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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 4157 Post No. : 15326

“Chingaari”(1955) was directed by S Srivastava for co-operative pictures production, Bombay. The movie had Shekhar, Nalini Jaywant, Leela Misra, Sunalini Devi, Pran etc in it.

This forgotten movie had eight rare songs in it. Four songs have been covered in the past.

Here is the fifth song from “Chingaari”(1955) to appear in the blog. This song is sung by Lata. Shailendra is the lyricist. Music is composed by Manohar aka Manohar Arora.


Song-Ye dil ki majbooriyaan (Chingaari)(1955) Singer-Lata, Lyrics-Shailendra, MD-Manohar Arora

Lyrics

ye dil ki majbooriyan aur ye pyaase nain
uljhan ki is raat mein do dil hain bechain
ye dil ki majbooriyaan

poochh raha hai chaand gagan ka hum kyun hain majboor
poochh raha hai chaand gagan ka hum kyun hain majboor
saath hain donon paas hain donon
phir bhi kitni door
kis dar ne kis soch ne chheena inka chain
ye dil ki majbooriyaan

apni manzil pe aakar bhi
kyun ye dil ghabraaye
apni manzil pe aakar bhi
kyun ye dil ghabraaye
dil ghabraaye
neend na aaye
har aahat chaukaaye
anjaane is des mein kaate kate na rain
ye dil ki majbooriyaan

pyaar agar hai paas to batla
ae duniya naadaan
pyaar agar hai paas to batla
ae duniya naadaan
tujhmein aisa kya hai jispe naaz kare insaan
kuchh na soojhe preet mein jab uljhen do nain
ye dil ki majbooriyaan aur ye pyaase nain
ye dil ki majbooriyaan


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.

Blog Day :

4156 Post No. : 15325 Movie Count :

4222

‘Saheb Bibi Golam’ (1956, Bangla film) was based on a story by the same title, written by Bangla novelist, Bimal Mitra. The film was directed by Kartik Chattopadhyay. The main star cast of the film was Uttam Kumar, Sumitra Devi, Anubha Gupta, Chhabi Biswas, Chhaya Devi, Nitin Mukherjee and Padma Devi. The story of the film relates to the time when the aristocracy of feudal lords was on the decline under the British rule by the end of 19th Century. The story revolves around the platonic relationship between the feudal lord’s neglected wife (Sumitra Devi) and a clerk (Uttam Kumar). The film was not only critically acclaimed, it was also a box office success.

The Hindi version of the film titled ‘Saheb Bibi Aur Ghulam’ (1962) was produced by Guru Dutt and directed by Guru Dutt’s right hand man, Abrar Alvi. Although the Hindi version of the film was released 6 years after the release of the Bangla version of the film, the idea to produce the Hindi version of the film was put forward to Guru Dutt by SD Burman as early as 1956 when he saw the shooting of the Bangla version  on his visit to Calcutta (now Kolkata) where Guru Dutt was already doing location hunting for his film ‘Pyaasa’ (1957). Guru Dutt had a meeting with novelist Bimal Mitra in SD Burman’s house in Calcutta, after which he decided to produce and direct the film with SD Burman as the Music Director.

When Guru Dutt  heard the story, he had decided that it had to be Meena Kumari who would be performing the role of Chhoti Bahu, the central character in the film. However, Kamal Amrohi, Meena Kumari’s husband declined the offer saying that she did not have dates. So, after failing to find any alternative actress for the role, the film was put in the back burner. It was only after the box office success of ‘Chaudhvin Ka Chaand’ (1960), Guru Dutt decided to revive ‘Saheb Bibi Aur Ghulam’ (1962). This time, after a lot of hard bargaining, Kamal Amrohi agreed with a raise in her fees and also giving bulk dates of 45 days at a stretch from January 1, 1962. He also put a condition that she would not travel to Calcutta to shoot in the haveli. So, the sets of Chhoti Bahu’s rooms in the haveli had to be created in a Mumbai studio.

Biswajit was identified for the role of Bhootnath, the clerk. But he did not agree for a condition of the exclusive contract with Guru Dutt Films. Shashi Kapoor was approached for the role which fell through as he came considerably late to discuss the role by which time Guru Dutt had decided to act in the film for the role of Bhootnath.

The film’s shooting started on January 1, 1961, exactly one year before Meena Kumari’s shooting schedule was to start. Probably, ‘Saheb Bibi Aur Ghulam’ (1962) was the first film from the stable of Guru Dutt Films which was ready in the cans in the record time except Meena Kumari’s part and the picturization of the songs which had to be postponed as the music director, SD Burman was ill during the first half of 1961. When he had recovered from his illness, he was selected by the Government of India to be part of the cultural delegation to the then USSR and other European countries. Guru Dutt lost his patience with SD Burman and entrusted the music direction to Hemant Kumar.

When SD Burman returned from his foreign trip, he was dismayed to find that he was no longer the music director of ‘Saheb Bibi Aur Ghulam’ (1962). Instead Hemant Kumar was roped in his place. SD Burman was very much upset as he felt that it was Hemant Kumar who had maneuvered to take over the music direction during his absence. He was so much involved with the film that he had already composed tunes for some songs with dummy lyrics without waiting for a formal contract. After this incidence, the relations between SD Burman and Hemant Kumar got affected. This explains as to why Na Tum Hamen Jaano Na Hum Tumhen Jaane from ‘Baat Ek Raat Ki’ (1962) was the last song Hemant Kumar sang for SD Burman.

[Note: Information in this article about what went behind the making of ‘Saheb Bibi Aur Ghulam’ (1962) is mainly based on (1) ‘Ten Years with Guru Dutt – Abrar Alvi’s Journey’ (2008) by Sathya Saran, (2) ‘Meena Kumari – The Classical Biography’ (2013) by Vinod Mehta and (3) ‘S D Burman – The Prince Musician’ (2018) by Anirudha Bhattacharjee & Balaji Vittal.]

The Hindi version of the film was not a frame by frame remake of its Bangla version film. Instead, the screen-play/dialogue writer and director Abrar Alvi and Bimal Mitra had a month-long sittings to finalise the screen-play and dialogues in tune with the taste of Hindi film audience without diluting the basic theme of the story. As a result, the visualization of scenes in Hindi version is quite different from the Bangla version. Let me give an example of the scene in which Bhootnath meets Chhoti Bahu for the first time.

In Bangla version, Bhootnath visits Chhoti Bahu’s (Sumitra Devi) room when she was about to complete her daily puja with her back to the camera. And then she looks back and tells  Bhootnath to sit down on the chair. Bhootnath introduces himself to Chhoti Bahu. There is not much movements in camera angles. In Hindi version, Chhoti Bahu calls him to sit as soon as he enters her room. The camera is focused on her feet the first time Bhootnath sees her. Even when she walks to her chair, the camera is still focused on her feet. But Bhootnath instead of sitting on the chair, he sits on the floor with his his dropping eyes. When he introduces himself as Bhootnath, the camera suddenly focuses on Chhoti Bahu’s  face and she tells him that it is a lovely name. It is at this point, Bhootnath who was speaking to her with eyes down looks up to see her face and is surprised that she was not amused by his name as it has been his experience with others. On the contrary, she says it is one of many names of the God. Also, there is a  empty bed shown while both of them are conversing symbolising the state of her marital life.

The Bangla version of the film kept the end as per the original story, that is Bhootnath (Uttam Kumar) does not get to marry Jaba (Anubha Gupta). But in Hindi version, there is an indirect hint by way of a dialogue and the last scene in which Bhootnath (Guru Dutt) travels with Jaba (Waheeda Rehman) in a horse cart. Since story has been told in the film in the flash back mode, it was possible in Hindi version of the film to change some sequences in the narration of the story.

The Bangla version of the film had 5 songs of which 2 songs were semi-classical songs in Hindi. Hindi version of the film had 7 songs. The background song in the Bangla version was in Hindi  using a part of a traditional dadra, ‘Ab Ke Saawan Ghar Aaja’ whereas in Hindi version, it was a haunting song, Koi Door Se Aawaaz De Chale Aao.

I am presenting another Hindi song from a Bangla film – ‘Saheb Bibi Golam’ (1956), ‘Kankar Mohe Laage Paniya Bharan Kaise Jaaun’ which has been rendered by Sandhya Mukherjee in dadra style. Lyrics are traditional which have been set to music by Robin Chatterjee. In the film, it has been picturised as mujra song. The equivalent song picturised in Hindi version of the film is Saaqiyaa Aaj Mujhe Neend Nahin Aayegi.

Song – Paniya Bharan Kaise Jaaun, Kankar Mohey Laage  (Saheb Bibi Golam) (1956) Singer – Sandhya Mukherjee, Lyrics – Traditional, MD – Robin Chatterjee

Lyrics

aa aaa aaaaaa aaa aaaa
paniya bharan kaise jaaun
aa aa aa aa
paniya bharan kaise jaaun
kankar mohe laage
kankar mohe laage
kankar mohe laage
kankar mohe laage  
paniya bharan kaise jaaun
paniya bharan kaise jaaun  
kankar mohe laage
kankar mohe laage
kankar mohe laage
 
natkhat roke
meri dagariya aa

natkhat roke
meri dagariya aa

laakh bachaa ke chalun najariya
laakh bachaa ke
laakh bachaa ke chalun nazariya
gher let hai bairi saanwariyaa aa
gher let hai bairi saanwariyaa
kaise paanv badhaaun
kankar mohe laage
kankar mohe laage
kankar mohe laage
kankar mohe laage
kankar mohe laage
 
paniya bharan kaise jaaun
haaye ram
paniya bharan kaise jaaun
haaye ram
paniya bharan kaise jaaun
haaye ram
paniya bharan kaise jaaun
paniya bharan kaise jaaun
haaye ram
kankar mohe laage
kankar mohe laage
kankar mohe laage
kankar mohe laage
kankar mohe laage

kankar mohe laage
kankar mohe laage
kankar mohe laaaaa…..ge ae
kankar mohe laaaa……ge ae
kankar mohe laaaa……ge ae
kankar mohe laaaa……ge ae 
kankar mohe laaaa……ge ae 
kankar mohe laaaa……ge ae 
kankar mohe laaaa……ge ae 

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

आ आss आsssss आss आsss
पनिया भरन कैसे जाऊँ
आ आ आ आ
पनिया भरन कैसे जाऊँ
कंकर मोहे लागे
कंकर मोहे लागे
कंकर मोहे लागे
कंकर मोहे लागे
पनिया भरन कैसे जाऊँ
पनिया भरन कैसे जाऊँ
कंकर मोहे लागे
कंकर मोहे लागे
कंकर मोहे लागे

नटखट रोके
मेरी डगरीया॰॰आ
नटखट रोके
मेरी डगरीया॰॰आ
लाख बचा के चलूँ नजरिया
लाख बचा के
लाख बचा के चलूँ नजरिया
घेर लेत है बैरी साँवरिया॰॰आ
घेर लेत है बैरी साँवरिया
कैसे पाँव बढ़ाऊँ
कंकर मोहे लागे
कंकर मोहे लागे
कंकर मोहे लागे
कंकर मोहे लागे
कंकर मोहे लागे

पनिया भरन कैसे जाऊँ
हाय राम
पनिया भरन कैसे जाऊँ
हाय राम
पनिया भरन कैसे जाऊँ
हाय राम
पनिया भरन कैसे जाऊँ
पनिया भरन कैसे जाऊँ
हाय राम
कंकर मोहे लागे
कंकर मोहे लागे
कंकर मोहे लागे
कंकर मोहे लागे
कंकर मोहे लागे

कंकर मोहे लागे
कंकर मोहे लागे
कंकर मोहे ला॰॰गे॰॰
कंकर मोहे ला॰॰गे॰॰
कंकर मोहे ला॰॰गे॰॰
कंकर मोहे ला॰॰गे॰॰
कंकर मोहे ला॰॰गे॰॰
कंकर मोहे ला॰॰गे॰॰
कंकर मोहे ला॰॰गे॰॰


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 4152 Post No. : 15318

“Chingaari”(1955) was directed by S Srivastava for co-operative pictures production, Bombay. The movie had Shekhar, Nalini Jaywant, Leela Misra, Sunalini Devi, Pran etc in it.

This forgotten movie had eight rare songs in it. Three songs have been covered in the past.

Here is the fourth song from “Chingaari”(1955) to appear in the blog. This song is sung by Lata. Shailendra is the lyricist. HFGK mentions the music director as Manohar.This Manohar is Manohar Arora.

This movie had seven Lata solo songs in it. It can be assumed that they were all meant for the lead actress viz Nalini Jaiwant.


Song-Dhak dhak dhadke jiyara laaga rog suhaana(Chingaari)(1955) Singer-Lata, Lyrics-Shailendra, MD-Manohar Arora

Lyrics

dhak dhak
dhak dhak
dhak dhak
dhak dhak
dhadke jiyara
dhadke jiyara
laaga rog suhaana
laaga rog suhaana
ghadi ghadi
ghadi ghadi dil mein aaye jaaye
aaye jaaye
ek pardesi anjaana
ho o laaga rog suhaana

kal maine unko dekha
ek sapna din ko dekha
nain mila ke neh lagaa ke
chain ganwaaya
apnon se main aankh churaaun
ho o
aankh churaaun
man bhaaya begaana
ho o
laaga rog suhaana

mere nainon se
mere nainon se dil me samaaye koi
mere honthon ko hansna sikhaaye koi
man mandir mein seekh rahi hoon
seekh rahi hoon
pyaar ke deep jalaana
ho o
laaga rog suhaana

chhup chhup jhaanke taaron se
chain churaaye ishaaron se
paas na aaye
door na jaaye
ji tarsaaye
man ke chor ko dekh na paaun
ko dekh na paaun
mile na koi bahaana
ho o
laaga rog suhaana
dhak dhak
dhak dhak
dhadke jiyara
dhadke jiyara
laaga rog suhaana
laaga rog suhaana


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.

Blog Day :

4150 Post No. : 15316 Movie Count :

4220

‘Shaap Mochan’ (1955, Bangla film) was based on a story of the same name written by the Bengali novelist Falguni Mukhopadhyay. The film was directed by Sudhir Mukherjee. The main actors in the film were Uttam Kumar, Suchitra Sen and Pahadi Sanyal. The film is available on-line for viewing without English sub-titles.

The film is about a musical family in which one of the forefathers had been cursed by a Guru that any one in his family who takes up singing would die prematurely or become invalid for insulting him for non-acceptance as Guru. Devendra (Pahadi Sanyal) became blind while taking up the singing as the career forcing him to give up the singing. Because of the curse, he gets the assurance from his younger brother, Mahendra (Uttam Kumar) that he would also not practice singing.

In order to sustain the family, Devendra sends his brother Mahendra to Kolkata to his friend for getting him a job. Mahendra stays with him who has a daughter, Madhuri (Suchitra Sen). During the course of their inter-action, Madhuri comes to know that Mahendra is a talented singer. She encourages him to become a singer. He reveals to her as to why he can not take up singing. However, Madhuri does not believe in the superstition.

It so happens that Mahendra remains unemployed which forces him to become a singer for earning. Over a period of time, he becomes a famous singer and earns good money in his profession. Madhuri and Mahendra fall in love. However, the curse falls on Mahendra and he becomes seriously ill. Madhuri tends him and gets him to fully recover from his serious illness. With this, the family’s superstitious belief in curse is broken. The film has a happy ending.

The film has 6 songs of which one song is in Hindi. That song is a bandish, ‘kaliyan sang karata rang raliyaan’ which is rendered by Pandit D V Paluskar in Raag Bahar as Chhota Khayal. The bandish was written by Kiniwaale Ram. Although Hemant Kumar has been accredited as the music director for all the six songs in the film, it is apparent that Pandit D V Paluskar had a say in the composition of the tune in Raag Bahar.

Earlier, I was under the impression that Pandit D V Paluskar sang as a playback singer in only one film – Baiju Baawra’ (1952). His jugalbandi song, aaj gaawat man mero jhoom ke, rendered with Ustad Amir Khan is par excellence among the Hindustani classical raag-based Hindi film songs. It was G N Joshi of HMV who had suggested to Naushad saab to take Ustad Amir Khan and Pandit D V Paluskar for this jugalbandi song. Naushad first approached Ustad Amir Khan who agreed to sing provided Pandit D V Paluskar was his ‘opponent’ and he would not mind losing in the jugalbandi to him. This showed the respect Pandit D V Paluskar commanded from his equally illustrious classical vocalist. Incidentally, both Ustad Amir Khan and Pandit D V Paluskar never sang this jugalbandi in their respective public concerts despite the demand from the audience.

Pandit D V Paluskar (28/05/1921 – 25/10/1955), the Hindustani classical vocalist rendered mostly khayal and tarana in his own style without attaching himself to the orthodox Gharanas. But experts in Hindustani classical music believe that his singing style was close to Gwalior Gharana. In the short span of 34 years of his life, he had become one of the foremost among the Hindistani classical vocalist. Those who had witnessed his concerts had observed that he was a classical vocalist with a difference – he sang for the common man blending the classical renditions with popular appeal. He also sang bhajans in Hindustani classical raags.

G N Joshi of HMV who was also an illustrious Hindustani classical vocalist and the music director had mentioned in one of his articles that Pandit D V Paluskar had a rare quality of recording any Hindustani classical raag within the disc space of about 3:25 minutes in 78 RPM gramophone records incorporating all the ‘alankars’ (ornamentations) that generally go with the Khayal type of renditions. Pandit D V Paluskar was also known for his exquisite aalaaps and taans which are evident in the bandish under discussion.

The bandish describes the spring season during which bees are flirting with new flower buds. Gardens are in full bloom. Peacocks are calling and koels are singing. Trees, laden with blossoms are waving in the breeze. Women are out in groups with buckets to bring water from the river. Overall, the scenarios gladden the heart of everyone.

I am not sure whether I have captured all the sargam in lyrics for the second half of the chhota khayal as Pandit ji’s rendition of sargam taan is very fast.

A more elaborate rendition ( nearly 15 minutes) of this bandish in Raag Bahar by Pandit D V Paluskar is now available on-line here which he had performed on All India Radio’s National Programme of Music sometime in early 1950s.

Video Clip:

Audio Clip:

Song-Kaliyan sang karta rang raliyaan(Shaap Mochan)(1955) Singer-Pt D V Paluskar, Lyrics-Kiniwaale Ram, MD-Hemant Kumar

Lyrics (Based on Video Clip)

aaa aaa aaa
aaa aaa aaa
aaa aaa aaa
aaa aaa aaa

kaliyan sang karta rang raliyaan
kaliyan sang karta rang raliyaan
bhanwar gunjaare phooli phulwaare
chahoon oar mor bole
koyal ki kook suni hook uthhi
kaliyan sang karta rang raliyaan
kaliyan sang karta
kaliyan sang karta
lehrat leharaata
sab birachhan mori
le naar gadhwaa bharan aayi
aaj baag mein pukaare
‘Kiniwaale Ram’ bole
har baar baar
kaliyan sang karata rang raliyaan

[dialogues in Bengali]

aaaaaaa aaa aaaaaaaaaa
aa aaaa aaaa aaaa aaaa
aaaaaaa aaa aaaaaaaaa
aaaaa aa aaaaaaa
kaliyan sang karata rang raliyaan
aa aaa aaaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaaaaaaa aaa aa
aaaaaaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaaaaaa
aaaaa aa
kaliyan sang karata rang raliyaan
ae ae ae ae
kali……sang……
kaliyan sang karata rang raliyaan
kali eeeeeeeeeeeeeeeee ee ee ee…yan
kaliyan ee ee…yan….sang………..karata rang raliyaan
kaliyan sang karata rang raliyaan
aaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaa
kaliyan sang karata rang
aaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaa
aaaaaaa aa
kaliyan
kaliyan sang karata rang raliyaan
aaaaaaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaaaaaa
aaaaaa aa
kaliyan sang karata rang raliyaan
kaliyan sang karata
aaaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaaaa
kaliyan sang karata rang raliyaan
aaaaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaaaaa
kaliyan sang karata rang raliyaan
kaliyan
aaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaa
kaliyan sang karata rang raliyaan
kaliyan sang
ga ma pa ni sa
ni dha sa ni dha ni sa ni s ani sa
kaliyan sang karata
ga ma pa ni sa ni dha
sa ri ga ri ri s ani ga ri sa
sa ni sa ma pa ga ma sa ni pa
ga ma pa ni sa
kaliyan sang karata rang raliyaan
ga ma pa ni sa sa sa dha
sa ri sa pa ni sa ma pa ni pa ga
ma ni pa ga ma pa ni sa
kaliyan sang karata rang raliyaan
kaliyan aa
kaliyan aa
kaliyan sang karata rang raliyaaaaaa…..aan


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 4148 Post No. : 15314

“Qaatil”(1960) was produced by N N Sippy and D R Chandra and directed by Muhammad Hussain for Prithvi Pictures Bombay. This “crime” movie had Premnath, Chitra, Heeralal, Lalita Pawar, Kamal Mehra, Renu Makad, Shaam Kumar, Madhumati, Meena Parel, Dhondu, Kamal Mohan, Balaram, Najma, Nazeer Kashmiri etc in it.

The movie had seven songs in it. Three songs have been covered in the past.

Here is the fourth song from “Qaatil”(1960) to appear in the blog. This song is sung by Asha Bhonsle. Khumar Barabankwi is the lyricist. Music is composed by Naashaad.

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


Song-Bewafa deke daga jaata hai (Qaatil)(1960) Singer-Asha Bhonsle, Lyrics-Khumar Barabankwi, MD-Naashaad

Lyrics

o bewafa aa
bewafa aa
bewafa

bewafa de ke daga jaata hai
pyaar badnaam hua jaata hai
bewafa de ke daga jaata hai
pyaar badnaam hua jaata hai

o mujhe chhod ke jaane waale
o mujhe chhod ke jaane waale
dil ke dushman hai zamaane waale
phool kaanton mein ghira jaata hai
pyaar badnaam hua jaata hai
bewafa
bewafa
bewafa de ke daga jaata hai
pyaar badnaam hua jaata hai

gham ki ghanghor ghata chhaayi hai ae ae ae
gham ki ghanghor ghata chhaayi hai
chaand taaron ko bhi neend aayi hai
dam andhere mein ghuta jaata hai
pyaar badnaam hua jaata hai

dil hi mein rah gaye armaan dil ke
dil hi mein rah gaye armaan dil ke
jo diya hamne jalaaya mil ke
wo diya aaj bujha jaata hai
pyaar badnaam hua jaata hai
bewafa
bewafa
bewafa de ke daga jaata hai
pyaar badnaam hua jaata hai


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 4134 Post No. : 15293

“Tarang”(1952) was produced by Basudev Sinha and directed by I C Kapoor for Solar Films, Bombay. The movie had Munawar Sultana, Ajeet, Jeevan, Manorama, Baby Rehana, Master Raja, Manju, Lalita, Bhagwan Ji, Niranjan Sharma etc in it.

The movie had ten songs in it. Six songs have been covered in the past.

Here is the seventh song from “Tarang”(1952) to appear in the blog. This joyous expression of love song is sung by Shamshad Begam, Chitragupta and chorus. I C Kapoor, the director doubles as the lyricist while Chitragupta doubles up as the music director.

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


Song-Aayi jhoom ke jawaani kahe dil ki kahaani (Tarang)(1952) Singers-Shamshad Begam, Chitragupta, Lyrics-I C Kapoor, MD-Chitraagupta
Chorus

Lyrics

aayi jhoom ke jawaani ee
aayi jhoom ke jawaani
kahe dil ki kahaani
suno suno ji
suno suno ji
sunaaun tumhen aankhon ki jabaani
aayi jhoom ke
ho o aayi jhoom ke
ho o aayi jhoom ke
ho o aayi jhoom ke

aayi jhoom ke jawaani
kahe dil ki kahaani
suno suno ji
suno suno ji
sunaaun tumhen aankhon ki jabaani
aayi jhoom ke
ho o aayi jhoom ke

dekho aayi hai bahaar r
naya naya hai nikhaar r
dekho aayi hai bahaar
naya naya hai nikhaar
meri aankhon mein
ho meri aankhon mein hai pyaar
ab na karna tu inkaar
hogi
hogi
hogi teri meharbaani
aayi jhoom ke
ho o aayi jhoom ke
aayi jhoom ke jawaani
kahe dil ki kahaani
suno suno ji
suno suno ji
sunaaun tumhen aankhon ki jabaani
aayi jhoom ke
ho aayi jhoom ke

sun lo yaaron
yaaron ulfat hai janjaal
jo na jeb mein tere maal
ek rupaiyya wo bhi khota
yaaron ulfat hai janjal
jo na jeb mein tere maal
aankhon mein aankhen na daal
sar ke ud jaayenge baal
sar ke
sar ke
sar ke ud jaayenge baal
yaad aayegi tujhko naani
aayi jhoom ke

ho o aayi jhoom ke
aayi jhoom ke jawaani
kahe dil ki kahaani
suno suno ji
suno suno ji
sunaaun tumhen aankhon ki jabaani
aayi jhoom ke
ho o aayi jhoom ke

ho o o
gore gaal pe
gore gaal pe kaala til il il
kaaboo mein na mera dil
ho o
gore gaal pe kaala til
kaaboo mein na mera dil
seene pe rakhi hai sil
raaja jaldi aake mil
ho raaja
ho raaja
ho raaja jaldi aake mil
hai ye duniya aani jaani
aayi jhoom ke
ho o aayi jhoom ke
aayi jhoom ke jawaani
kahe dil ki kahaani
suno suno ji
suno suno ji
sunaaun tumhen aankhon ki jabaani
aayi jhoom ke
ho o aayi jhoom ke

kahna jo kuchh ham bhi chaahen
to kah do na
ama yaar darte hain
kyon
darte hain wo sun na paayen
achcha jee
hum to unse ishq nibhaayen
jo mere ghar pe chal ke aayen
chaahe
chaahe
chaahe langdi ho ya kaani
aayi jhoom ke

ho o aayi jhoom ke
aayi jhoom ke jawaani
kahe dil ki kahaani
suno suno ji
suno suno ji
sunaaun tumhen aankhon ki jabaani
aayi jhoom ke
ho o aayi jhoom ke
ho o aayi jhoom ke
ho o aayi jhoom ke


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 4130 Post No. : 15289

Today’s song is from film Izzat-1952.

The title “Izzat” obviously carried lot of “Izzat” with producers, because I find this Title in 1937, 1952, 1968 and 1992. Further there was Izzat Aabroo-90 and Izzat Aabroo-2005 (I thought these words were synonyms), Izzat ka Rakhwala-2010, Izzat ke Lutere-90, Izzat ki Roti-93, and Izzatdaar-90. I am waiting for a title Izzat ka Falooda. In these days of strange Titles, this is not impossible.

The cast of the film Izzat-52 was Nirupa Roy, Amarnath, Manorama, Agha, Rajni, Jeevan, Veera, P.Kailash, Pesi Patel, Ramesh Thakur, Baby kalpana etc etc.The film was made by Taimur Art productions. Its owner Taimur Behram Shah was the Producer and also the director of this film. The music was by Bulo C Rani. There were two lyricists,namely Raja Mehedi Ali Khan (7 songs) and Butaram Sharma who wrote just 1 song. Taimur Behram Shah was earlier in Ranjit, working as an assistant director. He got opportunity to direct 2 films of Ranjit – Lakhon mein ek-47 and Bhool Bhulaiya-49. Then he started his own production house and made Izzat-52.

Film industry has a cycle, just like Nature. An actor comes, becomes a Hero, after few years works as a side Hero and then shifts to do character roles. There are some actors, who started as Heros, remained Heros and retired as Heros. Such cases are very few. Same applies to actresses too, There are more actresses who quit films, while they were still Heroines. The reasons are usually, marriage or getting children etc. I remember at least one actress, who was a popular Heroine in the late 30s and 40s-till 1947, but stopped acting in films, because her husband strictly forbade her from doing roles other than Heroine. Her name is Meenakshi Shirodkar.

From the cast, we can see that Nirupa Roy, Amarnath, Manorama, Jeevan, Veera, Agha and P.Kailash began as Lead actors and then became side Heroine/Hero and lastly settled for character roles. Some readers may be surprised about Agha being a Hero anytime. It is interesting to note that in film ” Jwar Bhata “-44, Agha was the Hero and Dilip Kumar had made his Debut in this film as a side Hero. While Agha’s Heroine was Shamim, Dilip’s Heroine was Mrudula – a Debutante herself.

Among the cast, the name of P.Kailash and his mention as a Hero in the past, may be a matter of surprise for some readers. For a long time, I was very curious about this actor. One day I was reading a book “Asli Nakli Chehre” ( असली नकली चेहरे ) by Vithal Pandya. In this book, he has given information about P.Kailash, who did the main role in film ” Jai Hanuman-48″, for which Pandya was an assistant Director. Vithal Pandya had spent over 30 years in film industry from the 30s and 40s. He worked with many directors and in many banners. He wrote 2 books in Gujarati/Hindi, which are highly informative with first hand knowledge. For example, he mentions that S N Tripathi, the Music Director was also an actor and was famous in the role of Hanuman in all Wadia movies. However in this film-Jai Hanuman-48, he had done the role of Ravan. Anyway, based on information in this book coupled with an article by M N Sardana ji, on Fb page ‘Voh din yaad karo’ about P.Kailash, here is some information on P.Kailash for our readers, first time. My thanks to both of them.

Mr P Kailash (Pandit Kailash Chandra Sharma),was born on 03 February 1924 at Multai , a small town in Distt Baitul ( Madhya Pradesh ) .After doing H.S.C., he did a stint of teaching in Akola. Bestowed with sharp features and deep voice, fair coloured P Kailash came to Bombay in 1946 to become an actor . He had not to wait for a long to have entry in the film line .

Seth Chandulal Shah gave him a chance in his mythological movie Jai Hanuman ,as hero opposite Nirupa Roy. The movie made under the banner of Ranjit Movietone was directed by Ram Chandra Thakur. Thereafter , Mr Kailash appeared in many mythological, fantasy and historical movies like Veer Durga Das, Sati Anusuiya, Maha Bharat, Prabhu Ki Mahima, Veer Arjun, Gopal Krishna, Nadir Shah, Thief Of Baghdad, Hercules ,Aab E Hayat, Gul E Bakawali etc. In 1953, he performed as a cop in Ranjit Mvietone’s Papi, along with Raj Kapoor. With Dilip Kumar, he did a role which had comic shades in Leader. Shirin Farhad ,made by veteran film maker Aspi Irani, was another movie in which his performance was much appreciated .

Mr P Kailash appeared in numerous movies made by Film makers like Shree Ram Bohra, B K Adarsh and Filmistan. Maine Jeena Seekh Liya, Hum Kahan Ja Rahe Hain, Picnic, Baba Sari Ladli (Rajasthani) ,Jekra Charnwa Mein Lagle Pranwa (Bhojpuri), Love and Murder, were the movies, Mr P Kailash did for the said film makers. Versatile director Krishan Chopra (May God Bless His Soul) ,who died before completing his second movie ,gave him a life time role of a tyrannical land lord in Heera Moti which was based upon the heart warming story Do Bailon Ki Katha, written by great writer Prem Chand . He brought alive the arrogant and heartless Zamindaar on the screen with his dynamic performance .

Krishan Chopra, impressed with the magnificent personality of Mr P Kailash, gave him an important role in his next movie Gaban ,which was completed by Hrishkesh Mukherjee ,after Mr Chopra passed away untimely. It was a sad coincidence ,that Mr P Kailash ,also did not live long. While on a visit to his birth place Multai, he suffered massive heart attack and left for his heavenly abode on 23 May 1967 . Payal Ki Jhankaar ,made by Filmistan and Thief of Baghdad by Mr Shree Ram Bohra were released later ,after he had gone forever in the young age of 43 years ,leaving his two daughters ,one son and wife .

P.Kailash acted in 43 films. His first film was Jai Hanuman-48 and the last released film was Irada-1971.

The Hero of film Izzat-52 was Amarnath. Amarnath (Bharadwaj) is one of the “same name confusions” victims. There were two Pt. Amarnath Music Directors, 1 actor Amar, 1 actor Amarnath and 1 actor/Director (K.) Amarnath. This Amarnath was born in Hafizabad, in Gujaranwala district of Punjab (Now in Pakistan) in 1922. He started acting in 1939 with Kidar Sharma’s “Dil hi to hai”. Graduating from doing small roles he was made the Leading Man in Dalsukh Pancholi’s film “Patjhad”, started in 1947 opposite Meena (Shorey). Pancholi had to flee Lahore due to Partition riots, but he carried the negatives of Patjhad. Though the film was censored in India in 1948, it seems it was never released.

Amarnath starred as Hero in many other films,like Naghma E Sehra-45, Papiha re-48, Barsat ki ek raat-48, Swayam sidha-49, Nai Bhabhi-50, Kamal ke phool-50, Sheesh Mahal-50, Jalte Deep-50, Johri-51, Nai zindagi-51 , Nirmohi-52, Nirmal-52, Izzat-52, Bahu Beti-53, Nav Durga-53, Toofan-54 etc. Then he switched over to side roles. In all, he worked in 81 films (CITWF data). His last film was Kaun ho tum-70.

The third uncommon name in the cast is that of Veera, about whom very few will be knowing. One time she was a very sensuous actress. Veera was from a Parsi family. Her full name was Veera Ankaleshwaria. Obviously, her family came from Ankaleshwar, a small industrial town(now), in Gujarat.

She started her career in films as a Heroine opposite Nasir khan in film Mazdoor-1945. Then came Shikari-46 and later Eight days-46, both had Ashok kumar as the Hero. Both the films were from Filmistan. Her last film as Heroine was Tohfa, opposite Rehman and Leela opposite Agha , both films from 1947. Then she stopped getting Heroine roles and shifted to side roles. In all she did 22 films.

Her other films were, Veena, Ziddi, Chanda ki Chandani- all 48, Sanwaria-49, Hamara Ghar and hamari beti- 1950, Hamari shaan, Ramjanma and Sagar-1951, Aasmaan, izzat, Moti mahal, Sanskar and Shin shinaki boobla boo-all 1952, Dana Pani-53, Boot polish and Sheeshe ki deewar both 1954.

She married Mohsin Abdulla, who had worked in Bombay Talkies as a writer. He was the younger brother of actress Renuka Devi ( Begum Mirza) and the First husband of actress Neena. After the marriage, both migrated to Pakistan in 1955. No news after that.

Today’s song is a duet sung by G M Durrani and Shamshad Begum. It is a typical song belonging to the 50’s music, influenced by C Ramchandra, O P Nayyar and Shankar Jaikishen. I liked this song. I am sure you too will like it.


Song- Iss duniya se hum nahin darega(Izzat)(1952) Singers- G M Durrani, Shamshad Begum, Lyrics- Raja Mehdi Ali Khan, MD- Bulo C Rani
Both

Lyrics

Iss duniya se hum nahin darega
Iss duniya se hum nahin darega
karega karega karega
kargega
karega karega
tumse muhabbat karega
Iss duniya se hum nahin darega
karega karega karega
karega karega
tumse muhabbat karega

zara sambhal sambhal ke aana
ho zara sambhal sambhal ke aana
meri gali mein kahin na pit jaana
ho meri gali mein kahin na pit jaana
haay marenga marenga marenga

marega
karega karega
tumse muhabbat karega

hamen chhedo na
haaye chhedo na
sab duniya dekhti
aaankhen sekti
uyi
dil phenkti
haaye
tamaasha dekhti

tere nain se nain mera ladega
tere nain se nain mera ladega
ladega ladega ladega
bhai ladega
karega karega tumse mohabbat karega

tere galey mein baahon ka
main haar daaloonga
toone roka
ya toka
to maar daaloonga
aisa karega to
aisa karega to dekh phaansi chadhenga
aisa karega to dekh phaansi chadhenga

haa
chadhega chadhega chadhega
lekin
karega karega
tumse mohabbat karega

hum soch samajh ke baat karega
milo akele mein
tum hampe gadbad karte ho
kis bhare jhamele mein
kabhi chhup chhup mere paas aana
ho kabhi chhup chhup mere paas aana

paas aane se kya hoga samjhaana
paas aane se kya hoga samjhaana
abe
karega karega karega
bhai karega
karega karega
tumse muhabbat karega

Is duniya se hum nahin darega
Is duniya se hum nahin darega
karega karega karega
bhai karega
karega karega
tumse muhabbat karega


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.

Blog Day :

4128 Post No. : 15285 Movie Count :

4208

What is the common between the Hindi film song, “Jaa Tose Naahin Boloon Kanhaiyya from ‘Parivaar’ (1956) and a devotional song in Sanskrit,  “Vatapi Ganapatim Bhaje”?  The answer is that they are based on Carnatic Raag Hamsadhwani (also written as Hansadhwani).

Raag Hamsadhwani is said to have been invented by Carnatic composer Ramaswami Dikshitar (1735-1817). His son, poet-composer, Muthuswami Dikshitar wrote and composed one of the most popular Sanskrit devotional song mentioned above in Raag Hamsadhwani. The credit for bringing this raag to Hindustani classical music goes to Ustad Aman Ali Khan (1888-1953) of Bhendi Bazar Gharana who had also learnt Carnatic music under a court musician of the Mysore State. He created and composed a bandish, “Laagi Lagan Pati Sakhi Sang” in Raag Hamsadhwani.

Ustad Amir Khan, on a visit to Mumbai, met Ustad Aman Ali Khan and heard this bandish. He was so mesmerised by the bandish in Hamsadhwani that he started singing in his concerts both in Khayal and Taraana style which made it popular among the Hindustani classical vocalists and instrumentalists. Subsequently, many stalwarts among Hindustani classical vocalists such as Ustad Rashid Khan of Rampur-Sahaswan Gharana, Vidushi Kishori Amonkar of Jaipur-Atruali Gharana, Pandit AT Kanan from Kirana Gharana, Pandit Ajoy Chakraborty, his daughter and son-in-law, Kaushiki Chakraborty-Desikan and Parthasarathi Desikan – all from Patiala Gharana, Begum Parveen Sultana of Patiala Gharana etc. have rendered Raag Hamsadhwani in their concerts.

Despite the popularity of Raag Hamsadhwani among the Hindustani classical vocalists and instrumentalists, Hindi film music directors have rarely used this raag in composing the songs. Probably, Salil Chowdhury may be the first Hindi film music director to compose a full-fledged song in this raag for the film ’Parivaar’ (1956) as mentioned above. C Ramchandra did use some shades of Raag Hamsadhwani in the song, “O Chaand Jahaan Wo Jaayen in ‘Sharada’ (1957). I feel that Shankar-Ehsan-Loy has also used some shades of this raag in his fusion song, “Tere Naina Hans Diye in ‘Chaandni Chowk to China’ (2009).

A few days back, Partha Chanda ji, in one of his comments in our Blog, has pointed out that there is a great classical piece in Ritwik Ghatak’s Bangla film ‘Meghe Dhaka Tara’ (Cloud Capped Star), 1960.  I found out that there is not one but two classical Hindi songs in this film sung by Pandit AT Kanan and both are set in Raag Hamsadhwani. I have picked up one of the songs which is the bandish originally created by Ustad Aman Ali Khan.

I was not familiar with the name of Pandit AT Kanan. Since he was one of the ’Gurus’ at ITC Sangeet Research Academy, Kolkata since its inception in 1977, a brief profile of him was available on ITCSRA website. The following information about Pandit AT Kanan is mainly based on this source.

Pandit AT Kanan (18/06/1922 – 02/09/2004) was born in Chennai as Arkut Kannabhiran. As a teenager, singing became his hobby whereas cricket was his passion. At the age of 18, he joined Railways and played cricket for them. In early 1940s, Kanan visited Mumbai for a scheduled cricket match. After the match, he visited All India Radio, Mumbai to check the suitability of his voice for singing over the radio. When the AIR official heard his voice, they immediately offered him a program to be broadcast. This was the beginning of his tryst with Hindustani classical music.

On his transfer to Hyderabad, AT Kanan took the guidance for vocal training from Pandit Lahanu Babu Rao. He was once again transferred to Kolkata where he resumed training under Pandit Girija Shankar Chakraborty. In 1943, he gave his debut performance at All Bengal Music Conference. After about two years of his stay in Kolkata, Pandit Kanan was under orders of transfer. By this time, he had already established himself in Kolkata as a Hindustani classical vocalist of repute. His admirers persuaded him to leave the railway job and stay in Kolkata. Thus, he became a full time Hindustani classical vocalist.

Sometime in the 1950s, Pandit Kanan along with other musicians, established Kolkata Music Circle. Those days, Kolkata was one of the main centres of Hindustani classical music. Some of the Hindustani classical vocalists and instrumentalists used to regularly give their performance in the city. Pandit Kanan got opportunity to inter-act with Ustad Amir Khan, Pandit Ravi Shankar, Ustad Akbar Ali Khan, Vidushi Hirabai Barodekar etc.

Pandit Kanan’s renditions of the Raag ‘Hamsadhwani’, ‘Rageshri’, and ‘Jog’, among others, made him an extremely popular Khayal singer not only in Kolkata but also throughout the country. A top grade AIR artist, Pandit Kanan performed in all the important music conferences in the country, including National Programmes and Radio Sangeet Sammelans. He was also a playback singer in the Bengali films such as ‘Jadu Bhatta’ (1954), ‘Basanta Bahar’ (1957), ‘Megh Malhar’ (1958), ‘Meghe Dhaka Tara’ (1960), etc. He was bestowed with Sangeet Natak Academy Award in 1995.

In 1958, he married Malbika Roy (later known as Malbika Kanan) who was also a Hindustani classical vocalist.

Although, Pandit Kanan developed his own style of Khayal singing, some Hindustani classical vocalists believe that later on, he was influenced by the Khayal singing style of Ustad Amir Khan with whom he used to regularly exchange notes. I guess, this may be the reason that on the ITCSRA website, Pandit Kanan has been shown under Kirana Gharana. Of course, Ustad Amir Khan had also improvised the style of Kirana Gharana which his disciples named as the Indore Gharana style.

‘Meghe Dhaka Tara’ (1960), is the first of the trilogy of Ritwik Ghatak’s films on the aftermath of the partition of Bengal. Anil Chatterjee is a part of a family who has migrated from East Pakistan after the partition and are staying in the outskirt of Kolkata. He is the eldest son who is dreaming of becoming a Hindustani classical vocalist. He does not earn money for the family. Instead he is a wanderer. His sister (Supriya Devi) takes care of the family by earning but her efforts are not appreciated by any one in the family. In this process, she sacrifices her personal life (her fiancé is more interested in her sister than her) and her health for the betterment of the family. At the end, her serious illness becomes the burden on the family. And she still wants to live.

As mentioned earlier, Pandit Kanan’s Khayal rendition in Raag Hamsadhwani was regarded as the one of his most popular renditions those days. So, it was natural that he lips syncs for Anil Chatterjee for the bandish “Laagi Lagan Pati Sakhi Sang” in Raag Hamsadhwani in the film ‘Meghe Dhaka Tara’ (1960).

The bandish has been rendered as a ‘chhota khayal’. Although the music director for the film was Anil Chandra Sengupta, credit should go to Ustad Aman Ali Khan who had originally composed the bandish.

I did not find the record version of the bandish used in the film on the websites. Probably, it may not have been issued in the record version. Hence, I have provided the link of an audio clip of the longer version of the same bandish rendered by Pandit AT Kanan.

Video

Audio (Longer Version)

Song – Laagi Lagan Pati Sakhi-san  (Meghe Dhaka Tara) (1960) Singer – Pt AT Kanan, Lyrics – Ustad Aman Ali Khan, MD – Ustad Aman Ali Khan

Lyrics (Based on Video Clip)

laaa..aagi lagan pati sakhi-san
laaa..aagi lagan pati sakhi-san
parama sukh aa
ati anandana aa
parama sukh aa
ati anandana aa
laa..aagi lagan pati sakhi-san
laagi lagan pati sakhi-san
laagi lagan pati sakhi-san
laa..aagi lagan pa

laa aa aaaaaaaaaaa aa
laaaaaa..gi
laaaaaaaaaa. . .
laaaaaaaaa..gi
laaaaaaaaaaaaa aa
laaaaaaaaaaaaa aa aa…gi
laagi lagan pati sakhi-san
laaa..aagi lagan pati sakhi-san
laaa..aagi lagan pati sakhi-san
 
[Dialogues]
 
ang sugandhan chandan maathe ti..lak dhare
ang sugandhan chandan maathe ti..lak dhare
drigan-nayanan anjana fabnatey
amar ho nit pati kaaje sadan
laaa..aagi lagan pati sakhi-san
laaa..aagi lagan
laaa..aagi lagan
laagi lagan pati sakhi-san
laagi lagan pati sakhi-san
la..gi lagan
la..gi lagan
laagi lagan aaa


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 4126 Post No. : 15282

“Watan” (1954) was directed by N Bhatt for Falcon Pictures. This movie had Trilok Kapoor, Nirupa Roy, Munawwar Sultana, Jayant, Gope, Madan Puri, Cuckoo, Surya Kumar etc in it.

There were six songs in this movie. Two songs from the movie has been covered in the past.

Here is the third song from “Watan” (1954) to appear in the blog. This rare song is sung by Asha Bhonsle. Shewan Rizvi is the lyricist. Music is composed by Hafiz Khan.

Only the audio of this song is available. Assuming that Nirupa Roy was the leading lady of the movie, my guess is that this song (and other songs sung by Asha Bhonsle in th movie) were lip synced by Nirupa Roy. Nevertheless, I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song.


Song-Taqdeer ka kehna hai ki.. roti hai to roya karey barbaad mohabbat (Watan)(1954) Singer-Asha Bhonsle, Lyrics-Shewan Rizvi, MD-Hafiz Khan

Lyrics

Taqdeer ka kehna hai ki ??
ghar hi jalaa doongi ee ee
rehta hai jahaan pyaar
wahaan aag laga doongi

roti hai to roya kare barbaad mohabbat
duniya mein na hogi kabhi aabaad mohabbat
roti hai to roya karey barbaad mohabbat

pehle to muqaddar ne tujhe mera banaaya
phir mere hi haathon se tujhe qaid karaaya
dil rota hai ae ae ae ae
dil rota hai
aur karti hai fariyaad mohabbat
duniya mein na hogi kabhi aabaad mohabbat
roti hai to roya karey barbaad mohabbat

barbaad ye dil thhaame jigar dekh rahi hoon
dekha nahin jaata hai magar dekh rahi hoon
Allah kar r r r r
Allah kar is gham se tu aazaad muhabbat
duniya mein na hogi kabhi aabaad mohabbat
roti hai to roya karey barbaad mohabbat a a a


This article is written by Sudhir, 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.

Blog Day : 4121 Post No. : 15274

———————————————–——————————————
Blog 10-Year Challenge (2009-19) – Song No. 49
——————————————————————————————

OK, so a norm need not always be effected. In my previous post of this series, I had mentioned in the beginning that – “The blog was in its childhood –”. On 29th October of 2009, the departure was that only one song was posted. Ah yes, sometimes it used to happen even then. One song has become kind of a norm these days. 🙂

The solo song that day was from the film ‘Pehli Jhalak’ of 1954. The film had made its debut that day with philosophical song “Zameen Chal Rahi Aasmaan Chal Raha Hai” in the voice of Hemant Kumar. Music is by C Ramchandra and the lyrics are from the pen of Rajinder Krishan.

Geet Kosh lists 10 songs for this film, with the above mentioned song appearing in the film as a two part song. All the songs are written by Rajinder Krishan, and the music is by C Ramchandra. Over the subsequent six years, till 1st December 2015, eight of the remaining 9 songs appeared on the blog with a certain irregular regularity. Check out the posting status in the table below.

 

Zameen Chal Rahi Aasmaan Chal Raha Hai Pehli Jhalak 1954 2102 29-Oct-09
Naa Maaro Nazariyaa Ke Baan Pehli Jhalak 1954 2430 24-Apr-10
Charandas Ko Peene Ki Jo Aadat Naa Hoti Pehli Jhalak 1954 2633 17-Jul-10
Chhodi Ji Chhodo Kalaayi Koi Dekh Legaa Pehli Jhalak 1954 2891 2-Sep-10
Oonchi Oonchi Dukaan Phheeka Phheeka Pakwaan Pehli Jhalak 1954 3078 6-Oct-10
Kaise Bhaaye Sakhi Rut Saawan Ki Pehli Jhalak 1954 8642 5-Sep-13
Achchi Soorat Hui Ya Museebat Gali Mein Aana Jaana Band Pehli Jhalak 1954 10950 11-Mar-15
Zamaane Se Niraala Hai Meri Ulfat Ka Afsaana Pehli Jhalak 1954 10963 21-Mar-15
Mohabbat Ne Mujhe Maara Pehli Jhalak 1954 11619 1-Dec-15

The last song of this film was posted almost four years ago. And since that day, 1st Dec, 2015, this film has been patiently waiting to be yippeee’d. The reason being that this last remaining song of this film was not available online all this time. Checking for it again some days back, I am finally able to locate online, the audio of this song, which was posted just recently in August of 2019. And interestingly, just 6 views so far, as I write these lines.

The film ‘Pehli Jhalak’ is produced by Seth Jagat Narayan, under the banner of Jagat Pictures, Bombay. It is directed by MV Raman. The start cast of this film includes Vaijayantimala, Kishore Kumar, Pran, Shammi, Roopa Varman, Anil, Jawahar Kaul, Shivraj, Kamlakant, Om Prakash, Dara Singh, and Baby Asha Parekh.

So finally, we are announcing today, the yippeee status for this film, with the posting of this song. The song is in the voice of Shamshad Begum. The song appears to be a gambling related song, with the words exhorting the gambler to play on – money is a thing that comes and goes. Do not worry about it – “सोच ना बाबू ऐसा ना वैसा; just play the game and place your bet – “दांव लगाने में फिर डर कैसा“. It is a fast paced song sung with her usual verve by Shamshad ji.

Listen and enjoy.

 


Song – Aata Hai Paisa, Jaata Hai Paisa (Pehli Jhalak) (1954) Singer – Shamshad Begum, Lyrics – Rajinder Krishan, MD – C Ramchandra
Chorus

Lyrics

aata hai paisa
jaata hai paisa
daanv lagaane mein phir darr kaisa
aata hai paisa
jaata hai paisa
daanv lagaane mein phir darr kaisa
oo oo
aata hai paisa
jaata hai paisa
daanv lagaane mein phir darr kaisa..aa

khele jo dilwaale dil ki baazi
dil hai raazi to duniya raazi
khele jo dilwaale dil ki baazi
dil hai raazi to duniya raazi
mail hatheli ki hai paisa
aata hai paisa
jaata hai paisa
daanv lagaane mein phir darr kaisa
oo oo
aata hai paisa
jaata hai paisa
daanv lagaane mein phir darr kaisa..aa

haar gaya dhan tan bhi laga de
garam hai mehfil rang jamaa de
haar gaya dhan tan bhi laga de
garam hai mehfil rang jamaa de
soch na baabu aisa na waisa
aata hai paisa
jaata hai paisa
daanv lagaane mein phir darr kaisa
aata hai paisa
jaata hai paisa
daanv lagaane mein phir darr kaisa
oo oo
aata hai paisa
(la la la la la)
jaata hai paisa
(la la la la la)
daanv lagaane mein phir darr kaisa..aa
(la la laa laa laa laa la la)

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

आता है पैसा
जाता है पैसा
दांव लगाने में फिर डर कैसा
आता है पैसा
जाता है पैसा
दांव लगाने में फिर डर कैसा
ओ ओ
आता है पैसा
जाता है पैसा
दांव लगाने में फिर डर कैसा॰॰आ

खेले जो दिलवाले दिल की बाज़ी
दिल है राज़ी तो दुनिया राज़ी
खेले जो दिलवाले दिल की बाज़ी
दिल है राज़ी तो दुनिया राज़ी
मैल हथेली की है पैसा
आता है पैसा
जाता है पैसा
दांव लगाने में फिर डर कैसा
ओ ओ
आता है पैसा
जाता है पैसा
दांव लगाने में फिर डर कैसा॰॰आ

हार गया धन तन भी लगा दे
गरम है महफिल रंग जमा दे
हार गया धन तन भी लगा दे
गरम है महफिल रंग जमा दे
सोच ना बाबू ऐसा ना वैसा
आता है पैसा
जाता है पैसा
दांव लगाने में फिर डर कैसा
आता है पैसा
जाता है पैसा
दांव लगाने में फिर डर कैसा
ओ ओ
आता है पैसा
(ला ला ला ला ला)
जाता है पैसा
(ला ला ला ला ला)
दांव लगाने में फिर डर कैसा॰॰आ
(ला ला लाs लाs लाs लाs ला ला)


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