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

Archive for the ‘Songs of 1953’ 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.

“Gauhar” (1953) was directed by F H Hasan for All Indian Pictures production, Bombay. The movie had Bina Rai, Rehman, Agha, Vijaylaxmi, Chaman Puri, Charlie, Cuckoo etc in it.

This movie had six songs in it. Four of these songs have been covered in the blog in the past.

Here is the fifth song from “Gauhar” (1953) to appear in the blog. This song is sung by Sudha Malhotra. Shakeel Badayuni is the lyricist. Music is composed by Ghulam Mohammad.

Only the audio of this rare melancholic song is available. i request our knowledgeable readers to throw light on the picturisation of this song which sounds like a gem that has been forgotten with time.


Song-Kismat ne loota Dil mera toota(Gauhar)(1953) Singer-Sudha Malhotra, Lyrics-Shakeel Badayuni, MD-Ghulam Mohammad

Lyrics

Kismat ne loota
dil mera toota
jeewan ki naiyya doobi
maajhi bhi chhoota
maajhi bhi chhoota
kismat ne loota
dil mera toota
jeewan ki naiyya doobi
maajhi bhi chhoota
maajhi bhi chhoota

apni dhun mein hain gaayen
apni dhun mein hain gaayen
dukh mera na koi jaane
deti hai duniya taane
bhaag apna phhoota
bhaag apna phhoota
kismat ne loota
dil mera toota
jeewan ki naiyya doobi
maajhi bhi chhoota
maajhi bhi chhoota

bhagwan bula le mujhko
bhagwan bula le mujhko
gham se chhhuda le mujhko
ab to uthha le mujhko
ye jag hai jhhoothha
ye jag hai jhhoothha
kismat ne loota
Dil mera toota
jeewan ki naiyya doobi
maajhi bhi chhoota
maajhi bhi chhoota

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This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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’s song is from film, which not many people will rememeber – ‘Shri Chaitanya Mahaprabhu’ (1953).

During the Bhakti movement period, almost all regions had their own Saints and Great Bhakts. One such great soul enlightened the people of Eastern India. He was known as Shri Chaitanya Mahaprabhu.

In a short life span of just 48 years (1486-1534), he did extraordinarily religious and reformative work in the 16th century in the regions of Bengal (both the current East Bengal (now in Bangladesh) and West Bengal), Bihar, Jharkhand, Manipur, Assam and Orissa. Not much information is available about him in other regions, so here is a short biography of Shri Chaitanya Mahaprabhu, adapted and edited from Stephen-Knapp.com – with thanks.

Sri Chaitanya Mahaprabhu (pronounced ‘चैतन्य’) (February 27, 1486 to 1534 AD) was born in Navadvipa, Bengal, on a full moon night during a lunar eclipse. It is typical for people to bathe in the Ganges during an eclipse and chant the Lord’s holy names for spiritual purification. So, everyone in the area was chanting the holy names when He was born. His parents, Shri Jagannatha Misra and Mata Shachi Devi, gave Him the name of Vishvambhara, meaning the support of the universe, because astrologers had predicted His super human qualities and that He would deliver the people of the world. He was also nicknamed Nimai because He had been born under a nima tree.

During His childhood He exhibited extraordinary qualities, even having philosophical discussions with His mother. While growing up, His brilliant intelligence began to become apparent. While still a child, He mastered Sanskrit and logic to the point of defeating local pandits, and established the truth of the spiritual and Vedic philosophy. He became so well known that many logicians of various religious and philosophical persuasions began to fear His presence and refused to debate with Him. Thus, Sri Chaitanya established the authority of the Vaishnava tradition through the process of debate and logic.

When Sri Chaitanya went to Gaya on the pretext to perform ceremonies for the anniversary of His father’s death, He received Vaishnava initiation from Shri Ishvara Puri. Thereafter, He lost all interest in debate and simply absorbed Himself in chanting and singing the names of Lord Krishna in devotional ecstasy. Upon returning to Navadvipa, He gathered a following with whom He would engage in congregational singing of the Lord’s holy names. Thus, He started the first ‘sankirtana‘ movement (congregational devotional singing), and established the importance of chanting the names of God in this age as the most elevated of spiritual processes, and the prime means for liberation from material attachments. At first, His chanting with people was for the few participants who were a part of His group, but then Sri Chaitanya ordered that the ecstasy of love of God be distributed to all people of the area. He gave no recognition for the privileges of caste, or for position, or type of philosophy a person had, or yogic asceticism. He only emphasized the devotional chanting of the Lord’s holy names, using the Hare Krishna mantra – “Hare Krishna, Hare Krishna, Krishna Krishna, Hare Hare / Hare Rama, Hare Rama, Rama Rama, Hare Hare”, which has the power to bring out the natural loving sentiments for God.

It was at the age of 24 when He shaved His head and took the order of sanyaasa, the renounced stage of life, when He accepted the name of Krishna Chaitanya from Shri Keshav Bharati during the initiation. He then spent four years travelling through South India, and also visited Vrindavana and Varanasi. During this time he also gave special instructions to his main followers, Shri Roop Goswami and Shri Sanatana Gosvami, who then also spread the glories of the Divine Love for Radha and Krishna. They settled in Vrindavana where they spent their years in writing many books elaborating the instructions of Lord Chaitanya and the glories of bhakti for Radha and Krishna. They also revealed the places where Radha and Krishna performed many varied pastimes in that land of Vrindavana, which have remained special spots where devotees can become absorbed in the bliss of love of Radha and Krishna.

Lord Chaitanya spent His remaining years in Jagannatha Puri. During this time He was absorbed in ecstatic devotion to Krishna in the loving mood of Radharani, in which He would lose all external consciousness. He freely distributed the divine nectar of this love for Krishna to everyone and anyone, day and night. Even His presence or mere touch could transform everyone that came near Him into the same devotional mood. He remained like this until He finally left our vision at the age of 48.

Lord Chaitanya is considered and was established by Vedic scripture as the most recent incarnation of God. The Lord always descends to establish the codes of religion. This is confirmed in Bhagavad-gita (4.6-8) where Lord Krishna explains that although He is unborn and the Lord of all living beings, He still descends in His spiritual form in order to re-establish the proper religious principles and annihilate the miscreants whenever there is a decline of religion and a rise in irreligious activity.

The birthplace of Shri Chaitanya Mahaprabhu, popularly known as Mayapur, is located on the banks of the Ganges river, at the point of its confluence with the Jalangi, near Navadveep, West Bengal (India), 130 km north of Kolkata (Calcutta). The headquarter of ISKCON (International Society for Krishna Consciousness) is situated in Mayapur. It is considered a holy place of pilgrimage by a number of other traditions within Hinduism. It is of special significance to followers of Gaudiya Vaishnav tradition, as the birthplace of Shri Chaitanya Mahaprabhu, regarded as a special incarnation of Krishna in the mood of Radha. It is visited by over a million pilgrims annually.

Mayapur can be reached by boat, and more commonly by train or bus. ISKCON Kolkata operates regular bus service from Kolkata to Mayapur. Frequent train service is available to Krishnanagar, Nadia from Kolkata’s Sealdah Station, then 18 km by auto or cycle rickshaw to Mayapur. During the visit one can see the huge headquarters of ISKCON and a long stream of saffron-robed devotees chanting the Hare Krishna mantra. I visited the place about two decade ago. For all those who visit Kolkata, it is like a rite of passage to visit Mayapur.

The music director of this film is the legendary RC Boral aka Raichand Boral, famous for his New Theatre, Calcutta  films and songs. Once upon a time New Theatres was a great institution. It gave many entertaining and meaningful films, in Bangla and Hindi. A highly capable band of authors, writers, actors, actresses, directors, music directors, lyricists, singers and a whole lot of technical staff started their careers here, and spent their best and most productive years with this institution. New Theatres was known for clean entertainment. This was true in the 20s, 30s and till late 40s. The atmosphere in the studio was like a family.

However, it is the law of nature that whatever goes up must come down also, with time. This process started from the mid 1930s itself when Nitin Bose and Debaki Bose had a big tiff – an ego clash. Later on PC Barua also left, followed by Kaanan Devi, who joined the new company founded by Barua. Uma Shashi eloped with some outsider. In the early 1940s a group of artistes, consisting of actors and directors left NT, to go to Bombay. KL Saigal, Prithviraj Kapoor, KN Singh, Kidar Sharma etc. left for Bombay. Around 1943, Nitin Bose came to Bombay. The Second World War had already broken the back of Film Industry in Calcutta. Additionally, this exodus caused greater harm. People like Pankaj Mullick, though unhappy in NT, did not leave. By about 1950, New Theatres was almost a non-entity !

A giant like Raichand Boral, music director, was invited by Nitin Bose to Bombay. Wanting to try his hand, RC Boral did 3 films in Bombay, namely, ‘Dard e Dil’ (1953) – a film made by Nitin Bose himself, ‘Shri Chaitanya Mahaprabhu’ (1953), a film made by the giant Prakash Pictures of the Bhatt brothers and ‘Swami Vivekanand’ (1955), a film made by Amar Mullick. RC Boral’s music was still in the traditional Bangla style. In Bombay, during the 1950s, the trend was for fast melodies. New generation MDs Shankar-Jaikishan were in full swing. C Ramchandra and SD Burman etc. were churning out  fast melodies. The newer generation of the music lovers was wary of the slow, sentimental, bhajan-like songs now. Boral’s traditional music was unacceptable to them. Therefore the music from none of the three films become popular. Moreover 2 of the 3 films of Boral, had subjects meant only for a limited captive audience of middle age to old age category. Thus Boral proved to be a failure and after these 3 films went back to Calcutta to be amongst his comfort zone of Bangla films.

RC Boral (19-10-1904 to 25-11-1981) was undoubtedly one of the greatest composers of Indian films – be it Bangla or Hindi. From his first Hindi Talkie film ‘Zinda Laash’ (1932) till his last Hindi film ‘Amar Saigal’ (1955),  Boral gave music to 33 Hindi films, most of which were made bilingual in Bangla and Hindi at Calcutta. According to the famous film music historian Dr. Ashok D Ranande, Boral made a significant contribution to the Indian film music. First, he gave lot of importance to background music to enhance the effectiveness of screen images. Secondly, he developed the concept of prelude and interlude music segments in film songs. Thirdly, he is credited with the introduction of playback singing in films . The songs of ‘Pooran Bhagat’ (1933), ‘Chandidas’ (1934), ‘President’ (1937), ‘Mukti’ (1937), ‘Street Singer’ (1938), ‘Lagan’ (1941), ‘Saugandh’ (1942), ‘Wapas’ (1943) and ‘Hamraahi’ (1944) are enough to make him immortal in the annals of film music in India. KL Saigal, Kaanan Devi, Pahadi Sanyal, Harimati and Binota Bose owe their fame and name to Boral. He composed the present tune of our national anthem “Jana Gana Man“, for his film ‘Hamrahi’. Boral got the President’s award in 1959, Sangeet Natak Academy award in 1978 and the prestigious Dada Saheb Phalke award in 1979. He passed away on 25-11-1981 but RC Boral-the legend will always live in the minds of music lovers.

Not only RC Boral, but many other artists from Bengal, who came to Bombay for their career felt uncomfortable and uneasy with the Bombay film culture and they always tried to gather Bangla artists in their work environment to feel safe. This was not so with Bombay film people when they went to Bengal or South. Even the musicians and directors from the South, operated in Bombay atmosphere quite comfortably. Probably, for the Bangla artists, the impact of regional pride and language of Bengal was a hindrance in Bombay.

The film ‘Shri Chaitanya Mahaprabhu’ had a total of 16 songs. In the 1950s, the Hindi films had an average of 8 to 10 songs only. Along with Asha, Lata, Rafi and Talat, Boral also used Dhananjay Bhattacharya and Binota Chakraborty from Calcutta, as playback singers. The name of Binota Chakraborty sounds completely Bengali, but she was a Marathi mulgi from Bombay and her real name was Vinita Amladi. Today’s song is sung by her.

Vinita Raghvendra Amladi was born on 9-8-1928 in Bombay. She had 3 sisters and 3 brothers. Her father, Raghavendra, used to play tabla. Her elder sister Hemlata, sang classical music. Vinita learnt singing from her sister Hemlata. Once, when Vinita was about 15-16 year old, she sang in a private birthday party, in which composer Sardar Malik was present. He was impressed with her singing and she was given an offer to sing songs in film ‘Rain Basera’ (1947), at a princely sum of Rs.250/-. After this film she also sang in the film ‘Renuka’ (1947).

When she went to record songs with Sardar Malik, she met her future husband Krishna Chakraborty, who worked as a pianist in the orchestra. She then met composer Vinod. She says-

“I was introduced to the sound recordist of Shorie films, at a song and dance group meeting. He in turn took me to Vinod. He heard my singing and included me in the chorus of a song of Lata in ‘Ek thi Ladki’ (1949). Then he said, “You have met me very late. Now I have only one song left. You sing it”. The song was “Dilli Se Aaya Bhai Tingu” from ‘Ek Tthhi Ladki’. The song became a super hit in those days.”

After this she did some Marathi films. In 1950 she got married to Krishna Chakraborty, against opposition from  her family and they moved to Calcutta and settled there. In 1952 Pankaj Mullick called her to sing a Meera Bhajan in film ‘Yatrik’. When she went to New Theatres for recording this song, she was thrilled. Her father was so happy with this song that they forgot the past and reunited. Pankaj Mullick sent her to Kamal Dasgupta and under his baton she sang some songs in Bengali films. By now her name had automatically tranformed from Vinita to Binota in the Bengali style. As Binota Chakrawarty she sang songs in yet another Hindi film from Calcutta ’25th July’ (1951).

In 1953 she came back to Bombay after her husband’s untimely death, to look after her ailing father. In Bombay she sang songs in ‘Kasturi’ and ‘Shri Chaitanya Mahaprabhu’, both in 1954. Now she stopped getting songs and she retired. She used to live in Goregaon, Mumbai.

The cast of the film was Bharat Bhushan, Ameeta, Krishnakumari, Durga Khote, BM Vyas, Umakant, Madan Puri, Raj Kumar, Pinakin Shah etc. Bharat Bhushan had received the Filmfare best actor Award for this film, in 1955. (Though the film was censored in 1953 December, it got released only in 1954).

Enjoy the song.


Song – Nimai Chaand, Gore Chaand (Shri Chaitanya Mahaprabhu) (1953) Singer – Binota Chakravarty, Lyrics – Bharat Vyas, MD – RC Boral

Lyrics 

nimai chaand
gore chaand o mere
chhod mohe kahaan. . .
kahaan re chalaa

ghar soona soona
kar ke chala re. . . hey. . .
o bap ik baar
mukhda dikha re
o bap nimai mere tu
ek baar mukh to dikha re. . .
ey. . .
nimai chaand

mann pinjre mein
panchhi hriday ka..aa..
jatnon se jisko main ne samaaya
haaye
udd gaya chhalia..aa
tod ke taala
bole vishnu ke ab hoon
roye
roye re
re. . . hey. . .
kaise dheer hey bandhaaun main
o bap nimai mere
kaise dheer hey bandhaaun main
??
nimai chaand

baal umar mein
bairaagi na hoyio
sanyaasi na hoyio
ghar reh ke let naam re nimai
maai ko tu layio re nimai
baal umar mein
sanyaasi na hoyio

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

नीमाई चाँद
गोरे चाँद ओ मोरे
छोड़ मोहे कहाँ॰॰॰
कहाँ रे चला

घर सूना सूना
कर के चला रे॰॰॰
हे॰॰॰
ओ बप इक बार
मुखड़ा दिखा रे
ओ बप निमाई मेरे तू
इक बार मुख तो दिखा रे॰॰॰
ए॰॰॰
नीमाई चाँद

मन पिंजरे में
पंछी हृदय का॰॰आ॰॰
जतनों से जिसको मैंने समाया
हाय
उड़ गया छलिया॰॰आ॰॰
तोड़ के ताला
बोल विष्णु के अब हूँ
रोये
रोये रे
रे॰॰॰
हे॰॰॰
कैसे धीर हे बंधाऊँ में
ओ बप निमाई मेरे
कैसे धीर हे बंधाऊँ में
??
निमाई चाँद

बाल उमर में
बैरागी ना होइयो
सन्यासी ना होईओ
घर रह के लेत नाम रे निमाई
माई को तू लईओ रे निमाई
बाल उमर में
सन्यासी ना होईओ


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.

“Gauhar” (1953) was directed by F H Hasan for All Indian Pictures production, Bombay. The movie had Bina Rai, Rehman, Agha, Vijaylaxmi, Chaman Puri, Charlie, Cuckoo etc in it.

This movie had six songs in it. Three of these songs have been covered in the blog in the past.

Here is the fourth song from “Gauhar” (1953) to appear in the blog. This joyous “Saawan” song is sung by Shamshad Begam and chorus. Shakeel Badayuni is the lyricist. Music is composed by Ghulam Mohammad.

Only the audio of this song is available. i request our knowledgeable readers to throw light on the picturisation of this song which sounds like a gem that has been forgotten with time.

With this wonderful song, Ghulam Mohammad completes 200 songs in the blog as a music director.


Song-Saawan mein yaad teri aaye jab piya(Gauhar)(1953) Singer-Shamshad Begam, Lyrics-Shakeel Badayuni, MD-Ghulam Mohammad
Chorus

Lyrics

chham chhama chham thumak thumak
chham chhama chham thumak thumak
chham chhama chham thumak thumak
chham chhama chham thumak thumak

saawan mein yaad teri aaye jab piya
ho dekho ji
kaali ghata baras baras jaaye
ho jiya taras taras jaaye
chham chhama chham thumak thumak
chham chhama chham thumak thumak
chham chhama chham thumak thumak
chham chhama chham thumak thumak

ho ho ho ho
ho ho ho
pi pi papiha boley
dil ko main thhaam loon ji
dil ko main thhaam loon
jab dil ko thhes lagey
saajan ka naam loon ji
saajan ka naam loon
kismat ne le ke khushi aaj gham diya
ho dekho ji kaali ghata baras baras jaaye
ho jiya taras taras jaye
chham chhama chham thumak thumak
chham chhama chham thumak thumak
chham chhama chham thumak thumak
chham chhama chham thumak thumak

o o o o
o o o
barkha ka roop liye barse jawaaniyaan ji
barse jawaaniyaan
aati hai yaad mujhe bhooli kahaaniyaan ji
bhooli kahaaniyaan
gaata hai dard bhare geet ab jiya
ho dekho ji kaali ghata baras baras jaaye
ho jiya taras taras jaaye
chham chhama chham thumak thumak
chham chhama chham thumak thumak
chham chhama chham thumak thumak
chham chhama chham thumak thumak

saawan mein yaad teri aaye jab piya
ho dekho ji kaali ghata baras baras jaaye
ho jiya taras taras jaaye
chham chhama chham thumak thumak
chham chhama chham thumak thumak
chham chhama chham thumak thumak
chham chhama chham thumak thumak


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.

“Shagoofa”(1953) was produced under the banner of P N Films ( Premnath’s home production) and it was directed by H S Rawail. The movie had Premnath, Beena Rai, Bipin Gupta, Sundar, Purnima, Yashodara Katju, Baby Naaz etc in it.

Four songs from this movie have been discussed in the blog in the past. Here is the fifth song from this movie to appear in the blog. This song is sung by Sundar and Geeta Dutt. Rajinder Krishan is the lyricist. Music is composed by C Ramchandra.

Only the audio of this song is available. This light hearted romantic song is a parody of the well known song-“Maine laakhon ke bol sahe sanwariya tere liye ” from “Leela”(1947), which was also composed by C Ramchandra.

This song was clearly picturised on Sundar and a lady playing his romantic angle in the movie. I request our knowledgeable readers to help identify this lady.

I have not been able to get a few words right in the lyrics. I request our readers with keen ears to help fill in the blanks/ suggest corrections as applicable.


Song-Kaise khel muhabbat mein khele(Shagoofa)(1953) Singers-Sundar, Geeta Dutt, Lyrics-Rajinder Krishan, MD-C Ramchandra

Lyrics

dil kabhi apnaa thhaa
lekin ab paraaya ho gaya
ae ji ho
dil to dil thhaa
moochh daadhi kaa safaaya ho gaya
haay

kaise khel mohabbat mein khele ae ae
kaise khel mohabbat mein khele
sitamgar tere liye
kaise khel mohabbat mein khele
sitamgar haan haan
sitamgar haan haan
sitamgar tere liye
maine kyaa kyaa naa paapad bele
sitamgar tere liye
maine kyaa kyaa naa paapad bele

ae ji ho o
husn pe ho gayi kurbaan hamaari daadhi
ae ji haan aan
husn pe ho gayi kurbaan hamaari daadhi
alvidaa
alvidaa
alvidaa
alvidaa
alvidaa
marhoom bechaari daadhi

khoon-e-naahak(?) ki sazaa khwaab mein tum paaoge
bhoot ban ban ke daraayegi tumhaari daadhi

sukh chhod ke ye dukh jhele ae ae
sukh chhod ke ye dukh jhele sitamgar tere liye
sukh chhod ke ye dukh jhele
sitamgar haan haan
sitamgar haan haan
sitamgar tere liye
maine kyaa kyaa naa paapad bele

kaise khel mohabbat mein khele sitamgar tere liye
maine kyaa kyaa naa paapad bele


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.

Today’s Shiv Bhajan is for the 4th Shraavan Monday – as celebrated in south, west and some eastern states of India. This bhajan is from film ‘Shuk Rambha’ (1953), made by Chandrakala Pictures and is produced and directed by Dhirubhai Desai. The lead actors were Anjali Devi (from south) and Bharat Bhushan. In the cast of this film, you will find a name Rajkumar. Most ‘knowledgeable’ sites and writers treat this actor same as the famous dialogue master Raaj Kumar ‘Jaani’. However, this is not correct. This Rajkumar is different.

The pathetically poor documentation of the history of Hindi films has left many gaping holes. One of these is the menace of ‘Same Name Confusions’. Actors, directors and composers having similar names are the victims as well as the sufferers of this phenomenon. When artistes active around the same time share the same names, their filmography is often overlapped and intermixed. The sufferer is usually the lesser known person amongst the group of same name persons. Their hard work is credited unceremoniously to the more famous and well known person of the same name. In my earlier posts, I have dwelt upon this subject in details. Additionally, I ran a 3 part article series “Same Name Confusions”, which has become a reference point at www.anmolfankaar.com

The case of multiple Raj Kumars, however, could not be solved due to its cluelessness. Fortunately, the blog www.maitrimanthan.wordpress.com took it up as a project and spent considerable time and efforts to collect some information in this case. (They had also done this for Sr and Jr Shashi kapoors. May God bless these blog girls !).

There were in all 5 Raj Kumars in the industry at the same time. The first was the Kannada Hero Dr. Rajkumar. However, he never worked in any Hindi film, so no confusion about him.The second was the famous dialogue master Raaj Kumar ‘Jaani’. Third was Rajkumar Gupta (from Ranchi), who was the main character in popular film ‘Jagriti’ (1954). He never worked again in any film. Fourth was Raj(u) Kumar, a junior artist, who did minor roles, that were mostly uncredited, in films like ‘Shri 420’ (1955), ‘Jaagte Raho’ (1956), ‘Dilli Ka Thug’ (1958), ‘Aaj Aur Kal’ (1963), ‘Ziddi’ (1964) etc. The fifth was this Rajkumar, who mostly worked in religious and mythological films. His full name was Rajkumar Khatri.

Rajkumar Khatri was born in or around 1940. He started as a child artiste in films like ‘Janmashtami’ (1950), ‘Jai Mahakaali’ (1951) and ‘Insaan’ (1952). His first film as an adult was ‘Shuk Rambha’ (1953), in which he did the role of young Shukdev. He was a fine actor, not extraordinary, but there was something special about his screen presence. Apart from his boyish looks, he had an unspoken charm and emanated an inherent goodness. In his second film ‘Tulsidas’ (1954) he did the role of Shri Ram. He was hardly 15-16 year old then. This must be the youngest and most boyish looking Shri Ram ever seen on the screen !

Rajkumar Khatri acted in 61 films, mostly religious and mythological films (47 to be precise). Not that he did not work in any social films, but such films were less. He was seen in films like ‘Sautela Bhai’ (1962), ‘Aaj Aur Kal’ (1963), ‘Ustadon Ke Ustad’ (1963), ‘Ziddi’ (1964), ‘Nai Umar Ki Nai Fasal’ (1965) etc. Due to his boyish face and young innocent looks, he was generally given roles of the younger brother. As Laxman, he acted in 7 films. His last film was probably ‘Chintamani Soordas’ (1987).

In mid 1980s, when films offers became scarce, he joined Prakash Mehra as an assistant. He used to live in Chembur. He was known as Chhota Rajkumar in the industry. He worked with Prakash Mehra for a long time, as Assistant Director and also as his PA. Reportedly, he died in September 2014. No further information on him is available.

Today’s Shiv Bhajan is from an obscure film ‘Shuk Rambha’. In the period from 1951 to 1960, so many religious and mythological films were made that at times there was a shortage of appealing stories. Popular stories from the Ramayana and Mahabharat epics, were exhausted beyond revival and it was not prudent to repeat them frequently. In this period, Nirupa Roy and Trilok Kapoor, probably were the busiest stars. Besides the usual popular stories, producers made films on rare subjects like Shanidev, Nal-Damayanti, Kach Devyani, Ekadashi, Navnaths, Kaali, Laxmi, Vikram and Vetal etc.

Producer-director Shri Dhirubhai Desai took up a totally unknown and obscure topic from the Vedic ‘Shuk Rambha Samvaad’. I appreciate his guts. I did not see this film and I do not know how many people must have seen this ‘never heard’ type of film. The cast of the film included Bharat Bhushan who had become famous after the blockbuster film ‘Baiju Bawra’ in 1952. Anjali Devi from south was his heroine. There were the other usual artistes of this genre like Lalita Pawar, Krishnakumari, Niranjan Sharma, Tiwari, Kusum Thakur etc. The role of young Shukdev was performed by Raajkumar.

Normally, not many people would know who was Shuk. Of course everybody would know about Rambha, that she was an ‘apsara‘ like Menaka and Urvashi etc. Rishi Shuk or Shukdev has an interesting story about his birth. Once Devi Paarvati wanted to know the secret of being Amar or immortal. Only Shiv ji knew about it. When she was after him to know the secret, he agreed to tell her. While Shiv ji was explaining the details, Paarvati went to sleep, but a bird – Shuk (Parrot), sitting on a tree branch outside listened to all the details. When Shiv ji realised this, the bird flew away in fear, and landed straight into the yawning open mouth of the wife of Maharshi Ved Vyas. It remained there safe for 12 years and then took birth. He was named Shuk. He left home to seek Bramha Gyan. Devarishi Narad took him again to Ved Vyas. He taught him and then sent him to King Janaka, who was supposed to be a ‘Jeevanmukta‘, i.e. free from worldly emotions and attachments, even though he was in a human form. Janak advised Shuk to take up ‘grihasth ashram‘ (life as a married householder), as Bramha Gyan was incomplete without this worldly experience and knowledge. Shuk met Rambha who got interested in him and started to lure him. There took place the famous Vedic ‘Shuk Rambha Samwaad’. She tried to teach him the benefits of spending time with beautiful women and he would argue against her.

Here is some additional information on Shuk (from Wikipedia).

Shuka (also Shukadeva, Shuka deva, Suka, Sukadev, Sukadeva Gosvami) was the son of the sage Ved Vyasa who is credited as the organizer of the Vedas and Puraanas,  and the main narrator of the Bhagvata Puraan. Most of the Bhagavata Puraan consists of Shuka reciting the story to King Parikshit, who had been cursed to die within seven days. Shuka is depicted as a sanyasi, renouncing the world in pursuit of Moksha (liberation), which most narratives assert that he achieved.

According to Mahabharat, Shuka was churned out of a stick of fire after one hundred years of austerity by Ved Vyasa, born with ascetic powers and with the Vedas dwelling inside him, just like his father. The Mahabharata also recounts how Shuka was sent by Ved Vyasa for training to King Janaka, who was considered to be a Jeevanmukta, or one who is liberated while still in a physical body. Shuka asked Janaka about the way to liberation, with Janaka recommending the traditional progression of the four ashramas, which included the householder stage. After expressing contempt for the householder life, Shuka questioned Janaka about the real need for following the householder path. Seeing Shuka’s advanced state of realization, Janaka told him that there was no need in his case.

Stories recount how Shuka surpassed his father in spiritual attainment. Once, when following his son, Vyasa encountered a group of celestial nymphs who were bathing. Shuka’s purity was such that the nymphs did not consider him to be a distraction, even though he was naked, but covered themselves when faced with his father. Shuka is sometimes portrayed as wandering about naked, due to his complete lack of self-consciousness.

A completely different version of the later life of Shuka is given in the Devi-Bhagvat Puraan, considered a secondary Puraana (Upapuran) by many, but an important work in the Shaakt tradition. In this account, Shuka is convinced by Janaka to follow the ashrama tradition, and returns home to marry and follow the path of yoga. He has five children with his wife Pivari (who is actually Rambha) – four sons and a daughter. The story concludes in the same vein as the common tradition, with Shuka achieving moksha.

A place called Shukachari is believed to be the cave of Shuka, where he disappeared in cave stones as per local traditional lore. Shuka in Sanskrit means parrot and thus the name is derived from the large number of parrots found around the Shukachari hills. Shukachari literally means abode of parrots in the Sanskrit language.

Film ‘Shuk Rambha’ is primarily based on the story of Shukdev, from Bhagwat Puraan. The film story was written by Kavi Raghunath Brahmbhatt (1892-1983). Born in Gujarat, Kavi Raghunath was called a Raskavi due to his penchant for writing love songs. He wrote mythological and historical dramas, which became very famous. Taking a clue from Parsi Theatre, he resurrected Gujarati theatre by reviving the tradition of Sanskrit dramas in Gujarati. His autobiography ‘Smaran Manjri’ (published 1955) describes the development of Gujarati Theatre. It is said that the famous song “Mohe Panghat Pe Nandlaal. . .” from film ‘Mughal e Azam’ (1960) was taken from his Gujarati drama ‘Chhatra Vijay’ (1919), which was usurped by Shakeel Badayuni. The case was taken up by Writers’ Association of India, which decided the matter in Brahmbhatt’s favour. However, the credit in the film still goes to Shakeel badayuni only. Kavi Raghunath died in 1983.

Film ‘Shuka Rambha’ has 9 songs. One song from this film has been discussed on our blog, long back. So this is only the second song to be posted here. Today is the 4th Monday of the holy month of Shraavan, in the south, west and eastern states of India. For the rest of India, Shraavan has ended on the 7th August – the day of Rakhi Purnima itself. Next Shiv Bhajan on the 21st August will be the last in this  undeclared mini series. So enjoy this Shiv Bhajan today.


Song – Jaag Re Yogi Jaag Re (Shuk Rambha) (1953) Singer – Asha Bhosle, Manna Dey, Lyrics – Bharat Vyas, MD – Manna Dey
Chorus

Lyrics

jaag re. . .
yogi jaag re. . .
jaag re
jaag re
jaag re
jaag re yogi jaag re
jaag re yogi jaag re
ye samaadhi anant yogi tyaag re
jaag re
jaag re

ho o o o o
o o o o o
o o o o o
aaa aaa
yauwan ki behnt mein madhu maas aaya
jungle mein mangal hai chhaaya
jungle mein mangal hai chhaaya
jungle mein mangal hai chhaaya
dharti suhagan ne dhaani chunariya se
ban ban ko upvan banaaya
ban ban ko upvan banaaya
ban ban ko upvan banaaya
kaliyon ke mukh choomen
(aaa aaa aaa aaa)
gumche bhramar ke
(aaa aaa aaa aaa)
kaliyon ke mukh choomen
(aaa aaa aaa aaa)
gumche bhramar ke
(aaa aaa aaa aaa)
vrikshon se lipti lataayen
gun gun gun gun gun gun dolen vaasanti
sheetal sugandh hawaayen
kan kan mein praanon ki baaji baansuriya
ho o o o o o
kan kan mein praanon ki baaji baansuriya
goonje hain jeevan ke raag re
jaag re yogi jaag re
jaag re yogi jaag re
ye samaadhi anant yogi tyaag re
jaag re
jaag re

jaag re
jaag re
jaag re
jaag re
jaag re
jaag re

tu hai purush aai sanmukh ye prakriti
tu hai karam ye kaamini
nainon ko khol yogi aasan se dol
tere sanmukh hai jeevan ki raagini
jad mein chhupi ye chetanta
jal mein chhupi ye aag re
jaag re
jaag re jaag re
jaag re
jaag re jaag re
jaag re
jaag re
jaag re
jaag re

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

जाग रे॰॰॰
योगी जाग रे॰॰॰
जाग रे
जाग रे
जाग रे
जाग रे योगी जाग रे
जाग रे योगी जाग रे
ये समाधि अनंत योगी त्याग रे
जाग रे
जाग रे

हो ओ ओ ओ ओ ओ
ओ ओ ओ ओ ओ
ओ ओ ओ ओ ओ
आ आ
यौवन की बहंत में मधु मास आया
जंगल में मंगल है छाया
जंगल में मंगल है छाया
जंगल में मंगल है छाया
धरती सुहागन ने धानी चुनरिया से
बन बन को उपवन बनाया
बन बन को उपवन बनाया
बन बन को उपवन बनाया
कलियों के मुख चूमें
(आ आ आ आ)
गुमचे भ्रमर के
(आ आ आ आ)
कलियों के मुख चूमें
(आ आ आ आ)
गुमचे भ्रमर के
(आ आ आ आ)
वृक्षों से लिपटी लताएँ
गुन गुन गुन
गुन गुन गुन डोलें वासंती
शीतल सुगंध हवाएँ
कण कण में प्राणों की बाजी बांसुरिया
हो ओ ओ ओ ओ
कण कण में प्राणों की बाजी बांसुरिया
गूँजे हैं जीवन के राग रे
जाग रे योगी जग रे
जाग रे योगी जग रे
ये समाधि अनंत योगी त्याग रे
जाग रे
जाग रे

जाग रे
जाग रे
जाग रे
जाग रे
जाग रे
जाग रे

तू है पुरुष आई सन्मुख ये प्रकृति
तू है करम ये कामिनी
नैनों को खोल योगी आसन से डोल
तेरे सन्मुख है जीवन की रागिनी
जड़ में छुपी ये चेतनता
जल में छुपी ये आग रे
जाग रे
जाग रे जाग रे
जाग रे
जाग रे जाग रे
जाग रे
जाग रे
जाग रे
जाग रे

 

 


This article is written by Peevesie’s mom, 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.

Hullo to all Atulites

Today is 1st August 2017 – the birth anniversary of Bhagwan Dada. He would have been 104. Phew! Whatever I know of Bhagwan Dada or Bhagwan is all hearsay and whatever I have read up on the various sites on the net.

Recently there was talk that his superhit “Albela” was to be remade with actors from this era as “Ekk Albela”; don’t know if that happened but there is a video of his most famous song “Bholi Surat Dil Ke Khote” where Mangesh Desai does a Bhagwan Dada and Vidya Balan is Geeta Bali. This video kindled an interest in me and I did some reading up on Bhagwan.

I know he was active in the industry till the 90s though in small roles and playing characters like a guitarist in “Aasha” (1980), “Hamse Badkar Kaun”, “Kasme Vaade”, “Charas”, “Kala Sona” etc. All the movies that I have mentioned had at least one song wherein he got to dance his famous dance made even more famous when Amitabh Bachchan made it his default step.

He had made his debut in the silent era – Criminal; codirected Bahadur Kisan in 1938 and went on to direct a string of low budget stunt and action films that were popular with the working classes. In most of these he played a naive- simpleton.

I have read somewhere that it was a slap (as part of some scene) that he delivered on Lalita Pawar that gave her that famous squint.

He turned producer in 1942 with “Jagruti Pictures” and went on to own “Jagriti Studios” in Chembur, Bombay. He made in “Albela” (1951) which was a huge hit. After this he teamed up again with C. Ramchandra and Geeta Bali to make “Jhamela”.

Details about the movie and the Bhagwan Dada- C. Ramchandra team is available on our blog as part of a post by our very own encyclopaedia.

Today on Bhagwan’s birth anniversary let us have one more song from “Jhamela” (1953) (the 4th to be posted). It is written by another Bhagwan Dada team member- Rajinder Kishan, singers are Lata Mangeshkar and Chitalkar.


Song-Bal khaati ithhlaati aayi hai shaam (Jhamela)(1953) Singers-Lata, C Ramchandra, Lyrics-Rajinder Krishan, MD-C Ramchandra
Both
Chorus

Lyrics

aa aa aa aa aa
aa aa aa aa aa

aa aa aa aa aa
aa aa aa aa
bal khaati ithalaati aayi hai shaam
aajaa ki honthon pe teraa hai naam
teraa hai naam
aa aa aa aa aa
aa aa aa aa aa

pyaasi hain ankhiyaan
pyaas bujhaa de
dil ki tadap mere dilbar mitaa de
bhar bhar pilaa de mohabbat ke jaam
aajaa ki honthon pe teraa hai naam
teraa hai naam
aa aa aa aa aa
aa aa aa aa

taaron ne halki si li angdaayi
yaad tumhaari aise mein aayi
tum bin aa na sakaa aaraam
aajaa ki honthon pe teraa hai naam
teraa hai naam
aa aa aa aa aa
aa aa aa aa aa

bal khaati ithalaati aayi hai shaam
aajaa ki hothon pe teraa hai naam
teraa hai naam
aa aa aa aa aa
aa aa aa aa aa

humko khabar thhi aaoge ek din
rehte bhi kaise akele ji tum bin
tumse hamein
hamein tumse hai kaam
aajaa ki honthon pe teraa hai naam
teraa hai naam

aa aa aa aa aa
aa aa aa aa aa

balkhaati ithalaati aayi hai shaam
ajaa ki hothon pe teraa hai naam
teraa hai naam

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


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.

“Gauhar” (1953) was directed by F H Hasan for All Indian Pictures production, Bombay. The movie had Bina Rai, Rehman, Agha, Vijaylaxmi, Chaman Puri, Charlie, Cuckoo etc in it.
Read more on this topic…


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.

I did not have much idea about the film ‘Mehmaan’ (1953) except its star cast. But I have been mesmerised by its 8 melodious songs, two of which have so far been covered in the Blog. The film was directed by Ramanand Sagar, his first film as a director. The star cast included Premnath, Nimmi, Sajjan, Purnima, Radhakishan, Bikram Kapoor, Harish, Mumtaz Begum etc. With Nimmi in the lead role, one would expect a lot of melodrama, sufferings, unexpected twists in the love story etc.
Read more on this topic…


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.
Read more on this topic…


This article is written by Sadanand Kamath, 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 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.

After the partition in 1947, prominent music directors like Ghulam Haider, Khwaja Khursheed Anwar, G A Chisti, Feroze Nizami, Rafique Ghaznavi , Innayat Hussain migrated to Pakistan. Most of them were born or brought up in western part of Punjab of undivided India which became a part of Pakistan. So rather than calling the process as migration, they actually returned to their original places.
Read more on this topic…


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What is this blog all about

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 nine years. This blog has over 13500 song posts by now.

This blog is active and online for over 3300 days since its beginning on 19 july 2008.

Total number of songs posts discussed

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Movies with all their songs covered =1015
Total Number of movies covered =3721

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Blog Start date: 19 july 2008

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