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

Archive for the ‘Songs of 1956’ Category


This article is written by Arunkumar Deshmukh, a fellow enthusaist 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 : 4323 Post No. : 15612

Today’s song is from a C grade Costume film of the 50s, Aan Baan-56. It was made by D D Kashyap, under his own banner, Kashyap Productions, Bombay. Needless to mention that the film was directed by himself. Music was by Husnlal-Bhagatram, with assistance from krishan Chander. The cast of the film was Ajit, Mahipal, Nalini Jaywant, Usha Kiran, Pran, Ulhas, Manmohan Krishna and many others.

On Saturday, 16th May morning, I got a call on my Mobile. I picked it up and saw that it was flashing name of Bharatbhai and his photo. A little surprised to get his call at early morning hours, I took the call and as usual said,” Good Morning Bharat ji. Aaj subah subah yaad kiya ?” There was a pause and an unfamiliar voice said, ” Main Bharat ji ka beta baat kar raha hoon.” I knew he was ill. My mind suddenly became alert. For next 5 minutes his son was giving me details of his illness and finally he ended with those dreaded words, ” last Friday,8th May ko raat mein 1230 baje Bharatbhai ki death ho gayi “.

I was stunned. I gave my condolences to the bereaved family and kept the phone. I sat still for five minutes. Then I saw a missed call from Sadanand ji. I gave him a call. He too had got the news. We shared our thoughts and it was decided that Sadanand ji will announce this news on our WA group.

Old people parting is not unusual, but when the departed one is close to you or a family member, one does feel the pain. Bharatbhai was around 87 year old, recently he had a Hip Replacement operation and thereafter he was not well. I had spoken to him in the Hospital as well as when he came back home also. However, his going was a pinching shock.

I came to know Bharatbhai in or around 2013, through our Blog. Those days we did not have the WA group. We started exchanging songs and related matters on phone and e-mails. Then he and Nitin ji came calling to my house in early 2014, first time an Atulite visited me. I was very thrilled. I introduced my wife to them. We had deeper friendship after that. One of his friends, Mr. Chavda, stays in our building and is my friend too. During the last 7 years we visited each other’s houses many times, for meetings or otherwise also. When some important person used to visit me, I used to call him also. Thus he had met Biren Kothari, Shishir krishna Sharma, Rajnikumar Pandya, AK ji and others first time at my place only.

In 2018, he, myself and Sadanand ji visited Surat to meet Harish Raghuvanshi ji. Even in this age, his enthusiasm and memory was praiseworthy. The last we met was in Sadanand ji’s house. He missed one meeting in my house in this January, due to his health issues.

Bharat ji was Tech Savvy at this age also. He had a good collection of books. He actually xeroxed few books from his collection and gave me, on my request. Jolly and friendly Bharat ji can not be forgotten easily. Losing him is a great loss. I pray for his Eternal Peace and Attainment of Moksha !

Life goes on……

Today’s film was a routine film. The period in which such films attracted audiences had long ceased, but still some such films were made, albeit in much less numbers. Costume films had a fixed theme of story. Good and Old King, bad Vazir or close relative, beautiful daughter, her handsome singing lover, final sword fighting and all is well in the end. Same story with some ship-shaping here and there used to be presented. In this connection I remember one thing.

In 2004, a book called “Why we tell stories’, written by Christopher Booker was published. It is a book having more than 700 pages-728 pages to be exact. The book says “There are only 7 (Seven) basic plots in the whole world. They are recycled again and again in Novels, movies, Plays and Operas. These are
1.Overcoming the Monster
2.Rags to riches
3.The quest
4.Voyage and return
5.Rebirth
6.Comedy and
7.Tragedy “.

After this book was published, there was a chaos and criticism started. ‘New York Times’ also jumped in. The author coolly replied all points and stuck to his statements. If we look at Hindi films, I personally feel that what the author has said is true in our case. Only thing is that our film stories are always a clever mixture of all or some of the above points. A peculiar thing in our film industry is the ” Story Department” in some film production companies. Members of this department have Extra Para Perception and Extraordinary imagination. They can mix all 7 story elements in one ‘Khichdi’ and make a film. There are many cases where over enthusiasm on their part has killed the Box office prospects of even good films.

I quote her an example. Prakash pictures had become famous for their 2 Block buster hit films based on Ramayan stories. So when their third Ramayan film ” Ram Baan”-48 came, anxious audiences crowded the theatres, but within few days, the theatres were almost empty and the film flopped so badly that it could be called a ” super duper Flop ” ! The reason ? The story department of Prakash pictures and their wildest imaginations !

The team of Mohanlal Dave and Pt. Girish twisted the original Ramayan story so crudely (or cruelly?), that the audience could not digest it. The film showed a) Shurpankha’s swayamvar in Ravana’s darbar – which is not in Ramayana b) Sita wants in this film the Suvarn Mrig skin for NOT her Kanchuki, but as a gift to Laxman’s wife Urmila ! Too much wild imagination. c) Ravan gives his Sandals to Seeta to walk out of the Laxman Rekha…utter foolishness and finally d) Shabari goes to Rama to invite him and when he comes, introduces Hanuman and Sugriva to Rama. She describes how Ravana took Seeta to Lanka etc. Total lies !

These story department twists to Ramayana story, put Prakash Pictures to such a loss, that they came out of it only after Baiju Bawra, 4 years later. The story of film Aan Baan -56 is also a twisted form of the set pattern. Nothing really new in it. Naturally the film was not a success. The director D D Kashyap was an all rounder in films.

DHARAM DEV KASHYAP aka D.D.Kashyap was born in 1910 at Jalalpur in UP(now Uttar Pradesh,but earlier called United Province), in a middle class family without any connection to films or music. When DD came to the college in Lucknow, he was awed by the silent movies. By 1931 the Talkie started and he decided films as his career. He knew that it is only Bombay that can extend opportunities to him. Reaching Bombay, he laboriously worked up his way,doing menial jobs on the way, to the V.Shantaram camp. He was a learned man with a flair for writing, hence he got a chance to become an assistant to Munshi Aziz, while writing dialogues for AADMI-1939.(I checked the credits of Aadmi and truly his name features in the list of assistants, in the Dialogues section.) I can only imagine how he must have felt then.
Looking at his enthusiasm, Shantaram promoted him as one of his asst.Directors in PADOSI-1941. He even did a cameo role of OMKAR in Padosi.
Now he had enough experience and his first film as a Director was NAI KAHANI-1943. Then came a series of films, Chand, Nargis, Aaj ki Raat, pyar ki Jeet, Badi Behan, Kamal ke phool, Aaram, Do sitare, badnam, Naya Ghar, Shama Parwana, Aan baan, Halaku, Maya(Dev Anand film), and Dulhan ek raat ki-67.

he has also written the story of 10 o’clock-58.

He was an actor, writer, s/play writer, dialogue writer, producer as well.
Actually he produced Badi behan-a hit film, Aaram-another hit and Shama Parwana.

He died on 5-9-1988,at Bombay.

Today’s song is a duet of Asha and Mubarak Begum, which, I guess, is the only such duet. The song has a suspicious resemblance to another song from a later film – which I am unable to recollect the name now. If any reader knows, please write in comment section.


Song-Aji iss faani duniya mein muhabbat ke siwa kya hai (Aan Baan)(1956) Singers- Asha Bhonsle, Mubarak Begum, Lyrics- Qamar Jalalabadi, MD- Husnlal Bhagatram
Both

Lyrics

Aji iss faani duniya mein
muhabbat ke siwa kya hai
aji iss faani duniya mein
muhabbat ke siwa kya hai
aji chhodo jee chhodo
is muhabbat mein dhara kya hai
aji chhodo jee chhodo
is muhabbat mein dhara kya hai

aa aa aa aa
aa aa aa aa
muhabbat gar na hoti
kyun chamak hoti sitaaron mein
aa aa aa aa
ghataayen jhoomti kyun
phool kyun khilte bahaaron mein
jo sach poochho muhabbat hi khuda hai
aur khuda kya hai
jo sach poochho muhabbat hi khuda hai
aur khuda kya hai
aji chhodo jee chhodo
is muhabbat mein dhara kya hai
aji chhodo jee chhodo
is muhabbat mein dhara kya hai

aa aa aa aa
aa aa aa aa
qadam kaise uthhe
kaanton bhari hain pyaar ki raahen
kahin bikhre huye aansoo
kahin bikhri huyin aahen
chale jo pyaar ki raah par
unhen aakhir milaa kya hai
chale jo pyaar ki raah par
unhen aakhir milaa kya hai
aji chhodo jee chhodo
is muhabbat mein dhara kya hai
aji chhodo jee chhodo
is muhabbat mein dhara kya hai

aa aa aa aa
aa aa
aji manzil pe jab mehboob ka aa aa
deedaar hota hai ae
khabar hoti hai phir
kitaana suhaana pyaar hota hai ae ae ae
jo kaaanton se dare
phoolon ki keemat jaantaa kya hai
jo kaaanton se dare
phoolon ki keemat jaantaa kya hai
aji chhodo jee chhodo
is muhabbat mein dhara kya hai
aji chhodo jee chhodo
is muhabbat mein dhara kya hai

aa aa aa aa aa
yahi darr lag raha hai
pyaar karke dil na pachhtaaye
meri naazuk ye jawaani
dard ki duniya na ban jaaye ae
tumhi mujhko bataao
dil lagaane mein maza kya hai
tumhi mujhko bataao
dil lagaane mein maza kya hai
aji chhodo jee chhodo
is muhabbat mein dhara kya hai
aji chhodo jee chhodo
is muhabbat mein dhara kya hai

aa aa aa aa aa
idhar aao zara
ik baar dekho
meri aankhon mein
dhadak uthha hai dil
jaadoo hai kaisa teri aankhon mein

nigaahen mil gayi ab ye bata do
faisla kya hai
nigaahen mil gayi ab ye bata do
faisla kya hai
aji tum thheek kehte ho
muhabbat ke siwa kya hai
aji tum thheek kehte ho
muhabbat ke siwa kya hai

aji is faani duniya mein muhabbat ke siwa kya hai
aji is faani duniya mein muhabbat ke siwa kya hai
aji is faani duniya mein muhabbat ke siwa kya hai


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. 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 :

4306 Post No. : 15578

Another wonderful discovery, another song that I had never heard before. The film is ‘Zindagi’ from 1956. The music composition is by Mohammed Shafi.

Mohammed Shafi is the name I was trying to get to also, on 30th April, which is the remembrance day for him. After getting the post in place for C Arjun that evening, I was not able to pull together this post, for remembering Mohammed Shafi Sb.

Once again, another very talented music director about whom, not much information is available. After much searching, I am able to locate a very brief article by a gentleman named Qaseem Abbaasi on the web site ‘Apnaarchives.org’. I am including some details from that article in this post.

He was born sometimes in 1920s. His father’s name was Majid Khan, who passed away when Shafi was very young. Majid Khan was the grandson of the renowned beenkar Bande Ali Khan. Bande Ali was also a master of swar-pradhan gayaki and was the brother of Abdul Karim Khan Sb’s father. As I searched for more details about Bande Ali Khan, I reached the website Swarganga Music Foundation, and a somewhat detailed article on Bande Ali Khan. Browsing through this article, I discover that one of the more famous disciples of Bande Ali Khan is Imdaad Khan of Etawah, who is none other than the grandfather of Ustad Vilayat Khan (28 Aug, 1928 – 13 Mar, 2004), the renowned Sitar maestro of India.

A little clue about his early years can be surmised from a family connection that is mentioned. Mohammed Shafi’s wife, Zeenat, was the sister of Ustad Vilayat Khan. Vilayat Khan Sb’s family came originally from Etawah (close to Agra in UP). Apparently, Vilayat Khan Sb’s grandfather, Imdaad Khan, moved from Etawah to Gouripur in Mymenshingh district in undivided Bengal (now in Bangladesh). Vilayat Khan Sb was born in Gouripur. Sitar and classical music was a family tradition with them, and the family and their music tradition is known as Etawah gharana.

It can be surmised that Mohammed Shafi Sb was also based in Bengal in his early years. One, being married to the sister of Ustad Vilayat Khan, a family based in Mymensingh at that time. Second, Mohammed Shafi started his career at New Theatres, Calcutta (now Kolkata), working as a musician and assisting RC Boral, Pankaj Mullick and KC Dey. It is suggested that he contributed as a musician to films like ‘Kapaal Kundala’ (1939) and ‘Aandhi’ (1940).

In early 1940s, along with the migration of many artists from Calcutta to Bombay (now Mumbai), Mohammed Shafi also moved to Bombay. Although not listed in Geet Kosh, Qaseem Abbaasi Sb has written that he assisted music director Bashir Dehlavi in the 1942 film ‘Ujaala’. In this film, Prithviraj Kapoor played the role of a sitar player, and apparently, some special pieces were composed by Mohammed Shafi for this film.

Later on, he had a long association with Naushad as an assistant music director. For the film ‘Mughal e Azam’, the sitar pieces were prepared/played by both Abdul Haleem Jafar Khan Sb and Mohammed Shafi. It’s said that K Asif used to send a car to pick both of them for playing Sitar for the background music.

He got his first break as independent music director 1946 with the film ‘Haqdaar’. He continued to work till mid 1970s, but has only about 22 24 films to his credit. The number maybe 23, if we consider ‘Badi Maa’ (1974) as a re-release of ‘Tanhaai’ (1961). In parallel, he continued to assist many directors as a musician and music arranger.  Following is the list of films for which has composed music,

  • 1946  Haqdaar
  • 1946  Kaango
  • 1947  Do Naina
  • 1947  Rishta (unreleased)
  • 1947  Shikaarpuri
  • 1949  Anokhi Sewa – along with Dhoomi Khan
  • 1949  Bedard – along with BN Bali and Ram Prasad
  • 1949  Gharaana
  • 1951  Hulchul – along with Sajjad Hussain
  • 1952  Annadaata
  • 1952  Krishna Kanhaiya – along with BS Kalla
  • 1953  Aabshaar – along with Ghulam Haider & Bhola Shreshtha
  • 1953  Daara
  • 1954  Baazooband
  • 1954  Mangu – 2 songs, rest by OP Nayyar
  • 1956  Zindagi
  • 1960  Mohabbat Ki Jeet
  • 1960  Shriman Balasaheb (Marathi)
  • 1961  Tanhaai – later released as Badi Maa in 1974
  • 1965  Kite Fight (Wo Kata)
  • 1967  Shrimant Mehuna Pahije (Marathi)
  • 1971  Iraada – along with Vitthal-Mumtaz
  • 1974  Bari Maa – same as Tanhai (1961)
  • 1975  Dayaar-e-Madina

To his credit – Suman Hemadi Kalyanpur sang her debut song in the film ‘Mangu’ (1954), a wonderfully soft lorie “Koi Pukaare Dheere Se Tujhe” under his music direction. And again, singer Hemlata made her debut under his music direction in the film ‘Iraada’ (1971) – the songs “Main Ankahi Kahaani, Sadiyon Ki Hoon Nishaani” and “Main Jaan Ke Badle Mein Le Loongi Dhadakta Dil”.

A connected piece of information is that he also gave music under different names – Shafi M Nagri / Shafi Nagri / Shafi. All the films that he composed under these pseudonyms are stunt / fantasy type films. The list is,

  • 1953  Shamsheerbaaz
  • 1954  Sher Dil
  • 1955  Carnival Queen
  • 1956  Baghdad Ka Jaadu
  • 1957  Diler Daaku
  • 1959  Chini Jaadugar
  • 1959  Circus Queen
  • 1966  Tarzan Aur Jaadui Chirag – along with Shaukat

[Author’s Note: The name Shaukat for the above listed film ‘Tarzan Aur Jaadui Chirag’ (1966) is most probably Shaukat Dehlavi.]
[Author’s Note: I thank dear Arun ji. His comment on two missing films by Mohammad Shafi prompted me to re check and update the list of films above.]

Adding the above listed eight films, the total films by Mohammad Shafi comes to 32.

In the latter half of 1970s, Mohammed Shafi’s health deteriorated, and his last years were very difficult. He suffered a stroke, which resulted in partial amnesia. It is said that he did not receive any help or friendly hand, from the industry, except from Rafi Sb who would visit him occasionally and quietly leave money under his pillow without telling him.

He passed away after long years of illness on 30th April, 1980.

‘Zindagi’ (1956) is produced under the banner of Kesar Films, Bombay and is directed by CL Dheer. The star cast is listed as Geeta Bali, Vijaylakshmi, Jaswant, Baby Naaz, Gulab, Rasheed, Sudarshan, Krishnakant, Tuntun, and Jagdish Sethi.

There are 8 songs listed for this film. Seven songs are written by Kaifi Azmi, and one song is by Raja Mehdi Ali Khan. Today’s song is that solitary song from the pen of Raja Mehdi Ali Khan.

The singing voices are of Sudha Malhotra, S Balbir and Jagmohan Bakshi. The song is beautifully structured around a very clever use of chorus lines, with clear demarcation of male and female chorus lines. The pace and the rhythm of the song is quite energetic. It seems to be a picnic song, from the manner of singing and the words being said. I request other knowledgeable readers to please add information about this song and the film.

Listen and enjoy.

[Editor’s Note – This song is the 300th song of Raja Mehdi Ali Khan in the blog as a lyricist.]

[Acknowledgements: Sources referred to for compiling the above article are – (1) ‘Dhunon Ki Yatra’ by Pankaj Raag; (2) Article on Mohammed Shafi by Qaseem Abbaasi on Apnaarchives.org; (3) Wikipedia article on Ustad Vilayat Khan; (4) Article on Ustad Bande Ali Khan on Swarganga Music Foundation website.]

 


Song – Kaali Kaali Ye Ghata, Thandi Thandi Ye Hawa (Zindagi) (1956) Singer – Balbir, Jagmohan Bakshi, Sudha Malhotra, Lyrics – Raja Mehdi Ali Khan, MD – Mohammed Shafi
Male Chorus
Female Chorus

Lyrics

kaali kaali
ye ghata
o thandi thandi
ye hawa
kahe pyaar karo ji
kahe pyaar karo

o kaali kaali
laa laal laal
ye ghata
laa laal laal
o thandi thandi
laa laal laal
ye hawa
la la laa
kahe pyaar karo ji
kahe pyaar karo

kaali kaali
la lallall laa
ye ghata
la lallal laa
o thandi thandi
la lallall laa
ye hawa
la lallall laa
kahe pyaar karo ji
kahe pyaar karo

aankhen aankhon si mila ke
zara dekho muskura ke
aankhen aankhon si mila ke
zara dekho muskura ke
koi teer jigar ke paar karo
o kaali kaali
la lallal laa
ye ghata
la lallal laa
o thandi thandi
la lallal laa
ye hawa
la lallal laa
kahe pyaar karo ji
kahe pyaar karo

aise ghoor ghoor ke
dekha na kar mere ko
sharam mohe laage
dekh maarungi tere ko
teer e nazar chala ke
maar daalo muskura ke
teer e nazar chala ke
maar daalo muskura ke
hum par na daya sarkaar karo
kaali kaali
la lallal laa
ye ghata
la lallal laa
o thandi thandi
la lallal laa
ye hawa
la lallal laa
kahe pyaar karo ji
kahe pyaar karo

tera chehra phoola phoola omlet ki taraah
o teri gaaliyaan kha loonga chaklet ki taraah
mere saamne na chal ghaaslet ki taraah
o mere dil ko na tal poplet (?) ki taraah
teri surat tutti futti..ee..ee
pyaar kare meri jutti..ee..ee
teri surat tutti futti
pyaar kare meri jutti
kisi aur se naina chaar karo
o kaali kaali
la lallal laa
ye ghata
la lallal laa
o thandi thandi
la lallal laa
ye hawa
la lallal laa
kahe pyaar karo ji
kahe pyaar karo

laaaa
lall laaa lee laaa
lall laaa lee laaa
lee da da ri da da rum
da da ri da da rum

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

काली काली
ये घटा
ओ ठंडी ठंडी
ये हवा
कहे प्यार करो जी
कहे प्यार करो

ओ काली काली
ला लाल लाल
ये घटा
ला लाल लाल
ओ ठंडी ठंडी
ला लाल लाल
ये हवा
ला लाल लाल
कहे प्यार करो जी
कहे प्यार करो

ओ काली काली
ल लल्लल ला
ये घटा
ल लल्लल ला
ओ ठंडी ठंडी
ल लल्लल ला
ये हवा
ल लल्लल ला
कहे प्यार करो जी
कहे प्यार करो

आँखें आँखों से मिला के
ज़रा देखो मुस्कुरा के
आँखें आँखों से मिला के
ज़रा देखो मुस्कुरा के
कोई तीर जिगर के पार करो
ओ काली काली
ल लल्लल ला
ये घटा
ल लल्लल ला
ओ ठंडी ठंडी
ल लल्लल ला
ये हवा
ल लल्लल ला
कहे प्यार करो जी
कहे प्यार करो

ऐसे घूर घूर कर
देखा ना कर मेरे को
शरम मोहे लागे
देख मारूँगी तेरे को
तीर ए नज़र चला के
मार डालो हमें मुस्कुरा के
तीर ए नज़र चला के
मार डालो हमें मुस्कुरा के
हम पर ना दया सरकार करो
काली काली
ल लल्लल ला
ये घटा
ल लल्लल ला
ओ ठंडी ठंडी
ल लल्लल ला
ये हवा
ल लल्लल ला
कहे प्यार करो जी
कहे प्यार करो

तेरा चेहरा फूला फूला आमलेट की तरह
ओ तेरी गालियां खा लूँगा चाकलेट कि तरह
मेरे सामने ना चल घासलेट की तरह
ओ मेरे दिल को ना तल पापलेट(?) की तरह
तेरी सूरत टूटी फूटी॰॰ई॰॰ई
प्यार करे मेरी जूती॰॰ई॰॰ई
तेरी सूरत टूटी फूटी॰॰ई॰॰ई
प्यार करे मेरी जूती॰॰ई॰॰ई
किसी और से नैना चार करो
ओ काली काली
ल लल्लल ला
ये घटा
ल लल्लल ला
ओ ठंडी ठंडी
ल लल्लल ला
ये हवा
ल लल्लल ला
कहे प्यार करो जी
कहे प्यार करो

ला॰॰॰
ल लल्लल ला ली ला
ल लल्लल ला ली ला
ली डा डा ली डा डा रम
डा डा री डा डा रम


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: 4277 Post No.: 15512

“Ghulaam Begam Baadshah”(1956) was directed by Jugal Kishore for Niagra Films, Bombay. This “costume drama” movie had Sheila Ramani, Daljeet, Wazir Mohammad Khan, Altaf, Nishi, Sadiq, Paaras, Khairaati, Malika, R Nath, Jogendra, Prretam, Dilip Bamblahri, Wazid Ali, Bhanesh Kumar, Svivji Bhai, Chaand, Kamaldeep, Raj Puri, Prakash etc, with Johny Walker in guest appearance.

The movie had six songs. All songs were solo songs. Five different singers sang these six songs.

Two songs from the movie have been covered in the past.

Here is the third song from “Ghulaam Begam Baadshah”(1956) to appear in the blog. this song is sung by Geeta Dutt, who was the only singer to sing two songs in the movie. Other four songers got to sing one song each.

This song is penned by Indeewar. Music is composed by Sudeept.

PS-Sheila Ramani is the dancer, as ponted out by Prakashchandra, our inhouse face recongnition expert.

The song is picturised as a Rajdarbaar dance song. I am unable to identify the dancer. I request our knowledgeable readers to help identify her as well as the other actors seen in the picturisation.


Song-Dil se mere dil mila (Ghulaam Begam Baadshah)(1956) Singer-Geeta Dutt, Lyrics-Indeewar,MD- Sudeept

Lyrics

duniya
kya hai ae ae ae ae ae
dekh zara
o dilruba

dil se mere dil mila aa
aa dil se mere dil mila
dil se mere dil mila aa
aa dil se mere dil mila
chupke se kya jaadu kiya
nazron se kisne mujhe chhoo liya
chupke se kya jaadu kiya
nazron se kisne mujhe chhoo liya
guncha mere dil ka hans kar khila
guncha mere dil ka hans kar khila
dil se mere dil mila aa
aa dil se mere dil mila

lab pe hansi
dil mein khushi
doobi rahe masti mein ye zindagi
lab pe hansi
dil mein khushi
dubi rahe masti mein ye zindagi
ek jaam nazron se aisa pila
ek jaam nazron se aisa pila
dil se mere dil mila aa
aa dil se mere dil mila

kashti hoon main saahil hai tu
kehta hai dil meri manzil hai tu
kashti hoon main saahil hai tu
kehta hai dil meri manzil hai tu
ab toot bhi jaane de faasla
ab toot bhi jaane de faasla
dil se mere dil mila
aa dil se mere dil mila

marzi jahaan
le chal wahaan
tere liye thhukra doon donon jahaan
marzi jahaan
le chal wahaan
tere liye thhukra doon donon jahaan
duniya hai kya mujhko tu jab mila
duniya hai kya mujhko tu jab mila
dil se mere dil mila aa
aa dil se mere dil mila
dil se mere dil mila aa
aa dil se mere dil mila aa aa


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Blog Day: 4276 Post No.: 15511

“Aawaara Shahzaadi”(1956) was produced and directed by Pyarelal for Hind Pictures, Bombay. This “social” movie had Meena Shorey, Daljeet, Johny Walker, Sheila Ramani, Malika, Sheikh, Habeeb, Radheshyam, Maqbool, Rajraani, Jillani, Azeem, Pal Sharma, Raju, Rajni, Heera Sawant etc in it.

The movie had seven songs in it. One song has been covered in the past.

Here is the second song from “Aawaara Shahzaadi”(1956) to appear in the blog. This song is a romantic song which is sung by G M Durrani and Geeta Dutt. Khawar Zamaan is the lyricist. Music is composed by Jimmy.

Only the audio of the song is available. My guess is that the song was picturised on the lead pair of Daljeet and Meena Shorey. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Ham tumse raazi tum hamse raazi (Aawaara Shahzaadi)(1956) Singers-G M Durrani, Geeta Dutt, Lyrics-Khawar Zamaan, MD-Jimmy
Both

Lyrics

hum tumse raazi
tum hamse raazi
bolo ji bolo ab kya karega kaazi
hey chhodo ji chhodo
ham nahin raazi
bolo ji bolo ab kya karega kaazi

pehle kyun tumne teer chalaaye
kyun leke dil ko mere saamne aaye
pehle kyun tumne teer chalaaye
kyun leke dil ko mere saamne aaye
aapki hai ye zarranawaazi
bolo ji bolo ab kya karega kaazi
hey chhodo ji chhodo
ham nahin raazi
bolo ji bolo ab kya karega kaazi

mushkil hai mushkil pyaar nibhaana
bachpan se seekha maine dil ka lagaana
mushkil hai mushkil pyaar nibhaana
ae jee
bachpan se seekha maine dil ka lagaana
nahin chalegi ye jaalsaazi
bolo ji bolo ab kya karega kaazi

hey
ham tumse raazi
tum hamse raazi
bolo ji bolo ab kya karega kaazi

tere liye main sab kuchh luta doon
kadmon pe tere apna sar bhi jhuka doon
tere liye main sab kuchh luta doon
kadmon pe tere apna sar bhi jhuka doon
dil bhi ha taza ulfat bhi taazi
bolo ji bolo ab kya karega kaazi
hey chhodo ji chhodo
ham nahin raazi
bolo ji bolo ab kya karega kaazi

jalti hai duniya jalti rahegi
ulfat ki gaadi apni chalti rahegi

achcha jee
jalti hai duniya jalti rahegi
ulfat ki gaadi apni chalti rahegi

hey hey
jeet gaye ham pyaar ki baazi
bolo ji bolo ab kya karega kaazi
hey hum tumse raazi
ham tumse raazi
bolo ji bolo ab kya karega kaazi
hey ham tumse raazi
tum hamse raazi
bolo ji bolo ab kya karega kaazi


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: 4272 Post No.: 15504

———————————————–——————————-
Blog 10-Year Challenge (2010-2020) – Song No. 15
——————————————————————————

“Insaaf” is a title that is like Halley’s comet. It arrives in Hindi movie scene at ten year intervals or so, We have seen movies titles “Insaaf” being released in 1946, 1956, 1966, after break of one decade, it appeared again in 1987.

“Insaaf”(1956) was produced by Ravjibhai U Patel and Natwar Shyam and directed by Kedar Kapoor for Bhagyoday Pictures, Bombay. This movie had Nalini Jaiwant, Ajeet, Kamal Kapoor, Tiwari, Kamal, Sagar, Ramesh Tiwari, Helen, Durga Khote, Johny Walker etc in it.

The movie had eight songs in it. Four of these songs have been covered in the past.

The first song from this movie had appeared in the blog on this day ten years ago. This song was Do dil dhadak rahe hain aur aawaaz ek hai .

So, this song is one out of five movies that are eligible for blog ten year challenge this week.

Here is the fifth song from “Insaaf”(1956) to appear in the blog. This song is sung by Lata and chorus. Asad Bhopali is the lyricist. Music is composed by Chitragupta.

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


Song-Zindagi mein husn hai husn mein guroor hai (Insaaf)(1956) Singer-Lata, Lyrics-Asad Bhopali, MD-Chitragupta
Chorus

Lyrics

zindagi mein husn hai
husn mein guroor hai
ek nayi bahaar hai
ek naya suroor hai
kuchh na kuchh zaroor hai
kuchh na kuchh zaroor hai

zindagi mein husn hai
husn mein guroor hai
ek nayi bahar hai
ek naya suroor hai
kuchh na kuchh zaroor hai jee
kuchh na kuchh zaroor hai

o o o
itni sanwarne lagi ae meri sarkaar kyun
itni sanwarne lagi ae meri sarkaar kyun
dekhti hun aaina din mein kai baar kyun
din mein kai baar kyun
dekhti hu aaina din mein kai baar kyun
din mein kai baar kyun

kya kahoon dil aa gaya
baat kya huzoor hai
ek nayi bahaar hai
ek naya suroor hai
kuchh na kuchh zaroor hai jee
kuchh na kuchh zaroor hai

o o o o
o o o o
aisi na baaten karo
rooth ke chal denge ham
aisi na baaten karo
rooth ke chal denge ham
dil jo kahin aayega
dil ko masal denge ham
dil ko masal denge ham
hamko apne aap par
naaz hai guroor hai
ek nayi bahar hai
ek naya suroor hai
kuchh na kuchh zaroor hai jee
kuchh na kuchh zaroor hai
zindagi mein husn hai
husn mein guroor hai
ek nayi bahaar hai
ek naya suroor hai
kuchh na kuchh zaroor hai jee
kuchh na kuchh zaroor hai
kuchh na kuchh zaroor hai jee
kuchh na kuchh zaroor hai
kuchh na kuchh zaroor hai jee
kuchh na kuchh zaroor hai


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

Blog Day: 4269 Post No.: 15497

“Mr Chakram”(1956) was produced by Sant Singh-Paachhi and directed by S P Bakshi for P S Films, Bombay. This “social” movie had Shyama, Ranjan, Roopmaala, Sundar, Om Prakash, Chandrashekhar, Randhrre, Kumkum, Ramesh Thakur, Abbaas, Tripathi, Ramlal, Kathhana, Mohan etc in it.

The movie had nine songs in it. One song has been covered in the past.

Here is the second song from the movie to appear in the blog. This song is sung by Asha Bhonsle. Nakshab is the lyricist. Music is composed by Husnlal Bhagatram.

The movie had six Asha Bhonsle solo and one Lata Mangeshkar solos, and one Rafi solo. I have a feeeling that all female solos were picturised on Shyama but I cannnot be sure as only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song.


Song-Ek gham ka din bhi aaya (Mr Chakram)(1956) Singer-Asha Bhonsle, Lyrics-J Nakshab, MD-Husnlal Bhagatram

Lyrics

ek gham ka din bhi aaya
do din ki zindagi mein
barbaad ho gaye hum
ae dil hansi hansi mein
ek gham ka din bhi aaya

ae chaand chaandni mein duniya basaaney waale
duniya basaaney waale
ae chaand chaandni mein duniya basaaney waale
duniya basaaney waale
lut’te hain besahaare
lut’te hain besaahare
taaron ki roshni mein
ek gham ka din bhi aaya
do din ki zindagi mein
barbaad ho gaye hum
ae dil hansi hansi mein
ek gham ka din bhi aaya

afsaane gham ke laakhon dhhaalenge hosh waale
dhhaalenge(?) hosh waale
afsaane gham ke laakhon dhhaalenge hosh waale
dhhaalenge(?) hosh waale
munh se nikal gayi hai
munh se nikal gayi hai
ek baat bekhudi mein
ek gham ka din bhi aaya
do din ki zindagi mein
barbaad ho gaye hum
ae dil hansi hansi me
ek gham ka din bhi aaya

itna nahin ke dil ki dhaaras bandhaaye koi
dhaaras bandhaaye koi
itna nahin ke dil ki dhaaras bandhaaye koi
dhaaras bandhaaye koi
jhhoothhi tasalliyaan bhi
jhoothhi tasalliyaan bhi
kaafi hain bekasi mein
ek gham ka din bhi aaya
do din ki zindagi mein
barbaad ho gaye hum
ae dil hansi hansi mein
ek gham ka din bhi aaya


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 4229 Post No. : 15438

“Patraani”(1956) was produced by Shankarbhai Bhatt and directed by his younger brother Vijay Bhatt for Prakash Pictures. The movie had Vyjayantimala, Pradeep Kumar, Omprakash, Shashikala, Durga Khote, David, Jeevan etc. in it. The movie was based on a novel by Kanhaiyalal Munshi.

Seven songs from this movie have been discussed in the past. Here is the eighth song from “Patraani”(1956) to appear in the blog. This song is sung by Lata. Shailendra is the lyricist. Music is composed by Shankar Jaikishan.

The song is picturised as a rajdarbaar dance song on Shashikala as Pradeep Kumar, the king looks on.

audio

Video

Song-Kabhi to aa (Patraani)(1956) Singer-Lata, Lyrics-Shailendra, MD-Shankar Jaikishan

Lyrics

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

kabhi to aa
kabhi to aa
kabhi to aa
o sapnon
mein aake chale jaane waale
kabhi to aa
kabhi to aa
kabhi to aa
o sapnon mein aake chale jaane waale
bhali buri
hoon jaisi bhi
main teri hoon
taras kar mohe tarsaane waale
kabhi to aa
kabhi to aa
kabhi to aa
aa aa aa aa
aa aa aa aa

rangeeli rut aa gayi ee ee
rangeeli rut aa gayi ee ee
dekh kar chaand ka dhhalna ho
dekh chaand ka dhhalna ho
piya main ghabra gayi ee ee ee
piya main ghabra gayi ee ee ee ee
dhhalegi kya ye umar bhi isi tarah
bataa de mohe
ratiya jagaane waale
kabhi to aa
kabhi to aa
kabhi to aa
o sapnon mein aake chale jaane waale
kabhi to aa
kabhi to aa
kabhi to aa
aa aa aa aa
aa aa aa aa

wo din kab aayenge ae ae ae ae
wo din kab aayenge ae ae ae
jaane kab pyaasi nadiya mein
jaane kab pyaasi nadiya mein
kamal muskaayenge ae ae
kamal muskaayenge ae ae ae ae
hata bhi de
ye bojh sar se laaj ka
ghoonghat kaliyon ke sarkaane waale
kabhi to aa
kabhi to aa
kabhi to aa
o sapno mein aake chale jaane waale
kabhi to aa
kabhi to aa
kabhi to aa aaa


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 : 4210 Post No. : 15406

Today’s song is from film Indrasabha-56.

From the title of the film, one can conclude easily that this was based on a Mythological story. However, it was not so. It was a remake of the film Indrasabha-1932, made by Madan Theatres, Calcutta. That film had Master Nissar and Jahanara Kajjan in the lead. That film had a world record of having the maximum songs-69 songs- details of which are given in the HFGK Volume-I. (It was suggested in the HFGK that there were 2 more songs also in the film, thus making a total of 71 songs).

The film was based on an Urdu play “Inder sabha, written by Syed Agfha Hasan “Amanat Lakhnavi” ( 1815-1859). This was probably the second play on imaginary story involving Mythological characters. The first one was Vishakha Datt’s play ” Mudra Rakshas “, written somewhere in the 9th century. Amanat’s play was written in 1853 and was first performed on stage in Lucknow in 1854. The original play had 46 songs, consisting of 8 geets of folk genres, 8 thumaries and 30 Gazals. When I was searching for information on the story or review of this film. I came across an article in http://www.bihartimes.com, from which I quote the relevant portion…

” “Indar Sabha” draws from both the rich tapestry of Persian dastans/masnavis and folklore as well as Hindu mythology. But it goes much further – amalgamating the strands of Urdu literary tradition, North Indian nautanki (folk theatre), Hindu devotional theatre/dance (Ram Lila, Ras Lila), classical Sanskrit drama and Wajid Ali Shah’s court pageants, contends Afroz Taj, professor of South Asian Languages, Literatures and Cultures at the University of North Carolina at Chapel Hill.

In fact, Prof Taj has translated and extensively analysed the work in “The Court of Indar and the Rebirth of North Indian Drama” (Anjuman Taraqqi Urdu (Hind), 2007).

The story is that Indar (Hindu celestial king Indra) organises a concert for his court. His court dancers, the Pukhraj (Yellow/Topaz), Nilam (Blue/Sapphire), and Lal (Red/Ruby) Paris (fairies) dance and sing for him in a variety of styles. Amanat showcases his craft here with their songs corresponding to their colour motif – the Pukhraj Pari presents basant songs, Nilam mentions blue flowers and jewels, and Lal Pari incorporates the red of the twilight, gems and blood in her lyrics.

When it is the Sabz (Green) Pari’s turn, Indar falls asleep. She storms out and meets an old friend, the Kala Dev (dev here not the gods of the Indian mythology, but demons of Persian folklore) and confides she saw a sleeping human prince on her way and fell in love with him. She orders him to bring him before her and he complies.

Awoken to see a beautiful woman confessing she is in love with him, Prince Gulfam of Akhtarnagar (an obvious reference to Lucknow of Wajid Ali Shah “Akhtar”) is confused and then angry at being abducted. Learning he is at Indar’s fabled court, he is now most keen to see its legendary dancers. The Sabz Pari warns him of the peril but he is adamant and threatens to commit suicide. She gives in and smuggles him in before resuming her performance. Unfortunately, Gulfam is discovered and a furious Indar orders he be imprisoned in a deep well in the Koh-i-Kaf (Caucasus).

The Sabz Pari, herself humiliated and cast out of the court, wanders through fairyland in the guise of a “jogan (female hermit)” in search of the prince. Reports of a new singing talent reaches Indar, who summons her for a performance. He is moved so much that he offers to give her her heart’s desire – and it is hard not to guess what she wants – and gets.

Encapsulating the refined aestheticism of Wajid Ali Shah’s reign, the play, surviving British annexation of Nawabi Awadh and the horrors of 1857-59, got a new lease of life as it was taken up and performed by theatre companies, mostly Parsi troupes, all over British India. It was first performed in Bombay in 1864, hit Lahore and Calcutta in 1875, and overseas – Singapore (1913) and Rangoon (1927). And it was these Parsi troupes that eventually formed the nucleus of the Hindustani film industry.

Amanat’s play is significant in other respects too. Not only is it a linguistic kaleidoscope with ghazals in polished Urdu and folk songs in Awadhi/Braj, but it also reflects the composite multicultural ethos – by conscious mixing of Hindu and Muslim cultural traditions or featuring Persian/Urdu words in a Braj lyric and vice versa.”

Film ‘Indrasabha’-56 was directed by a veteran of such films – Nanubhai Vakil. He was one of the highly educated persons of those times (B.A.LL.B), who joined films in the silent era and successfully continued into the Talkie era till the 70’s decade. The film was made under the banner of Shah Pictures, and the producer was its owner Ramniklal Shah (husband of actress Indurani- a heroine in the 30’s decade) The MD was A R Qureshi aka Tabla Maestro Alla Rakha. His assistant for this film was Damodar Sharma – himself a Music Director of the early Talkie films. The cast of the film was, Chitra, Daljit, Heeralal, Ameeta, W M Khan, Al Nasir (husband of actress Veena), Sadiq, Rajan Haksar, Ranjana Shukla and many others.

How many names a person can have ? 2 – 3 – 4 ? Film actress Ameeta had 5 names. She was born Qamar Sultana. Her mother called her Indira, friends called her Indu, In film Thokar-53, she appeared as Jai jaiwanti and finally she was named Ameeta by Vijay Bhatt. Total 5 names. Ameeta was born on 11-4-1940 to Riaz Ahmed and Shakuntala Devi , in Calcutta. After her father’s death, they shifted to Bombay.

She started acting in Kaafila-52, Anmol Sahara-52 and Thokar-53. In 1953, she became Heroine of film ” Shri Chaitanya Mahaprabhu”, for which she got the name Ameeta. The film was a flop. After roles in popular films like Munimji-55 and Hum sab chor hain-56 she was selected as a lead actress, opposite Shammi Kapoor in film “Tumsa nahin dekha”-57. The film was a great Hit and she became a Star !

Though she acted in some good films like Dekh kabeera Roya-57 and Goonj uthi Shehnai-59 etc, she remained all the time a B grade Heroine. Till her last film Kisan aur Bhagwan-74, she acted in 47 films and then she left films. Her mother died soon after. Her daughter Sabeeha acted in few films, but shifted to a more successful business of Jewellery designing. (adapted,with thanks, from the book ” Beete hue din” by Shishir Krishna Sharma ji).

One more interesting name in the cast is Ranjana Shukla. Once upon a time, she was the Heroine of Dilip Kumar in film ” Milan”-46, made by Bombay Talkies, now relegated to ordinary roles in films.

Ranjana’s real name was Ratan Shantaram Deshpande. She was born in Nagpur on 20-10-1927. While studying in St. Ursula High School, she learnt dancing and music from well known ustads. After passing her 6th standard examination, she came to Bombay to her elder sister, Kusum Deshpande, who was already working as actress with Minerva Movietone films. Kusum married Vasant Thengadi, a handsome actor in Hindi films of those times.

Kusum arranged for specialised dancing for Ratan in the holidays. Later Ratan was taken to Vijay Bhatt of Prakash pictures for an interview. She was immediately selected and got a role in the famous film Ramrajya-1943. In this film she was Chitralekha, Sita’s sakhi. Vijay Bhatt also changed her name to Ranjana. She was on pay roles of Prakash for Rs. 2000 pm. She acted in films like police-44, Vikramaditya-45 and Hamara Sansar-45. Next films were Nai Maa-46 and Zamin Asman-46.

Ranjana was called by Bombay Talkies to do Heroine’s role opposite Dilip kumar in film Milan-46. This film was based on Bangla film Nauka Doobi written by Tagore. She did the role of Hem Nalini in this film’s Hindi version. The same role was done by Meera Sircar in the Bangla film Nauka Doobi.

After this film, Ranjana was in great demand, but she wanted to quit films and get married to live a simple life. She married a young and handsome writer Arvind Shukla. But after few months he fell sick and there was no income. So, she had to continue working in films till 1975. She also worked in many Marathi films. In all, she worked in about 35 films or so. Ranjana worked with many big stars of her times like, Prem Adeeb, Prithviraj Kapoor, Jairaj, Dilip Kumar, Jeevan, Umakant etc etc

It is interesting to note that her sister and her brother in law acted with her in few films. Some such films were Zamin Asman-46 and Shadi se pehle-47. In film Saajan ka Ghar-48 all three had worked together. We have many families like this in Hindi films. I remember Zubeida and her mother and sisters, Sitara Devi and her 2 sisters, Nargis,her mother and brothers, Kapoor family, Dilip kumar, his brother and sister in law, many film couples and families of several film people are examples. Ranjana was perhaps one early example. Thank God, this Ranjana was not around when yet another Ranjana came to Hindi films. She was Ranjana Deshmukh, niece of actress Sandhya(nee Vijaya Deshmukh). This Ranjana, however , worked mainly in Marathi films and did only 4 Hindi films starting with the famous film Chaani-77. Unfortunately, she first met with an accident and then died of Heart attack at the age of just 40 years or so.

Today’s song is sung by Asha, Geeta and chorus. The lyrics are by Shevan Rizvi. This is the 3rd song from this film to appear here.


Song-Laala laala Gulle laala pyaar kare hai kismetwaala (Indrasabha)(1956) Singers- Asha Bhonsle, Geeta Dutt, Lyricist- Shevan Rizvi, MD- A R Qureshi
Asha Bhonsle + Geeta Dutt + Chorus

Lyrics

Laala Laala Gulle laala
Laala Laala Gulle laala
pyaar kare hai kismat waala
pyaar kare hai kismat waala
Laala Laala Gulle laala
jisne kiya na pyaar
ho jisne kiya na pyaar
uska jeena hai bekaar
uska jeena hai bekaar
Laala Laala Gulle laala
Laala Laala Gulle laala
pyaar kare hai kismat waala
pyaar kare hai kismat waala
Laala Laala Gulle laala

agar koi haseen qaatil
jo kabhi maange tumse dil
ajab se kehna lotar(?) ka
ajab se kehna lotar (?) ka
shaida tum par har dil waala
lalar lala lallar lalla
Laala Laala Gulle laala
Laala Laala Gulle laala
pyaar kare hai kismat waala
pyaar kare hai kismat waala
Laala Laala Gulle laala

ke jab tak ?? na karna
ham kahaan phir tum kahaan phir hum
ke jab tak ?? na karna
ham kahaan phir tum kahaan phir hum
ye mausam aaye na har baar
ye mausam aaye na har baar
rang hai sab ka udne waala
Laala Laala Gulle laala
Laala Laala Gulle laala
pyaar kare hai kismat waala
pyaar kare hai kismat waala
Laala Laala Gulle laala

haseenon ke ishaaron par
lutaa do din jhukaa do sar
haseenon ke ishaaron par
lutaa do din jhukaa do sar
warna jeena hi bekaar
warna jeena hi bekaar
pyaar ki duniya Gulle laala
Laala Laala Gulle laala
Laala Laala Gulle laala
pyaar kare hai kismat waala
pyaar kare hai kismat waala
Laaala Laaala


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 : 4195 Post No. : 15378

“26th January”(1956) was produced and directed by Ramesh Sahgal for Sahgal Productions, Bombay. This movie had Nalini Jaiwant, Ajeet, Johny Walker, Sapru, B M Vyas, Leela Mishra, Cuckoo, Balraj Mehta, Chaman Puri, Nishi etc, with guest appearances by Gajanan Jageerdar, Jagdeesh Sethi, Randheer, Gyaani and Patanjali.

The movie had seven songs in it. One song is covered in the past.

Today (12 january 2020) is the 102nd birth anniversary of C Ramchandra. On this occasion, here is a song from “26th january” (1956). This song is sung by Manna Dey, Asha Bhonsle and chorus.

Rajinder Krishan is the lyricist. Music is composed by C Ramchandra.

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

Lyrics of this song were sent to me by Avinash Scrapwala.


Song-Chhod bhi de aakaash sinhaasan (26th January)(1956) Singers-Manna Dey, Asha Bhonsle, Lyrics-Rajinder Krishan, MD-C Ramchandra
Manna Dey + Asha Bhonsle
Chorus
Female chorus
Male chorus

Lyrics(Provided by Avinash Scrapwala)

Chhod bhi de aakash sinhaasan an n n
Chhod bhi de aakash sinhaasan
Phir dharti par aaja re

Chhod bhi de aakash sinhaasan
Phir dharti par aaja re
Phir dharti par aaja re
Phir dharti par aaja re

Beech bhanwar hain
Dharm ki naiyya
Naiyya paar lagaa ja re
Naiyya paar lagaa ja re
Naiyya paar lagaa ja re

Kaanp rahi hain dharti
Thhar thhar
Aag ke baadal barse jhar jhar
Badhti jaaye paap ki garmi
Badhti jaaye paap ki garmi
Pighal rahaa hai patthar patthar
Andhkaar hi andhkaar hai
Aakar jyot jagaa ja re
Aakar jyot jagaa ja re
Aakar jyot jagaa ja re

Chhod bhi de aakash sinhaasan
Phir dharti par aaja re
Phir dharti par aaja re
Phir dharti par aaja re

Aaja re ae aaja re
Aaja re ae aaja re
Aaja re ae aaja re
Aaja re ae aaja re
Aaja re ae aaja re

Nirdoshon ka lahu hai behta aa
Ik maa ka dil ro ro kehta
Ro ro kehta
Paapi baithe mauj manaaye
Paapi baithe mauj manaaye
Dharm ka banda zulm hai sehta
Jag mein phir se dayaa dharm ki
Aakar bel lagaa ja re

Aakar bel lagaa ja re
Aakar bel lagaa ja re

Chhod bhi de aakash sinhaasan an n
Chhod bhi de aakash sinhaasan
Phir dharti par aaja re
Phir dharti par aaja re
Phir dharti par aaja re
Phir dharti par aaja re

Jab jab vipad padi jag maahi
Tu hi bana rakhwaala Saai
Paap kapat ki phail rahi hai
Paap kapat ki phail rahi hai
Is jag mein phir se parchhaayee ee
Geeta ka updesh sunaane
Roop badal kar aaja re
Roop badal kar aaja re

Roop badal kar aaja re

Chhod bhi de aakash sinhaasan
Phir dharti par aaja re

Phir dharti par aaja re

Roop badal kar aaja re

Aaja re
Aaja re
Aaja re
Aaja re
Aaja re
Aaja re
Aaja re
Aaja re

Yadaa yadaa hi dharmasya
Glanirbhava ti Bharat
Abhhyuthaana madharmasya
Tadaatmaanam srijaamyaham

———————————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
————————————————

छोड़ भी दे आकाश सिंहासन अन न न
छोड़ भी दे आकाश सिंहासन
फिर धरती पर आजा रे
छोड़ भी दे आकाश सिंहासन
फिर धरती पर आजा रे
फिर धरती पर आजा रे
फिर धरती पर आजा रे
बीच भंवर हैं
धर्म कि नैय्या
नैय्या पार लगा जा रे
नैय्या पार लगा जा रे
नैय्या पार लगा जा रे

काँप रही हैं धरती
थर थर
आग के बादल बरसे झर झर
बढती जाए पाप कि गर्मी
बढती जाए पाप कि गर्मी
पिघल रहा है पत्थर पत्थर
अन्धकार ही अन्धकार है
आकर ज्योत जगा जा रे
आकर ज्योत जगा जा रे
आकर ज्योत जगा जा रे
छोड़ भी दे आकाश सिंहासन
फिर धरती पर आजा रे
फिर धरती पर आजा रे
फिर धरती पर आजा रे
आजा रे ए
आजा रे
आजा रे ए
आजा रे
आजा रे ए
आजा रे
आजा रे ए
आजा रे
आजा रे ए
आजा रे
निर्दोषों का लहू है बहता आ
इक माँ का दिल रो रो कहता
पापी बैठे मौज मनाएं
पापी बैठे मौज मनाएं
धर्म का बन्दा ज़ुल्म है सहता
जग में फिर से दया धर्म कि
आकर बेल लगा जा रे
आकर बेल लगा जा रे
आकर बेल लगा जा रे

छोड़ भी दे आकाश सिंहासन अन न न
छोड़ भी दे आकाश सिंहासन
फिर धरती पर आजा रे
फिर धरती पर आजा रे
फिर धरती पर आजा रे
फिर धरती पर आजा रे
जब जब विपद पड़ी जग माहि
तू ही बना रखवाला साईं
पाप कपट कि फैल रही है
पाप कपट कि फैल रही है
इस जग में फिर से परछाई ई
गीता का उपदेश सुनाने
रूप बदल कर आजा रे
रूप बदल कर आजा रे
रूप बदल कर आजा रे
छोड़ भी दे आकाश सिंहासन
फिर धरती पर आजा रे
फिर धरती पर आजा रे
रूप बदल कर आजा रे
आजा रे
आजा रे
आजा रे
आजा रे
आजा रे
आजा रे
आजा रे
आजा रे
यदा यदा हि धर्मस्य
ग्लानिर्भवति भारत
अभ्युत्थान मधर्मस्य
तदात्मानं सृजाम्यहम्


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

Blog Day : 4172 Post No. : 15346

Today’s song is from an obscure film-Dhola Maru-1956. The film was produced by and under the banner of Cine Workers’ Society, Bombay. It was directed by N R Acharya and the music was provided by S K Pal – for whom this film was his swan song. This was his last film as MD. All the 11 songs of the film were written by Bharat Vyas. The cast was Usha Kiran, Pradeep Kumar, Achala Sachdev, Rehana, Sapru, S Nazir, Kumkum and many others including 5 actresses named as Miss Pammi, Miss Usha, Miss Hemlata, Miss Hansa and Miss Sarita as well as a guest artiste- Ulhas.

” Unity in Diversity” was a favourite slogan of Nehru. Truly, there is no other country in the world having such a diverse population and area. The biggest surviving Democracy in the world has 28 states and 9 Union Territories. Our constitution mentions 22 official languages, including Urdu and Sanskrit. In this vast country about 30 languages are spoken, each by more than 3 million people, 120 languages are spoken by more than 10000 people and about 1600 spoken languages and with script- both mixed. In addition, 7 major and several other religions too.

With so much of diversity of languages, religions and cultures, it is a wonder that India has survived for thousands of years. The main factor is the binding of Indian Culture and Tolerance. It is interesting to recall that, just prior to getting Independence, Winston Churchill and many other world leaders had predicted that within a short period, India will disintegrate into pieces. Contrary to their wishful thinking, Indian people have come out stronger in last 75 years.

Due to the diversity, there are separate Folk lores in almost every state. Love stories are the major contributors. Like the famous Laila-Majnu and Romeo-Juliet, every state has its own Love story. Even our Mythology has thrilling love stories, Like Uttara- Abhimanyu, Dushant-Shakuntala, Arjun-Subhadra etc.

For love stories, Punjab and Sindh lead all the way. You have several such stories as – Sohni Mahiwal, Heer-Ranja, Sassi-Punnu, Monal-Rano, Umar-Marvi, Lila-Chanesar, Noori-Tamchi, Dhaj-Rorkumar and Mirza-Sahiban are some of the most popular love stories of Punjab and Sindh.

Like I said, in other regions too, there are Love stories like Jodha -Akbar, Salim-Anarkali, Bajirao-Mastani, Prithviraj-Sanyogita, Amrapali-Bimbisar, Mumal-Mahendra, Amaravathy-Ambikapathy (south-Tamil) etc.

There was yet another popular Folk-Lore of Lovers in the states of Rajasthan, M.P., Chhattisgarh and Gujarat and that is the story of Prince Dhola and Princess Maru. Unlike the Punjab Folk-Lores of Lovers, Dhola Maru has several versions, especially Rajasthani and Chhattisgarhi versions. Several Books and stories as well as Folk songs were written on Dhola-Maru. There was a Gujarati Hit film Dhola-Maru-1983.

( When I had first heard the name of Dhola-Maru, I was reminded of the Japanese steamship Kamagota Maru, which had carried about 300 Sikh and other Indians, who tried to enter Canada. They were refused and sent back to India. On reaching Calcutta, they were refused entry as they were from Hongkong. There was a fight and in the ensuing firing, hundreds were killed. This was known throughout the world.)

Dhola – Maru story took place somewhere in the 15th century. However this is a Happy ending Love story, unlike most Punjabi tragedies.

The Rajasthani version of the story is-

The Legend of Dhola and Maru is the Indian version of Romeo-Juliet saga. The princess Maru was from a place called Pugal near Bikaner while Dhola was the young and handsome prince of Gwalior. A terrible drought in Pugal made Maru’s(then 2 years old) father shift to Gwalior, which was ruled by his friend, the father of Dhola. He stayed there for three years and before leaving for his hometown, the two kings each promised to get their children married to each other. However, after a span of 20 years all promises were forgotten and Maru was betrothed to a man called Umra. But destiny prevailed, and bard from Pugal who had travelled to Gwalior sang at the royal court about the childhood betrothal of Dhola and Maru. After listening to the song Dhola fell hook, line and sinker for the virtuous princess Maru. With love in his eyes Dhola began wooing Maru who also fell in love with the handsome Dhola. Where two hearts collide there has to be an outcome, and so they decided to run away.

Umra came to know about their plans and went after them with his brother sumra. The eloping lovers on their Camel with their bows arrows were no match for the Umra-Sumra brothers who had guns. However, they were able to evade the evil brothers and took refuge in a forest. Unfortunately Dhola was bitten by a snake and died on the spot, Maru, thus cheated by her lover, proceeded to weep the death. Luck favoured Maru and her cries were heard by Lord Shiva and consort Parvati. Parvati requested her husband to revive Dhola and thus by divine intervention the lovers were united to live happily ever after.

There are some differences in the Chhattisgarhi versions, where in prince Dhola gets married to Rewa for 12 years, after which,he goes for Maru etc.

(all information culled from sanskriti.com, unitedindia.com and wiki)

In Indian films, there were some actresses who were earmarked to do the roles of Mothers and Grandmothers. Some of them were Leela Chitnis, Durga Khote, Leela Mishra, Deena Pathak, Nirupa Roy, Achala Sachdev and few others. While Leela Mishra and Deena Pathak seemed to be born to do such roles, most others were Heroines in their Hey-days. Achala Sachdev was a prominent actress, who was highly respected in the industry – only till she was in circulation. Once she retired from films, no one bothered about her and she died absolutely a lonely death.

Achala Sachdev ( 3-5-1920 to 30-4-2012) (original name Rajinder)’s name is permanently conjoined with a mother’s role. She did a mother’s role when she was very young and since then-more than a heroine- she has been seen either as a sister or Mother in films. In her earliest film ‘Dilruba’-50 she was Dev Anand’s sister and later in many films she was a fixed mother of Dev Anand.

She worked in All India Radio, Lahore,she came to Delhi after the Partition and continued her job in All India Radio, till her first film. She acted in 181 Hindi films, 3 Punjabi films and 1 Gujarati film, in addition to 1 uncompleted Bangla film. She acted in few television serials and FD documentaries too.

In her early years she had got married to Gyan Sachdeva. She begot one son and one daughter from him. Her son Jyotin, a business consultant, settled in US and Daughter was married in Bombay. When she could not pull on, she divorced her husband. After 12 years of loneliness she fell in love and married an American Clifford Douglas Peters, who was an Engineer and ran an Electronics factory in Poona. She stopped accepting new films after 1976 and then shifted to Poona.

After her second husband died, she shifted from her Bungalow in Bhosari, near Poona to a specious flat in Hadapsar area of Poona. She had completed all films on hand ,but due to insistence of family friend Yash Chopra, she acted in some of his films- notably ‘Dilwale dulhaniya le jaayenge’-95. Though her last film was ‘ Dahak ‘-98, her last released film was Suno sasur ji-2003.

During her heydays, she was very friendly with Sunil Dutt and Nargis, Mona Dev Anand ( kalpana kartik), Meena kumari, Saira Bano and her mother Naseem Bano. She was very punctual during her shootings. Once while working in a Rajesh Khanna film, she had to wait for him for 4 hours, with all make up done. When this continued to happen for next 10 days, she left the film and went back to Poona. Rajesh Khanna wrote an apology letter to her and then only she came back to complete the film.

Once she was in Poona, she was all alone. No one from film industry ever contacted her in her last 40 years. She was very generous. She had donated 25 lakhs to an NGO, Janseva Foundation to start ‘Achala Sachdev Institute of Education”. She also gave 15 Lakhs to Dr. H.V.Desai Eye Hospital for a ward construction. In her last days,she even donated her flat also to the NGO Janseva Foundation.

She was sick for last 6 months and was looked after by the NGO. Admitted to Poona General Hospital ICU, she got Paralysis, lost her vision and then lost her life on 30-4-2012. A highly successful film star with lots of money, but she was neglected by her own son and daughter. Above all, in last 40 years in Poona, not one soul from the film world met her. What was pathetic was, when she was admitted in I.C.U., her attending doctor, Dr. Mehta sent messages to Yash Chopra and others in Film industry, but none came or even inquired and she died a lonely death.
( ( Based on Cine Blitz, Madhuri,Times of India, Indian Express, Wikipedia and info kindly given by shri Harish Raghuwanshi ji ).

Here is a duet by Manna Dey and Asha Bhosle from film Dhola Maru-1956.


Song-Ek samay Dushyant thhe Bharat ke samraat(Dhola Maru)(1956) Singers- Manna Dey, Asha Bhonsle, Lyricist- Bharat Vyas, MD- S K Pal
Both

Lyrics

Ek samay Dushyant thhe
Bharat ke samraaat
jinka danka goonjtaa desh videsh viraat

Kaamdev ka aa aa
Kaamdev ka roop thha
dhoop bada balwaan
dhoop bada balwaan

ek samay ban mein chale
le kar teer kamaaaan
le kar teer kamaan
ban mein ek albeli mili
bandevi si naar
?? se nrup se sant ki
ho gayin aankhen chaar chaar
ho gayin aankhen chaar

mohit ho Dushyant ne
ek nikaali raah
Shakuntala ke sang kiya
jhat gandarv vivaah

din beete aur jug beete ae ae ae ae
din beete aur jug beete
bhookh bhaye behaal

roye dukhi Shakuntala
roye dukhi Shakuntala
khabar na li
khabar na li
khabar na li pratipaal

bhooh bhaye behaal

band karo ye geet
?? ke raajveer
bane aaj Dushyant

main
haan tum
apni marwan bhool kar
rewa sang raman
rewa sang raman ??
maruwan bisraai
maruwan ho maruwan ??
bharman hoi


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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 ELEVEN years. This blog has more than 15600 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

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