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

Archive for the ‘Songs of 1953’ Category


“Baaz” (1953), not to be confused with “Baazi” (1951), was a H G Films production, which was Geeta Bali’s home production. The movie was directed by Guru Dutt. The movie had Geeta Bali, Guru Dutt, K N Singh, Kuldeep Kaur, Jaswant, Yashodara Katju, Johny Walker etc in it.
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This article is written by Shekhar Gupta, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

The Kidar Sharma-directed Jhaanjar (1953) was a joint venture of music director C Ramchandra and actor Om Prakash under the banner of New Sai Productions. Despite a star cast comprising Motilal, Kamini Kaushal, Om Prakash, Sajjan, Usha Kiran, KN Singh, Sunder, Protima Devi and Sheela Naik, it bombed at the box-office. But its melodies have survived the ravages of time.
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This article is written by Raja, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

The 19th of July may not seem like a particularly noteworthy date in the history of mankind. But for this blog, it is a special day – because it happens to be the birthday of this blog. Yes, friends, it was on the 19th of July 2008 that Atul started this blog that we have all come to love so much over the years.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

July 17th is the birth anniversary of Snehal Bhatkar ( 17/07/1919 – 29/05/2007), one of the forgotten music directors of the Hindi film industry. On his last death anniversary, I had written an article on him for this blog. So I would skip his profile. Snehal Bhatkar was a talented music director who, like many lesser known music directors, lost in the rigmarole of the Hindi film industry.
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

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