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 written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

I had played my 78 RPM record (No. N.52584) of the song ‘ajab hai daastaan teri ae zindagi’ from the film ‘Shararat’ (1959) umpteen times on my record player in my younger days. But it did not occurr to me at that time that there was something amiss about this song. It was much later I came to know that in this song, Mohammed Rafi had given playback for Kishore Kumar. .
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

This is the story of a 16 year old boy born in Peshawar in a conservative Pathan family for whom the association with film industry was a strict taboo. The boy was attracted to Bombay (Mumbai) as a destination. While listening to some Hindi film songs in one of the shops in Peshawar, a few of his friends coaxed him to try his luck as an actor in Hindi film industry since he had a good face. The fascination for Bombay coupled with the remarks from his friends were sufficient motivational factors for this youngboy to leave ( rather run away from) Peshawar for Bombay some time in 1935. The young boy was Ghulam Mustafa Durrani (1919-1988), later known in the Hindi film industry as G M Durrani, the playback singer.
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This is the 400th writeup by him in this blog

The peculiarity of the choice of words and themes of songs in Hindi films will probably never cease to surprise. As we continue to unearth more and more unheard songs, we continue to come across songs that will make one wonder and bring a laugh at the same time. Looking for something else, I bumped into this song just a little while ago. I had not heard this song before. And in just one listen, I am completely bowled over.
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

Taatarstan is an autonomous republic within the Russian Federation, which is situated along the banks of the River Volga, and to the west of the Ural Mountains. Historically, this is a small kingdom that was absorbed into the USSR after the Bolshevik Revolution in 1917, as an autonomous republic. The original inhabitants, called the Tataar or Taatari people, belong to the ethnic Taatar group from the old Turkistan (modern day Turkey), who spread out over a large part of East Europe in the eighth century AD. As a part of this migration, a group of enthnic Taatari people settled down at the banks of River Volga, and established the original Taatari kingdom.
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

The haunting image of a worn-out, white bearded face, with lines of age alluding to maybe a century of anguish, haltingly climbing down the service staircase in the deserted studio, wanting to reach the chair with ‘Director’ imprinted on its back. Or the vision of a decrepit man standing in the theatre doorway, his hands out flung across the entrance, and the sharp lighting from behind giving an impression of a phoenix rising from the ashes. These two celluloid illustrations are probably two of a handful of very gripping, compelling and spellbinding images that have left a lasting imprint on the minds of the cinema viewers and more importantly, a telling statement that redefined the very cultural fabric of the society and of film making itself.
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