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

Archive for the ‘Songs of 1957’ 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 :

4370 Post No. : 15702

Today’s song is a special song from the film Mirza Sahibaan-1957. It is special because it is almost a 9 minute song – 8 minutes and 36 seconds, to be exact. There is one more-Punjabi- song in this film, which is about 6m 30s long. Today’s song is written by Verma Malik and the music is composed by Sardul kwatra- one of the 3 Sikh composers in Hindi films during that period ( the other two were G S Kohli and S Mohinder). His younger brother Bhagwant Kwatra was his assistant here.

Sardul Singh Kwatra was one of the very few Sikh Music Directors Hindi Films had. He was born in Lahore in 1928. He was educated and trained in classical music at Lahore. His teacher in music was Sardar Awatar Singh, who was quite famous in Lahore. Later Sardul singh joined Hansraj Behl as his assistant.

After Partition, his family first shifted to Amritsar and then to Bombay. The family established a film production company and started making films. Their first film was ‘Ek Teri Nishani”-49. Sardul singh was its MD, along with Pt. Amarnath and Vinod. Later he composed for ‘Jalte Deep”-50, with T.K.Das. His first independent film was “Man ka Meet”-50.
His family company wanted to make a Punjabi film “Posti”-50. Sardul got newcomer Shyama to be the Heroine. Shyama also acted in their second film “Kode Shah’-53. Their next Hindi film was ‘Goonj’-52, for which Sardul convinced Suriya to be its Heroine. He was its MD of course.

Sardul singh was a tall,well built and handsome person. Unfortunately his severe inclination towards beautiful women overpowered his talents. He used to proudly say, ‘I can not create good music without beautiful faces. ” He was aware of his looks and used it unabashedly to influence women.

When he was in Bombay, he requested Mohd. Rafi ( after this film) to let out the top floor flat in Rafi’s bungalow to him , since it was empty. Being a good and helpful man, Rafi agreed. When Rafi’s son’s marriage was fixed, he wanted his flat back, but Sardul kwatra refused to vacate. Those days, the Bombay Rent control act was in favour of the tenants, so Rafi had a lot of problems. After a few years, Sardul filed a criminal case also against Rafi, in this connection. Rafi suffered a lot because of this. Finally, while going to Chandigarh before shifting to the USA, Sardul Kwatra vacated the flat. This detailed story is described in ” aap ki parchhaiyan” a book by Rajnikumar Pandya ji.

He gave music to 22 Hindi and 13 Punjabi films. In 1970, he visited Chandigarh and established ‘Chandigarh Film Institute”. He left his wife and children and went to the USA with another good looking woman, in 1978. He got 2 children from this association. Sardul singh Kwatra died in the US on 6-7-2004.

India is a unique country in the world. ” Vividhata mein ekta” (विविधता में एकता ). A country which has 28 states and 9 UTs, 22 languages mentioned in its Constitution, 30 languages spoken by 30 lakh people each, 122 languages spoken by more than 10000 people each and 1652 languages spoken in all the country. So many religions are living amicably since thousands of years and still the country is ONE unit, when the Nation needs it. Disproving all the Pundits of the world saying that India will break into pieces after independence, we are stronger and more developed by the day. So, what is the secret ?

The secret is its Culture, which keeps all faiths and languages bound together. In India, Culture is greater than and a bigger influence than individual religions. The flexibility, adaptability and readiness to make changes by the majority section, is the secret. This makes India the biggest Democracy in the world today. The entire world looks up to us as a final Saviour.

Culture and Folklore have bound Indians together. In every state there are its own Folk tales, Folk Dances and Folk Music. Still, some common Folklore is all over the country. Though every region has its own Folklores, Lovers’ Folk lore from Punjab and Sind have been traditionally well known throughout India, e.g. Heer-Ranjha or Sohni-Mahiwal etc etc. Our films have a great contribution in keeping the country United and Together,despite calamities and aggressions. Some of the Folk tales of Love from Punjab and Sindh became well known due to films made on them.

There are 9 Tragic Love stories from Punjab and Sindh,in which both the lovers die without getting united. These 9 Love stories are-
Mirza-Sahiban
Heer – Ranjha
Sassi-Punnu
Momal-Rano
Umar-marvi
Sohni-Mahiwal
Lila-Chanesar
Noorie-Tamchi
Dhaj-Rorkumar (Unlike most pairs,in Mirza Sahiban,the Male name comes First !)
Indian film producers have helped spread these Immortal Love stories by making movies on them,as under-
Heer-Ranjha… Films made in 1931,32,48 and 1970
Mirza-Sahiban… In 1933,35,47 and 1957
Sassi-Punnu… In 1932,33 and 1946
Sohni-Mahiwal…In 1933,46,58 and 1984
Umar-Marvi…in 1942
Noorie-Tamchi…In 1934
Today’s film was directed by Ravi Kapoor, who directed 3 more films-Kala Chor-56,Chalta Purja-58 and Accident-65. The cast of the film was Shyama, Shammi Kapoor, Ram Singh, Madan Puri,Uma Dutt, Indira, Nazir kashmiri, Tun Tun, Daljit and many others.

Indira. This 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 Talike 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 comedien 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 glamour 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, 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.

The story of the film Mirza Sahibaan-57 was….

Sahiba’s father (Uma Dutt) is Mirza’s mother’s brother (making them cousins). She brings Mirza for an extended visit to her family home, a visit cut short when Sahiba’s mother (Gulab) throws a fit over her young daughter’s budding relationship with Mirza, who for some reason is not considered worthy of her. Mirza adamantly refuses to leave his Sahiba when his insulted mother packs up her bags and goes.

Her sad-sack hen-pecked brother promises to take good care of Mirza, although how someone so lacking a spine can possibly protect a kid who is clearly not wanted is beyond me. Anyway, Sahiba and Mirza become inseparable and grow into young adults (Shyama and Shammi Kapoor) who adore each other. The little cocoon of love that surrounds them is constantly under attack by Sahiba’s brothers Mir (Ram Singh) and Shamir (Madan Puri) in addition to her mother, but the pair remains steadfast (although they spend a lot of time talking about their willingness to die for one another, never a good omen).

In addition to Sahiba, Mirza has a passion for his white mare and his bow and arrows and is a crack shot. This endears him no further to his nasty cousins, and his love for Sahiba is also a thorn in the side for the local barber and matchmaker Umara (?) who stands to lose a commission if the young lovers marry each other. When Sahiba persuades Mirza to take her to a local fair, Umara takes the opportunity to create trouble.

Umara informs Mir and Shamir that Sahiba is at the fair with Mirza. Infuriated, they track him down and beat him mercilessly, although not as mercilessly as Sahiba’s mother when they all reach home. She throws Mirza out of the house and locks Sahiba in her room. Sahiba’s father quickly accedes to his wife’s wishes that he get Sahiba married into the wealthy Choudhary family (who happen to be her relatives) nearby, and Umara is called in.

Sahiba, unable to escape her mother’s eagle eye, asks her friend Mora to take a message to Mirza, who is now homeless and despondently considering suicide.

Mora saves him from jumping off a cliff, and he goes to stay with their aunt, Bibo.

Umara the matchmaker now becomes very busy, going first to fix Sahiba’s marriage with the son of Choudhary Sahab (Nazir Kashmiri), and then to Mirza’s parents’ house, where he tells them how mistreated Mirza has been. Mirza’s mother asks him to plead with Mirza to return home—which he doesn’t have to do because Bibo is already suggesting it to Mirza. She relents though in the face of Mirza’s devotion.

He agrees to return to his parental home if Bibo will bring Sahiba to him to say goodbye, which she does. He promises to return for Sahiba, and she says that she will send word when her wedding date is fixed so that he can save her. I am not clear how this will work out better than if they just leave right now, but it’s not my plot. Sahiba’s wedding is eventually fixed for the same day as Mirza’s sister Chatti’s, and Bibo sends a message to Mirza.

Mirza receives the message, and races away on his trusty white mare to rescue Sahiba from her wedding. He runs away with her.

The end- The opposite party follows Mirza and Sahiba and kills Mirza. Sahiba commits suicide and both die in each other’s arms.

(For this post, I thank Wikipedia, Mike Barnum’s Blog, HFGK, memsaabstory.com and my notes.)


Song-Subah uthh ke Mirze yaar ne Sahibaan ka le liya naam(Mirza Saahiban)(1957) Singers-Rafi, Shamshad Begam, Lyrics-Verma Malik, MD-Sardul Kwatra
Male chorus
Female chorus
All chorus

Lyrics

haddipa
haddipa
haddipa
haddipa
hey

ho o o
ho ho ho ho
subah uthh ke mirze yaar ne
sahibaan ka le liya naam
ghar ghar mashoori ho gayi ee
gali gali hua badnaam
ho o o o
o o o o
tera chori chori pyaar thha
ab aage sare aam
ho ho ho ho ho ho ho
kya jaane mirza sahibaan
ab kya hoga anjaam
khha liya beliya toone aam

aaha
aaha
aaha
aaha
aaha
aaha

hey kudiya ne
hey kudiya ne
hey kudiye ne

balle balle balle
hey mundaiy ne
hey mundaiy ne
hey mundaiy ne

ho sadqe
hey kudiya ne ?? kudiyaa waali ??
hurr
hey munde
shahar de gunde
baaj na aawan

aa hahahahaha
Hey kudiya ?? kudiyaa ho ?? dil churaawan
ho sadqe
Hey munde
shahr ke gunde
baaj na aawan

hurr
mohe le de dupatta malmal ka
ho rang zara halka
?? kal ka
?? karo kal ka
oye soniya aa
oye beliya

mohe le de dupatta malmal ka
ho rang zara halka
ho rang zara halka
ho soniya
hoy beliyaa

ho tu le ke dupatta jab aayegi ee ee
tu le ke dupatta jab aayegi
ho bindiya lagaayegi
najar lag jaayegi ee
ho soniye ae
ho heeriye
hey kudiya ni ?? kudiya
?? dil churaawan
ho balle balle balle
hey munde
shahr ke gunde
baaz na aawan

aa mil gale
duniya jale
duniya se chalen door hum
hai waasta
ab raastaa
chhodo jee ye majboor??

haaye
dil le liya aa aa aa
gham de diya aa aa
dil le liya aa aa
gham de diya
bedardi
gham de diya

ho mujhe dil ki
banaa le jee malika
bharosa nahin pal ka
na waada karo kal ka
oy soniyaa aa aa
oye beliyaa

oye kudiye ni ??
?? dil churaawan

hoye sadqe
Hey munde
shahar ke gunde
baaz na aawan

ke rang dhingrang
ke rang dhingrang
ke rang dhingrang

ke rang dhingrang
ke rang dhingrang
ke rang dhingrang

haathhon mein haath
?? ke kangan
?? rang

balle balle balle balle
?? chunari rang birangi ke ho gaye ??
ab ??

ke rang dhingrang
ke rang dhingrang
ke rang dhingrang

ho gori
jab se chali gayi dhali ho hamko

ho balle balle
to humko dard judaai mili
?? kaun hamaara
ab chale na chaara
ke rang dhingraari
ke rang dhingraari
ke rang dhingraari
ke rang dhingraari

shehron mein se shahar anokha
shahar hai ek Ambaala
ho Ambaale ki ek sundari
rang thha uska kaala
punjaab ke chhaile ne ae ae
is Punjaab ke chhaile ne thha usko jaadoo daala
chala gaya wo tod ke dil ko
bholi soorat waala
ab kahaan jaayegi haan
pher baithh ke maala
ab kahaan jaaogi
pher baithh ke maala
ab kahaan jaaogi
pher baithh ke maala
ab kahaan jaaogi
aa hahahaha

sadak kinaare ek chhokra
khada thha najar jamaaye
Raaja ki ek ladki dekhi
dekh ke bola haaye
kehne laga dil khaali hai

aay haay
kehne laga dil khaali hai
koi ismein aaye
ik ladki ne khol ke joote
sar pe khoob jamaaye
ro ro bole wo

koi mujhe banchaaye
ro ro bole wo
koi mujhe bachaaye
ro ro bole wo
koi mujhe bachaaye
ro ro bole wo o
aahaa


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 :

4368 Post No. : 15697 Movie Count :

4327

Hindi songs in Bangla Films – 33
————————————–

Music Directors, Ravi (Ravi Shankar Sharma) and Hemant Kumar (Hemant Mukherjee or Hemant Mukhopadhyay as he is known in Bangla films industry) had an interesting and collaborative partnership in the 1950s. As revealed in his multiple TV interviews, Ravi came to Mumbai in 1950 to become a playback singer. He started as a chorus singer and his first song as a chorus singer was for zara jhoom le jawaani ka zamaana in ‘Naujawaan’ (1951).

Hemant Kumar got his first Hindi film assignment as a music director in Filmistan’s ‘Anand Math’ (1952) in which Ravi got a chance as a chorus singer for the song vande maataram. Hemant Kumar seems to have found Ravi as a knowledgeable and resourceful person having good command over Hindi and Urdu, the latter being the weak points for Hemant Kumar. So, he appointed Ravi as his Music Assistant. What I have gathered from the TV interviews is that Ravi had become Hemant Kumar’s man Friday. Whenever Hemant Kumar found some ‘musical resources gap’, it was Ravi who would step in to fill the gaps – be as a musician, lyricist and singer and apprising him of the nuances of Hindi and Urdu words in lyrics.

One of the best collaborative efforts of Hemant Kumar with Ravi as his Assistant Music Director was in ‘Naagin’ (1954). All the songs of the films were super hit and Hemant Kumar won Filmfare’s Best Music Director’s Award for the film. In one of the film’s songs, Hemant Kumar did not want to use the Been as an instrument but he wanted the sound of the Been. Ravi came forward to compose the Been music on Harmonium which was played on Clavioline (a keyboard music instrument) by Kalyanji to produce Been like sound. The Been music was created on the tune of mera dil ye pukaare aaja and used in mann doley mera tann doley. The songs with Been music became so famous that HMV came out with a gramophone record covering only the Been music for which Ravi was given credit for composing the Been music.

Hemant Kumar was very much inspired by an East Bengal folk song ‘Allah megh de paani de chhaaya de tui’ which was made very popular by S D Burman when he sang this song in Jodhpur Music Festival held sometime in mid-1940s. Hemant Kumar wanted to use this folk tune in one of the songs of ‘Naagin’ (1954). But Ravi did not want the song to sound like folk tune. So, he played a variation of the mukhda tune on his harmonium based on the folk tune which Hemant Kumar liked and incorporated in the song chhod de patang meri chhod de. Only listeners of Hindi film songs with keen ears could have made out that this song was based on a folk song referred to above. At least, I can say for myself that I did not realise this fact until Ravi himself had revealed this in one of his TV interviews, despite the fact that I was aware of allah megh de paani de used in ‘Guide’ (1965) by S D Burman and I also knew that it was partially used in de de pyaar de pyaar de pyaar de re by Bappi Lahiri.

One more instance where Ravi came as a filler for Hemant Kumar’s muscian was on the day of the recording of the song na ye chaand hoga na taare rahenge for ‘Shart’ (1954). The musician playing the Clavioline did not turn up for recording. Since it was the main instrument to be used for prelude and interludes, Hemant Kumar decided to cancel the recording. But Ravi stepped in and offer to play the Clavioline. Thus, the song recording was completed as per schedule with Ravi playing the Clavioline.

During his association with Hemant Kumar, Ravi also stepped in as one-song lyricist in ‘Bandish’ (1955), ‘Arab Ka Saudagar’ (1956), Hamaara Watan’ (1956) and ‘Bandi’ (1957). Ravi as an Assistant Music Director also sang under Hemant Kumar in ‘Daaku Ki Ladki’ (1954), ‘Bahu’ (1955), ‘Lagan’ (1955), ‘Arab Ka Saudagar’ (1956), ‘Laalten’ (1956) and ‘Yahudi Ki Ladki’ (1957).

Ravi worked with Hemant Kumar as Assistant Music Director in 22 films during 1954-57 which included ‘Shart’ (1954), ‘Jaagriti’ (1954), ‘Naagin’ (1954), ‘Bahu’ (1955), ‘Bandish’ (1955), ‘Inspector’ (1956), ‘Ek Hi Raasta’ (1956), ‘Durgesh Nadini’ (1956), ‘Yahudi Ki Ladki’ (1957), ‘Ek Jhalak’ (1957), ‘Champakali’ (1957) etc. During this period, Ravi also got assignments as an independent music director in ‘Vachan’ (1955). ‘Albeli’ (1955), ‘Prabhu Ki Maya’ (1955), ‘Ayodhyapati’ (1956), ‘Ek Saal’ (1957) and ‘Narsi Bhagat’ (1957).

The association of Hemant Kumar and Ravi ended sometime in 1957, when the former advised Ravi to look for independent assignments as a music director. Hemant Kumar he felt that working with him as Assistant Music Director for a long time would restrict his musical career. Though Ravi was not keen to leave his association with Hemant Kumar, he saw logic in his mentor’s advice and parted his fruitful association with him. However, Ravi did not have to struggle to get his independent assignments as three of the production banners – Devendra Goel, S D Narang and Nadiadwala with whom he had worked as Assistant Music Director for Hemant Kumar, engaged him as music director for their films. After the success of his music in ‘Chaudhvin Ka Chaand’ (1960), Ravi never looked back in his musical journey. Before and after parting of their association, as per my counting, Hemant Kumar sang least 22 songs under the music direction of Ravi.

Hemant Kumar and Ravi also collaborated in a Bangla movie, ‘Shesh Parichaya’ (1957), where Ravi was associated as a lyricist for two Hindi songs in the film. These two songs are ‘chal aisi jagah ae dil’ and ‘jhoom jhoom kar gaa le’, both rendered by Lata Mangeshkar. Unfortunately, the film is not available for viewing online on any of the video sharing platforms. I do not have any idea about the story of the film. Whether the film ‘Shesh Parichaya’ (1957) has any connection with a novella of the same title written by Sharatchandra Chattopadhyay is difficult to guess. The only available information on-line is that the film was directed by Sushil Majumdar and Basanta Chaudhury, Sabitri Chatterjee and Chhabi Biswas acted in the film. Hemant Kumar was the music director.

I am presenting first of the two Hindi songs from “Shesh Paricay”, viz. ‘chal aisi jagah le chal’ sung by Lata Mangeshkar. The song reminds me of chali jaa chali jaa chali jaa from ‘Ham Log’ (1951).

Audio Clip:

Song-Chal aisi jagah ae dil (Shesh Parichay)((Bangla)(1957) Singer-Lata, Ravi, MD-Hemant Kumar

Lyrics

chal aisi jagah ae dil
jahaan zulm-o-sitam na ho
jahaan chain miley tujhko
chal aisi jagah ae dil
jahaan zulm-o-sitam na ho
jahaan chain miley tujhko
chal aisi jagah ae dil

bedard hai zamaana
tera saath kaun dega
tere gham ki daastaan ko…o
koi nahin sunega
bedard hai zamaana
tera saath kaun dega
tere gham ki daastaan ko..o
koi nahin sunega
seene mein daba le tu
iss gham ke fasaane ko
kehna na zamaane ko
chal aisi jagah ae dil

duniya ne aaj tujhse
badlin hai jab nighaahen
tu bhi zara badal de ae
ye zindagi ki raahen
duniya ne aaj tujhse
badlin hain jab nighaahen
tu bhi zara badal de ae
ye zindagi ki raahen
taqdeer bani dushman
jab tere mitaane ko
ghar tera jalaane ko
chal aisi jagah ae dil
jahaan zulm-o-sitam na ho
jahaan chain miley tujhko
chal aisi jagah ae dil


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 :

4345 Post No. : 15652

“Shyam Ki Jogan”(1957) was produced by K Bakshi and directed by S P Kalla for K B Films, Bombay. This obscure devotional movie had Shahu Modak, Sulochana, B M Vyas, Kamal Mehra, Kammo, Ratnamala, ramesh Sinha, Jagdev, C S Dubey, Mehru, Baby Lata, Jeewan Kala, Funny Walker, Praveen, Maruti etc in it.

The movie had eight songs in it.

Two songs from the movie have been discussed in the past. Here is the third song from “Shyam Ki Jogan”(1957) to appear in the blog. This song is sung by Geeta Dutt. S P Kalla is the lyricist. Music is composed by Narayan Dutt.

Only the audio of this song is available which sounds like a Meera bhajan (though S P Kalla is credited for the lyrics). I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Main to prem deewaani ho gayi re(Shyaam Ki Jogan)(1957) Singer-Geeta Dutt, Lyrics-S P Kalla, MD-Narayan Dutt

Lyrics

main to prem deewaani ho gayi re ae
mujhe duniya se kya kaam re ae
mera shyaam ki jogan naam
main to prem deewaani ho gayi re ae
mujhe duniya se kya kaam re ae
mera shyaam ki jogan naam

man panchhi ki ghaayal paankhen
man panchhi ki ghaayal paankhen
janam janam ki pyaasi aankhen
dhoondh rahi ghanshyaam se
mera shyaam ki jogan naam
main to prem deewaani ho gayi re ae
mujhe duniya se kya kaam re ae
mera shyaam ki jogan naam

saans ke taar mein bas gaya sai
saans ke taar mein bas gaya sai
amar milan ki jyot jagaayi
alakh japoon yahi kaam re
mera shyaam ki jogan naam
main to prem deewaani ho gayi re ae
mujhe duniya se kya kaam re ae
mera shyaam ki jogan naam re ae
mera shyaam ki jogan naam re ae
mera shyaam ki jogan naam


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?:

4307 Post No. : 15579

“Paataal Pari”(1957) was produced by Bakht Bahadur Singh and directed by S P Bakshi for Sardar Pictures, Bombay. This fantasy movie had Shakila, Jairaj, Tiwari, Kumkum, Ramesh Thakur, Yashodhar Katju, Mohinder, Habeeb, Ramkumar, Zippy, Uma Dutt, H Prakash, Gulnaar, Khairaati, Sheikh etc alongwith guest artists Shree Mohan, Heera Sawant and Indra.

The movie had eight songs in it. Three songs have been covered in the past.

Here is the fourth song from the movie to appear in the blog. This song is sung by Sudha Malhotra and chorus. Lyricist is S B Bakshi, the director of the movie ! Music is composed by S Mohinder.

Only the audio of this song is available. It sounds like a dance song in a raj darbaar. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Bach jaa nazar ke teer se (Paataal Pari)(1957) Singer-Sudha Malhotra, Lyrics-S P Bakshi, MD-S Mohinder
Chorus

Lyrics

Bach jaa nazar ke teer se
abroo ki shamsheer se
bigdi bana tadbeer se
lad le zara taqdeer se
Bach jaa nazar ke teer se
abroo ki shamsheer se
bigdi bana tadbeer se
lad le zara taqdeer se
Bach jaa nazar ke teer se
abroo ki shamsheer se

kadam kadam par laakh balaayen
khadi hain rasta roke
kadam kadam par laakh balaayen
khadi hain rasta roke

khushi ke badle gham milte hain
pyaar ke badle dhokhe
khushi ke badle gham milte hain
pyaar ke badle dhokhe

dar na is dilgeer(??) se
zulfon ki zanjeer se
Bach jaa nazar ke teer se
abroo ki shamsheer se
bigdi bana tadbeer se
lad le zara taqdeer se
Bach jaa nazar ke teer se
abroo ki shamsheer se

dekh kahin chhalke na teri zindagi ka paimaana
dekh kahin chhalke na teri zindagi ka paimaana
khulti hai kismat ki dori
jaldi se bandh jaana
khulti hai kismat ki dori
jaldi se bandh jaana

bhaag jaa is zanjeer se
door kahin tadbeer se
Bach jaa nazar ke teer se
abroo ki shamsheer se
bigdi bana tadbeer se
lad le zara taqdeer se
Bach jaa nazar ke teer se
abroo ki shamsheer se


This article is written by Sadanand Kamath, 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 :

4299 Post No. : 15559

———————————–
Hindi Songs in Bangla Films – 25
———————————–

The personality I am going to persent in this article is one of the greatest exponents of Hindustani classical music. He has been often referred to as the ‘Tansen of the 20th Century’. He is also credited with creating an unique style of rendition with shorter ‘aalaaps’ and ‘vilambit’ (slow), greater emphasis on ‘taans’ and ‘sargams’ much against the likings of purists among the Hindustani classical vocalists. He did these improvisations to make his presentation interesting to his audience. This style of renditions was later to become an integral part of Kasur-Patiala Gharana for the nextgen vocalists. He is none other than Padma Bhushan Ustad Bade Ghulam Ali Khan whose 52nd Remembrance Day falls today, the April 25th.

Ustad Bade Ghulam Ali Khan (02/04/1902 – 25/04/1968) was born in Kasur, Punjab (now in Pakistan) in the family of three generations of singers. I had discussed in detail the profile of Khan Saheb in my article “Prem Jogan Ban Ke”. So, I will skip that part. During the intervening period, I have come across some interesting information especially from the writings of Professor BR Deodhar and GN Joshi, both Hindustani classical singers and musicologists. GN Joshi was also associated with HMV for a long time in popularising the classical and semi-classical music. Both of them were the close friends of Khan Saheb.

Khan Saheb started his training as a vocalist in Khayal singing. But it was his unique way of singing Thumris that enthralled his audience. Thumri as one of the forms of semi-classical singing was on the declining trajectory after the Indian mutiny in 1857 and the consequential decline of aristocracy which used to patronise the Hindustani classical musicians and singers. It was Khan Saheb who revived the Thumri form of semi-classical singing and made popular among the masses by improvising his presentation which sometime defied the traditional form of rendition.

Professor BR Deodhar has described an incident in one of his articles which appeared in 1949. He pointed out to Khan Saheb as to why his recitals left in a state of unfulfillment for purist like him. Without giving him reply to his query, Khan Saheb invited him to attend one of his forthcoming concerts to get the answer. In that concert, Khan Saheb sang Raag Darbari Kanhra in a traditional format. After the end of the concert, Professor Deodhar was very pleased and asked him as to why he was not singing the way he sang in the concert. Khan Saheb’s reply was that not all the audience were musically intelligent like him. A majority of audience who have only the basic knowledge of Hindustani classical music would like some kind of sensation and ‘harkat’ in presentations. Otherwise they would think that I am a sickly person.

The above incidence shows how Khan Saheb was adaptable to the audience’s interest. His singing was always a two-way interaction between him and the audience. That was the reason that when he gave concerts in halls, he would not allow the switching off lights in the area where the audience sit. He felt that by seeing the faces of the audience, he would be inspired to give his best performance.

According to Professor BR Deodhar, Khan Saheb was always immersed in music. He will always have with him his Swarmandal (Indian Harp), be at home or outside because he would get inspirations to sing from anything around him. He quoted an incidence which happened sometime in late 1940s when both of them were coming out of All India Radio, Mumbai. It was a rainy season and they were walking on Marine Drive to reach their homes. The high waves from Arabian Sea were hitting the sea wall of Marine Drive. It soon started raining. Khan Saheb was so much enchanted by the whole atmosphere that he sat on the sea wall and started singing Raag Megh Malhar. Professor Deodhar noted that Khan Saheb’s taans would reach in high octave to synchronise with the noisy rising sea waves hitting the sea wall. he would sing taans in lower octave to synchronise with the less noisy receding waves in the sea. He sang for nearly 45 minutes drenched in heavy rains and in the splash of the waves until his son forcibly took him away to the home.

Khan Saheb was active as a Hindustani classical vocalist from 1936 when he gave his first public performance in Calcutta (now Kolkata) to almost until his death in 1968. However, in terms of discography, very small fractions of his renditions are available in recorded format. The reason was that at the initial stage of his singing career, by and large, he avoided recording of his performances both for All India Radio and for the gramophone record companies. Generally, Khan Saheb would not say ‘no’ for recording of his singing but he would give excuses at the last moment for his inability to record the singing. Sometime in the middle of 1940s, he revealed that he was afraid of recording his singing as he felt that the quality of his voice would be severally affected by the electric wires of the recording equipment.

It was with great patience that music lovers like GN Joshi of HMV could persuade Khan Saheb to record his songs. Hence, in the initial period, his singing was recorded for 78 RPM records of about 3 minutes of duration because Khan Saheb felt that the shorter duration would not affect the quality of his voice. By 1960s, Khan Saheb had completely come out of his misgiving about the recording and had started recording the longer duration of his singing for All India Radio and the gramophone recording companies.

According to Ustad Raza Ali Khan, the grandson of Khan Saheb, contrary to general belief, Khan Saheb was not averse to singing in films. In 1944, Khan Saheb’s younger brother, Ustad Barkat Ali Khan had sung in films ( I checked and found a song in the film ‘Shukriya’,1944). Probably, at that time, Khan Saheb may have also got interested in singing in films. He had shown his desire to sing in the film to RC Boral, the music director for New Theatres. At that time, RC Boral had told Khan Saheb that it was below his dignity to sing in films when he had such a high stature as a Hindustani classical vocalist. This statement made him not to sing for any films in future (Source: The Times of India, April 02, 2020). The only exception he made was when Khan Saheb had to sing two songs in K Asif’s ‘Mughal e Azam’ (1960) against his wish. Despite quoting an astronomical fee of Rs.25000/- per song as a way of discouraging him from singing in the film, K Asif accepted his demand.

Since 1948, Khan Saheb had spent most of his life in India by renewing his visa during which time, he was on concert tours mainly to Bombay (now Mumbai), Calcutta (Kolkata), Hyderabad, Lucknow Delhi etc. After getting Indian Citizenship in 1957, Khan Saheb was staying in a Bungalow in Malabar Hill in Mumbai. In 1961, he had a paralysis attack which prevented him from singing for some time. He made a good recovery from paralysis and had started singing in concerts with the vocal supports from his son, Ustad Munawwar Ali Khan. In 1963, he shifted his base to Hyderabad and stayed in Basheer Baug Palace. Khan Saheb left for the heavenly abode on April 25, 1968 after a prolong illness arising out of the paralysis attack in 1961.

As a tribute to Ustad Bade Ghulam Ali Khan on his 52nd Remembrance Day, I have chosen one of his most popular thumris which was first recorded in 1948 though he had started singing this thumri much earlier in his concerts and on All India Radio. I am referring to his thumri “Aaye Na Baalam Ka Karoon Sajni” which he has rendered in Raag Sindh Bhairavi. It is a surprise discovery for me that Khan Saheb had rendered this thumri as a playback singer for the actor Basanta Chowdhury in Bangla film ‘Basanta Bahar’ (1957).

I was under the impression that Khan Saheb has rendered only two film songs in his life time – “Prem Jogan Ban Ke” and “Shubh Din Aayo Raaj Dulaara” in ‘Mughal-E-Azam’ (1960). How come Khan Saheb sang, “Ka Karoon Sajni. . .” in Bangla film, ‘Basanta Bahar’ (1957), that too as a playback singer ? Unfortunately, I did not find the record version of this thumri from the film other than what Khan Saheb recorded it as a non-film thumri sometime in 1948 (Record No. VE.5052), the audio clip of which I have also attached for the sake of comparison.

It is said that the bandish of the thumri under discussion and also another popular thumri, “Yaad Piya Ki Aaye” were written and composed by Khan Saheb after the untimely demise of his wife Ali Jiwai in 1932. These thumris are called the classical thumris of longing. Many stalwart vocalists of Hindustani classical music have rendered beautifully these two thumris – both within the Patiala Gharana as also from other Gharanas. But for me, Khan Saheb still rules in these two thumris.

Video Clip: (Film sound track)

Audio Clip: (Non-film thumri)

Song – Kaa karoon sajni aaye na baalam (Basanta Bahaar) (Bangla )(1957) Singer – Ustaand Bade Ghulam Ali Khan, MD – Pt Jnan Prasad Ghosh

Lyrics: (Based on Video Clip)

aaaaaaaaaaaaaa
aaa aaa aaa aaa
aaaa aaaa aaaa aaaa
aaye na baalam
ka karoon sajni ee
aaye na baalam
aaye na baalam
baalam
aaye na baalam
tadpat beeti mori
aaa aaa aaaa aa
tadpat beeti mori
un bin ratiyaan aan aan aan
aaye na baalam
baalam

rowat rowat kal naahin aaye ae ae
nis din mohe birahaa sataaye
yaad aawat jab unki batiyaan aan aan aan
aaye na baalam
aaye…na aa aa …baalam
pa
ga ma ga pa
ma dha ma dha pa
pa ga ma pa
sa ni ni da pa ni
ni da pa ma ga pa
ga ma pa ma ga ma ni da sa
aaye na baalam
baa..lam
baa……la…….m
aaye ae ae……naa…baalam re
ae ae ae
baalam re
aaye na baalam
ka karoon sajni
sajni
aaye na baalam
aaaaaaaaaaaa
baalam
aaye na ba..
baa…….la….m…….aa aa aam
aaye na baalam
tadpat
dh re ma sa re ma
ma ga pa
ga ma pa
tadapt beeti mori
un bin ratiyaan aan aan
aaye na baalam
aaye na.. baalam ma aa
baa..la..m
aa aa aa aa
baa..lam
aaye na baa..la..m
ka karoon sajni ee
aaye na baalam re..

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

आssssssssss
आs आs आs आs
आsss आsss आsss आsss
आए ना बालम
का करूँ सजनी॰ ॰ ॰
आए ना बालम
आए ना बालम
बालम
आए ना बालम
तड़पत बीती मोरी
आsss आsss आsss आsss
तड़पत बीती मोरी
उन बिन रतियाँ॰ ॰ ॰
आए ना बालम
बालम

रोवत रोवत कल नहीं आये॰ ॰ ॰
निस दिन मोहे बिरहा सताये
याद आवत॰ ॰ ॰ जब उनकी बतियाँ॰ ॰ ॰
आए ना बालम
आए॰ ॰ ॰  ना॰ ॰ ॰  बालम


ग म ग प
म ध म ध प
प ग म प
स नी नी ध प नी
नी ध प म ग प
ग म प म ग म नी ध स
आए ना बालम
बा॰॰लम
बा॰॰ ॰॰ल॰॰ ॰॰म
आए॰ ॰ ॰ ना॰ ॰ ॰ बालम रे
ए ए ए
बालम रे
आए ना बालम
का करूँ सजनी
सजनी
आए ना
आssssssssss
बालम
आए ना बा॰ ॰ ॰
बा॰॰ ॰॰ल॰॰ ॰॰म॰ ॰ ॰ आ आ आ म
आए ना बालम
तड़पत
ध रे म स रे म
म ग प
ग म प
तड़पत बीती मोरी
उन बिन रतियाँ॰ ॰ ॰
आए ना बालम
आए ना॰ ॰ ॰ बालम॰॰म॰॰म
बा॰॰ल॰॰म
आ आ आ आ
बा॰॰लम
आए ना बा॰॰ल॰॰म
का करूँ सजनी॰ ॰ ॰
आए ना बालम रे

 


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 :

4279 Post No. : 15517

“Janam Janam Ke Phere”(1957) was produced by Subhash Desai and directed by Samar Chatterjee for Mukti Films, Bombay. This mythological movie had Manhar Desai Nirupa Roy, B M Vyas, Krishnakumari, S N tripathi, Amar, Pandey, Amirbai Karnataki, Satish Vyas, Malay Sarkar, Kanta Kumari, Champaklal, Santosh Kunwar etc with guest appearance by Mahipal.

The movi had nine songs in it. Five of these songs have been covered in the past.

Here is the sixth song from “Janam Janam Ke Phere”(1957) to appear in the blog. This song is sung by Shamshad Begam, Rafi and chorus. Bharat Vyas is the lyricist. Music is composed by S N Tripathi.

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


Song-Aayi mohan milan ki bela (Janam Janam ke Phere)(1957) Singers-Shamshad Begam, Rafi, Lyrics-Bharat Vyas, MD-S N Tripathi
Chorus

Lyrics

aayi mohan milan ki bela
laaga madhuban mein kaisa mela
ho o raadha bhi naache mohan bhi naache
naache re gaanv albela

aayi mohan milan ki bela
laaga madhuban mein kaisa mela
ho raadha bhi naache mohan bhi naache
naache re gaanv albela
aayi mohan milan ki bela

koi bajaaye jhaanjh jhamaajham
koi bajaaye jhanjh jhamaajham
koi bajaaye manjeere
koi bajaaye jhaanjh jhaamajham
koi bajaaye manjeere

raadha ji ke pag mein jhaajhar jhamak rahi dheere dheere
jhamak rahi dheere dheere
ho jhamak rahi dheere dheere

ho raadha hai naazuk jaise chameli
mohan hai jaise bela
aayi mohan milan ki bela
aayi mohan milan ki bela
laaga madhuban mein kaisa mela
ho raadha bhi naache mohan bhi naache
naache re gaanv albela
aayi mohan milan ki bela

baaj rahi hai gwaaliniyon ki paayaliya re chhoom chhanan
paayaliya re chhoom chhanan
ho paayaliya re chhoom chhanan

ho baaj rahi hai gwaaliniyon ki paayaliya re chhoom chhanan
upar chamke chaand poonam ka, neeche nache vrindawan
neeche nache vrindawan
ho neeche naache vrindawan

ho bansi ke vat pe kalindi tat pe, laaga hai kaisa jhamela
aayi mohan milan ki bela
aayi mohan milan ki bela
laaga madhuban mein kaisa mela
ho raadha bhi naache mohan bhi naache
naache re gaanv albela
aayi mohan milan ki bela


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 : 4254 Post No. : 15474

“Aadhi Roti” (1957) was produced by Amritlal Gandhi and Vallabk Choksi and directed by Chandrakant for Gandhi and Choksi, Bombay. the “social” movie had Bhagwan, Sulochana, Ulhas, Prem Adib, Kumud Tripathi, Manorama, Al Nasir, Bima Kumari, Master Dabboo, Roop Kumar (Daisy Irani), Ratnamala, Rajan Haksar, Radheshyam, Amirbai Karnataki, Baby Akhtar, Mehrunnissa, Bagla, R S Dubey, Champak Lala, Rajesh Sharma, Shrawan Kumar, Uma Khosla, Shakuntala etc in it.

The movie had eight songs in it. Two songs have been covered in the past.

Here is the third song from “Aadhi Roti” (1957) to appear in the blog. the song is sung by Geeta Dutt. Bharat Vyas is the lyricist. Music is composed by Avinash Vyas.

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

HFGK informs us that this song is part I of a three part song in the movie.


Song-Soja re soja mere laal soja (Aadhi Roti)(1957) Singer-Geeta Dutt, Lyrics-Bharat Vyas, MD-Avinash Vyas

Lyrics

soja re
soja mere laal soja
nindiya ki nagri mein kho ja
mere laal
kho ja
soja re
soja mere laal soja

soya hai gagan
soya hai pawan
soya hai gagan
soya hai pawan
tu bhi so jaa o nirdhan ke dhan
soja
soja re
soja mere laal soja

na koi resham jhool jhulaaye
na koi pankha dulaaye
soja kanhaiya
tujhko teri
maiyya ki mamta sulaaye
soja re
soja mere laal soja

tu jo soye
sang sang tere
soyenge dukhde hamaare
apne dulaare ke mohan mukhde pe
waaroon main lakh lakh taare
soja re
soja mere laal soja


This article is written by Sadanand Kamath, 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 :

4221 Post No. : 15424 Movie Count :

4251

Hindi songs from Bangla Films – 16
—————————————————-
‘Basanta Bahaar’ (1957) was a Bangla film directed by Bikas Roy who also acted in the film. The main cast consisted of Basanta Chowdhury, Sabtri Chatterjee, Pahadi Sanyal, Sunanda Devi, Bikash Roy, Aparna Devi, Asha Devi, Nitish Mukherjee etc. The music was composed by Pandit Jnan Prakash Ghosh who had in the 1940s also composed songs for two Hindi films, ‘Paraaya Dhan’ (1943) and ‘Muzrim’ (1944).

When I first came to know about this Bangla film, I assumed that this may be a remake of Hindi film ‘Basant Bahaar’ (1956). After watching the Bangla film, I realised that except the common theme of Hindustani classical music, the story of both Hindi and Bangla films are quite different.

In Hindi version of the film, the story is about a rivalry between two singers to become the royal court musician by way of competition. When it became apparent that Bharat Bhushan has the best chance of a winning singer, his rival singer’s father gives him a glass of holy water with some substance which ruins his voice. It is the dancer (Nimmi) who helps him to regain his voice and wins the competition to become the royal court musician.

In Bangla version of the film, after watching the film (unfortunately, the film is not available with English sub-titles), my understanding of the story is that there is a cold war going on between the teacher, Munni Bai (I am not able to recognise the actress) and her disciple Jayanto (Basanta Chowdhury). This cold war is accentuated by the disciple falling in love with Munnibai’s daughter, Lata (Sabitri Chatterjee) who is also her mother’s disciple. The relationship is resented by Munnibai as also from Jayanto’s family because of the different background. Both Jayanto and Lata secretly get married in a temple.

While Lata’s father (Pahadi Sanyal) who is also a sarangi player for Munnibai in her concerts, is sympathetic towards his daughter’s relationship with Jayanto, he is not vocal about his stand in front of Munnibai. As a result, Lata is forced to stay separetely with her parents, In desperation, Jayanto leaves the place and wanders all over India.

In the meanwhile, Munnibai repents and decided to leave for Kashi where she dies. Lata’s father takes care of her musical training as a vocalist. In her maiden public concert, she fumbles her lines to be timely prompted by a person from the audience who is none other than Jayanto. They are united. The film ends with their daughter rehearsing a bandish in Raag Basant Bahar with which both Lata and Jayanto were also trained. They are happy with their daughter’s performance.

Two important features of the film are the use of songs in Hindustani classical music and a part song in Tamil in Carnatic music along with an excellent 5-minute kathak dance performance by Roshan Kumari (daughter of playback singer, Zohrabai Ambalewaali).

‘Basanta Bahaar’ (1957, Bangla film) had 14 songs (including multiple versions) of which 7 were in Hindi (Hindustani classical vocals) in different raags. However, only 9 songs in record versions were issued (7 Bengali songs +2 Hindi songs). Rest of the songs were available on the film’s sound track only.

I am presenting from the film a traditional bandish, ‘naveli kali khilan ab aayi ban ban mein’ in Raag Basant Bahar rendered as a Chhota Khayal by Hirabai Barodekar. The song is picturised on an actress in the role of Munnibai in a Hindustani classical music conference. It has two more version rendered in the film – first by Manik Varma for Sabitri Chatterjee as a solo while she is rehearsing and second by Manik Varma and Pandit A T Kanan as duet providing vocals for Sabitri Chatterjee and Basanta Chowdhury on the screen. The record version of this duet is longer as alaaps, taan, bol-baant and sargam are incorporated. However, the bandish bol (lyrics) are the same for all the four versions. Hence, I have given below lyrics for Hirabai Barodekar version of the song only.

It is interesting to note that all the singers of this Bandish belong to Kirana Gharana or had an influence of this Gharana. Hirabai Barodekar, apart from the daughter of Ustad Abdul Karim Khan, the doyen of Kirana Gharana has been the disciple of Ustad Abdul Wahid Khan and Suresh Babu Mane, both of Kirana Gharana. Manik Varma (nee Dadarkar) was the disciple of Hirabai Barodekar. Pandit A T Kanan’s style of singing was influenced by Ustad Amir Khan who first adopted the Kirana Gharana style and later improvised it to be called the Indore Gharana.

By the way, I was always wondering for a long time as to how Hirabai started using the surname as ‘Barodekar’. She could have used her mother’s surname ‘Mane’ after separation of her mother from her father, Ustad Abdul Karim Khan in 1922 or her husband’s surname ‘Gandhi’. In this context, I recently came across a trivia mentioned in the book ‘The Lost World of Hindustani Music’ (2006) by Kumar Prasad Mukherjee.

After eloping with Tarabai Mane, the daughter of Sardar Marutirao Mane who was the brother-in-law of the then Maharaja of Baroda, Ustad Abdul Karim Khan never visited Baroda again. After some years, Sayajirao Gaekwad, the Maharaja of Baroda visited Mysore to witness Dussera festival. There, he met Ustad Abdul Karim Khan and enquired about his family. Ustad while asking for His Highness’s forgiveness said that it was his destiny which took him away from the magnanimous patronage of Maharaja of Baroda. He revealed to Maharaja that as part of his gratitude to Baroda, he attached ‘Barodekar’ to the names of all his children.

But only Champu (Hirabai) used the surname ‘Barodekar’ till her last.

Video Clip(Hirabai Barodekar version)

Video Clip(Manik Verma solo version)

Video Clip (Partial)(Manik Verma and Pandit A T Kanan)

Audio Clip (Full)(Manik Verma and Pandit A T Kanan)

Song-Naveli kali khilan ab laagi ban ban mein(Basanta Bahaar)(Bangla)(1957) Singer- Hirabai Barodkar/ Manik Verma/ Manik Verma, Pt A T Kanan, MD-Pandit Jnan Prakash Ghosh

Lyrics (Based on Hirabai Barodekar version)

aaaa aaa aa aaaa aaa
aa aa aa aaaaaa aaaa
aaa aaa aaa aaaaa aaa
aaa aaa aaa aaaaa aaa
aa aa aaaaa
naveli kali…ee ee ee
naveli kali
khilan ab laagi ban ban mein
madmaati daar daar
baar baar koyal boli
naveli kali
naveli kali……ee ee ee ee
aa aa aa aa aa
aaaaaaaaaaaa
aa aa aa aa aaa
aaaaaaaa aaaa
aa aa aa aa aa aaa
aaaaaa aa aaaaaa aa
naveli kali
khilan ab laagi ban ban mein
madmaati daar daar
baar baar koyal boli
naveli kali

aaaaaaaa
aayi bahaar sab ke mann bhaayi
aayi bahaar sab ke mann bhaayi…eeeeee
aa aa aaaaa na aa
aaa aaa aaa aaa aaa aa na
aa ah aa ah ha ha ha ah
aaaaaaaaaa aaaa aaaa aa aa haa
aayi bahaar sab ke mann bhaayi
lagan jagaayi prem badhaayi
lagan jagaayi prem badhaayi
sabhi rang mein kunj gali
aaaaaaaaaaaaa
aaaaaaaaaaaaa aa
naveli kali
aaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaa
naveli kali
aaa aaa aa aaa aaa aa
aaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaa
naveli kali….ee…eeee
naveli kali
naveli kali
naveli kali


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 : 4211 Post No. : 15411

“Do Roti”(1957) was produced and directed by Ismail Memon for Ismail Films, Bombay. This movie had Nirupa Roy and Balraj Sahni in lead roles, along with Johny Walker, Nazeer Hussain, Mishra, Manju, Minu Mumtaz, Nana Palsikar, Kanhaiya Lal, Mehmood, Shakuntala devi, Arvind Kumar, Kamal Mohan, Sagar, Nalini Chonkar, Kusum, Chetan Kumar, Mumtaz, G Kallan, Mohan Sandow, Aziz Siddiqui, Omkar, Baby Sultana, Master Raju etc in it.

The movie had eight songs in it. Seven songs from this movie have been discussed in the past. Here is the breakup of the songs from the movie that have been covered so far:
 

Song Movie Year Sono Post number Post date
Kaali badariya maare najariya Do Roti 1957 2359 20-Mar-2010
Badi pyaari kahaani hai muhabbat ki kahaani bhi Do Roti 1957 2363 27-Mar-2010
Ghir ke barsen ye ghataayen to mazaa aa jaaye Do Roti 1957 6690 21-Sep-2012
Aise bhi hain peene waale jo Do Roti 1957 7612 6-Mar-2013
Ashqon ki kahaani kya kahiye Do Roti 1957 7703 18-Mar-2013
Sun lo patey ki baat Do Roti 1957 12228 18-Jul-2016
Gham ki hui haar lo jeet gaya pyaar Do Roti 1957 15389 26-May-2019

Here is the eighth and final song from “Do Roti”(1957) to appear in the blog. This song is sung by Lata. Khumar Barabankwi is the lyricist. Music is composed by Roshan.

Only the audio of the song is available. Based on the picturisation of other Lata songs from the movie, it can be safely assumed that this song is opicturised on Nirupa Roy.

With this sweet and hummable song, all the songs of “Do Roti”(1957) are covered in the blog and the movie joins the list of movies that have been YIPPEED in the blog.


Song-Tumhen jo pyaar kiya..tumhre kaaran hamaar jiya jaaye re (Do Roti)(1957) Singer-Lata, Lyrics-Khumar Barabankwi, MD-Roshan

Lyrics

aaa aa aa aa
aa aa aa
tumhen jo pyaar kiya
aa aa aa
tumhen jo pyaar kiya
hamne kya aa aa gunaah kiya aa
ye kis kusoor se tumne hamen tabaah kiya haan aan
tumhre kaaran
tumhre kaaran hamaar jiya jaaye re
tumhre kaaran
tumhre kaaran hamaar jiya jaaye re
tumhre kaaran
ho tumhre kaaran hamaar jiya jaaye re
tumhre kaaran hamaar jiya jaaye re

tumhaare ishq mein jeena hamen mohaal hua
aa aa aa
tumhare ishq me jeena hamen mohaal hua
aa aa
hamara aur papeehe ka ek haal hua
tumhre kaaran
tumhre kaaran hamaar jiya jaaye re
tumhre kaaran
tumhre kaaran hamaar jiya jaaye re
tumhre kaaran
ho tumhre kaaran hamaar jiya jaaye re
tumhre kaaran hamaar jiya jaaye re

jaan de ham tumko bedarda
aa aa aa
tum ho bade beimaan aa aa aa aa
de do hamaara dil hamen vaapas
aeji hoga aa bada ehsaan haan haan
ki tumhre karan
tumhre kaaran hamaar jiya jaaye re
tumhre kaaran
tumhre kaaran
tumhre kaaran
tumhre kaaran hamaar jiya jaaye re
jiya jaaye re
tumhre kaaran hamaar jiya jaaye re
tumhre kaaran hamaar jiya jaaye re
jiya jaaye re

tumhre kaaran hamaar jiya jaaye re
tumhre kaaran hamaar jiya jaaye re


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 :

4211 Post No. : 14410 Movie Count :

4246

Hindi Songs in Bangla Films: 15
—————————————————

Recently, while browsing through the internet, I came across an old article, Gems that never got their due, published in the ‘Times of India’. The article lists 8 critically acclaimed Bangla films which have been forgotten mainly due to their commercial failures. Of the 8 such films, one film to which I got interested because of its unusual title was ‘Antariksha’ (1957) directed by Rajen Tarafdar. Luckily, the film was available for viewing on a video sharing platform with English sub-titles. Probably, after restoration, this film may have been shown in one or more of some international film festivals.

My awareness about the Bangla film personalities have been limited to those who had also been associated with Hindi films. Ranjen Tarafdar, the director of ‘Antariksha’ (1957) was a new name for me. A statement by the writer of the article referred to above that “Rajen Tarafdar was of the same school of thought as Satyajit Ray. He was a painter himself and would sketch each shot division before starting to shoot. ….” prompted me to know more about him. This took me to another article, Tale of a forgotten director which appeared in ‘The Statesman’ on the occasion of his birth centenary in July 2017.

Like Satyajit Ray, Rajan Tarafdar (07/06/1917 – 23/11/1987) got associated with the Bangla films with the background of working in an advertising company in Calcutta (Kolkata). A graduate from Government College of Arts and Crafts, Kolkata, Tarafdar joined an advertising company as a Graphic designer where he worked up to 1958. His debut film which he directed apart from writing dialogues and screen play was ‘Antariksha’ (1957). It is said that his style of working and uncompromising nature did not suit the Bangla film producers. Hence, during his 3 decades of association with Bangla films, he directed only 7 Bangla films – 6 between 1957-75 and the last one in 1987. He also acted in 4 films of which 2 were Hindi films – ‘Arohan’ (1983) by Shyam Benegal and ‘Khandhar’ (1984) by Mrinal Sen.

‘Ganga’ (1960) was Rajen Tarafdar’s second Bangla film which won a Certificate of Merit in National Film Awards, 1960. ‘Palanka’ (1975), his 6th film won the Best Feature Film in Bengali at National Film Awards, 1975. The reason as to why Rajen Tarafdar has been forgotten is that most of his films were not available for viewing. It is mainly during the last couple of years, his films were restored and now available for viewing on the video sharing platforms.

As mentioned earlier, ‘Antariksha’ (Space, 1957) was Rajen Tarafdar’s debut film which he made mostly with new actors except some character actors. The star cast included Chhabi Biswas, Kajal Gupta, Prabir Kumar, Dinen Gupta, Premangshu Bose, Padma Devi, Kalipada Chakraborty, Kamala Adhikari, Sandhya Roy etc.

The film’s story is weaved around Raja Babu (Chhabi Biswas), a landlord in a rural Bengal who is stubborn, dictatorial and egoist as expected in a feudal system that was prevalent in those days. As against this, one of his employees, Jayanta is honest and a sincere worker who has been brought up by the landlord as his own son. Hence, he has the liberty to discuss with the landlord without any hesitation. For instance, he suggests to landlord to give donation to a rural school. But the landlord disagrees. Jayanta tells him that as a landlord, he has also a duty to safeguard the interest of his subjects.

Jayanta likes Bani (Kajal Gupta), the daughter of a priest of a local temple and has the intention to marry her. He conveys his wish to the priest who agrees after some hesitation. The landlord after his wife convinces him, agrees to the proposal. The landlord takes care of all the marriage expenses. He even arranges for a courtesan to sing for his guests during the marriage functions.

However, soon after the marriage, a mystery breaks out when an unknown person visits his house and tells him that he is Gagan Ganguly, the husband of Bani. He also says that as a proof, he is in possession of a letter which mentions that Bani was married to him when she was 7 years of age. The fact is that Bani was indeed married to one Gagan Ganguly in her childhood. But he went missing immediately after the marriage with the dowry amount and jewelries. Since he was never found, he was presumed dead. Now the unknown person impersonating as Gagan Ganguly wants to blackmail Jayanta by making the letter public if he does not pay him Rs.25000/-. He had gotten hold of the crucial letter written by the Priest while pick-pocketing Jayanta’s his purse. The letter was to be handed over to Priest’s spiritual guru while on his visit to Varanasi for purchase of saris for the wedding.

Jayanta loves his wife who is pregnant. She is not aware of the mental agony Jayanta is going through. He cannot afford to pay Rs.25000/- to the blackmailer nor he can let the matter becomes public that he has married a girl who was already married in her childhood. Because of the agony, he starts reaching home very late. Bani starts questioning him as to why he so much immersed in thoughts. But he evades answer.

To come out of the blackmailer’s clutches, Jayanta decides to run away from the village in a bullock cart with his pregnant wife with cash taken from his landlord’s treasury without his knowledge. The blackmailer comes to know when he visits Jayanta’s house to collect the money. He chases and confronts Jayanta on the way to handover the money. In the shuffle, the blackmailer gets killed. Jayanta is arrested and is put behind bar for fraud and murder.

While all of the landlord’s staff and family members think that Jayanta is innocent, the landlord is not convinced. Jayanta’s well-wisher tried to get him bail so that he can look after his pregnant wife whose health has deteriorated. The only person who can arrange bail for Jayanta is the landlord who is not willing to pursue his bail application. It is now the Priest who tell the landlord true facts from the letter written by Bani’s grand mother requesting him to adopt Bani as his own daughter when Gagan Ganguly, Bani’s husband had deserted her. Though, this leads to soften his stand against Jayanta, still he is not convinced as to why Jayanta had fraudulently taken money from his treasury to run away from the village. Since all his family members including his wife, real son and daughter-in-law, all his staff has gone to be with Jayanta’s wife who is seriously ill, he feels isolated and has a change of heart. The film ends with landlord visiting Jayanta’s house to enquire about Bani’s health and then proceeding to the police station on his horse carriage to wriggle Jayanta out of the piquant situation.

The director has presented this film in a very realistic way. Even though at some points, the story moves slowly, the film was not boring. Much of the story has been told by way of expressions and gestures of the artists supplemented by an excellent background music by Sarod maestro Ustad Ali Akbar Khan. He has prominently made use of the combination of Sarod, Sitar and Flute for the background music. Dialogues are minimal and that too mostly short – one or two sentences. The romantic scenes are shown in a subtle manner in keeping with the rural setting. There are some poignant scenes in the latter part of the film without much melodrama.

The film has only one song, that too a mujra song in Hindi which a courtesan sings on the occasion of the marriage of Jayanta with Bani. The song is ‘taras taras gaye nain bichaare’ sung by Pratima Banerjee and Swarooplata. The song is written by Pandit Bhushan which is set to music by Ustad Ali Akbar Khan.

Video Clip:

Audio Clip:

Song-Taras taras gaye nain (Antariksha)(Bangla)(1957) Singers-Pratima Banerjee, Pratima Banerjee+ Swarooplata, Lyrics-Pt Bhushan, MD-Ustad Ali Akbar Khan

Lyrics (Based on video clip)

taras taras gaye…ae nain
o o o o o o
o o o o o nain
haay
taras taras gaye nain bichaare
taras taras gaye nain bichaare
taras taras gaye nain bichaare
piya ke daras ko ye matwaare
piya ke daras ko ye matwaare
taras taras gaye nain

kabhoon tu aahiyen mukh dikhalainhen
kabhoon tu aahiyen mukh dikhalainhen
haan mukh dikhalainhen
dukh se kati hain din rain
haan more raam
dukh se kati hain din rain
o more raama
taras taras gaye nain bichaare
taras taras gaye nain

more piya jab angna milaihain
more piya jab angna milaihain
phulwa ki aankhen chhil chhil jaihain
haan chhil chhil jaihain
ho chhil chhil jaihain
mann mein basi hain sukh chain
haan more raam
mann mein basi hain sukh chain
o more raama
taras taras gaye nain bichaare
taras taras gaye nain

more piya aa aa aaa aa aa jab
more piya…..aaaa aa jab
gharwa mein..aen hain
more piya jab gharwa mein aaihain
more piya jab gharwa mein aaihain
roothhi hoon main piya moko manaihen
moko manaihen
haan moko manaihen
bole hain meethhe meethhe bain
o more ram
bole hain meethhe meethhe bain
o more rama
taras taras o o
piya ke daras ko
taras taras gaye nain bichaare
taras taras gaye nain


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has over 15700 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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