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

Archive for the ‘Songs of 1953’ Category


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 :

5180 Post No. : 17156

Today’s song is from the film Lehren-1953. It was made by ” New Sai Productions” Bombay. It was a film production company floated by C.Ramchandra, his close friend actor Omprakash and Lata Mangeshkar. They produced Jhanjhar-1953, Leharen-1953 and Duniya gol hai-1955 ( directed by Omprakash himself.) These films were neither successful nor their music became popular.

When the film Jhanjhar-1953 was about to be released, C. Ramchandra and Lata Mangeshkar went to Punjab to attend the release function of the film. In this visit, Lata Mangeshkar spoke to singer Nurjehan in Pakistan, from her hotel room telephone and they decided to meet each other. Accordingly Lata and Nurjehan met on the “No Man’s Land” between the Indo-Pak border. They embraced each other and spent a lot of time together.

Another noteworthy event happened when the film Jhanjhar was in the making. At that time C.Ramchandra, under a loose contract with Filmistan, was also giving music to Filmistan’s ” Anarkali’. Directors in Filmistan knew that he was also making his own film Jhanjhar and they suspected that he may be neglecting music of Anarkali at the cost of Jhanjhar. He was sent a legal notice accusing him of this. However, Jhanjhar released first, flopped and then Anarkali was released. Anarkali music became a superhit and Jhanjhar was nowhere. The legal case was happily dropped and C Ramchandra was also awarded a gift from Filmistan for its music !

Film Lehren-1953 was directed by H. S.Rawail and the 10 songs of the film were written by Rajendra krishna. Rajendra Krishna (6-6-1919 to 23-9-1987. Songs 1671 for 269 films) and C.Ramchandra were very good friends. They came together from C. Ramchandra[‘s film Patanga-1949. Together they worked in 52 films. However, in 1958 this friendship broke up. The story is….in 1958 C.Ramchandra was called to Madras by producer S.S.Vasan of Gemini Films. He was offered the film Raaj Tilak for music. This was a remake of Vasan’s hit Tamil film ” Vanjikottai Valiban”. A Telugu remake was also on cards and C.Ramchandra was to give music to Hindi and Telugu versions. He had already given music to the Tamil original. He gladly accepted and wanted to call Rajendra krishna to write the songs. To his shock, Vasan objected to calling Rajendra krishna. Vasan was angry at him because he had written songs for his competitor AVM’s 2 films Bhai Bhai-1956 and Bhabhi-1957. Both films’ songs were popular and hits also. Vasan asked Ramchandra to suggest some other name. He suggested P.L.Santoshi and it was accepted. The music was completed for Raaj Tilak-1958.

C.Ramchandra went back to Bombay and started making songs for the film Amardeep along with Rajendra krishna. After the music was set, Rajendra Krishna came to know that C.Ramchandra had replaced him with Santoshi for a South film. He was enraged and broke their partnership. Rajendra krishna was also popular in South and he started suggesting the Southern producers names of Chitragupta and Ravi as Music Directors. C. Ramchandra stopped getting any films from Madras. At that time even Lata left him after recording 2 songs of the film Amardeep-1958. C.Ramchandra’s bad period had begun…..

The cast of the film Lehren-1953 was Shyama, Kishore Kumar, Shakuntala, Bipin Gupta, Iftikhar, Sunder, Johnny Walker, Leela Mishra and others. In this film, Raj kapoor was a Guest Artiste. Also Omprakash’s brother Pachhi did a small role in this film. Later Pachhi became a big Producer of Hindi films himself. In this film 6 singers were used for 10 songs. The singers were Mohd. Rafi, Kishore kumar, Hiemant kumar, Lata Mangeshkar, Shamshad Begum and Sunder. Today’s fun song is sung by Mohd. Rafi and Sunder. To most readers Sunder was a comedian, but Sunder Singh was a Hero in his early films and sang many songs in his own films.

For a long time,I was searching for information on comedian Sunder. I got hold of a 2 page detailed article on Sunder, but it was in Punjabi- which I could not read or use. I found a small paragraph on Sunder in Sanjit Narvekar ji’s book ” Eena Meena Deeka”. Lastly, I requested Harish Raghuwanshi ji for help. Despite his failing health, he promptly sent me articles in Hindi, English and Gujarati, on Sunder. He is such a helpful person. May God give him a healthy life.

Sunder Singh aka Sunder was born in Sialkot, Punjab on 10th August 1916. His father was working in Madon Theatres, Calcutta. Sunder also started working there. Initially, for a long period,he did Girl’s roles. Once his work was seen by H.S.Rawail (Director in later life). He was quite impressed. Later Rawail started working with R.N.Vaidya as his assistant in direction.Meanwhile Sunder started working in Talkie films. His first film,where he was credited, was ” Na hone wali baat”-38. Before that, Rawail and Vaidya were preparing to make the film Banke Sipahi-37.Rawail recommended Sunder and Vaidya gave him an uncredited small role in that film.

Sunder and Rawail became good friends and started staying in one flat in Calcutta. After a few films here, they both went to Lahore and Sunder got the Hero’s role in the film ” Shukriya”-44. There were 4 Heroines in the film- Ramola, Rooplekha, Manorama and Raksha. Sunder’s role in this film was that of a young man from a village and Ramola was from a City. Sunder’s one song from this film-‘ Nayanon ke teer chala gayee ek shehar ki laundiya’ became very popular all over India, However the song was banned in Punjab due to its lyrics. After this they both came back to Calcutta.

His next film was Albeli-45, in which too there were 4 Heroines- Ramola, Rooplekha, Manorama and Usha. In the 40’s , Sunder acted in many films like Arabian Nights, Baap, Shabri, Chandrashekhar, Ek aurat, Grihalaxmi, Lottery, Samapti, Jhoothi kasme, Savyasachi, Do baaten, Shadi ke baad, Bawra, Khiladi, Nai Bhabhi etc. In Calcutta, Sunder got married to a girl from his community. Rawail left for Bombay. After a few months, Sunder also returned to Bombay.

Rawail was very happy to get him back and gave him roles in almost all of his films. Not only Rawail, but also J.Om Prakash, Mohan Kumar, Lekhraj Bhakri, Manoj kumar etc gave him roles in all their films and he became a busy actor. He was at one time, in great demand. He was quite popular due to his nature.In the decade of 50’s he did 88 films, which increased in the 60s and 70s. In the 80s however films came haltingly.

From singing Hero, he became a Junior artiste( extra), in presence of the new crop of actors. The role of comedians was on decline, as Heroes like Amitabh and others did comedy scenes themselves. His health started troubling him. His last film was probably Bahurani-89. He became ill for a long time and finally died on 5-3-1992. Sunder acted in 436 films. He was a good singer and sang his own songs in early cinemas. In all, Sunder sang 40 songs in 25 films. ( Thanks to Harish Raghuwanshi ji for material for adaptation.)

The story of the film Lehren-1953 was….The story of Lehren-53 revolves around 3 characters. One Hero and 2 Heroines. Kishore loves Shakuntala and treats Shyama sympathetically because she had lost her parents. She stays with her uncle omprakash. Shyama however takes Kishore’s sympathy as his love for her. Even his uncle and Kishore’s best friend Sunder think that way. This happens because Kishore feels too shy to express his love for Shakuntala. This situation becomes very embarrassing for Kishore, especially as he is pushed to marry Shyama. This part of the story is upto Interval.

After Interval, Kishore tries very hard to get out of this tricky situation and succeeds by first telling the truth to Sunder and then to uncle Omprakash. They make a plan so that Shyama overhears Kishore’s love dialogues to Shakuntala. But this has an opposite effect. Shyama thinks that Kishore has played a double game with both the girls.

At the end, all misunderstandings are cleared( for which Shakuntala had to pretend her suicide and sacrifice to allow Shyama and Kishore to get married). Shyama steps back and Kishore and Shakuntala are married.

Let us now enjoy the comedy song, by Rafi and Sunder Singh.


Song-Kehta hoon sach ke jhoothh ki aadat nahin mujhe (Lehren)(1953) singers-Sunder, Rafi, Lyrics-Rajinder Krishan, MD-C Ramchandra
Both

Lyrics

Duniya jhol hai
ae jee hum na kehte thhe
ke duniya jhol hai
aur tum samahte thhe ke beta gol hai
waah
aah
samhe mama
kehta hoon ke
kehta hoon sach
ke jhoothh ki aadat nahin mujhe
kehta hoon sach
ke jhoothh ke jhoothh ki aadat nahin mujhe
ae jaaneman
kisi se adaawat nahin mujhe
ae jaaneman
kisi se adaawat nahin mujhe
kehta hoon sach
ke jhoothh ki aadat nahin mujhe
kehta hoon sach
ke jhoothh ki aadat nahin mujhe
ae jaaneman kisi se adaawat nahin mujhe
ae jaaneman kisi se adaawat nahin mujhe

ae jee achche bure ko dekh ke
achche bure ko dekh ke
kehta hoon saaf baat
kya
arre suno to mama
arre achche bure ko dekh ke
arre kehta hoon saaf baat
arre din ho to din kahoonga
agar raat ho o o to raat
ahahaha

arre jhoothe kaa
kya
munh kaala

arre nahin
suno to mama
arre jhhoote ka saathh
dene ki aadat nahin mujhe
jhhoothe ka saath dene ki aadat nahin mujhe
ae jaaneman kisi se adaawat nahin mujhe
ae jaaneman kisi se adaawat nahin mujhe

aa aa aa aa aa
aji jaaiye bhi aap to
jhoothon ke baap hain

aji mama ee
dekho main to nahin hoon
per aap hain
aa aa aa aa
ab chhodiye jee peechha
ke fursat nahin mujhe
ab chhodiye jee peechha
ke fursat nahin mujhe

ae jaaneman kisi se adaawat nahin mujhe
ae jaaneman kisi se adaawat nahin mujhe

kehta hoon sach ke jhoothh ki ee ee ee ee ee ee ee
kehta hoon sach ke jhoothh kee ee ee ee ee ee ee
kehta hoon
o kehta hoon
o kehta hoon
o kehta hoon
sach ke jhoothh ki aadat nahin mujhe

kehta hoon sach
ke jhoothh ki aadat nahin mujhe
ae jaaneman kisi se adaawat nahin mujhe
ae jaaneman kisi se adaawat nahin mujhe ae ae


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.

This article is the 17100th song post in the blog.
This post also includes the 1500th Hindi lyrics contribution by Sudhir ji.

Blog Day :

5140 Post No. : 17100

We in this blog regularly publish song posts everyday without a fail. The last date when no post appeared in the blog was 25 December 2019 (Blog day number 4177). Today (14 August 2022) is the 5140th day for the blog. So there has been no DOT day for the blog during last 973 days !

When we are this regular, then song posts add up and before we realize, we arrive at the next century mark. The previous century mark was a big occasion when we reached a round figure of 17000 song posts.

Nowadays only one or two songs posts appear in a day whereas more than six songs used to appear daily in the blog ten years ago, as we have been noticing while discussing songs under our Blog Ten Year Challenge series. Even then we reach our centuries fairly regularly. The 17000th song post appeared on 2 June 2022. Today, on 14 august 2022, that is 63 days later, we arrive at the next century song post, namely song post number 17100 !

This is a century song post with some difference. It is the first century post for the blog after the blog became ASAD Bhopali. In other words, it is the first century post after I superannuated from my Railway service and settled down at Bhopal. If I or others thought that the pace of the blog will pick up, that has not happened. In any case, we nowadays are not much concerned about the pace at which we are going. We just ensure that no day should be a DOT date.

The century post is always a special post that showcases a song that is special in one way or the other. All the 170 century songs (yes we have had that many century posts in the blog) have been very special songs. Assuming each of these song to be 3 minutes long, listening to all these songs non stop will require 510 minutes, viz 8 hours 30 minutes ! Assuming someone sets out to listen to all the 17100 songs at the same rate of 3 minutes per song, he will need 51300 minutes, which is 855 hours viz nearly 36 days (non stop round the clock) worth of music !

Regulars have actually listened to all these songs. I, who has published bulk of these song posts have actually listened to all these songs multiple times !

So one can have some rough idea of how much time has gone into the effort of bringing all this collection together at one place. And this is by now an online collaboration of nearly two dozen like minded music lovers who have been putting on enormous amount of time and effort and love into this ongoing online project of collecting and piecing together authentic information about the glorious history of Hindi movie music.

As a result of our collective effort, we have showcased songs from over 4600 movies. More than 1000 singers, more than 800 lyricists and more than 500 music directors are already represented in the blog. 1329 movies have already been YIPPEEE’D.

The above figures may not look very impressive to the uninitiated, but the initiated persons will know that this is perhaps the only place online where all this information is available at one place. For instance, many of the YIPPEEE’D movies had songs that are rare songs. Those missing songs have been specially located and uploaded by us (more specifically by Sudhir Ji). Similarly a few of the special songs (including century songs) were special songs that were uploaded for the first time online while those special posts were published.

During the process of our posts, We found songs that were incorrectly credited in HFGK. we have come across songs that did not find mention in HFGK. We also had occasions when new information about songs and artists were received from comments made by knowledgeable sources. Sometimes even close relatives of the artists commented on our posts and shared invaluable information with us.

All the above facts are extremely satisfying to us who are associated with the blog in various capacities. We feel that we in our own small ways, are contributing our mite to human knowledge . With time, our contribution may find more appreciation, I am sure of it.

I started thinking about a song for the occasion only at the last moment which is my wont these days. I finally zeroed in on this song from ‘Nav Durga’ (1953).

‘Nav Durga’ was produced by Homi Wadia and directed by Babubhai Mistri for Basant Pictures Bombay. The movie had Usha Kiran, Mahipal, SN Tripathi, Sulochana Chatterji, Amarnath, Agha Shapur, Raja Sandow etc. in it. The movie had nine songs in it. Six songs have been covered in the blog so far.

The song being discussed is sung by two sisters. We have hundreds of songs sung by Mangeshkar sisters, but there were other sisters too in HFM. But duets sung by these sisters are few and far between. Suman Kalyanpur (nee Hemadi) has sung a few duets with her sisters, such as Shyama Chittar (nee Hemadi). Geeta Dutt too had a sister called Laxmi Roy, but her sister sang very few songs before vanishing from the HFM after her marriage.

The song under discussion is sung by Geeta Dutt (then Roy) and Laxmi Roy. Ramesh Chandra Pandey is the lyricist. Music is composed by SN Tripathi. This is a joyous song. Geeta Dutt sings initial stanzas. Laxmi Roy’s voice appears towards the later half of the song.

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

Lyrics of the song were sent to me by Prakashchandra.

I take this opportunity to thank one and all for their continued support and encouragement that is providing us with the energy to drive this musical bandwagon on and on. Let this musical bandwagon roll on and on for many more centuries of songs.


Song-Aayi bahaar kiye solah singaar (Nav Durga)(1953) Singers-Geeta Dutt, Laxmi Roy, Lyrics-Ramesh Chandra Pandey, MD-S N Tripathi
Chorus

Lyrics(Provided by Prakashchandra)

aayi bahaar kiye solah singaar
ho o o
aayi bahaar kiye solah singaar
sakhi chamka umangon ka taara
ho sakhi chamka umangon ka taara
chamka umangon ka taara
ho sakhi chamka umangon ka taara

bagiya mein chhaayi umang hai
aaj phoolon mein preetam ka rang hai
ho o
phoolo mein preetam ka rang hai
bagiya mein chhaayi umang hai
aur phoolon mein pritam ka rang hai
ho o
phoolon mein pritam ka rang hai
honthon mein pyaas liye
milne ki aas liye
dulhan ne ghoonghat utaara
ho sakhi chamka umangon ka taara
chamka umangon ka taara
ho sakhi chamka umangon ka taara

aayi bahaar kiye solah singaar
sakhi chamka hai nainon ka taara
ho sakhi chamka hai nainon ka taara
chamka hai nainon ka taara
ho sakhi
chamka hai nainon ka taara

mukhda gulaab sa hai pyaara
jhoole nanha sa raaja dulaara
o jhoole nanha sa raaja dulaara

mukhda gulaab sa hai pyaara
jhoole nanha sa raaja dulaara
o jhoole nanha sa raaja dulaara

maiya ki god bhari
nainon ko jyot mili
jagmag hai aangan humaara
ho sakhi
chamka hai nainon ka taara

chamka hai nainon ka taara
ho sakhi
chamka hai nainon ka taara
aayi bahaar kiye solah singaar
sakhi chamka hai nainon ka taara
ho sakhi
chamka hai nainon ka taara
chamka hai nainon ka taara
ho sakhi
chamka hai nainon ka taara

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

आई बहार किए सोलह सिंगार
हो ओ ओ
आई बहार किए सोलह सिंगार
सखी चमका उमंगों का तारा
हो सखी चमका उमंगों का तारा
सखी चमका उमंगों का तारा
हो सखी चमका उमंगों का तारा

बगिया में छाई उमंग है
आज फूलों में प्रीतम का रंग है
हो ओ
फूलों में प्रीतम का रंग है
बगिया में छाई उमंग है
आज फूलों में प्रीतम का रंग है
हो ओ
फूलों में प्रीतम का रंग है
होठों में प्यास लिए
मिलने की आस लिए
दुल्हन ने घूँघट उतारा
हो सखी चमका उमंगों का तारा
सखी चमका उमंगों का तारा
हो सखी चमका उमंगों का तारा

आई बहार किए सोलह सिंगार
सखी चमका उमंगों का तारा
हो सखी चमका उमंगों का तारा
सखी चमका उमंगों का तारा
हो सखी चमका उमंगों का तारा

मुखड़ा गुलाब सा है प्यारा
झूले नन्हा सा राजा दुलारा
ओ झूले नन्हा सा राजा दुलारा
मुखड़ा गुलाब सा है प्यारा
झूले नन्हा सा राजा दुलारा
ओ झूले नन्हा सा राजा दुलारा
मैया की गोद भरी
नैनों को ज्योत मिली
जगमग है आँगन हमारा
हो सखी
चमका है नैनों का तारा
चमका है नैनों का तारा
हो सखी
चमका है नैनों का तारा

आई बहार किए सोलह सिंगार
सखी चमका है नैनों का तारा
हो सखी चमका है नैनों का तारा
सखी चमका है नैनों का तारा
हो सखी चमका है नैनों का तारा


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 :

5136 Post No. : 17093

Today’s song is a comedy song from the film ‘Madmast’ (1953).

The film was made by Sweet Pictures. Produced and directed by Jagdish Pant, the film had music by V Balsara. Jagdish Pant seems to be a director by hobby, because he directed only one more film i.e. ‘Padosi’ (1971), which was also produced by himself. The cast of the film ‘Madmast’ (1953) was Nirupa Roy, Shashikala, Sapru, Nazir, Ansari, Shakeela and others. 7 songs were written by Madhuraj aka Madhukar Rajasthani, 2 by Manav, 1 by the director Jagdish Pant himself and one chorus song is left without name credit.

Hindi film music is like an ocean. As many rivers merge into the ocean at various stages, regional music from various parts of India is assimilated in HFM (Hindi Film Music).

Initially it was the Marathi Stage/Natya Sangeet and Parsi theater which influenced HFM. In the East, it was Rabindra Sangeet and Nazrul Geete made the basis of film songs. In the Lahore center it was the Punjabi style after ‘Khazanchi’ (1941).

After partition and polarisation of film production language wise, it was Bombay, which became the center for HFM and it was a wonderful mixture of music specialties from all over the country. There were many successful Music Directors in India. I remember a famous quotation – “Behind every successful man there is a woman.”

Can you tell me who is behind every successful Music Director ?
I am sure many of us do not have the answer.

The answer is the ARRANGER.

Now, who is this arranger? Some have a vague idea, some may even think he is the person who arranges song recording and the musicians.

An Arranger is the SOUL of film music. Once the composer conceives the tune for a song, he tells it to the Arranger, who immediately makes its notations (writing music or Swaralipi), which only a properly schooled musician can read and play. Arranger also decides the instruments and their placements in the song. Most of the Arrangers in the Hindi film industry were from Goa, where traditionally Jazz music was very popular.

A typical Goan likes to live life ‘sushegaat‘ – which loosely means ‘araam se‘ or a carefree life. Their philosophy is eat, drink and be merry. This merry part includes Music.

Goa has given many musicians to India. Lata/Asha are from Mangeshi – Goa, though the family had shifted to Kolhapur; MDs Dattaram (Wadkar) and N Datta (Datta Naik); singers Kishori Amonkar, Kesarbai Kerkar, Shobha Mudgal, Hema Sardesai, Prabhakar Karekar, Remo Fernandes, Lorna are from Goa. (The list is only indicative,not exhaustive).

Most Arrangers were from Goa——

Anthony Gonzalves from Majorda – Goa. He worked for Naushad, OP Nayyar and Lakhsmikant Pyaarelal The song “My Name Is Anthony Gonzalves” from ‘Amar, Akbar, Anthony’ (1977) is a tribute by Lakhsmikant Pyaarelal to him, as he taught Pyarelal so many things including notations.

Chic Chocolate aka Anthony Vaz from Aldona – Goa. He worked for C Ramchandra mainly.

Chris Perry worked for Khayyam, RD Burman, Kalyanji Anandji and Lakhsmikant Pyaarelal.

Frank Fernando worked for Anil Biswas, Kishore Kumar, Roshan, C Ramchandra.

Sebastian D’Souza from Bicholim – Goa. He worked for Shanker Jaikishen from 1952 to 1975 and OP Nayyar.

Most of the players of western instruments in the orchestras were from Goa, like renowned musicians such as Robert Correa and Mike Machado (the pianists), Albuquerque, Verga, Simplicio D’Souza and John Gonsalves (the cellists), V Balsara and Goody Seervai (the accordionists), Duorado, Narvekar and Karnad (the solo violinists) and David (the mandolin player) etc.

The names given above are only indicative and not exhaustive. In addition to these arrangers, there were countless known and unknown arrangers in the film industry. Many arrangers, after working for a long time, desired to become music directors themselves. Some of them became MDs also, however history says that most such arrangers failed as MDs. Of course, there are few cases where they have succeeded too, but such cases are very few.

Datta Davjekar, Timir Baran Bhattacharya, Master Eric, Chic Chocolate, Shridhar Parsekar, Anil Mohile, Hemant Kedar (Ramkrishna Shinde), Bal Parte, Bhushan and many other names can be quoted as arrangers who failed as MDs in Hindi films. Few people know that the original arranger in the Hindi film industry was Mohd Shafi – who too became a music director later in his career. According to DO Bhansali, a leading sound recordist of the 60s and the 70s, a group of arrangers, namely Dattaram, Enoch Daniels and Sebastian D’souza together gave music to film ‘Street Singer’ (1966), under the name of ‘Suraj’. After this one film, the group disintegrated. There are however some cases where the one time assistants or arrangers became famous and successful independent music directors. In fact, most MDs were assistants in the beginning of their careers to gain knowledge and experience. There is an interesting case where a well known MD worked as an arranger/assistant to another famous MD, because he respected the senior MD. I am talking about C Ramchandra who became the assistant and arranger to Anil Biswas for the film ‘Girls School’ (1949). By 1949, CR himself was a much in demand and popular MD, but because of his respect for Anil Biswas he agreed to be his assistant on request from Anil Biswas ! This was the respect given to seniors in early days of Hindi films in Bombay !

Now let us talk about V Balsara, who was an assistant and arranger in Hindi films who became music director for today’s film ‘Madmast’. His piano, univox and melodica, the instruments he loved, be it for composing music for films or otherwise, have come to personify the legend of Vistas Ardeshir Balsara, the music director, who died in Kolkata’ on 24-3-2005.

The ‘gentleman musician’, as the affable Parsi was known among friends, had only his music to give him company in the twilight years as he grappled alone with ill health in the absence of his wife and two sons had predeceased him. The striking feature of Balsara was his never-say-die spirit. At 83, Balsara was still going strong on the music front with his Bengali film production ‘Til Theke Taal’ (2005) running in theaters in West Bengal.

He settled in Kolkata in 1954 after he was invited by legendary musician Jnan Prakash Ghosh, to the city. Earlier, he had been in Mumbai, then Bombay.

Born on 22nd June 1922, Balsara learnt music from his mother Nazamaye, and gave his first solo performance at the age of six with the pedal harmonium, in use in those times, at a packed CJ Hall in Mumbai. Barely ten years later, the young lad was assisting famous music director Ustad Mushtaque Hussain, in a Bombay film production ‘Baadal’ (1942) and had made a place for himself as a permanent assistant music director at the Filmistan studio under popular directors Madan Mohan, Khemchand Prakash and Ghulam Haider.

Balsara had his brush with the Who’s Who of the music world after he became the orchestra director of music company HMV in 1947 and then switched over to the RK Films banner three years later to work with the likes of Shankar Jaikishan and Naushad.

As the Founder Secretary of peer bodies like Bombay Cine Musicians’ Association and Bombay Cine Music Directors’ Association, Balsara earned the love and respect of his associates and young musicians.

Basking in the audience appreciation during a musical soiree in Kolkata’s Hindustan Park in 1953, the young musician decided to make this cultural capital his home a year later with a prized film assignment ‘Agni Pariksha’ (1954). At the coveted New Empire Theatres, he charmed audiences again in 1962 arranging music for Rabindranath Tagore’s celebrated play ‘Debatar Grash’ while debuting his own group the Indian Symphony Orchestra.

He gave Kolkata another first — the city’s maiden stereo recording in 1970 — when he put together ‘The Sound of Music’ recording strains of four Indian instruments in one album.

He had to his credit numerous popular film albums, both in Hindi and Bengali, a language he chose to speak more frequently in and with much more ease than his native Gujarati.

From the obscure ‘Circus Girl’ in 1943 to ‘O Panchi’ (1944), ‘Rangmahal’ (1948), ‘Madmast’ (1953), ‘Talash’ (1952), ‘Char Dost’ (1956), ‘Vidyapati'(1964), ‘Qurbani’ (1952), ‘Wohi Ladki’ (1967), ‘Jogi Aur Jawani’ (1975), ‘Pyaar’ (1969), ‘Jai Baba Vaidyanath’ (1979) in Hindi to ‘Madhu Shraboni’, ‘Joy Baba Baidyanath’, ‘Maa’, ‘Chalachal’, ‘Panchatapa’, ‘Subho Bibaha’, ‘Manik’, ‘Kanchan Kanya’, ‘Panna’ and ‘Pathey Holo Dekha’ in Bengali, he had an enviable repertoire.

Balsara who was greatly influenced by western music learnt to play the piano from Hildafield, a German musician. His knowledge of the piano made him use it to play Indian classical music also with ease. He mastered the technique of using the instrument for playing Indian classical music from Muneswar Dayal of Gaya. He was equally at ease with string and wind instruments.

Today’s song is sung by Mohd. Rafi and it is a comedy song. In this film’s songs 2 songs are sung by Dhan Indorewala, who was V Balsara’s wife. Today’s song is 4th song of this film to be featured on this Blog.


Song- Sulag rahi hai husn ki sigdi (Madmast)(1953) Singer- Rafi, Lyricist-Madhuraj, MD-V Balsara

Lyrics

sulag rahi hai husn ki sigdi
aaja pakaayen prem ki khichdi
khaayenge baith ke raja rani
phir nainon ki jhagda jhagdi
de pachhaad dham dham dham
de pachhaad dham dham dham
de pachhaad de pachhad de pachhaad
de pachhaad dham dham dham dham
de pachhaad dham dham dham
de pachhaad dham dham dham

khuli hai khidki
kahaan hai maina aa aa aa
taak jhaank ker mar gaye naina aa
khuli hai khidki
kahaan hai maina
taak jhaank ker mar gaye naina
kab tak sabr kare ye majnu
aaja chham chham chham chham
kab tak sabr kare ye majnu
aaja chham chham chham chham
de pachhad de pachhad
de pachhad dham dham dham dham
aaja chham chham chham chham
aaja chham chham chham chham

pyaar mein tere ulta asar hai ae ae ae ae
main baahar hoon tu bheetar hai ae
pyaar mein tere ulta asar hai
main baahar hoon tu bheetar hai
tere baap ke joote khaa kar
ghut gaya mera dam
haaye
tere baap ke joote khaa kar
ghut gaya mera dam
haaye
de pachhaad de pachhaad
de pachhaad
dham dham dham dham dham
aaja chham chham chham chham
ghut gaya mera dam
haaye
aaja chham chham chham chham
ghut gaya mera dam dam dam

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

सुलग रही है हुस्न की सिगड़ी
आजा पकाएं प्यार की खिचड़ी
खाएँगे बैठ के राजा रानी
फिर नैनों की झगड़ा झगड़ी
दे पछाड़ धम धम धम
दे पछाड़ धम धम धम
दे पछाड़ दे पछाड़ दे पछाड़
दे पछाड़ धम धम धम धम
दे पछाड़ धम धम धम
दे पछाड़ धम धम धम

खुली है खिड़की
कहाँ है मैना आ आ
ताक झांक कर मिस्टर गए नैना
खुली है खिड़की
कहाँ है मैना
ताक झांक कर मिस्टर गए नैना
कब तक सब्र करे ये मजनू
आजा छम छम छम छम
कब तक सब्र करे ये मजनू
आजा छम छम छम छम
दे पछाड़ दे पछाड़
दे पछाड़ धम धम धम धम
आजा छम छम छम छम
आजा छम छम छम छम

प्यार में तेरे उल्टा असर है
मैं बाहर हूँ तू भीतर है
प्यार में तेरे उल्टा असर है
मैं बाहर हूँ तू भीतर है
तेरे बाप के जूते खा कर
घुट गया मेरा दम
हाय
तेरे बाप के जूते खा कर
घुट गया मेरा दम
हाय
दे पछाड़ दे पछाड़
दे पछाड़
धम धम धम धम धम
आजा छम छम छम छम
घुट गया मेरा दम
हाय
आजा छम छम छम छम
घुट गया मेरा दम दम दम


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 :

5088 Post No. : 17014

———————————————–—————————————
Blog 10-Year Challenge (2012-2022) – Song No. 56
————————————————————————————–

This date (23 June) ten years ago was 23 June 2012. That day saw five songs from five different movies getting covered in the blog. Here are the details:-

Blog post number Song Movie (Year) Remarks
6119 Wo aaye hain dil ko qaraar aa gaya hai Malika Salomi(1953) 2 songs covered out of 6 so far
6120 Muhabbat mein pehla kadam rakhne waalon Yaasmeen(1955) Movie YIPPEED by now
6121 Jaana na chhod ke dil mera tod ke Shart (1954) Movie YIPPEED by now
6122 Bol Radha bol sangam hoga ke kahin Sangam (1964) Movie YIPPEED by now
6123 Tere sang ek simple si coffee Zameen(2003) One song covered out of 6 so far

Three movies (out of five) whose songs were covered ten years ago on this date have since been YIPPEED. That leaves us with two movies that are eligible for Blog Ten Year Challenge today (23 June 2022).

“Malika Salomi”(1953) is one of the eligible movies.

“Malika Salomi”(1953) was directed by Mohammad Hussain for Comedy pictures Bombay. The movie had Roopa Varman, KrishnaKumari, Kamraan,Amrit, Dara, Sheikh, Rani,
Arvind kumar, Bilaali, Nazir Kashmiri, Rafique,Shafi, Nanda, Sattar,Shetty, Ranjana Shikla,Kamal Mohan, Helen etc in it.

Two songs from the movie have been covered so far.

Here is the third song from “Malika Salomi”(1953) to appear in the blog. The song is sung by Madhubala Jhaweri. Farooque Kaiser is the lyricist. Music is composed by Krishn Dayal.

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

Lyrics of the song were sent by Prakashchandra.

audio link:

Song-Ab to aa jaao (Malika Salomi)(1953) Singer-Madhubala Jhaweri, Lyrics-Farooque Kaiser, MD-Krishn Dayal

Lyrics(Provide by Prakashchandra)

tadaptee hai ae
meri eee ashqon..on..on
mein teri yaad
barson se aey ae ae
kiyaa karti…ee hai dil kee ee ee
dhadkanein…aen..aen
fariyaad barson se aey ae

tamannaa ke diye
dhundhalaa gaye hain
ab to aa jaao..ooo..oo
ab to aa jaao
meri aankhon mein aansoon aa gaye ae hain
ab to aa jaao..o o
ab to aa jaao

bahaarein saikadon guzri..ee
tumhaari raah tak tak ke..aey ae ae
raah tak tak ke ae
hum is tanhaayee se
ghabraa gaye hain..aen
ab to aa jaao..ooo
ab to aa jaao

mujhe dar hai
ke seenaa phat na jaaye
aasmaanon kaa aaa aaa
aasmaanon ka
meri naale labon tak aa gaye hain..aen
ab to aa jaao..oo..o
ab to aa jaao..o


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.

This is the 1,100th post by Arunkumar Deshmukh.

Blog Day :

5083 Post No. : 17006

POST NO. 1100  !!!!

Today, I have mixed feelings in my mind. One way, I am happy that I am posting my 1,100th article here and on the other way, I am wondering how did I achieve this all? My first post came up here on 1-10-2012, though I had been posting my comments on the Blog’s other posts since the end of 2010. That time I had not even dreamt that I would ever write 1100 articles here or that I would remain connected with this Blog for almost 10 years continuously.
 
A habit of seeing old films and jotting down all the film details in my diary later that day turned into almost a career of writing articles on old films, its people, songs and anecdotes etc, in the last part of my life. Not many people start a second inning after retiring from a job of 35 years – that too absolutely unconnected to what one did in the last so many years !
 
That way my life has been taking unexpected turns at every stage, unconnected with what I did earlier. After coming in the merit list of 12th standard, I joined Medical College. Midway through the first year of M.B.B.S. I left it and joined Agriculture college. I won the All India Best Cadet N.C.C. Trophy at Delhi, as a Senior Under Officer. After graduating in Agriculture, I declined the Govt. Officer’s post in the department and became a Medical Representative in Glaxo, then All India No. 1 company. After 35 years in this field, I retired as General Manager-Marketing !
 
During this period I excelled in Astrology and won the ‘Jyotish Praveen’ title from Poona Mahasabha. I also earned a Brown Belt in Judo, besides acting in dramas etc. I traveled all over India, Pakistan. Nepal and Sri Lanka, U.K. and USA. After retirement I visited Europe, Switzerland and Australia with my wife.
 
With all this done, I turned to my original love – old films and music. I learnt how to use a Computer at the age of 71 years and  using old surviving diaries started writing articles on this Blog. I interviewed close relatives of a few old-time artistes and published them on the internet. I have written on Marathi films, Telugu films and even Kannada films on different blogs. There was a time when I wrote on 5 to 6 different Blogs at a time on different topics like history of films and film songs etc. But my first love has always been AtulSongADay. I honestly believe that I could do all this in this field due to the encouragement of Atul Ji. My heartfelt thanks to him. I must also mention the name of Sudhir ji, who has always supported and helped me. We have been very good friends and are in constant touch. Thanks, Sudhir ji.
In this Blog, I got good company from friends, many I have been able to meet also BUT I HAVE YET TO MEET ATUL JI. I have never even talked to him on phone anytime ! I wish that before I end all this game, we meet at least ONCE !
At this juncture, I did some self assessment. I have kept all the logbooks wherein I first hand-write my articles, before typing them. I have 27 such log books chronicling all my 1100 posts as well as interviews, lined up serially with dates of writing, date of posting on the Blog, serial number, film,song and year details of each post. I found out some statistics.
 
In these 1,100 articles, I have written on songs from films of 1930-40 (152), 1941-50 (417), 1951-60 (412), 1961-70 (46), 1971-80 (27), 1981-90 (8), 1991-2000 (5), 2000-2010(1) 2011-20 (3)  and NFS – 29 = Total 1,100 articles. This works out to 89% posts on films from 1932 to 1960 and only 11%  after 1961. So the fact remains that less than 100 posts are done for films of the post 1961 period, contrary to my estimate of about 200 such posts. This makes me ‘The Grand Old Man’ (पुराण पुरुष) in true sense.
 
Coming to today’s film, ‘Jhamela’ (1953) was a film made by Master Bhagwan after his colossal hit film ‘Albela’ of 1951. Prior to ‘Albela’, Bhagwan was making and directing only stunt films. The making of ‘Jhamela’ has an interesting history. After ‘Albela’, Bhagwan wanted to make a film called ‘Beta Laadla’ with Raj Kapoor and Nargis. He had talked to Raj and he had accepted it for Rs. 55,000 only. Bhagwan had kept RK’s cheque also ready. Meanwhile there was a party to celebrate the ‘Albela’ success, at Sai Prasad, CR’s house.
 
During the party, there was a discussion about Bhagwan’s next social film and PL Santoshi announced ‘Jhamela’ as his next film. Bhagwan was surprised and said,”What jhamela ? There is no story, nothing.” Santoshi said “The story can come later. First you make an announcement. The name is catchy and CR will give music”. Due to pressure from guests like S Mukherjee, CR, Santoshi and other guests, Bhagwan made the official announcement.
 
However, in spite of the success of ‘Albela’, Bhagwan’s luck started going down and down. Though he made many films like ‘Jhamela’, ‘Rangeela’, ‘Bhagam Bhag’, ‘Bhala Admi’, ‘Pyara Dushman’, ‘Kar Bhala’, ‘Shola Jo Bhadke’, ‘Sachche Ka Bolbala’, ‘Hum Deewane’, ‘La Bela’ etc., he did not see same luck again. ‘Bhagam Bhag’, ‘Pyara Dushman’, and ‘Shola Jo Bhadke’ did somewhat better.
 
It was from the film ‘Albela’ that CR gave music to Bhagwan’s film in his real name. Prior to this, he gave music to his stunt films as ‘Annasaheb’.This type of use of pen names was followed by many MDs. GM Durrani gave music as Gunjan, SD Batish gave music as Nirmal Kumar. Snehal Bhatkar used several names like Vasudev, B Vasudev, VG Bhatkar and Snehal, before taking up another pen name Snehal Bhatkar for the rest of his career. Actually his name was Vasudeo and Snehal was his daughter’s name. These are well known, but today I will tell you 2 pen names FIRST time on the internet – on this Blog! Hardly anybody knows that Anil Biswas gave music to film ‘Begunah’ (1949) in the name of Haribhai. His co-MD in this film was Shyamu – none other than C Ramchandra. This information is given in the Encyclopedia of Indian Cinema by Rajadhyaksha on pages 67 and 190.
 
Although the team for ‘Jhamela’ was the same as Albela and they tried their best, still ‘Jhamela’ was not successful. Somebody had told Bhagwan that titles ending with ‘la‘ were lucky for him. Bhagwan tried this even, but he did not succeed in films like ‘Jhamela’, ‘Rangeela’, ‘Kar Bhala’, ‘Sachche Ka Bolbala’ and ‘La-Bela’. All this led to Bhagwan’s downfall to rock bottom. He had to sell his houses, cars etc and go back to the chawl where he had started from in his career. Bhagwan is a real case of ‘Rags to Riches to Rags‘.
 
Today’s song is a duet of Lata and Chitalkar.  I like duets of 2 pairs – Hemant Kumar – Lata, and Chitalkar – Lata, in that order. Even for my 1000th post on 18-8-2021  I had selected a CR song, but it was a chorus of Amirbai, Rajkumari, Durrani, Khan Mastana and CR. Today is 18-6-2022 – a gap of 10 months and 100 songs…an average of 10 posts every month for the last 10 months !
 
I once again thank all those who helped me in this fruitful journey. Enjoy the CR-Lata duet.
[Author’s Note – Some information is used from book ‘EK ALBELA’ by Isak Mujawar-with thanks. and my notes.]


Song- Kaho Ji Kaho Ji Kaho Ji, Kahin Tumse Hui Hai Mulaqaat (Jhamela) (1953) Singers – Lata Mangeshkar, Chitalkar, Lyricist – Rajendra Krishan, MD- C Ramchandra
Lata Mangeshkar + Chitalkar

Lyrics

kaho ji kaho ji kaho ji
kahin tumse hui hai mulaqaat
suno ji suno ji suno ji
hamen yaad nahin hai ye baat
kaho ji
kaho ji
kaho ji

jhoothe bahaane banaana
ye hai mardon ki aadat puraani
h h
aurat pe bharosa na karna
sun rakhi hai hamne kahaani
hato ji hato ji hato ji
mardon ki jhoothi hai zaat
suno ji suno ji suno ji
hamen yaad nahin hai ye baat
kaho ji
kaho ji
kaho ji

seekha kahan se ye tumne
raah chalte galey pad jaana
tum aise kahaan ke haseen ho
zara dho ke suratiya aana
achchha ji achchha ji achhha ji
tum to din ko bhi kehte ho raat
ja ja
suno ji suno ji suno ji
hamen yaad nahin hai ye baat
kaho ji
kaho ji
kaho ji

jaao bade tum wo ho
pachhtaaye tumhen munh laga ke
parvaah bhi yahan hai kisi ko
jaate ho to meri balaa se
aji bolo ji bolo ji bolo ji
ab kiski hui hai maat
suno ji suno ji suno ji
hamen yaad nahin hai ye baat
kaho ji
kaho ji
kaho ji

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

कहो जी कहो जी कहो जी
कहीं तुमसे हुई है मुलाक़ात
सुनो जी सुनो जी सुनो जी
हमें याद नहीं है ये बात
कहो जी
कहो जी
कहो जी

झूठे बहाने बनाना
ये मर्दों की आदत पुरानी
ह ह
औरत पे भरोसा ना करना
सुन रखी है हमने कहानी
हटो जी हटो जी हटो जी
मर्दों की झूठी है ज़ात
सुनो जी सुनो जी सुनो जी
हमें याद नहीं है ये बात
कहो जी
कहो जी
कहो जी

सीखा कहाँ से ये तुमने
राह चलते गले पड़ जाना
तुम ऐसे कहाँ के हसीं हो
ज़रा धो के सुरतिया आना
अच्छा जी अच्छा जी अच्छा जी
तुम दिन को भी कहते हो रात
जा जा
सुनो जी सुनो जी सुनो जी
हमें याद नहीं है ये बात
कहो जी
कहो जी
कहो जी

जाओ बड़े तुम वो हो
पछताए तुम्हें मुंह लगा के
परवाह भी यहाँ है किसी को
जाते हो तो मेरी बला से
अजी बोलो जी बोलो जी बोलो जी
अब किसकी हुई है मात
सुनो जी सुनो जी सुनो जी
हमें याद नहीं है ये बात
कहो जी
कहो जी
कहो जी


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 :

5072 Post No. : 16993

Today’s song is from the film Firdaus-1953.

I have not seen this film and I do not know its story either. From what I read somewhere about this film, it seems to be a story of a newly married couple – Indra and Madhu, who get separated on their first night itself. The film has the background of India’s Partition.

1953 was a period just about 6 years after the Partition turmoil and those who suffered from it directly were still in the process of setting their lives in order. While people had not forgotten the pain of partition, no one wanted to even think again about that period. Therefore films made with such stories and background did not fare so well. While about 10 to 15 % of the population had actually suffered during Partition, for all others these were only stories, not knowing its devastation and the seriousness.

Most of the country had left the partition behind and looked forward to development and prosperity. Hindi film industry too had recovered from the shake up and was on the tracks once again.However, even in the films made now it reflected the changing society of India. Films were made on Mythology, Joint family benefits, Musical Comedies. It was now the turn of the South to replace the East in terms of winning the Hindi markets. However, compared to the Bangla artistes, not many southern artistes-especially the males- joined Hindi films. Mainly actresses came from south to Hindi films.

1953 established the practice of ” Guest Artistes” in Hindi films, starting from the film ‘ Aabshaar ‘ aka Waterfall, decisively. RK films and Raj Kapoor surged forward with films and Raj- Nargis paired with ‘ Aah ‘. Milestone and Hit films like Anarkali, Baaz, Boot Polish, Dil-E-Nadaan, Do Bigha Zameen, Fareb, Footpath, Jhanjhar, Jhansi ki Rani (First Indian Technicolour film), Ladki, Mayurpankh, Patita, Shikast, Teen Batti Char Raasta etc. entertained the audience, besides the Mythologicals, Historicals (distorticals ?), action and stunt films and family dramas.

Film Firdaus-53 was made by New premier Films and it was directed by Vasant Joglekar. It was produced by M.S.Ahluwalia. Music was composed by Roshan and Robin Chatterjee and the cast was Geeta Bali, Anup Kumar, Omprakash, Badriprashad, Vasant Thengdi, Randhir etc etc.

Everyone in this world has friends. Some are social friends, some are professional friends, few are Fb and WA friends. The best category is where the childhood friendship continues till old age and also a friendship which grows late in life but is a heartfelt one. One such friendship was famous in the film industry in the 50’s decade. Our film industry is full of ungrateful people. There is nothing like true friendship here. So called friends do not hesitate to cut the throat of others for selfish purposes. There are hundreds of such instances here. However for every rule there is an exception and there was ONE friendship which was used as an example here. That is the friendship of Vasant Joglekar and Ashok Kumar. They were true friends and their friendship ended only when Joglekar died.

Vasant Joglekar, actor-by compulsion and producer/Director-by choice was born on the Christmas day, 25th September 1914 at Nagpur. He started his filmi career as asstt. to Master Vinayak in 1942. In the struggling days he met Ashok Kumar and they became friends forever.

starting with Aap ki seva mein-47,in which Lata Mangeshkar sang her first Hindi film solo, Joglekar produced 10 films and directed 20 films ( 11 Hindi and 9 Marathi). In one of the Marathi films directed by this young man-Vasant Joglekar, sctress Sumati Gupte was acting in it. They fell in love and soon got married in 1943. Sumati became Sumati Gupte Joglekar. In due course, the couple had 3 daughters- Meera, Chanda and Madhushri.
In almost all his films Ashok Kumar was a fixture. There was a time when Ashok kumar was involved in 30 films at one time,still the 31st film was that of Joglekar. The only condition Dadamuni used to put was that Joglekar’s wife, actress/housewife Sumati Gupte Joglekar should provide him food Tiffin cooked by her own hands, at the shooting place ! . He was very fond of her cooking. No wonder, Sumati was a CKP by birth-a fish eater and the Bangali babu liked Fish dishes very much !

Joglekar’s Filmography as a Director in Hindi films – Aap ki sewa mein-47, Adalat-48, Nand Kishore-51, Jeet Kiski-52, Firdaus-53, Samaj-54, Karigar-58, Aanchal-60, Aaj aur kal-63, Ek Kali Muskayee-68 and last film Prarthana-69.

Vasant Joglekar tried to promote his daughter Meera as a Heroine in Hindi films, with the film Ek Kali Muskayee-68. However, she was not successful and the film was a flop.

Vasant Joglekar died on 13-1-1993.

Even in this film, Firdaus-53, Ashok kumar was present as a Guest artiste, though not in the cast. Today’s song is sung by Geeta Dutt. Written by D N Madhok, the music was by Robin Chatterjee. He was born on 8-1-1914, at Calcutta. His name is not too well known to Hindi film lovers, though he was very famous in Bengal, where he composed several NFS and film songs. For many years he assisted Anupam Ghatak,MD. He even sang in the chorus for New Theatre’s film Adhikar-1938. However he was not so successful in Hindi films.

His first Hindi film was Rajlakshmi-1945, wherein he gave the first opportunity to Talat Mahmood to sing a Hindi film song. Till then he was singing Bangla NFS and film songs with the name Tapan kumar. His next film was Tum aur main-1946 which had very good songs by kanan Devi. Then came Voh Dono-1947 and here Sandhya Mukherjee gave good songs. Robin Chatterjee gave music to 14 Hindi films,namely – Rajlakshmi-45, Tum aur main-46, Voh Dono-47, Sabyasachi-48,Ratnadeep-51, Pehli Shadi-53, Firdaus-53, Shobha-54, Majboori-54, Africa-54, Dhake ki malmal-56, Miss Toofan mail-58, Police Station-59 and Chimney ka Dhuvan-1973…this was a much delayed film. He also gave music to a Bhojpuri film- Saiya se kar le milanwa-1966.

Robin Chatterjee died on 2-4-1976 at Bombay at the age of just 62 years.

There is a strange and unusual name in the cast – Vasant Thengadi. Vasant Thengadi was born on 11-1-1910 at Nagpur. He was son of Congress leader Dhaniram Thengadi. Vasant had his education in Poona. He could not join the Army, because of his father’s political connections. He had to leave his Engineering college after father’s death. Being very handsome,tall and with good physique, he started working in Marathi dramas and films. He started his Hindi work with the film Dhuandhar-35. ( This was also the Debut film for Leela Chitnis and Meera Alexander). He started doing Villain roles and became popular and famous. Besides Marathi films, his Hindi films were Taramati-45, Phir bhi apna hai-46, Mera Ladka-38, Din Raat-45, Ten o clock-42 etc. Later he also worked as assistant director to Raja Nene.

His wife Kusum Thengdi and her sister Ranjana were also actresses. Ranjana was Dilip Kumar’s Heroine, in the film Milan-1946.

Today’s song is a rare song. You will like this song.


Song- Chaandni raat hai chaandni raat hai (Firdaus)(1953) Singer-Geeta Dutt, Lyrics-D N Madhok, MD-Robin Chatterjee

Lyrics

Chaandni raat hai
Chaandni raat hai

Chaandni raat hai
Chaandni raat hai
Chaandni raat hai
Chaandni raat hai
aise mein aake milo humse to kya baat hai
aise mein aake milo humse to kya baat hai
chaandni raat hai
chaandni raat hai
chaandni raat hai
chaandni raat hai

chhup ja chanda
so ja taaron
chhup ja chanda
so ja taaron
ek dooje ko ankhiyaan na maaro
ek dooje ko ankhiyaan na maaro
aaj balam ji se meri mulaakat hai
chandani raat hai
aaj balam ji se meri mulaakaat hai
chaandni raat hai
chaandni raat hai
chaandni raat hai
chaandni raat hai
aise mein aake milo humse to kya baat hai
aise mein aake milo humse to kya baat hai
chaandni raat hai
chaandni raat hai

chhoti chhoti lahren uthhen nadiya ke paani mein
chhoti chhoti lahren uththen nadiya ke paani mein
jaise armaan uthhe uthhti jawaani mein
jaise armaan uthhe uthhti jawaani mein
unse na kahiyo chanda teri meri baat hai
chaandni raat hai
unse na kahiyo chanda
teri meri baat hai
chaandni raat hai
chaandni raat hai
aise mein aake milo humse to kya baat hai
aise mein aake milo humse to kya baat hai
chaandni raat hai
chaandni raat hai
chaandni raat hai
chaandni raat hai


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 : 5012 Post No. : 16917 Movie Count : 4595

Today’s song is from an ” interesting” film – Pamposh-1953.

I have always been stating that History is never permanent. Whenever new evidence comes, the history changes to that effect. Same is the case with Film History. It keeps on changing, whenever honest workers dig up new evidence with credible proofs. This is normal and Film History lovers have accepted it too. Occasionally – very occasionally or almost rarely, some such evidence comes out which no one had ever dreamt about and when no one had ever doubted the existing accepted matters as facts.

From the early 80’s or to be precise, when Harmandir Singh Hamraz ji published his HFGK for the 50’s decade, as the first in his series of many decades subsequently, we all had known that the Music Director of film Pamposh-1953 was Manoharlal Khanna – father of MD Usha Khanna, the second prolific woman composer for hindi films. (the first prolific woman MD was Saraswati Devi). It was mentioned in the HFGK and Usha Khanna too had repeatedly told so in her articles and interviews.

During the last few years, I have met close relatives of many yesteryear artistes and interviewed them. One thing I noticed was that most relatives, those close ones, did not know or were not sure of certain matters. Sometimes they knowingly told wrong things to enhance the image of that artiste. So I learnt to counter check facts before including them in the interview material.

Usha Khanna’s case also seems to be like this. I carefully listened to her interview about her father, posted on RMIM recently and I found that she made claims which were not wholly correct about her father. One of the claims she always made was that it was she who actually had given music to film pamposh, but her father’s name was credited. Actually neither Usha Khanna (who was barely 12 year old in 1953)nor her father M.L.Khanna had given music to film Pamposh-53. It is noteworthy to note that HFGK has a footnote for this film stating that ” The film booklet mentions MD’s name as Mohan Lal Aima and Cecil Mendoza”. Enthusiastic senior RMIM members worked furiously on this issue and dug up several proofs to arrive at a conclusion that MOHAN LAL AIMA was actually the Music Director of film Pamposh-53.

Film Pamposh was screened at the Cannes Film Festival, France on 9-4-1954 with the French title “FLEUR DE LOTUS” (Lotus of Kashmir or कश्मीरी कमल ). In that also the MD’s name was given as Mohan Lal Aima. This film was made in English, French, Spanish,Italian, German, Hindi, Bengali and Tamil and had won high praise in Cannes, as per the French newspaper “LE MONDE”. This information is from the book ” The world of Ezra Mir” by N.J.Kamath, pub.2005.

I am not only impressed but also amazed to see how the active RMIM members coordinate while working on a research project. Some of the senior members, like Magicians, produce Links, Photographs, Book extracts, Paper cuttings etc. to add to the information. I am not taking any names, because

i) the list will be too long and

ii) they all are equally knowledgeable and hard workers.

Imagine doing their regular jobs and yet contributing enthusiastically on the forum which is simply superhuman ! My Hats Off to RMIM !. Over the years, they have contributed substantially to Hindi film history. I Hope some members produce a book on RMIM. One small book already published is not enough.

Now the important point would be to know who this M L Aima is. Here is his information,collected from various sources made available on RMIM forum.

Mohan Lal Aima was born in a family of ‘Datatreya Kauls’ of Fateh Kadal, Srinagar, on 21-7-1922 . This area was across the Jhelum river and close to Syed Ali Akbar locality. His father , Pandit Ved Lal Aima had earned respect and goodwill in the society even with his modest means and simple living. The family got Aima nickname as some elder from this clan was a gifted osteopath (Waatangor) who cured many people with fractures and dislocations.

After completing his M.A. LLB, and a Diploma in Statistics, he was to join Bar and establish himself as an advocate, but contrary to that, he gave a surprise/shock to his family and the conservative Kashmiri Pandit society ( at that point of time) when he decided to opt for music and singing as his career. During those days, it was something like a rebellious act for his middle-class family. And he earned the nickname “Mohan Chhakri”.

He also led a group of boys that sang this song when Pandit Jawahar Lal Nehru and Sheikh Mohd Abdullah addressed a huge gathering at Palladium cinema Lal chowk Srinagar in November 1947 . This song was written by Maulana Masoodi, a close associate of Sheikh Mohd Abdullah during those days and it used to be played as an anthem song in official functions during 1948 and 1949.

He scored music for first full-length Kashmiri feature film MAENZRAAT. He scored music for Nadim sahib’s opera ‘Bombur Ta Yemberzal’ that was widely appreciated and shown to Russian dignitaries Nikita Khruschev and Nikolai Bulganin. during their visit to Kashmir. It was performed in early December, 1955 at Nedou’s Hotel , Srinagar by a galaxy of Kashmiri artists and singers. Marshal Bulganin was reportedly seen tapping his foot when the artists sang the Bomburo Bomburo. He also scored music for the Kashmiri version of the movie “Shayar e Kashmir’ Mehjoor”.

His tune for Nadim Sahib’s composition “Bomburo Bumburo Shaam Rang Bomburo” became popular in the entire length and breadth of the country after it was used in a Bollywood movie.

He scored music for Ezra Mir’s 1953 film “Lotus of Kashmir(Pamposh)”.It was produced by Ambalal J. Patel. He also scored music for “ROKO” a short telefilm produced for Door Darshan by M Y Bhat . It was telecast from four metros of the country sometime in1975 or 1976. He further gave music to the film “Kashmira”, produced by Childrens Film Society.

He was also commissioned by Muzaffar Ali as a music consultant cum co-composer for his aborted high profile film Zooni ( Story based on the life of Habba Khatoon ) . The music of the international version was to be done by Oscar winner Japanese composer, Riyuchi Sakamoto, while music for all the songs in Kashmiri was to be scored by Mohan Lal Aima. And the renowned fashion designer, Mary McFadden of New York had been engaged to design the costumes of the film.Muzaffar Ali had to put his project on hold due to widespread militancy in Kashmir. The shooting of this high profile movie with Dimple Kapadia and Vinod Khanna in lead roles had been started during the summer of 1989.

He was the Head of the Music section in Radio Kashmir, Srinagar from 1949 to 1964. Aima was sent as Director General, on deputation to Kabul for Radio Afghanistan. He became extremely popular there. Later he was transferred to New Delhi and Bombay also. During 1979, he lived in Seven Bunglows area of Andheri West in Bombay. He was always eager to help the visiting Kashmiri artistes and arranged for their staying free at Bombay.

Aima could play several traditional Kashmiri Musical instruments. In Bombay, he prepared a CD of kashmiri Devotional geets. It was named ” Man Pamposh”. It became very popular. In 1990, he was bed ridden with Cancer and he died in Bombay.

Many eminent music experts and his friends like Padmashree Pran Kishore Kaul, Bihari Kak – actor, Muzaffar Ali, Padmashri Moti Lal Khemu and others have written about him.

His brother Omkarnath Aima was an actor. He was the hero of the First Kashmiri film “Maenz Raat”. Onkar’s son Alok Aima was also an actor and worked in many Hindi films like “Jaane bhi do yaaron “. M.L Aima’s son Satish Kaul was also an actor. (Based mainly on an article by Shri Autar Mota, on his Blog The Chinar Shade, with thanks and RMIM sources.)

This film was directed by Ezra Mir. Some of the Senior readers, in the bracket of 55 to 75 years of age would recollect the Indian Documentaries made by Ezra Mir, shown before almost every film in the theatres. Indian News Reel and these documentaries on various subjects were actually used as a facility to enter the theatre late and still catch the whole movie from the beginning. These documentaries were made mostly by Ezra Mir and the voice over used to be that of Pratap Sharma usually. ( his younger brother Mahesh Sharma was my good friend in those days).

Ezra Mir was one of the rare persons who worked in the famous Hollywood studios for a considerable time, before he came to India and got involved in making films here. He was also a rare person who, despite being in great demand in the commercial cinema, chose to join a Government organisation and did monumental significant work for the future generations. For a long time, I was thinking him to be a Muslim man, but at a much later date, I came to know that he was a Jew person.

Ezra Mir ( real name Edwyn Meyers) was born on 26-10-1902 at Calcutta. After completing his education, he joined Madon Theatres in 1921. In 1923, he left for Europe and America to work in the film industry. After doing bit roles in Rudolph Valentino’s films in Long Island, New York and working for First National Biograph Studios, he joined the Universal studios as a ” Film Cutter” and later as a Scenario writer. By his diligent and hard work he became the chief of story Department in United Artistes. In 1929, he wrote and directed a film ‘ Simbolisque ‘, which created a sensation in the film circle there.

With the advent of the Talkie, he came back to India , joined Imperial Film co. and made film Noorjehan-31 in Hindi and English. In 32-33, he joined Sagar movietone and directed Zarina-32, Pagal premee-33 and Farzand e Hind-34. Then Ezra went to Calcutta. After doing some films he came back and made documentaries on second world war. In 1940, he was appointed by the Govt. on the Film Advisory Board. In 1942, when V.Shantaram left as its head, he became the head. From 1942 to 1946, he made 170 documentaries.

In 1951 he joined the Films Division and in 1956, became its President. In his tenure here, he made 400 documentaries. In 1970 he got ‘ Padma Shri ‘. Ezra Mir died on 7-3-1993. His Filmography is Noorjehan-31, Zarine-32, Pagal premi-33, Farzand e Hind-34, Mera Pyara and Rasheeda-35,Jeevan Sangram, Parivartan,Rajdulari and Shaitan ka pash-36, Rikshawala-38,Sitara-39, Beete din-47, pamposh-54 and Raju aur gangaram-64.

The cast of the film was Moghali (Leela Kanade), B.Bilimorea, Violet Smith,Savitri,Vinod, Savi Multani, Rusi Patel and others. The story, screenplay and direction was of Ezra Mir. The film was produced by Ambalal Patel, who was with Sagar Movietone when it was launched in 1932. The lyricist was Manohar lal Khanna.There were 5 songs sung by Seeta Kalyanpur and Moti Sagar -3 solos and 2 duets.

Lastly, about the singer of today’s song-Seeta Kalyanpur. I have not got any information about her anywhere, but I faintly remember having read somewhere that She was the sister of Suman Kalyanpur’s husband. However I can’t confirm it. With this song Film Pamposh and Singer Seeta Kalyanpur make their Debut on our Blog.


Song- Jannat hai Kashmir hamaara (Pamposh)(1953) Singer-Seeta Kalyanpur, Lyricist- Manohar Lal Khanna, MD- Mohan Lal Aima and Cecil Mendoza

Lyrics

Jannat hai Kashmir hamaara
Kashmir hamaara
Jannat hai Kashmir hamaara
Kashmir hamaara
Kudrat ki godi mein khele
har nazaara
nazaara pyaara pyaara
ho nazaara pyaara pyaara
Jannat hai Kashmir hamaara
Kashmir hamaara

phoolon ke hain yahaan khazaane
jharnon mein sangeet suhaane
phoolon ke
phoolon ke hain yahaan khazaane
jharnon mein sangeet suhaane
hardam bahti prem ki dhaara
nazaara pyaara pyaara
ho nazaara pyaara pyaara
Jannat hai Kashmir hamaara
Kashmir hamaara

saada dil insaanon ki basti
mehnat ho jeewan ki kashti
saada dil insaanon ki basti
mehnat ho jeewan ki kashti
har mehnat hai hamen gawaara
nazaara pyaara pyaara
ho
nazaara pyaara pyaara
Jannat hai Kashmir hamaara
Kashmir hamaara

dulhan si kashmir ki waadi
?? jo bhi shahzaadi
dulhan si kashmir ki waadi
?? jo bhi shahzaadi
kudrat ne hai ise sanwaara
nazaara pyaara pyaara
ho nazaara pyaara pyaara
Jannat hai Kashmir hamaara
Kashmir hamaara
kudrat ke godi mein khele
har nazaara
nazaara pyaara pyaara
hai nazaara pyaara pyaara
Jannat hai Kashmir hamaara
Kashmir hamaara


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 :

5007 Post No. : 16907

“Chaar Chaand”(1953) was produced by F M Khan and directed by A Karim for Fine Art Films, Bombay. This movie had Shyama, Bhagwan, Suresh, Altaf, Majnu, Sheikh, Maqbool, Aagha Miraz, Gulaam Rassol, Ameer Baanu, C.L.Shah, Raani Kapoor, Deepmala, Raajina, Cuckkoo etc in it.

The movie had nine songs in it. Four songs have been covered in the past.

Here is the fifth song from “Chaar Chaand”(1953)to appear in the blog.

This song is the title song of the movie. It is sung by Shamshad Begam, Jawar Hussain and chorus. A Karim is the lyricist. Music is composed by Nashaad.

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

Lyrics of the song were sent to me by Prakashchandra.

audio link:

Song-Ek naheen do naheen teen naheen chaar chaand (Chaar Chaand)(1953) Singers-Shamshad Begam, Jawar Hussain, Lyrics-A Karim, MD-Naashaad
Shamshad Begam + Jawar Hussain
Female chorus
Shamshad Begam + Female chorus

Lyrics(Provided by Prakashchandra)

ek naheen do naheen teen naheen chaar chaand
jeevan mein tumne lagaa diye chaar chaand
chaar chaand
ek naheen do naheen teen naheen chaar chaand
jeevan mein tumne lagaa diye chaar chaand
chaar chaand
chaar chaand

sab kuchch main bhool gayee jab tumko paa liyaa
ho o o jab tumko paa liyaa
sab kuchch main bhool gayee jab tumko paa liyaa
duniya ke jhagdon se mujhko chhudaa liyaa
ho o mujhko chhudaa liyaa
naainaa milaake jo tum aaj muskuraa diye ae
chaar chaand
jeevan mein tumne lagaa diye chaar chaand
chaar chaand
ek nahin do nahin teen nahin chaar chaand
jeevan mein tumne lagaa diye chaar chaand
chaar chaand
chaar chaand

bichchdey dilon ko milaaney tum aayee ho
khushiyon ki duniyaa ko sang sang laayee ho o
sang sang laayee ho
sooney mahal se mere
bhaag jagmagaa diye
chaar chaand
jeevan mein tumne lagaa diye chaar chaand

chaar chaand
ek nahin do nahin teen nahin chaar chaand
jeevan mein tumney lagaa diye chaar chaand

chaar chaand
chaar chaand

chandaa saa mukhdaa hai
baaton mein pyaar hai ae
uthh`ti jawaani hai solah singaar hai
ho solaha singaar hai
deepak ummeedon ke tumne phailaa diye chaar chaand
jeevan mein tumne lagaa diye chaar chaand
chaar chaand
ek nahin do nahin teen nahin chaar chaand
jeevan mein tumne lagaa diye chaar chaand

chaar chaand
chaar chaand
chaar chaand
chaar chaand


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 :

4986 Post No. : 16873

Today’s song is from the film Naya Raasta-1953.

Human nature is basically the same all over the world. There are some emotions and likes, common to all people everywhere in the world. Irrespective of Caste, Creed, Religion or Language, certain wishes are common all over the world. One of these likes, emotions or wishes is the Human Curiosity, anxiety and craze for things which are NEW. Be it Fashion, Books, Films, Food or a Gift, the very word NEW evokes common emotions all over the Human race !

Clever filmmakers understood this Human weakness for NEW or NAYA quickly and film titles featuring this word were used in an attempt to draw audience attention and a bee-line to the ticket window. Right from the early Talkie days i.e. the 1930’s films with Naya/Nayi were showcased. Nayi Duniya, Nayi Roshni and Naya Zamana were brought in the 30’s. The trend slowly caught up and in the 40’s, there were 12 films with Nayi or Naya in their titles. These were, Nai Baat, Nayi Bhabhi, Nai Duniya, Nayi kahani, Nayi Maa, Nayi Reet, Nayi Roshni, Nai Taleem, Naya Sansar, Naya Tarana and Naya Zamana. Not to be outdone, the 50’s came up with 14 film titles with nayi or naya. Some of them were well known films like Naya Daur, Nai Delhi, Naya Andaz (remake of famous musical film Bazaar-1949) and Naya Paisa.

However, it was a moot question as to how many films with Naya and Nayi in their titles stood up to quench the curiosity of their audience !

Today’s film Naya Raasta was based on a Gujarati drama “Sarvodaya”, staged by Shri Deshi Natak Samaj, which played in Bhangwadi theatre, Bombay for a record period. It became a superhit drama. The owner of Jayant Desai Productions, chose this drama to make a film. It was directed by its owner Jayant Desai himself. Unlike the hit Gujarati drama, the film could not run for a long period and was drubbed at the Box Office.

My observation about the films made on popular or famous books, novels or dramas is that it was only the Bangla film industry which had succeeded in making films on famous works of well known authors. Films remade in Hindi from these Bangla films were always successful all over India. In the 1930s and the 1940s, most films made by Bangla filmmakers, especially New Theatres, were equally popular even in their Hindi editions.

Such success was never seen in Hindi films. In the first place not many films were made on popular works of well known authors of Hindi, unlike Bangla films, on a large scale or even Marathi films on a smaller scale. It seems Hindi audiences liked to enjoy imaginary and sheerly entertaining films churned out by the various ” Story departments” of our filmmakers.

Film Naya Raasta-53 had music by Chitragupta-the melody maker, ably assisted by Dilip Dholakiya. There were 8 songs in the film. Today’s song is the 4th song to be discussed here. It is sung by Chitragupta, Dilip Dholakiya and Laxmi Roy. The cast of the film was Nirupa Roy, Agha, Manhar Desai, Bipin Gupta, Satyanarayana, Krishnakumari, Suryakumar, Umakant and many others.

Today’s song starts with English words Good Bye and Tata. Use of English words in the Mukhda of Hindi film songs is nothing new. Even in the 1933 film ” Karma”, there was a complete English song-“Now the Moon”. Again in the 1937 film ” Duniya na Maane” there was an English Poem recited by Shanta Apte with flawless pronunciation. In the 40’s, 50’s and then onwards in every decade English words in the Mukhada were found.

In the cast we find 2 interesting names-Satyanarayana and Surya kumar. Both were Dance Directors in Hindi films and both had a penchant for acting in the films. This habit is found in many directors too. The famous Alfred Hitchcock had a habit of making a cameo appearance in every of his films and it provided an interesting pastime game to his fans to locate him in the film. I too was one of the fans doing this religiously.

Robert aka Suryakumar (brother of Dancer/Choreographer Krishna Kumar) was born on 14-12-1924. He started his film career as assistant in the sound department in Saigal’s last film,’Parwana’-1947. During this period, yesteryear actress/Dancer Azurie trained him in Dancing. In those days the term ‘Choreographer’ was not used. They were simply called ‘Dance masters’ or ‘Dance Directors’.

Actress Azurie had a German father and an Indian mother. She is considered as the pioneer in Film dancing in India. She was so famous in films, that Cuckoo modelled herself on her dancing skills and succeeded.

Azurie(1907-1998) trained Suryakumar in dancing.

Suryakumar then assisted Madame Simka(a disciple of Uday Shankar),in the film “Awaara”-1951,when he first directed Helen who was in the chorus of Dancing girls that time. Suryakumar later directed Helen in 31 films.Their last film together was Bombay 405 Miles-1980. Suryakumar was also very friendly with dancer Edwina. He visited her London home many times, when she settled after marriage in London.

Surya Kumar himself also trained Suryanarayana, Oscar and many others. After 1970, Heroines themselves became dancing girls and the roles of Dance masters reduced considerably. Posh Choreographers came on the scene.

Surya Kumar had a penchant for acting. He would himself appear in most of his dances in films. During our college days, it was our pastime to search for him in Helen dances. Surya kumar acted in 7 films, in small roles – Singar-49, Naya Raasta-53, Shesh Naag-57, Bus Conductor-59, Aankh Michauli-62, Har Har Mahadev-74 and Shravan Kumar-88. Surya Kumar also directed 4 films – Kamal-49, Nakhre-51, Laadla-54 and Saazish-59.

He then worked as a Production assistant and as an editor too, before retiring. His last days were spent in poverty and he died on 19-8-1987 in Bombay.

The female singer in today’s song is Laxmi Roy. Laxmi Roy was the younger sister of Geeta Dutt. When Mukul Roy became a composer with his first film Bhed-50, he gave Laxmi Roy her first film song to sing. She was not a very good singer or her voice was not an extraordinary one. So no major composers noticed her. Chitragupta gave her one song in Bhakta Puran-52 and 2 songs in Nayaa Rasta-53. Composer Vinod tried her with one song in Aag ka Dariya-53. S. N. Tripathi gave her two songs in Nav Durga-53 and lastly she sang one song for Mukul Roy in Sailaab-56.

Pramod Chakravarty, who became a well known Director and producer later on, was working as assistant to Guru Dutt in Sailaab. During its making Laxmi and Pramod got married and Laxmi’s singing career came to a close ! In all she sang just 8 songs in 6 films.

Let us enjoy this interesting song….


Song- Good Bye Good Bye Tata Tata (Naya Raasta)(1953) Singers- Laxmi Roy, Chitragupta, Dilip Dholakiya, Lyricist- Saraswati Kumar Deepak, MD- Chitragupta (Asstt. Dilip Dholakiya)

Lyrics

Good bye
Tata
Good bye
Tata

Good bye good bye Tata Tata
Good bye good bye Tata Tata

aakhon ki ulti patti palat lo
varna padega chaantaa
aakhon ki ulti patti palat lo
varna padega chaantaa chaanta
Good bye good bye Tata Tata
Good bye good bye Tata Tata

tumse adab se kehta hoon madam
sun lo yahi albatta
tumse adab se kehta hoon madam
sun lo yahi albatta
apne sajan ko tumne banaaya
patton mein tirpanwa patta
apne sajan ko tumne banaaya
patton mein tirpanwa patta
wo patta joker jismein samajh lo
bade bade patton ko kaata kaata
Good bye good bye Tata Tata
Good bye good bye Tata Tata

office mein baithhi type karo tum
ghar mein pakaaun main roti
office mein baithhi type karo tum
ghar mein pakaaun main roti
tu meri maalik main tera chaakar
Kismat ye kaisi hai khoti
tu meri maalik main tera chaakar
Kismat ye kaisi hai khoti
ik din gulaabi raste pe gori
tum ko milega kaanta kaanta
Good bye good bye Tata Tata
Good bye good bye Tata Tata

jeewan ko samjho na koi juaa
yoon haar ke ?? Baazi
jeewan ko samjho na koi juaa
yoon haar ke ?? Baazi
jo yahaan khoye wo yahaan paaye
chhodo jee ab naaraaji
jo yahaan khoye wo yahaan paaye
chhodo jee ab naaraaji
malmal raaste hain sabke waaste
sukh dukh ko ghar ghar baantaa baantaa
Good bye good bye Tata Tata
Good bye good bye Tata Tata
Good bye good bye Tata Tata
Good bye good bye Tata Tata
Good bye good bye Tata Tata


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 :

4940 Post No. : 16792

HAPPY REPUBLIC DAY TO ALL READERS !

HEARTY CONGRATULATIONS to Atul ji, for recording a new milestone – 15 million visitors (1 Crore 50 Lakhs) to the Blog. This is the public mandate for the popularity of this Blog, all over the world.(WordPress posts are read in 198 countries of the world). This is an unique example of what one person can achieve by building a team (sustained for years together) with a common interest. The team is continuing because the Magnet is very effective and the Magnet is Atul ji. I wish him and the Blog many more such milestones and may the Blog retain its identity for reliable and credible information, complete lyrics and non-stop service to lovers of HFM. All the best !

Today’s song is from the film Rangeela-1953 – a Bhagwan Art Production film. The Producer and the Director was Master Bhagwan himself. The cast consisted of Bhagwan. Purnima, Baburao, Badri Pershad, Indira, Usha Shukla, Madhav Kale and many others. The Music Director was Jamal Sen. There were 11 songs in the film and today’s song is the 8th song to be discussed here. Actually this song is one of the best songs of the film and I wonder how this song was left untouched. Maybe for my use !

Jamal Sen. His name is not a famous name, because he gave music in just a few films, but the industry wallahs and lovers of classic music know him too well. He was one of those few ones who had immense capability, but like Sajjad Hussain, he too was stubborn, unbending, egoistic, outspoken and reserved. In an industry full of Chamchaas and cut throat competition, artistes like Jamal or Sajjad were misfits.

Lata Mangeshkar respected him so much that to sing in his films, she sent several feelers and messages to him till she was called by him. Lata sang 10 songs for him in 4 films. 6 were solos, 2 male duets and 2 were Female duets.

If talent were the only criterion for a composer to succeed, Jamal Sen should have been the most successful music director of his time. But he was not.

Jamal Sen’s proficiency in Singing, dancing (Kathak) and poetry, lent a touch of completeness to his musical acumen and set him apart from the run-of-the-mill composers, became a liability for him in an industry which had no value for real class. The result: a composer who gave such brilliant scores as in Shokhiyan and Daaera, died unsung, after a long spell of isolation.

Jamal Sen’s forefather Kesarji who hailed from Sujangarh in Rajasthan, was said to be a disciple of Tansen and was hence called Kesar Sen. Jamal Sen was born on 26th November 1904, at village Churu. The family tradition in music was passed on to Jamal at a very young age by his father Jeevan Sen, a court singer and an acknowledged Ustad. Jamal, who could sing and play various musical instruments was especially good on the dholak, tabla and Pakhawaj.

Jamal Sen had been in Calcutta initially and sang on AIR Calcutta. He met Pankaj Mullick and studied Ravindra Sangeet too. Due to this link, he joined Pankaj Mullick in giving music to film Kasturi-54 also. From there ,he shifted to Lahore in 1938.

While in Lahore, Jamal Sen was introduced by music director Shyam Sunder to Master Ghulam Haider, which marked the beginning of a fruitful association spanning 12 years. Sen’s knowledge of classical and folk music and his mastery over the dholak made him an asset to Ghulam Haider in films from Khazanchi (1941) to Majboor (1948), until Masterji migrated to Pakistan in the wake of Partition.

He shifted to Bombay, after partition. Then a chance meeting with director Kidar Sharma gave him a break in films as a composer, and he proved his virtuosity in his very first film, Shokhiyan in 1951.

The imaginative use of the raag Yaman Kalyan in “Sapana Ban Sajan Aaye” sung by Lata Mangeshkar was a testimony to the composer’s command over classical music. The songs — “Raaton Ki Neend Cheen li” by Suraiya, a ghazal where melody is predominant, and “Aai Barkha Bahar” by Lata, Pramodin & chorus, bore the richness of Rajasthani folk music. A “Door Des Se Aaja re” by Suraiya, Lata is a classic example of folk and classical music intermingling to create an enchanting melodic pattern.

Shokhiyan was followed by Kamal Amrohi’s Daera in 1953. Though a flop, the film is remembered for the perennial appeal of the bhajan, “Devta Tum Ho Mera Sahara, Maine Thama Hai Daman Tumhara” by Rafi, Mubarak Begum, & chorus, in Raag Bhoop. When the situation required, Sen could also compose a Western tune “Sun Sun Meri Kahani” by Rafi for Bhagwan’s ‘Rangeela’

Jamal Sen, who had begun his career as a singer on AIR, Calcutta—he was among the first to sing Vande Mataram on radio—should have stuck to a career in, classical singing. With his talent and lofty ideals, he was a misfit in films. His inability to manipulate and his refusal to compromise, made him a loner, and the mediocre films which he scored music for led to a colossal waste of his rich talent.

Jamal Sen knew Producer Director K.Asif for many years.Once they met somewhere and Asif took Jamal to the sets of Mughal-E Azam. There a dance sequence was to be shot and Gopikrishna was rehearsing the steps. Jamal saw everything but did not comment anything. As Asif knew him well, he suspected something and asked Jamal what was wrong. Jamal told him that the sets are absolutely appropriate but the dance steps and the ‘Bol’ were not commensurate with the period when Akbar was reigning. Asif asked him then and there to make new Dance steps, prepare the ‘Bol’ and make music for that sequence. Jamal Sen did that and Asif was more than happy.

However that piece of Dance and music was not used by Naushad in the film, possibly due to professional jealousy.

Later, when K. Asif announced Sasta Khoon Mehnga Paani, which had a Rajasthani backdrop, he-asked Jamal Sen to be an advisor to bring authenticity to Naushad’s compositions. But luck once again played truant with him and the project never saw the light of day.

A proud and arrogant man, Jamal Sen never went out of his way to grab work. As a result, he was slowly relegated to the periphery of the music scene, and then to oblivion. Shokhiyaan and Daaera were a thing of the past. A commerce-oriented cinema had little use for his talent. Under the circumstances, it was a poor consolation to him that his imaginative score in the documentary,Madhumakhi, won laurels abroad.

Jamal Sen knew his prowess. And was proud of it. Once, after hearing him sing, Ustad Bade Ghulam Ali Khan called him a `Tansen’ and a ‘Sur Ka Bichhu’, Ustad Amir Khan described him as ‘Sangeet Shastri’. Notwithstanding the impressive titles and tributes, Jamal Sen continued to exist in a state of penury, unwanted and uncared for.

Jamal Sen should have been the most successful music director of his time. But he was not. In his last days Sen had but one friend, composer Ghulam Mohammed, who after being afflicted with a serious heart ailment, had shifted to Bombay’s far off suburb, Borivlii, where Sen was living in a dilapidated room.

In his later years, out of sheer frustration, he turned to liquor, and lived on the hope that his sons Shambhu Sen and Madan Sen would carry forward the family’s rich tradition in music. But Madan suddenly died of heart failure at the young age of 40. And he never recovered from the shock. Within a year, on April 12, 1979, he too died.

Jamal Sen composed music for 13 Hindi films.
Filmography:
1. Shokhiyan (1951)
2. Daera (1953)
3. Dharmapatni (1953)
4. Rangeela (1953)
5. Kasturi (1954), with Pankaj Mullick
6. Ritu Bahar (1954)
7. Patit Paawan (1955)
8. Amar Shaheed (1960)
9. Baghdad (1961)
10. Alha Udal (1962)
11. Manchali (1962)
12. Sankalpa (1974)
13. Pehla Kadam (1981)

Actually, Jamal Sen had retired in 1962 itself. When film Pehla kadam-81 was planned, a song which he had composed for film Shokhiyan, but had not used, was utilised in this film-Pehla kadam-81.

The cast consists of an actress Indira. Actually, the film Rangeela-1953 happens to be her Debut Hindi film. Indira is a ‘Same Name Confusion’ artiste. During the silent Era and early Talkie period, there was one Indira Devi. Her real name was Effie Hippolet- an Anglo-Indian. She acted in 24 silent films since 1927, but did only two Talkie films-Al-Hilal-35 and Wamaq Azra-1935. Then there is the comedian fatty Indira Bansal who was operative from 1951 to 1981, and worked in 116 films. This Indira was different.

Indira, one of Punjabi cinema’s most popular leading ladies of the 1960s, was born on August 6, 1938 in northern India. Growing up in an aristocratic family in the Punjab village of Kharian, her family lost everything when they had to flee their home during partition to settle in Kanpur. In 1952 her family shifted to Bombay where an Elder brother ran a successful business.

Indira was noticed by the popular comedian Bhagwan while he was shooting a movie at Jagriti Studios, and she was put in the cast of his film Rangeela (1953). Raj Kapoor, who happened to be visiting the set of Rangeela, noticed Indira and later cast her as the daughter of a rich industrialist in his film Shree 420 (1955).

Indira continued to appear in supporting roles in major Hindi productions like Funtoosh (1956), Mirza Sahibaan-1957, Yahudi (1958), and Dil Deke Dekho(1959). She had just appeared as the lead in the low budget yarn Jungle Ki Duniya (1959) when she was cast as the heroine in a Punjabi film titled Yamla Jatt in 1960. This was followed that same year by two more Punjabi pictures, Do Lacchian and Kiklee. All three films were very successful.

Returning to Hindi language movies, she found herself much in demand for B-films with colorful titles like Maya Mahal (1963), Jungle Boy (1963), Tarzan Aur Jadugar (1963), Pahadi Nagin (1964), Arab Ka Lal (1964), Son of Zimbo (1966), Sheba and Hercules (1967), Tarzan in Fairyland (1968) and CID Agent 302 (1968), sometimes playing the heroine, but more often than not as a vamp or villain. Occasionally she would snag a nice supporting role in a major production like Do Dil (1965) or Mere Huzoor (1968), and she still continued to star in Punjabi fare.

Sometimes billed as Indira Billi (her real name was Indira Kaur) she was interviewed in 1963 for Picture Post magazine where she talked about her beginnings: “I had not the good fortune of stepping into films and finding myself a heroine right from the start as had been the case with many glamor girls these days. It was a life of toil and tears, fighting every inch, every day, and month after month. Sometimes I was fed up, and felt tired of the ceaseless struggle to make my presence felt. With the struggle for existence keen and with not enough money, those early days were none too happy for a girl aspiring for a respectable place in the film world, let alone stardom. Sometimes I had my misgivings whether I was right in coming into films. Some kind of inferiority complex took hold of me and I thought several times that I would never become a star.”

Indira married cinema owner Shiv Kumar in the early to mid-1960s and left the film scene in the early 1970s.(Thanks to shri Mike Barnum ji and his blog-cinemajadoo.com).

After the phenomenal success of Albela-51, Master Bhagwan was in the seventh Heaven and floated his own production company,Bhagwan Art Productions and started making films after films, without realising that Albela’s success was mainly due to C.Ramchandra’s music and Geeta Bali. The result was as expected. Slowly but steadily, Bhagwan started going into the trap of huge debts due to unsuccessful films produced by him.

After a while, a day came when Bhagwan had to sell one by one all of his 10 cars, Bungalow etc and at the end of his career, he had to live in a one room tenement in a chawl, on the very street in Dadar named after his own uncle.

RANGEELA-1953 was one of the early failures of Bhagwan, in the series of future flops, beginning the imminent decline in few more years to come. This film was produced and directed by Bhagwan himself.

This was a story of a village boy-Babulal, who is eager to study in school, but due to his wicked step mother, has to do household chores instead. Fed up of this and to try his luck, he runs away to Bombay, where he meets Vidya Devi, a kind and young school teacher, who not only helps him but also starts teaching him, seeing his earnestness. Over a period, to sustain himself, Babulal, who was called Buddu in his village gets educated and also sells Chana, near to his school. Duly, he becomes a successful businessman, owning a shop, house etc. He is under the impression that Vidya Devi is in his love, but he is disillusioned when he hears a conversation between Vidya and her would be husband. Vidya refers to him as a good and honest student only.

Babulal learns that his father is in financial troubles and his house is up for auction. To help father, he collects all his money and is about to leave for village, when he learns that Vidya’s marriage to her fiance is in trouble, as Vidya’s father can not gather that much money.

Babulal is in two minds. Finally. he gives the money to her father for marriage, sells his shop, business and house to collect money and leaves for the village to help father.

The entire story went on predicted lines and did not succeed.

Here is the duet of Rafi and Asha Bhosle, with chorus. Let us enjoy this catchy song.


Song-Diya jale chamke taara (Rangeela)(1953) Singers- Asha Bhonsle, Rafi, Lyricist- Ehsan Rizvi, MD- Jamal Sen
Male chorus
Female chorus
All chorus
Asha Bhonsle + Rafi

Lyrics

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

a ha ha ha a ha ha a ha ha
a ha ha aha ha aha ha ha

diya jale chamke taara
nyaara nyaara chamke taara
diya jale chamke taara
nyaara nyaara chamke taara

piya bina man andhiyaara
ho o o
o o o
piya bina man andhiyaara
chamke taara
chamke taara
diya jale chamke taara
nyaara nyaara chamke taara

nain milaaye neend churaaye ae ae
saari saari rain jagaaye
o o nain milaaye neend churaaye ae ae
saari saari rain jagaaye ae ae
aaya aaya pyaar ka maara
o pyaar ka maara
diya jale chamke taara
nyaara nyaara chamke taara

aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa
ulti seedhi baat banaaye ae ae
jhoothhe tujhe kaun bulaaye ae ae
ulti seedhi baat banaaye ae ae
jhoothhe tujhe kaun bulaaye
aaya nahin chaand hamaara
chaand hamaara
diya jale chamke taara
nyaara nyaara chamke taara

prem bina jeevan pheeka aa aa
koi nahin meet kisi ka
o o man ka diya yoon na bujhaao o o
raam kare preet nibhaao o o
raam kare preet nibhaao o o

pyaar se hai jag ujiyaara
o ujiyaara

diya jale chamke taara
nyaara nyaara chamke taara
diya jale chamke taara
nyaara nyaara chamke taara



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

This is a labour of love, where “new” songs are added every day, and that has been the case for over FOURTEEN years. This blog has over 17100 song posts by now.

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