana Latkar, Sudesh Kumar, Naaz, Subbiraj, Kavita, Balraj, Sadhana Chowdhari, Charlie, Nana Palsikar, Daisy Irani etc. I have watched the film which is available on YT with some missing portions resulting in the loss of continuity in the film’s story including the end of the film.While the subject of the film – the effect of generation gap – is good, somehow, Sohrab Modi has not been successful in making the subject interesting. Probably, financial constraint may be the reason.

It appears to me that the film was considerably delayed in production. Two signs I get from the film in this context. First, different playback singers have been used for the same character played by Sudesh Kumar for whom both Rafi and Mukesh lip sync for him. Again Mukesh lip syncs for Subbiraj and Rafi for Charlie as well. The second and more important evidence for the film getting delayed is that the credit title shows actress Sadhana Chowdhari being introduced in this film for the first time. The fact is that Sadhana Chowdhari appeared in films ‘Sahara’ (1958), ‘Post Box No,999 (1958) and ‘Bus Conductor’ (1959) which were released earlier than the  ‘Mera Ghar Mere Bachche’ (1960).

Now the story in nutshell:

The story of the film is built around the effect of the generation gap. Inderjit, the father, (Sohrab Modi) and the owner of an engineering firm, is a strict disciplinarian and autocrat. His younger son, Kishore (Sudesh Kumar) and daughter Meena (Naaz) wish to pursue the careers in music and dance respectively which is resented by the father. He imposes his own will as to what career path they should choose. There is a resentment in son and the daughter on this issue. But they cannot express their feelings to the father because of his autocratic nature.

While the younger son is in love with Lata (Kavita) who was an orphan and given shelter in the house, the daughter is in love with Narendra (Subbiraj) whose father (Nana Palsikar) works in  Inderjit’s firm. The father resents both the love affairs mainly because they are not in the same financial status as him. Lata is sent back to her native place and Kishore is made to work in his father’s factory. Narendra’s father is dismissed from the job.

In the meanwhile, knowing her daughter and son’s preferences for their life partners, Parvati, the mother (Sulochana) secretly arranges their marriages. Inderjit is furious and in a fit of anger, he drives all of them out of his palatial house. Now he lives alone in the house.

On the marriage front, nothing works out between Narendra and Meena and between Kishore and Lata. There are arguments and quarrels. In this scenario, Kishore falls in the trap of Lily (Sadhana Chowdhari) and Meena returns to her mother.  The family is in the verge of disintegration.

[Since, the end part of the film was missing in the VCD, I am not aware as to how the film ends. But a scene shown in Inderjit’s office with Lily does gives an indication that Inderjit is prepared to mend his way. But what is the trigger that unites the family? Arun ji, in his comments on one of the songs of the earlier posted songs of this film, has indicated that]
Inderjit suffers a heart attack. The entire family comes to his side to attend to him to make him recover from the illness. This gesture makes Inderjit to realise the importance of family. The entire family is united.

The film had 9 songs all penned by Hasrat Jaipuri, the brother-in-law of Sardar Malik who set the songs to music. Four songs have been covered in the Blog. The song which I am presenting is not available on the DVD/VCD of the film. I have no idea whether the song was originally deleted from the film or deleted only from the DVD/VCD.

Without video also the song is pleasant to the ears.  It is worth noting that the first part of the last two antaras have been rendered by both the singers in higher octave.

Enjoy the romance filled teasing song written by the king of the romantic songs, Hasrat jaipuri.


Song – Zulm Bhi Karte Hain Aur Kehte Hain Ke Fariyaad Na Kar (Mera Ghar Mere Bachche) (1960) Singer – Suman Kalyanpur, Mohammed Rafi, Lyrics – Hasrat Jaipuri, MD – Sardar Malik

Lyrics

zulm bhi karten hain
zulm bhi karten hain
aur kehte hain fariyaad na kar
ek bulbul pe sitam
o mere sayyaad na kar
ek bulbul pe sitam
main hoon tera meri ummeed ko naashad na kar
meri ulfat ko samajh le
meri ulfat ko samajh le
mujhe barbaad na kar
meri ulfat ko samajh le

kuchh na puchho bade zaalim hai zamaane waale
dil kahin aankh kahin jaa ke milaane waale
dil kahin aankh kahin jaa ke milaane waale
ab koi yaad bhi aaye to usey yaad na kar
ek bulbul pe sitam
o mere sayyaad na kar
ek bulbul pe sitam

sab to zaalim nahi hote hain zamaane waale ae
sab to zaalim nahi hote hain zamaane waale
ishq mein jaan bhi dete hain nibhaane waale
ishq mein jaan bhi dete hain nibhaane waale
jhoota ilzaam na de haaye re bedaad na kar
meri ulfat ko samajh le mujhe barbaad na kar
meri ulfat ko samajh le

pyaar sach hai to hamen koi shikaayat hi nahin
pyaar sach hai to hamen koi shikaayat hi nahin
ye na samajho ke hamen tumse mohabbat hi nahin
ye na samajho ke hamen tumse mohabbat hi nahin
pyaar se dil mein samaa pyaar ki fariyaad na kar
pyaar se dil mein samaa….aa

———————————-
Hindi script lyrics (Provided by Sudhir)
———————————–

ज़ुल्म भी करते हैं
ज़ुल्म भी करते हैं
और कहते हैं फरियाद ना कर
एक बुलबुल पे सितम ओ मेरे सैय्याद ना कर
एक बुलबुल पे सितम
मैं हूँ तेरा मेरी उम्मीद को नाशाद ना कर
मेरी उलफत को समझ ले
मेरी उलफत को समझ ले
मुझे बर्बाद ना कर
मेरी उलफत को समझ ले

कुछ ना पूछो बड़े ज़ालिम हैं जमाने वाले
दिल कहीं आँख कहीं जा के मिलाने वाले
दिल कहीं आँख कहीं जा के मिलाने वाले
अब कोई याद भी आए तो उसे याद ना कर
एक बुलबुल पे सितम ओ मेरे सैय्याद ना कर
एक बुलबुल पे सितम

सब तो ज़ालिम नहीं होते हैं जमाने वाले
सब तो ज़ालिम नहीं होते हैं जमाने वाले
इश्क़ में जान भी देते है निभाने वाले
इश्क़ में जान भी देते है निभाने वाले
झूठा इल्ज़ाम ना दे हाए रे बेदाद ना कर
मेरी उलफत को समझ ले
मुझे बर्बाद ना कर
मेरी उलफत को समझ ले

प्यार सच है तो हमें कोई शिकायत ही नहीं
प्यार सच है तो हमें कोई शिकायत ही नहीं
ये ना समझो के हमें तुमसे मोहब्बत ही नहीं
ये ना समझो के हमें तुमसे मोहब्बत ही नहीं
प्यार से दिल में समा प्यार की फरियाद ना कर
प्यार से दिल में समा॰॰आ


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Ghazab”(1951) was produced by Raja Fatehlal Shah and M Shakir Lucknowi and directed by A Karim for Chitraleela, Bombay. This stunt film had Bhagwan, Baburao, Shanta Patel, Leela Gupte, Usha Shukla, Azeem Bhai, Sheikh, Ali, Maqbool, Jaani etc in it.

One song from the movie has been covered in the past. Here is the second song from this movie to appear in the blog. This song is sung by Khan Mastana. A Karim is the lyricist. Music is composed by Nisar Bazmi.

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


Song-Dil ko nahin hai chain haaye re (Ghazab)(1951) Singer-Khan Mastana, Lyrics-A Karim, MD-Nisaar Bazmi

Lyrics

dil ko nahin hai chain
haay re
dil ko nahin hai chain
dil ko nahin hai chain
haay re
dil ko nahin hai chain
yaad kisi ki rah rah ke sataaye
jal bhar aaye nain
dil ko nahin hai chain
haay re
dil ko nahin hai chain

jeewan ka sang saathi chhoota
bhaag hamaara phhoota
ho o bhaag hamaara phhoota
dil ke toote aas
gaaun kaise khushi ke ??
dil ko nahin hai chain haay re
dil ko nahin hai chain

naache mohini sunder naari
naache mohini sunder naari
naache duniya saari
ho o
naache duniya saari
mere soone man mein niraasha
naache hai din rain
dil ko nahin hai chain
haay re
dil ko nahin hai chain
dil ko nahin hain chain
haay re
dil ko nahin hai chain


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This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where "new" songs are added every day, and that has been the case for more than eight years. This blog has over 13300 song posts by now.

This blog is active and online for over 3200 days since its beginning on 19 july 2008.

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