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

Archive for the ‘Songs of 1960s (1961 to 1970)’ Category


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 :

5777 Post No. : 18304

“Baaje Ghunghroo”(1962) was directed by Shivraj Shrivastava for Ram Raj Films, Bombay. The movie had Manhar Desai, Nalini Chonkar, Sheela Kashmiri, Leela Misra, Manju, Jagdish Kanwal, Nazir Kashmiri, Jugal Kishore, Keshri, Baby Farida, Baby Kokila, BA, Khan etc in it.

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

Here is the third song from “Baaje Ghunghroo”(1962) to appear in the blog. This song is sung by Savita Bannerji. Shivraj Shrivastava is the lyricist. Music is composed by Dhaniram.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this song which sounds like a Meera bhajan.


Song-Zara murli baja de mere Shyam (Baaje Ghunghroo)(1962) Singer-Sabita Bannerjee, Lyrics-Shivraj Srivastav, MD-Dhaniram

Lyrics

zara murli baja de mere shyam re
zara murli baja de mere shyam re
zara murli baja de mere shyam
padoon baar baar tori painyya re
zara murli baja de mere shyam re
zara murli baja de mere shyam

main hoon deewaani teri kasam
teri murli ki
ho murali ki
aag lagee tan man mein
kasam tere murali ki
ho tere murali ki
koi laakh kare badnaam re
zara murli baja de mere shyam re
zara murali baja de mere shyam

taan sunoon murli ki sajan
main rah na sakoon ji
main rah na sakoon
peed uthhe tan man mein
sajan main rah na sakoon ji
main rah na sakoon
aayi paas tere jiya thhaam re
zara murli baja de mere shyam re
zara murli baja de mere shyam


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 :

5773 Post No. : 18299

Yesterday 7th may 2024 was the third phase of General elections 2024 of India. I was looking forward to it for quite some time. The electoral process had started from march end itself and the process will go on till 4 June 2024. A very long drawn, a very elaborate, and at the same time a tedious and tiring process for all. Nevertheless, a very important process for India, and by that token, for the world, because it is the biggest polling exrcise evver undertaken in the history of mankind.

Under normal circumstances, polls should take place unnoticeably and be done with it. But that is hardly the case. It is a very loud, noisy, ugly process lasting nearly three months or so. Normal people, who do not apply their mind and are easily swayed by media, may be having a tough time whenever they read newspapers or switch on the TV. I, who consider myself as someone who applied my mind instead of blindly believing what I read or listen from others, have managed to keep by and large aloof from all this madness. I am eagerly waiting for all the seven phases of polling to get over and the results announced on 4 June 2024, so that we can all go back to our normal routines for the next five years.

I did not notice much poll related activities in Bhopal. That was because I do not watch TV, and secondly we do not get any newspapers. So the little I came to know about these activities was shrill campaigning on TV channels whenever my wife would open TV. On checking out news on my mobile, I was given to understand that voters are rather indifferent and voting percentages are down vis a vis 2019 elections. It was pointed out that a few parties do not have party workers to carry out election related activities. Other parties with resources have got complacent or disheartened, as the case may be, we were told. People are not even doing door to door canvassing this time, we were told.

After I settled down in Bhopal from July 2022, I first voted in local municipal election, and subsequently Assembly election. This time I was goping to vote in Parliamentary election. Every time, my centre is the same, namely St Xavier’s school, which is located nearly one km from my residence and is within walking distance. Based on past two elections, I knew that one gets a slip where polling details-viz centre, voter serial number, location of centre etc are mentioned. Typically one party or the other with resources would hand over these details at your household. This time I came to know that the election commission had taken this work on itself. But election commission failed to send slips to our locality. On friday, 3 may 2024, we did get our slips, alongwith pamphlet of a party that had the required resources and enthusiasm for the elections.

Out of the four slips for four voters of our household, only I and my wife were around to vote. The vote time was 7 AM to 6 PM. I suggested to my wife that we should go to vote early in the morning when there was less crowd at the polling station.

Next morning, we left for the polling booth at 7:30. I found that two couples from neighbouring houses were returning back after voting. So we were not really that early to the polling station. We found that there was a very long line of voters for our polling booth. That school had some half a dozen polling booths, each with a different number and serving different localities. Our polling booth had the longest queue. Perhaps the voters of our locality were the most enlightened !

There were separate queues for men and women. It took me about one hour to enter the polling booth room. My wife too entered at the same time. Inside the room, it did not take more than a couple of minutes. First one had to show the slip, and the staff would match the slip with his record and then cross the name on his list, indicating that the person had arrived to vote. Voter ID would be shown, and after that you would have to sign on a register, that would mean you have marked your attendance. Then a slip would be generated and given to you. The person ahead of you would go to the enclosure with EVM. A few seconds later a beep would be heard. The person would indicate that the vote was recorded. Then he would collect the slip from the next voter and ask him to go to the voting enclosure. The EVM voting is so easy these days. Just locate your desired symbol and press the button on its right. Look inside the small looking glass. This is VVPAT. It displays the symbol that you pressed. A few seconds later, beep sound is heard. Congratulations, your polling is done !

I and my wife left the booth at a few minutes apart. We arrived at the car, where I had kept my mobile (as carrying mobiles are not allowed inside polling booth). The time mentioned on the mobile was 8:36. So I guessd that I had voted at around 8:33 after standing in the queue for one hour.

We arrived back home a few minutes later.

I felt that I had accomplished an enormous task. I felt good and satisfied about it. The fact that our voting was over at about 8:30 meant we had defeated the sun and we were back at home by our breakfast time.

People feel tired after accomplishing a big task. I too felt tired. 🙂 It was a bit like how I feel when I fill up my IT return and it successfully gets submitted online. A few days later, IT department processes it I receive the message that my IT return has been accepted.

There is one difference though. IT return is filed every year. Voting takes place once in five year. If you add assembly election and municipality elections as well, then one needs to vote thrice in five years.

My case was unique. It was the very first time in my life that I had voted in a parliamentary election. Voting for a parliamentary election for the first time at an age of 60 plus ! It must be a strange kind of record. But that is not all. Though I had not voted in Parliamentary elections, I had figured in the parliament election process as a patrolling magistrate, as far back as in 1984 ! Imagine serving as an election official even before voting in the elections, seeing that I was not eligible for voting during the previous elections of 1980.

40 years ago was like a different era altogether, much different from what it is today. The Indian PM Mrs Indira Gandhi was assassinated by her own bodyguards in her official residence on 31 october 1984. Those were very difficult days for India as a nation.

I like my hostel mates in Jamalpur (Bihar) followed all these developments on the newly acquired colour TV in the hostel, just after a low power relay TV station was set up in Munger, the district HQ located 10 km from Jamalpur.
Elections were announced to be held late in december 1984 (in three phases). Nowadays people complain that elections are held in severe heat. That election, by contrast had taken place when winter season was in full swing in most parts of India, including the part where I was.

We needed to appear and pass external examinations that were held twice in an year- once in Summer, once in winter. Many of us (excluding some like me) were busy preparing for winter examinations. People like us laughed that they would be slogging hard while the rest of us would enjoy ourselves watching TV. Our happiness was wiped out from our faces when it turned out that those who did not have examinations would be sent to election duty.

So, we left for Munger. We had to serve as patrolling magistrates. Our job was to collect the election material, viz ballot boxes, ballot papers and other materials for the polling booths allotted to us. I was allotted three polling booths located in a village some 70 KM away. The district administration had seized all the vehicles they could seize and had kept them in a ground. These vehicles were to serve as the transport vehicles for the patrolling parties. Each patrolling party had one patrolling magistrate and he had four security personnel. My four security personnel were as young and raw as I was. They were trainee homeguard staff, and they were led by one trainee ASI.

In the briefing area, we all located our security personnel. Then we located the vehicle allotted to us. The vehicle allotted to us turned out to be a fully loaded truck. The truck was on its way to deliver its consignment when elections were declared and it, as well as other vehicles were “requisitioned” for election duty, along with its driver and cleaner. We collected our election materials, loaded them on the truck, got the directions to reach our destination and left. I, alongwith the ASI sat in drivers cabin whereas the sipaahis happily settled themselves over the roof of the driver’s cabin.

We had started in the afternoon. We were required to reach our destination by evening, when we had to go to the three allotted polling booths and hand over the polling material to them, so that they could prepare for the polling that was to start next morning.

When we arrived at the village, I found that the three polling stations were three village schools. These schools barely had any roof over them, and had just a few chairs and desks that were sufficient to hold the election. We handed over the election materials to the three polling booths, each located a few kilometers from the other. The polling booth staff had to stay in the polling booth etc at night. As for I and my staff, one building a few kilometers away was requisitioned in a nearby town. This building basically had a hall. Those were the days when Indians used to travel with their hold-all while travelling by train. I, as well as everyone else had brought their hold-alls, that contained razaai inside it, which was so important in that winter season. We laid out our hold-alls on the floor of the hall and slept, while the vehicles were kept outside in a ground. The security personnel and drivers fended for themselves.

Next day, as the polling began, I as patrolling magistrate was supposed to keep patrolling the three polling booths to ensure that polling was taking place peacefully.

While watching the polling process, I realised how actual polling takes place in Bihar and what is the role of administration. One realises that polling staff in the polling booth as well as the partoling party are outsiders who are working in interior places which are far away from towns and cities away from media glare. The voting these did not take as is shown on TV or movies. We also realised that the local administration, viz local police, worked according to the instructions of their bosses, viz ruling party at state level. We realised that no matter how much one tried, voting in interior areas was nothing but a case of peaceful booth capturing. The influential communities, in collusion with local police, would come to mutual understanding and they would “vote” certain number of votes on behalf of their community. Voters of weaker section (viz SC community voters) were not allowed to vote. Their quota of vote too was cast by the influential communities as agreed among themselves. They also made sure that the total number of votes cast by them was 89.9%. That was because polling above 90 % is considered suspicious and in that case repoll is ordered.

After the polling was over in the evening, all the polling materials, viz ballot boxes, unused polling material etc were collected by the patrolling magistrate and his team from the three booths. The polling booth staff requested that they too should be given lift to go out of the village. I let them, seeing that they, unlike the patrolling team were not provided with any vehicles.

We arrived back to district HQ at Munger where every team had to deposit all the polling materials. It was late at night when we deposited all the polling items and we were given our relieving letter.

When I checked up with fellow hostel mates, it turned out that I was not alone. Everyone had similar experiences. That made me feel better. We had gained first hand experience of how democratic institutions functioned in Bihar. Subsequently on TV, we heard knowledgeable poll related discussions by Prannoy Roy about vote swing, voter sentiments, voting trends etc. Those discussions were very convincing and erudite for armchair TV watchers, but those discussions failed to impress us.

By the way, state assembly elections took place a few months later in 1985. Same people who had served during Parliament elections were summoned again. Some of us backed out giving valid or not so reasons. Like for example, some South Indians gave the reason of language problem, which was a real problem for them. Personally understanding the “Bihari” language was no problem for me. I participated in the assembly election as well. This time my vehicle was a tractor ! Riding this tractor, with polling material and security staff on the trailer, we made such slow progress that we arrived at the polling booths just hours before the polling was to take place. On the positive side, this time I had a veteran police ASI, who had the necessary dabangai to ensure that polling malpractices were not allowed to take place in the polling booths. That made me feel much better.

So I had served as patrolling magistrate in one of the most important Parliamentary election in Indian history. 40 years later, I got to vote in a parliamentary election for the first time. These days voting takes place on EVM, which is a big improvement over ballot paper. Ballot paper voting was very expensive and very cumbersome. One voter typically took ten minutes to locate the desired symbol on a newspaper sized ballot paper, marked it, and then it had to be folded properly so that it could be shoved inside the ballot box. Booth capturers had expertise in “polling”. They could carry out 89.9% polling within a couple of hours, which was impossible if polling took place in a lawful manner, where typically unskilled and illiterate voters were made to vote.

Today, EVM has made it so easy. One can easily locate the desired symbol on the EVM. All one has to do is press the button adjacent to the symbol. One can see the symbol flashing in the VPAT box, and a beeping sound comes out, indicating that the voting in done. Voting takes a few seconds. It is standing in the queue and then showing up one’s documents for verification, and getting indelible ink on your finger that takes bulk of your time.

I hope that in future we will have the option of online voting as well, just as we can nowadays have the option of online banking and online commercial transactions. If financial transactions can take place online without glitch that I do not see any reason why online voting should not be implemented in future. That would be far more economical and convenient. Hopefully I will see online voting at least as an option in future elections.

Different people vote for different reasons. Likewise different people/ parties have different motives/ agendas while contesting the elections. It is the voters who have to decide what they consider is the suitable candidate for their vote.

On this occasion, here is a vote related song. This song is from “Aansoo Ban Gaye Phool”(1969). Kisore Kumar is the singer. Lyrics are pennede by Taj Bhopali. Music is composed by Laxmikant Pyarelal.

“Aansoo Ban Gaye Phool”(1969) was produced by S.M. Sagar and Anoop Kumar and directed by Satyen Bose for Anoop Kumar Productions. The movie had Ashok Kumar, Deb Mukherjee, Alka, Nirupa Roy, Raj Mehra, Anoop Kumar, Rakesh, with Helen and Pran. They were supported by Kumud Tripathi, Manik Dutt, Kumari Uma, Mughni Abbasi, Shekhar Purohit, Janki Das, Tarun Ghosh, Bazid Khan, Radhey Shyam, Gautam Mukherjee, Pardesi, Uma Dutt, Madhup Sharma, Prakash Misra, Behari, M.A. Latif, Vinod Sharma, Lalit Kapoor, Genius, Ramlal, Amrit Rana, Nadir, Deepak, Aziz Siddiqui, Habib etc in it.

Kisore Kumar is the singer. Lyrics are penned by Taj Bhopali. Music is composed by Laxmikant Pyarelal. This is one of those few songs where Kishore Kumar sings for his bhaanja (nephew) Deb Mukherjee. This is a song about a college election where Deb Mukherjee is seen heckling the candidate who is a product of nepotism, viz he is the son of the owner of the college.

This is the fifth and final song from “Aansoo Ban Gaye Phool”(1969). The movie thus joins the list of movies that have all their songs getting covered in the blog. The movie thus gets YIPPEED in the blog. The movie had made its debut in the blog on 8 may 2009. The movie gets yippeed on the same date fifteen years later on 8 may 2024 !

Audio

Video

Song-Election mein maalik ke ladke khade hain (Aansoo Ban Gaye Phool)(1969) Singer-Kishore Kumar, Lyrics-Taj Bhopali, MD-Laxmikant Pyarelal
Chorus
Unknown male voice 1
Unknown male voice 2

Lyrics

election mein maalik ke ladke khade hain
hahahaha
arre inhen kam na samjho
ye khud bhi bade hain
hahaha
haan
haan haan
inke siwa vote ka ka ka
haqdaar kaun hai
inse lade chunaav wo
gaddar kaun hai
jiyo raaja jiyo

ab chaahe kisi se pyaar karo
inko vote do
ab chaahe kisi se pyaar karo
inko vote do
waadon ka aitbaar karo
inko vote do
ab chaahe kisi se pyaar karo
inko vote do
ab chaahe kisi se pyaar karo
inko vote do
vote for
baap ka laal
arre vote for
baap ka laal

is shehar bhar mein jitne hain
akhbaar inke hain
daily dabba roz aamcha peela parcha
is shehar bhar mein jitne hain
akhbaar inke hain
kaale safed saikdon vyopaar inke hain
sab aspatal inke hain
beemar inke hain
parnaam laakh baar karo
inko vote do
waadon ka aitbaar karo
inko vote do
haan haan
ab chaahe kisi se pyaar karo
inko vote do

aise sapoot ab hain kahaan
apne desh mein
ek yahi pe hain

aise sapoot ab hain kahaan
apne desh mein
bhagwaan aa gaye hain
insaan ke bhes mein
chanda diya inhone
freedam ke case mein
sab inki jaijaikaar karo
inko vote do
waadon ka aitbaar karo
inko vote do
haan haan
ab chaahe kisi se pyaar karo
inko vote do

arre bolo re bappa dhingar bappa
de ghuma ke
ghuma ko
dhing phataafat dingdi popo
de ghuma ke
ghuma ke
hey
ghuma ke
hey
ghuma ke
hey

haay
haay haay
haay haay
haay
brmm
haay haay
haay haay

har cheez inki daas hai
har shai ghulaam hai
ajee chaandi ka joota inke paas hai
har cheez inki daas hai
har shai ghulaam hai
zinda inhin ke dam se
sharaafat ka naam hai
logon ke dil khareedna
bas inka kaam hai
arre kuchh to khayaal e yaar karo
inko vote do
waadon ka aitbaar karo
arre waadon waadon waadon ka
bhai pain pain
bhai bhai pain
waadon ka
aitbaar

waadon ka aitbaar karo
arre inko vote do
haan haan
ab chaahe kisi se pyaar karo
inko vote do

ho ho
ab chaahe kisi se pyaar karo
inko vote do

vote for
baap ka laal
baap ka laal
arre vote for
baap ka laal


This article is written by Avinash Scrapwala, 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 :

5757 Post No. : 18282

#the Decade of Seventies – 1961 – 1970 #
————————————————————————

Today I am back with a song from the ‘1963’ movie ‘Kan Kan Mein Bhagwaan’. In the past, I had presented three songs from this movie on the blog. That is sufficient to explain how much I like the songs of this movie.

I got to watch this movie during my growing up years in the mid-seventies or before end of the seventies. There used to be a weekly screening of movies at our ‘colony club’ where we were residing at that time. So I got to watch many movies of the ‘black & white’ era and many mythological and devotional movies too. ‘Kan Kan Mein Bhagwaan’ is one of them. I forgot about the movie but its’ title song and couple of other songs stayed in my memory. Many years later when I became associated with this blog it was time again for me to revisit the songs of this movie. It was during this process that I became aware of other songs of this movie that I had forgotten. I have written in detail about this in my earlier posts while presenting other songs from this movie, hence I will not repeat that here.

I fondly remember this movie mainly because of its songs. However, when I checked the ‘annual list of Binaca Geetmala’ of that year I was surprised to note that none of the songs from this movie made it to this list. But then we can easily guess that the competition was tough during this ‘melodious’ decade of music of Hindi Cinema. And in thi particular year ‘1963’, there were movies like ‘Bandini’, ‘Dil Ek Mandir’, ‘Dil Hi To Hai’, ‘Ek Dil Sau Afsaane’, ‘Gehraa Daag’, ‘Gumraah’, ‘Hamraahi’, ‘Mere Mehboob’, ‘Meri Soorat Teri Aankhen’, ‘Mujhe Jeene Do’, ‘Parasmani’, ‘Phir Wohi Dil Laaya Hoon’, ‘Sehra’, ‘Shikaari’, ‘Tere Ghar Ke Saamne’, ‘Taaj-Mahal’ etc and many of them had compositions created by the ‘greats’ of Hindi Film Music. The top three songs from this year were ‘jo waada kiya wo nibhaana padega’ from ‘Taj Mahal’, ‘dil ek mandir hai’ title song, and ‘in hawaaon mein in fizaaon mein’ from ‘Gumraah’ on rank 1, 2 & 3 respectively.

There were total ‘89’ movies released during this year. The overall average of movies released per year during this decade 1961-1970 was 94.2 films per year (considering the number of released movies i.e. 942 movies).

Year Number of Movies (released movies only)
1961 104
1962 93
1963 89
1964 99
1965 100
1966 103
1967 83
1968 72
1969 97
1970 102

Out of these eighty-nine movies following were the movies falling in the category of mythological-devotional movies.

Movie Title Category Director
Dev Kanya Mythological S.N. Tripathi
Harishchandra Taramati Mythological Adarsh
Jai Jagannath Devotional Not known
Kan Kan Mein Bhagwaan Devotional Babubhai Mistry
Naag Jyoti Mythological Shantilal Soni
Naag Mohini Mythological Shantilal Soni

‘Kan Kan Mein Bhagwaan-1963’ was directed by Babubhai Mistry for ‘Roopkalaa Pictures’. It was produced by Mahipatray Shah. It had Anita Guha, Mahipal, with Ramsingh, Krishnakumari, Kummo Tripathi, and Raja Nene. They were supported by Ratnamala, T.N. Sinha, Prakash, Yunus Parwez, Mridula, Punam Kapoor, Baijnath, Ajit, Rehana, Uma Dutt, R.S. Dube, Munshi, Shekhar, Chand, Devchand, Lal Bahadur, Kishore, Dilawar Khan, Baby Chand, Burhan, Jugal Kishore, Dinanath, Vijay Kumar and Master Aziz.

The story of this movie was written by Vishwanath Pande, C.K. Mast, Pandit Madhur, and S.M. Abbas. Editing of this movie was done by Ramchandra Mahadik.

‘Kan Kan Mein Bhagwan-1963’ had nine songs, all written by Pandit Bharat Vyas. The music was composed by Pandit Shivaram. Mahendra Kapoor, Manna Dey, Mukesh and Suman Kalyanpur had given their voices to the songs in this movie. So far, seven songs from this movie have already been posted on the blog. The last song was posted on more than a year ago on 16.02.2023. The today’s song was noted by me then only and it is lying ready since then with us. Today’s song is the penultimate song from this movie and I hope to take this movie to ‘Yippee-land’ soon 🙂 …

The song under discussion takes placehappens at the climax of the movie where the hero of the movie proves that ‘god’ exists everywhere. And the upper-caste people who believe in ‘casteism’ and practice ‘untouchability’ realise their mistake of prohibiting lower caste people from entering the temples.

Mahipal lip-syncs the song in the voice of Mahendra Kapoor. Anita Guha and many others join him in the chorus. Many other artists are also visible in the picturisation of this song.

In the year 1963 actor Mahipal appeared in movies like ‘Dev Kanya’, ‘Kan Kan Mein Bhagwaan’, ‘Maaya Mahal’, ‘Naag Jyoti’, ‘Naag Mohini’, ‘Parasmani’, ‘Sunehri Nagin’. Anita Guha was his co-actress’ in three movies viz. ‘Dev Kanya’, ‘Kan Kan Mein Bhagwaan’ and ‘Naag Jyoti’ and actress Helen was his co-star in Maaya Mahal and Sunehri Nagin. I would once again like to mention here that I have always loved to watch movies of actor Mahipal. Navrang-1959’ is my most favorite movie of them all. 🙂

Let us now listen to and enjoy one more song from the movie ‘Kan Kan Mein Bhagwaan-1963’.

Video

Audio

Song-Kan kan mein Bhagwan (Kan Kan Mein Bhagwan)(1963) Singer-Mahendra Kapoor, Lyrics – Bharat Vyas, Music – Pandit Shivram
Mahendra Kapoor + unknown female voice
Chorus

Lyrics

tera mera mandir kya hai
ae
ae bholey insaan
man ki aankh se dekh baawre
kan kan mein bhagwaan

kan kan mein bhagwaan
kan kan mein bhagwaan
man ki aankh se dekh milegaa
kan kan mein bhagwaan
kan kan mein bhagwaan
kan kan mein bhagwaan

boond boond mein
lehar lehar mein
patte patte mein wo samaaya
roop rang mein
jal tarang mein
ang ang mein usi ki chhaaya aa
yahaan wahaan wo
kahaan nahin hai
yahaan wahaan wo
kahaan nahin
pehchaan sake to pehchaan

kan kan mein ae bhagwaan
kan kan mein ae bhagwaan

chaandi ka to chhatr chadhhaaya
sone ka sinhaasan hai
resham aur makhmal se uska
khoob sajaaya aasan hai
laddoo aur pakwaan khilaate
hardam us jagtraata ko
tumne kya apne jaisa
bhookha samjha us daata ko
jo kuber ka bhare khazaana aa
jo kuber ka bhare khazaana aa
tu kya dega daan

kan kan mein ae bhagwaan
kan kan mein ae bhagwaan

ude dhaan jab hare khet mein
darshan kare kisaan
ek ek daane mein chamke
uski jyoti mahaan
ann hai uska isht devtaa aa
ann hai uska isht devtaa aa
mandir hai khalihaan

kan kan mein ae bhagwaan
kan kan mein ae bhagwaan

sab anek hain usi ek mein
wo anek mein ek
saagar ek anekon nadiyaan
lekin jal hai ek
kumbhkaar ke ghade anekon on
kumbhkaar ke ghade anekon
maati ek hi jaan

kan kan mein ae bhagwaan
kan kan mein ae bhagwaan

use banaane chalaa
band kar
mandir mein insaan
chhuaa chhoot ka bhoot ban gayaa
banaa nahin bhagwaan
ye oonchaa hai
ye neechaa hai
ye pandit ki bhaasha
hari ko bhaje so hari ka hoyee
araj kare raydaasa
araj kare raydaasa
araj kare raydaasa
kan kan mein ae bhagwaan
kan kan mein ae bhagwaan
kan kan mein ae bhagwaan
kan kan mein ae bhagwaan

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

(Extended to climax including dialogues)

bolo bhagwaan
shri krishna chandra ki jai
bolo bhagwaan
shri krishna chandra ki jai
bolo bhagwaan
shri krishna chandra ki jai

jaat paat poochho na koye
hari ko bhaje so hari ka hoye

kan kan mein ae bhagwaan
kan kan mein ae bhagwaan
kan kan mein ae bhagwaan
kan kan mein ae bhagwaan
aa aa aa aa aa aa
aa aa aa aa aa aa

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

तेरा मेरा मंदिर क्या है
ए ए ए
ऐ भोले इंसान
मन की आँख से देख बावरे
कण कण में भगवान

कण कण में भगवान
कण कण में भगवान
मन की आँख से देख मिलेगा
कण कण में भगवान
कण कण में भगवान
कण कण में भगवान

बूंद बूंद में
लहर लहर में
पत्ते पत्ते में वो समाया
रूप रंग में
जल तरंग में
अंग अंग में उसी की छाया आ
यहाँ वहाँ वो
कहाँ नहीं है
यहाँ वहाँ वो
कहाँ नहीं है
पहचान सके तो पहचान

कण कण में ए भगवान
कण कण में ए भगवान

चांदी का तो छत्र चढ़ाया
सोने का सिंहासन है
रेशम और मखमल से उसका
खूब सजाया आसन है
लड्डू और पकवान खिलाते
हरदम उस जगत्राता को
तुमने क्या अपने जैसा
भूखा समझा उस दाता को
जो कुबेर का भरे खजाना आ
जो कुबेर का भरे खजाना आ
तू क्या देगा दान

कण कण में ए भगवान
कण कण में ए भगवान

उड़े धान जब हरे खेत में
दर्शन करे किसान
एक एक दाने में चमके
उसकी ज्योति महान
अन्न है उसका इष्ट देवता आ
अन्न है उसका इष्ट देवता आ
मंदिर है खलिहान

कण कण में ए भगवान
कण कण में ए भगवान

सब अनेख हैं उसी एक में
वो अनेक में एक
सागर एक अनेकों नदियाँ
लेकिन जल है एक
कुंभकार के घड़े अनेकों ओं
कुंभकार के घड़े अनेकों
माटी एक ही जान

कण कण में ए भगवान
कण कण में ए भगवान

उसे बनाने चला
बंद कर
मंदिर में इंसान
छूआ छूत का भूत बन गया
बना नहीं भगवान
ये ऊंचा है
ये नीचा है
ये पंडित की भाषा
हरि को भजे सो हरि का होए
अरज करे रयदासा
अरज करे रयदासा
अरज करे रयदासा

कण कण में ए भगवान
कण कण में ए भगवान
कण कण में ए भगवान
कण कण में ए भगवान
आ आ आ आ आ आ
आ आ आ आ आ आ
आ आ आ आ आ आ
आ आ आ आ आ आ

(इस के बाद कुछ संवादों के साथ इस गीत को फिल्म के अंत तक ले जाया गया है)

बोलो भगवान श्री कृष्ण चन्द्र की जय
बोलो भगवान श्री कृष्ण चन्द्र की जय
बोलो भगवान श्री कृष्ण चन्द्र की जय

जात पात पूछो न कोए
हरि को भजे सो हरि का होए

कण कण में ए भगवान
कण कण में ए भगवान
कण कण में ए भगवान
कण कण में ए भगवान

आ आ आ आ आ आ
आ आ आ आ आ आ


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 :

5756 Post No. : 18280

Today’s song is from the social film Sunehre Qadam-1966.

It was a social film directed by Satish Nigam and Music Directors were Bulo C Rani and S. Mohinder.There were 4 Lyricists for the 7+1(2 part) songs. The cast of the film was Rehman, Shashikala, Agha, Sabita Chatterjee, Randhir etc.

Majority of the cinegoers these days prefer a ‘Happy End’ film. There was a period-mid 40’s to mid 50’s- when Tragedy films were the ‘in’ thing, but as the younger generation grew up, ‘Devdas’ type films became a ‘No-No’. Musicals and Romantic comedies took over. Dilip Kumar who was the cause of such ‘ Tragedy wave’ films, suffered healthwise and stopped acting in such films. ( He had ‘Died’ in 7 such Tragedy films during this period.). Like a pendulum, he went to the other side, doing comic roles and films of other Genres. Big producer-directors like V.Shantaram hated films where the hero ‘died’ in the end and had made films like ” Aadmi”-1937, with a message “Life is for living”.

The other day, I was searching on Google to get an answer to my curious question ” Why does a man want a ‘Happy End’ to all matters in life ?” After searching for a long time for a few days, I came across a Research paper titled ” Human mind and the desire for a Happy End’. As per this scientist, the Human mind basically wants peace and joy so that he performs well in life, without wasting time on solution-less matters which have a ‘Tragic End’.

Applying this to film viewing, people seek entertainment and happy times when they go to see a film. From the mid 50’s onwards the trend fully changed to stress on Music, Humour and Happy End. Personally, I like only ‘Happy End’ films. I am sure most people are in my category.

The story of film Sunehre Qadam-1966 was a mixture of attempts to satisfy both types of people – people who liked tragedies and people who liked ‘Happy end’. in this effort, the whole story became patchy and meaningless. take a look at the film’s story….

This is a story of a spoiled motherless rich girl who is also a singer. Shekhar (Rehman) falls in love with Shefali (Shashikala). In their first meeting, Shefali slaps Shekhar, who still loves her. There is a singing competition which is won by Shekhar defeating Shefali. Shekhar wins the Trophy.

Shekhar’s poor parents and brother and sister live in a village. Sheklhar’s earning is limited. To cope up, he has to sell the Trophy. Shefali knows that Shekhar would never ask for money from anyone, so she buys the trophy from the dealer and gifts it to Shekhar. After a few months, he sold it again. Shefali gets it again and gives it to him. Third time there is some misunderstanding in the shop and the shop owner accuses Shefali of stealing the trophy from him. Sheklhar thinks she stole it and accepts the theft himself and goes to jail.

Shefali wants to redeem her foolish behaviour , so she goes to his village to take care of his parents. The father dies soon and the mother too dies. Meanwhile Shekhar comes back from jail. Seeing Shefali at his house, he is angry and fires her and throws her out, without listening to her pleas.

Shefali decides to end her life, after thinking for few days. Meanwhile the shopkeeper meets Shekhar and clears the fact that the Trophy was bought by Shefali 3 times and not stolen. His neighbours also tell Shekhar how Shefali looked after his parents and siblings. Shekhar repents and goes to her. He learns that she has gone to the river. When he reaches the river, he sees Shefali jumping into the river to die. He too jumps and saves her. All matters are cleared and both unite happily.

I don’t know what you think of this story, but I feel it is a third rate story. Neither story nor music was noteworthy. The only redeeming factor was the excellent acting by Shashikala and Rehman. I liked Rehman. He looked like a Royal person and was very impressive. Sai’d Rehman Khan was born on 23 June 1921 at Lahore, British India, now Pakistan, in a Pashtun-origin family. He graduated from Robertson College, Jabalpur, staying in Beohar Niwas Palace. Among his nephews are prominent Pakistani film and TV actor Faisal Rehman and Fasih Ur Rehman, Indian classical dancer, and sons of his younger brother Massud-ur-Rehman, the famous cinematographer in Pakistan.

After college (1942), he joined the Royal Indian Air Force and trained at Poona as a pilot. The Air Force didn’t appeal to him and soon left for a career in films at Bombay. He is best known for his suave sophisticated roles, which suited his personality. His movie career started with a job as third assistant director to Vishram Bedekar at the studios in Pune. Vishram needed an Afghan who could tie a Pashtun turban on one of his characters. Rehman could do that, being a Pashtun, and that brought him to the screen for some lead roles. One of his major hits as hero was Pyar Ki Jeet with Suraiya, and the song-“Ek Dil Ke Tukde Hazar Hue, Koi Yahan Gira, “Koi Wahan Gira ” was a major hit. Badi Behen was another big hit with Suraiya. He was also interested in marrying Suraiya, along with many other suitors, though she was adamant in wanting to marry Dev Anand.
Initially he played lead roles, but as time passed, he accepted supporting roles and made his mark in some hit films like Pyaasa, Chaudhvin Ka Chand and Sahib Bibi Aur Ghulam (in which he played a debauched zamindar, Chhote Sarkar), and Waqt which were some of his memorable roles, the first two with Guru Dutt, famous actor, producer, director. Rehman also did key roles in Baharon Ki Manzil, Gomti Ke Kinare, Dushman and Holi Aayi Re. Rehman received four Filmfare nominations as Best Supporting Actor for Phir Subah Hogi (1958), Chaudhvin Ka Chand (1960), Sahib Bibi Aur Ghulam (1962) and Dil Ne Phir Yaad Kiya (1966).

Rehman had a deep, impressive and powerful voice and it is a great irony that he died of throat cancer, It can easily be said that his colourful role as Chenoy Seth in B.R.Chopra’s 1965 film Waqt was one of his best loved performances. Despite his evil designs for Raaj Kumar in the film, audiences admired his style and prosperous look. He proved the perfect match for” Jaani” Raaj Kumar. The scenes between the two, especially at the swimming pool, are among the highlights of the first multi-starrer of our film industry. Word for word, expression for expression, Rehman stood his own opposite Raaj Kumar who was known for his unique voice, style and dialogue delivery. In fact, Rehman seemed more in control than “Jaani”. How smoothly and politely an evil man can accomplish his goals is what Chenoy Seth shows us in Waqt. Indeed, a memorable performance!

Rehman’s first film was Hum Ek Hain-1946 and in 1982 his last 3 films were released-Dil aakhir dil hain, Rajput and Vakil Babu. In all Rehman acted in 113 films and lip synched just 17 songs on the screen, in his career.

Not much is known about Rehman’s personal life except that he lived behind Regal Cinema in Colaba area of Bombay and was extremely devoted to his wife. Director Lekh Tandon informs that the tough Rehman married his girlfriend who looked after him when he fell upon lean times during the 1950s. But as she kept him and his confidence afloat, Rehman was perpetually grateful to her for her supreme sacrifice and the devoted couple lived a reclusive life with Guru Dutt, Johnny Walker and Abrar Alvi amongst their few friends from the industry. Perhaps this seclusion from the moviedom’s social circuit explains the near absence of any stories about him or his family. Nevertheless, like Lekh Tandon opines, “he was a rare breed of actor who brought his own sheen and sophistication to a character”, discerning audiences know he was an actor who was worth his weight in gold. Like a rare melody that is little remembered but never forgotten by our heart, Rehman twinkles in our memory.

In 1977, he suffered three heart attacks due to excessive alcohol consumption . He was also a chain smoker and he was diagnosed with throat cancer. A man whose majestic voice was his signature, lost his voice and he was unable to speak during his last days in his life. Rehman died on 5-11-1984.

Sunehre Qadam-1966 was the last film of Bulo C Rani. Despite the popularity of a stray song such as ‘Hamen to loot liya milke husn Walon ne’ (Ismail Azad/’Al Hilal’/1958). Bulo C Rani just continued to drift because his music had not remained a viable commercial proposition.After ‘Sunhare Qadam’ (1966). Bulo’s career came to an end. Having once enjoyed the position of prominence the lack of assignment made him restless. No films came to him. In addition, his family sold his posh flat in Shivaji Park and shifted to Versova, which hurt him a lot. He lost the will to live.

In a career spanning over 22 years, Bulo C Rani gave music in 71 films. He also gave music in few Sindhi hit films. Practically with no work towards the latter half, he started taking coaching classes in light music. He was isolated which led to depression. To overcome this he developed the habit of drinking. This led his health to deteriorate and he had to be admitted to hospitals multiple times. When acute depression became unbearable & after his family sold their house at Shivaji Park and moved to Versova, he took the extreme step and committed suicide by burning himself on May 24, 1993. He died at 73 leaving behind some unforgettable creations. Bulo C Rani’s death remained largely unreported in the press. It was an irony of fate that the song he composed in the voice of Lata in his last film ‘Sunhare Qadam’ was ‘Maangne se jo maut mil jaati, Kaun jeeta zamane men’.

The Irony was that in life he asked for death and he got it. And how horribly too ! It is said that on 24-5-1993, he committed suicide by immolating himself. When his body was burning, he ran on the streets shouting in pain and finally fell on the road dead.

Today’s song is the last and final song of this film , making it YIPPEED, with all songs covered.


Video

Song- Ye jawaani badi badnaam hai (Sunahre Qadam)(1966) Singer- Asha Bhosle, Sudha Malhotra, Lyricist- Anand Bakshi, MD-S Mohinder
Both

Lyrics

aa aa aa aa aa aa
aa aa aa aa aa aa
o o o o o o

ye jawaani badi badnaam hai
ye jawaani badi badnaam hai
shola bijli hawa
allah jaane kya kya
sau sau naamon ka ek naam hai
ye jawaani badi badnaam hai

zulfen bikhere to haar jaaye raat jee
zulfen bikhere to haar jaaye raat jee
mukhda dikhaaye to din khaaye maat jee
mukhda dikhaaye to din khaaye maat
iske bas mein
waah waah
iske bas mein subah hai shaam bhi
shola bijli hawa
allah jaane kya kya
sau sau naamon ka ek naam hai
ye jawaani badi badnaam hai

ik chitchor ka sunte hi naam jee
ik chitchor ka sunte hi naam jee
bade bade dil ko lete hain thhaam ji
bade bade dil ko lete hain thhaam
dil churaana
dil churaana isi ka kaam hai
shola bijli hawa
allah jaane kya kya
sau sau naamon ka ek naam hai
ye jawaani badi badnaam hai

suna hoga aapne naam e sharaab ji
suna hoga aapne naam e sharaab ji
kahti hai duniya jisko kharaab ji
kahti hai duniya jisko kharaab
ye umar bhi
haaye haaye
ye umar bhi nasheelaa jaam hai
shola bijli hawa
allah jaane kya kya
sau sau naamon ka ek naam hai
ye jawaani badi badnaam hai


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

Blog Day :

5754 Post No. : 18278

Today’s song is from a stunt film Toofan-1969. The film was an unusual stunt film story. It was directed by Radhakant and the Music Director was Daan Singh.

The Lyricist was Akhtar Romani. He is the same lyricist who entered the film world with a big bang. His first song was the only song he wrote for S.N.tripathi in that film. However, this only song became a big Hit song which is popular even today. The film was Hatimtai-1956 and the song was ” Parwar digar e aalam, tera hi hai sahara “, sung by Mohd. rafi and lip synched by Jairaj on the screen Romani’s career as a Lyricist was a short one. He wrote only 70 songs in 29 films. However he remained busy writing on film songs. film stories, s/plays and dialogues for more than 20 hit films. He also featured and conducted about 4 radio programmes. There was just one more lyricist who also wrote popular songs in his first film. Majrooh Sultanpuri (Asrar hasan khan ) wrote 7 songs in his first film ” Shahjehan”-1946 and all songs became hit songs. These were sung by Saigal, composed by Naushad.

The cast of the film was Dara Singh, Anita, N.A.Ansari, Azaad, Shabana, Johnny Whisky, Ratnamala, Arvind pandya, Dilip Dutt, helen, Bipin gupta and many others. I have not seen this film. After 1965 I had almost given up seeing films en masse and saw only selected films, due to my concentration on career and married life. I was a great fan of Dara Singh. Not because of his wrestling skills or physique but because he gave a respectable form to stunt and action films. Before him , action films were meant for only lower strata of the society like daily earners or labourers etc. who would encourage the hero on screen to beat the villains, bu shouting motivating suggestions and encouragement like ” Maar saale ko” or ” kar de batti gul” etc. After Dara singh entered the action films, his films were shown in better theatres and the type of audience also changed to better. After I started writing articles on old films, I was a bit shy to admit my love for his films. Then I came to know about ‘Memsaab’ (Greta Kaemmer), who proudly declared her status of being a fan of Dara Singh and I was happy to get a companion. Dara Singh was a perfect gentleman and never tried to be in the limelight. In fact, he used to feel very shy to be photographed or interviewed.

The 60s opened up a new Genre of Films. Films in which muscular He-men ‘acted’. Really speaking, their dialogues were delivered silently by their solid bodies and the fighting they did on the screens. Here were the Heroes who would kill dangerous Jungle animals barehanded, break Iron chains, fight with 10 people at a time, ride horses, swim expertly and overall display their physical might !

The beginning was done in 1958 with ‘Zimbo’, featuring Azad-a Parsee Bodybuilder. That way, Dara Singh had entered the films in 1952 with ‘Sangdil’ and he had a wrestling match with Om Prakash in ‘Pehli Jhalak’-1954. His first film as a hero -King Kong came in 1962, when he was already 34 years old !

That was a period when the Indian culture of defeats in all possible sports was on the peak and the Indians were looking for a Saviour. In Dara Singh, India found a SuperHero who won not only in India but also in Commonwealth and the World championships. Dara Singh was much more than an Actor. He was a piece of Folklore and he became a social phenomenon soon. He was a hybrid of Myth and Folklore, larger than life evocation of the Desi Hero. He represented the Indian idea of Masculinity-The Mard, a He Man. He had the muscle prowess but no aggression. He evoked security, gentleness and the right kind of patriarchy. He was proud to be a Jat and an Indian.

He was a Pehalwan trained in the Indian style of wrestling. Dara’s victories against King Kong and Zybisco in the late 50s made him a legend. Lakhs of people would gather at the venues of his bouts. He brought wrestling from the Akhadas to the Drawing rooms of Affluent homes. He remained Undefeated in 500+ bouts in his lifetime, winning Indian Championship in 1953, the Commonwealth championship in 1959 and the World Championship in 1968, when he was into acting in Hindi films full fledgedly !

He did roles of Kings, Princes, Rebels, Mutineer, Jungle Boy, Samson, Hercules, Sikander and the greatest role of his life as Hanuman. There may be 300 odd types of Ramayans, but only one Hanuman-Dara Singh. He was, for most people, the embodiment of the Monkey God. Without him the Ramayan was never the same ! Dara Singh, I am sure, would have been the original choice of even Valmiki !!!

Dara Singh was the Indian Superman. Even when he started doing character roles, the Heroes were happy to work with him. In one interview ( he gave interviews very rarely-he used blush too much), he had said,” Out of all my roles, I liked my role in Anand-70, where I was very comfortable doing my real life role-that of a Pahilwan in an Akhada !” He was probably one of the few who worked in A, B and C grade films in his life with equal ease and aplomb. Whether it was Mumtaz or Amitabh, he remained Dara Singh-Rustic, Strong, Indian, Gentle, Protective and Chivalrous.

Dara Singh was born at village Dharmuchak in Amritsar district on 19-11-1928 to Surat Singh and Balwant Kaur. He was married to Surjit Kaur Randhwa on 11-5-1961 and they had a son. From his second marriage he had 3 daughters and 2 sons. At the age of 22, he went to Singapore and won several championships. At 24 he did his first film role in Sangdil-52 and he became a Hero at 34 years of age. He did 122 Hindi films, 22 Punjabi films, besides producing 3 and directing 9 films.

He continued wrestling up to 1970. In 1978, he established his Dara Studios in Mohali, Punjab. His last film came in 2012-“Ata pata lapata”. With Mumtaz he did 16 films out of which 12 were Hit films. In those days, he was paid 4 lakh rupees per film. Dara Singh died on 12-7-2012. His brother Randhwa died on 21-10-2013 ( this news was hardly noticed).

Many Bodybuilders tried to copy Dara Singh. Their films never succeeded because people knew who the original Superman was. Indrajit, Viju Penkar, Hercules, Azad and even Randhwa did few Dara-like films, but they were never accepted by the audience. Dara Singh was Unique. One may think that his films were seen and liked only by the lower strata of society or exclusive C grade film audiences, but it was wrong. Dara Singh films were ‘Super Deluxe’ versions of B and C class films and were liked by people from Top class to bottom class. I was a great fan of Dara films and rarely missed any of them.

I was surprised to find the name of Arvind Pandya in the cast of this film. I knew he was a great Theatre personality and a Gujarati film star. He did very few Hindi films. Arvind Pandya (21 March 1923 – 22 July 1980) was an actor. In his career spanning 35 years, he acted in more than one hundred films including 75 Gujarati and 25 Hindi films. He also worked in Hindi and Gujarati theatres.

Pandya was born on 21 March 1923 in Bhadran. He spent his childhood in Khambhat and Baroda (now Vadodara). His father Ganpatrao was an executive manager in the Mandvi branch of Bank of Baroda. His mother’s name was Anandiben. He participated in the Indian independence movement and in 1942 Quit India movement.

Pandya went to Bombay (now Mumbai) in 1937 and joined St. Xavier’s College where he studied BA in Sanskrit. He studied music at Devdhar Classes and later under Pandharinath Kolhapure. After listening to him at an event at St. Xavier’s College, he was selected as a playback singer in Mansarovar (1946) by S. N. Tripathi in which he sang a solo as well as a duet with Shamshad Begum.

To enter the Hindi film industry, he visited Fatelal Damle’s studio several times in a period of six months but was denied. He continued to work in the theatre. He came to the attention of Prakash Picture’s director Shantikumar Dave who saw him in his role of Kach in the play Kach-Devyani.

Shantikumar cast him in the lead role in Gujarati film Bhakta Surdas (1947) in which he also sang several songs. After some Gujarati films, he worked with Meena Kumari in Hindi film Naulakha Haar (1953). He continued to play supporting roles as well as lead roles in Hindi and Gujarati films. He portrayed mostly historical, social and rural characters in these films. In the 1960s, he portrayed negative characters. He had played saints as well as bandits in his films. In his career spanning 35 years, he acted in more than one hundred films including 73 Gujarati films. He was known as “Ashok Kumar of Gujarati cinema”. Due to his efforts, Laxmi Studio was established in Baroda in 1975.

He continued acting in the Gujarati theatre. His successful plays included Sapnana Sathi, Jesal Toral, Unda Andhare Thi, Gadh Juno Girnar, Mari Venima Char Char Phool, Swayamsiddha, Major Chandrakant, Pachhale Barane and Sambharna. He received a prize from the Government of Maharashtra for his play Sapnana Sathi.

He was awarded several times for acting by the Government of Gujarat including in 1961 for Kadu Makrani, in 1962 for Nandanvan, in 1963-64 for Jivno Jugari, in 1970 for Majiyara Haiya and in 1975 for Tanariri.

He died on 22 July 1980 following brain hemorrhage. (based on an interview by Rajnikumar Pandyaji, wiki, muVyz and my notes. Thanks to all).

Today’s song is sung by Manna Dey. This was another surprise, as Manna Dey was never known to sing in such films. Maybe Daan Singh roped him in to sing this comedy song. With this song, the film Toofan-1969 becomes a YIPPEE film, with all its songs are covered here. Enjoy….


Song- Suna thha maine bachpan mein (Toofaan)(1969) Singer- Manna Dey, Lyricist-Akhtar Romani, MD- Daan Singh

Lyrics

suna thha maine bachpan mein
san unneessaupachpan mein
suna tha maine bachpan mein
san unneessaupachpan mein
allah meharbaan to gadha pahalwaan
allah meharbaan to gadha pahalwaan
arre aaj samajh aai jakar baat kahi ye jeevan mein
suna thha maine bachpan mein
san unneessau pachpan mein

motor mein yoon saath saathi chale
cyunti ke sang jaise hathi chale
leke mujhe meri sasural mein
kis shaan ye bhi chale
aage chala thaanedar
peechhe saare jamaadaar
beech mein dulha banke baithha, main albela daaku
roti soorat bhi hansti hai
pyaare ek din darpan mein
suna thha maine bachpan mein
san unneessau pachpan mein

lo lo lo lo lo lo lo
lo lo lo lo lo lo lo
lo lo lo lo lo lo lo

daata kadak thha naram ho gaya
banda thha thhanda garam ho gaya
zaalim se badla, har ek julm ka
ab to ye mera dharam ho gaya
maaroonga main gin ke yaar
dushman poore ekhazar
chor luteron ke adde ki, todoonga main har deewaar
maalik chaahe to bin mausam, phool khila de gulshan mein
suna thha maine bachpan mein
san unneessau pachpan mein

pahle tha kismat ka khaana kharaab
ab hoon muqaddar ka lekin nawab
pahle koi poochhta bhi na thha
ab sab khilayenge haluaa kabab
pahle to padti thhi maar, ab phoolon ke padenge haar
pahle duniya thhukraati thhi
ab bolegi jaijaikaar
ghar hoga gharwaali hogi
bachche honge aangan mein
suna thha maine bachpan mein
san unneessau pachpan mein
suna thha maine bachpan mein
san unneessau pachpan mein
suna thha maine bachpan mein
san unneessau pachpan mein


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 :

5753 Post No. : 18277

Today’s song is from the film Zingaro-1963.

This Costume film was produced and directed by Chandrakant. It had music by S.N.Tripathi. The cast of the film was Jairaj, Jabeen jalil, Tiwari, Bela Bose, Maruti, Aruna Irani, Mrudula, Baburao Pehelwan and others. From this cast, actors Jairaj and Baburao Pehelwan and actresses Mrudula and Jabeen Jalil are the artistes who were quite capable, but somehow LUCK did not favour them and they fell aside from Big Banners and well known films.

I feel really sad for Mrudula, who was the heroine of Dilip Kumar in his Debut film Jwar Bhata-1944. It was the Debut film for Mrudula too, but see where Dilip Kumar reached -to be India’s famous and A grade top Hero, whereas Mrudula never reached that level. She was good looking and a capable actress. The question is, then why did she fall back in the race ? The simple but unknown answer is – she became a victim of the Studio system.

Till the end of the 1940’s decade, the Studio System was very strong. Initially films were promoted and sold on the names of the studio making it. The names of actors were not even mentioned on the posters and in the booklets. Thanks to actress Sulochana Sr. (Ruby Meyers), who fought for it and names of actors started appearing on the posters and in booklets, albeit in smaller types than the names of studios. If you see the advertisements in old issues of magazines like Film India (whose old issues are freely available on the Internet), you will notice what I am saying.

Due to the Contract system of studios and adamant natures of the studio owners, careers of many actors, actresses and singers were ruined. The culprits were Prabhat, Minerva, Shalimar, Bombay talkies etc. Some tough and courageous artistes like Shanta Apte, Master Vithal and Meena Shorey could get their freedom from giants like Sharda, Prabhat and Minerva, but many others spoiled their careers. Some examples are Mrudula from Bombay Talkies, Manju from Prabhat, Sitara Kanpuri and Shama Dulari from Shalimar etc.

Mridula ( real name Chandrakanta) was born on 2-11-1924 at Almora, but was educated in Delhi. When she was in college doing her graduation, Amiya Chakravarty of Bombay Talkies came to Delhi on a Talent Hunt. He contacted her and gave her an offer. She signed a 5 year contract with Bombay Talkies and Devika Rani became her Mentor, teaching her everything. She was paid 2500 rupees salary with a furnished house. Her first film was “Jwar Bhata”-44, opposite another Debutant Dilip Kumar (Yousuf Khan). After Himanshu Rai’s death, Bombay Talkies was already in disarray. Many people had left the company due to differences with Devika Rai. A group of them formed Filmistan.
She got married to her lover Mr. G C Andley. However the marriage was unsuccessful and she went back to Delhi. She spent a miserable life selling whatever she had to survive. She got divorce and came back to Bombay to work in films, in 1954. She worked in 53 films in all. Her last released film was Saboot-80, though she had married again and retired some time before that.

Mridula was also a victim of her contract with Bombay Talkies. It destroyed her career as a Heroine forever. Devika Rani was her Mentor in Bombay Talkies. However, after Himanshu Rai’s death, no one was listening to her in the company due to groupism. Disgusted, Devika rani left Bombay Talkies, having sold all the shares. Mridula got stuck in the company without work, due to her 5 year contract. It was Vijay Bhatt of Prakash Pictures who somehow convinced Bombay Talkies to loan her to him and she got roles in 2 of their films. In the film ‘Bhakta Dhruva”-47, she played mother to 16 year old Shashi kapoor (sr) when she herself was about 23 year old only ! But she had no choice. The film and her role became famous, but she lost her chances of becoming Heroine in any film thereafter.

Till 30-9-2016 she was living in Worli, Mumbai all alone. Her only daughter stayed nearby and looked after her. There is no news about her anymore.

The other actress who could not or did not go far in the film industry was Jabeen Jalil. She did only 24 films ( plus 5 films unreleased) in the span of 20 years from 1954 to 1974. It was not due to the studio system, but simply due to bad luck.

Jabeen Jaleel was a short, petite but attractive actress. She was born on 1st April 1936 in Delhi, but was educated in Japan and Bombay, as her father was in foreign services of India. She used to take part in college dramas and in one such drama the judges were Nigar Sultana and her director husband S.M.Yusuf. They offered her a film as a Heroine. Jabeen’s father had expired and only mother and younger brother were there. She accepted the offer. Her first film was Guzara in 1954. Her second film in 55 was Lutera. Her first hero was Karan Dewan and second was Nasir khan. She became famous in New Delhi-56, in the role of Kishore’s sister Nikki’s role. She acted in 29 films, out of which 5 were unreleased. She also acted in 4 Punjabi films. She got a National award in 1962 for a Punjabi film in which her Hero was Prem Chopra.

She was a popular actress of Hindi cinema of the 50s & 60s. Although She acted in merely 24 Hindi ( plus 5 films were unreleased) & 4 Punjabi films in her almost 20 years career, she made millions of fans of her beauty and wonderful acting. She has worked with top Bollywood stars like Shashi Kapoor, Shammi Kapoor, Kishore Kumar, Dev Anand & Pradeep Kumar during 1955 to 1965.

Jabeen made her film debut with Guzaara (1954) where her hero was Karan Dewan. Her second film was Lutera (1955) where her hero was Nasir Khan. She however got true recognition with her third film, New Delhi (1956) where she played the role of Kishore Kumar’s sister Nikki. She got benefitted by the success of New Delhi. In the late 1950s, many films starring her released, including Char Minar, Fashion, Jeevan Sathi, Hathkadi, Panchayat, Raagini, Bedard Zamana Kya Jaane and Raat ke Raahi. In the 60s, Jabeen acted in films like Batwara, Khiladi, Sachche Moti, Taj Mahal and Raju. The Batwara song “Yeh Raat Yeh Fizaayen Phir Aayen Na Aayen” picturised on her and Jawahar Kaul is popular to this day. She also got the National Award for the 1962 Punjabi film Chaudhary Karnail Singh in which her hero was Prem Chopra. Jabeen acted in three other Punjabi movies Kadi Dhoop Kadi Chhaon, Geet Baharaan De & Aye Dharti Punjab Di.

Many songs picturised on her were extremely popular including ‘Tum Aur Hum…’ (Fashion), ‘Madbhari Yeh Pyaar Ki Palken…’ (Fashion), ‘Ta Thaiyya Karte Ana…’ (Panchayat), ‘Piya mai hoon patang tu dor…’ (Raagini), ‘Qaid mein Hai Bulbul Sayyad Muskuraye…’ (Bedard Zamana Kya Jaane), ‘Door Kahin Tu Chal…’ (Bedard Zamana Kya Jaane), ‘Aa Bhi Ja Bewafa…’ (Raat Ke Rahi), ‘Tu Kya Samjhe Tu Kya Jaane…’ (Raat Ke Rahi) and ‘Ek Nazar Ek Ada…’ (Raat Ke Rahi).

Jabeen Jalil quit films in 1974 after wrapping up her career with the film Vachan. In 2008 she had produced a movie “Pehli Nazar Ka Pyaar”.

Jabeen got married in the year 1968. Her Husband Ashok Kak is of Kashmiri Origin & hailed from Jodhpur. He was President of the Kodak Company and was the youngest CEO of that time. After moving away from films Jabeen was active in social work also. Jabeen and her family stayed in America for 10 years. The family moved back to Mumbai in 1998. She lives with her husband, son and elderly mother-in-law in her flat in South Bombay and divides her time between playing the de­voted wife and the ideal mother.Her son Divvij Kak is also an actor and Jabeen became a producer with Jabeen International. She lives in Dadar, Mumbai nowadays.

Today’s film is the routine King, Queen and Vazier type story. For a change, the Vazier is good but the Queen is evil. The story of the film is……

A ruler’s demise leaves a kingdom in turmoil, with a fight over which of his two wives should become queen mother. The honor goes to the elder queen, much to the dismay of Chandrasen (Tiwari), who hoped his sister would gain the position.

Mad for power, Chandrasen meets a holy man who requires seven virgins to be sacrificed to his guru. The holy man gives Chandrasen a magic flower that will allow him to take any form, and he uses it to become a duplicate of the God that is worshiped by the jungle people. He is challenged by Zingaro (Jairaj), a swarthy young jungle man, so Chandrasen turns his servant, Bahadur, into a copy of Zingaro and orders him to abduct girls from the village.

The Queen mother begs someone to capture Zingaro, but because of his legendary prowess and strength, nobody is brave enough to take the challenge except Kiran (Jabeen), the daughter of Diwan, the late king’s loyal assistant. Kiran finds Zingaro, but Zingaro convinces her of his innocence and the two set out together to capture the impostor who is committing the crimes. They apprehend the fake and throw him in jail, but Chandrasen’s magic flower helps set him free. Chandrasen then kidnaps Kiran and locks her up in his palace.

Zingaro, searching for Kiran, is arrested and Kiran must now figure out a way to save herself and Zingaro. Zingaro gets help from his friends and escapes. He finds about the magic flower, secures it and then changes the picture, Kiran is freed and the younger queen and her brother Chandrasen are arrested and hanged. Zingaro destroys the magic flower. he and Kiran get married.

Today’s song is sung by Mahendra Kapoor, who seems trying to copy Rafi style unsuccessfully. This is the last and final song and the film gets YIPPEED, with all its songs covered. Enjoy the song….


Song-Zulfen hain teree Kashmiri sitamgar (Zingaaro)(1963) Singer-Mahendra Kapoor, Lyricist- Prem Dhawan, MD- S N Tripathi

Lyrics

Zulfen hain teri Kashmiri sitamgar
aankh teree Bangaale kee
hoye hoye
zulfen hain teri Kashmiri sitamgar
aankh teree Bangaale kee
khair nahin o ghoonghat waalee
aaj kisi dilwaale kee
haaye re haaye haaye
zulfen hain teri Kashmiri sitamgar
aankh teree Bangaale kee
hoye hoye

hum se kaisee pardaadaaree
saamne to aao zaraa
gorey mukh se kaalee chunree
dhheere se sarkaao zaraa
kyaa zaroorat
chaand pe hai
kaho to baadal kaale kee
haaye re haaye haaye
zulfen hain teri Kashmiri sitamgar
aankh teree Bangaale kee

husn tujhse bheekhh maange
ishq sau sau sajde kare
ik nazar jo dekh le wo
zindagee bhar aahen bhare
waah re Kudrat
aisee soorat ke banaane waale kee
hoye hoye
zulfen hain teri Kashmiri sitamgar
aankh teree Bangaale kee
hoye hoye
zulfen hain teri Kashmiri sitamgar
aankh teree Bangaale kee
khair nahin o ghoonghat waalee
aaj kisi dilwaale kee
haaye haaye haaye haaye haaye
zulfen hain teri Kashmiri sitamgar
aankh teree Bangaale kee
hoye


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 :

5747 Post No. : 18270

Today’s song is from the film Gustakhi Maaf-1969.

Titles of Hindi films generally confuse me, but mostly they disappoint me. A normal cinegoer expects that the title of the film indicates the type of film it is or gives a hint of the film’s story subject or atleast the type/genre of the film. But mostly the titles are misleading. Luckily the hoardings and the posters of the film are more revealing and attractive. They give a closer hint about the film. Here too, what is shown on the hoardings is not seen in the films many times. Why I am saying all this is, because today’s film’s story has absolutely nothing to do with its title, by any angle.

The film is a little complicated story ( based on the Comedy of Errors) of two sisters who are twins and hence lookalikes. They are Asha and Seema, daughters of mr. Gupta, a businessman. Once while crossing a river in a boat, a severe storm capsized the boat. One daughter is with the father and one with the mother. Father somehow survives with the daughter, but the mother is injured and swept away. The other daughter Seema reaches a distant shore, where she is found by Mr. Seth, a widowed rich person. He has no issues. He adopts her and gives her also the name of Asha.

18 years pass. The girls become young. Asha Gupta comes to Darjeeling, with her friends. The other Asha Seth is living in Darjeeling only. There are two artist friends Shankar (Sujit Kumar) and Jai (Sanjeev Kumar). Local Asha falls in love with Sujit and by coincidence Asha Gupta starts loving Jai. After a lot of confusion and misunderstandings because of two similar looking girls with the same names, everything is clear and there is a happy ending. In addition, the mother of Asha who had lost her memory is in hospital at Darjeeling. She also regains memory and the whole family is reunited. THE END !

The film was directed by Raj Kumar Bedi and the film’s cast was Tanuja, Sanjeev Kumar, Sujit Kumar, Ulhas, Indira Bansal, Narbada Shankar, Vithaldas Panchotiya, Gopal Saigal and others. The songs were written by Naqsh Lyallpuri.

Just a few days back, I had talked about Hindu lyricists taking Muslim names, like Qamar Jalalabadi who was actually Omprakash Bhandari. Today’s Lyricist Naqsh Lyallpuri is another such example. He was in reality Jaswant Rai Sharma. Here is what is written about him on the internet site of ‘ The Encyclopedia of Indian Cinema’….

Jaswant Rai Sharma (24 February 1928 – 22 January 2017), popularly known by his pen name Naqsh Lyallpuri, was born in Lyallpur (now called Faisalabad and in present-day Pakistan) to a Punjabi-Brahmin family. In 1946 Sharma worked at a publishing house named Hero Publications and later moved to Lahore looking for work. After the Partition of India, the family migrated to Lucknow. Sharma later took on the pen name “Naqsh” – meaning an impression, a mark or a print – and added “Lyallpuri” to it, following the tradition of Urdu poets to associate with their birthplace.

Lyallpuri moved to Mumbai in 1951 and started working at The Times of India as a proofreader. Lyallpuri debuted as a film lyricist with the 1953 film Jaggu, writing the lyrics of “Agar Teri Aankhon Se Aankhein Mila Doon”, rendered by Asha Bhosle and composed by Hansraj Bahl. He worked in the postal department to earn his living. Music director Jaidev introduced him to television serials and asked him to write lyrics for the Hindi television series Shrikant. Lyallpuri went on to write songs for about 50 TV serials along with nearly 40 Punjabi films. Lyallpuri collaborated with various Bollywood music directors, including Madan Mohan, Khayyam, Sapan Jagmohan, Jaidev, Naushad, and Ravindra Jain, and Punjabi music composers like Surinder Kohli, Hansraj Bahl, Ved Sethi, and Husnlal-Bhagatram.

His Filmography….1963: Gul-e-Bakavali, Pyar Ka Bandhan, 1968: Aanchal Ke Phool, 1969: Gustakhi Maaf, Insaaf Ka Mandir, Paun Baran, 1970: Chetna, Gunah Aur Kanoon, Gunahon Ke Raaste, 1971: Kankan De Ohle, 1973: Rocky Mera Naam, 1974: Parinay, 1975: Kaagaz Ki Nao, 1976: Changay Mande Tere Bande, Kasam, 1978: Atyachar, Hazaar Haath, 1979: Kunwara Mama, Til Til Da Lekha, 1980: Sister, 1982: Dil Aakhir Dil Hai (Writer), 1983: Do Madari, 1984: Ek Naya Itihas, 1985: Nain Mile Chain Kahan, Takraar, 1986: Devar Bhabhi, 1987: Jaag Punjabi Shera, 1988: Ghar Aakhir Ghar Hai, Jag Wala Mela, Tapash, 1989: Marhi Da Deeva, 1990: Sounh Menoo Punjab Di.

The music Director was Sapan – Jagmohan. There were only 4 songs in this film. I was surprised. Normally there used to be 6-10 songs in any Hindi film. Curious, I looked at many more other films and I found that nowadays there are fewer songs in the films. I remember, the film ” Trishagni’-1988 had only one song.

These days there may be films without any songs also or songs only in the background. How times have changed ! When the Talkie films started, in its first decade there were average 9 to 10 songs. The record breaking 69 songs in film Indrasabha-1932 is unforgettable.

I wanted to know how the average number of songs in every decade came down. One day I found an analysis done by the famous record collector and music Historian Shri Girdharilal Vishwakarma ji of Jodhpur. Here is what he has presented in a table….

Decade Total number of Films in the decade Total number of songs in the decade Average number of films /year Average number of songs /film
1931-40 931 8247 93 9.0
1941-50 1236 11124 124 8.9
1951-60 1203 9624 120 8.0
1961-70 1007 6990 100 6.9
1971-80 1327 8295 133 6.3
1981-90 1843 9558 184 5.2
1991-2000 1902 9059 190 4.8
2001-10 1967 9154 197 4.7
2011-2017 1475 6785 227 4.6
Total 86.5 years Total number of movies 12891 Overall Average songs per decade 6785 Overall average films/ year 149 Overall average 6.1

You can see yourself how the average number of songs per film has come down. Initially, the craze of film songs was so great that in 1937, when Wadia Movietone released their First songless film- Naujawan, the unsuspecting audience was very angry and at many places the broke chairs etc. in protest as they felt cheated by the producers of that film by not having any songs ! I only hope that if this diminishing trend continues, the image of India as the producer of only ” Colourful Musical Dramas” will change in coming years !

Film Gustakhi Maaf-1969’s Music Director pair was Sapan-Jagmohan. This Jagmohan is not the NFS singer from Bengal- Jaganmoy Mitra aka Jagmohan Sursagar.

Jagmohan Bakshi of Sapan Jagmohan was born in Murrie in Punjab on 29-7 1929. Love of singing and music brought him to Bombay where he met a similar struggler Sapan Sengupta (born on 17-7-1932 at Sylhet in Bengal). One was from Pakistan -w and the other was from Pakistan -E. They became friends and shared a room in a Goregaon Chawl. They regularly sang in the chorus and had dreams of becoming MDs one day ! This pair was favoured by Naashaad, S D Burman and Salil Chaudhari.

Finally S D Burman gave Jagmohan Bakshi a chance to sing a duet with Asha Bhosle,in the film Taxi Driver-1954. The song became popular-‘ Dekho mane nahi roothi haseena,na jaane kya baat hai’. Still no offers came forth. He sang in Hamlet-54,a duet with Rafi. He sang his final and third trio with Lata and Usha in ‘Piya Milan’-1958. In his lifetime Jagmohan Bakshi sang only these three songs-no solo in them.
Later he formed a pair with Sapan as Sapan-Jagmohan and as MD gave music to their first film-Begaana-1963. This pair gave music to 43 films, mostly B and C grade obscure movies.

Jagmohan Bakshi died on 26-2-1999.

Today’s song is sung by Krishna Kalle and Manna Dey. This is the last and final song of this film, making it YIPPEED !


Song- Isaaron ka matbal samajh morey chhaila (Gustaakhi Maaf)(1969) Singers- Krishna Kalle, Manna Dey, Lyricist- Naqsh Llayalpuri, MD- Sapan-Jagmohan

Lyrics

isaaron ka matbal samajh morey chhaila
isaaro ka matbal samajh more chaila
isaaro ka matbal samajh more chaila
tu mora majnu hai main tori laila
tu mora majnu hai main tori laila
arrey pyaar wich hai kadam pehla pehla
arrey pyaar wich hai kadam pehla pehla
main teri laila

laila nahin majnu
haan haan
main tera majnu te tu meri Laila
main tera majnu te tu meri Laila

ae batiyaan u chaahe na maar
tora isak mori lega jaan
rasiya chahliya
arre yaar mera jab jab roothha
aise lage jaise rab roothha
soniye heeriye

tu naahin jaane torey badey maine liye kitne ilzaam
hmm
arre pyaar wich hai kadam pehla pehla
arre pyaar wich hai kadam pehla pehla
main tera majnu te tu meri Laila
main tera majnu te tu meri Laila

kaahe nayan uljhaa baithhee
raaton kee neend ganwa baithhee
rasiyaa aa
chhaliyaa aa
saanja ke tujhko sula doon main
meethhi si lori ga doon main
aaaa sonja raaj kumaari ee sonja
aan aan
sonja main balhaari ee sonja
sonja raajkumaari sonja sonja

patthar ko mai samjhaaun kaa
more darad ki naahin dawa
rasiyaa aa
chhaliyaa aa
yoon na bigad ke aankhen dikhaa
main to hoon kudiye tera ghulaam


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 :

5746 Post No. : 18268

Today’s song is from the Sci-Fi film Gogola-1966. This is the last and final song of the film here.

According to the Internet information available on http://www.geeksforgeeks.org, as on 6-3-2024, the First 10 biggest Cinema industries in the World are….

Country Speciality/ strong point
Hollywood In USA Blockbusters, Technology, Cultural Influence
Bollywood IN India Colourful Musical Dramas, Global Appeal
Nollywood IN Nigeria Prolific, Cost Effective, Family and Love Films
China Box Office Revenue, Infrastructure, Production Volume
United Kingdom Historical Epics, Strong Storytelling, Global Presence
South Korea High production Value, Innovative Storytelling, Thrillers
France Artistic Films, New Wave, Film Festivals
Japan Variety of Genres, Aesthetic Innovation, Samurai Epics
Italy Art Cinema, Compelling Storytelling, Visual Flair
Russia Epic Narratives, Historicals, Animation

From the above data, one can conclude that it is only the Indian industry which provides only entertainment. It was never famous for Innovative stories, Technical advances or Sci Fi films. The entire focus has been and is even today on giving entertainment. However, as I noticed from the last few years, there have been some subtle changes and a lot of films on National issues, National personalities and films highlighting people who mattered in the development of the country have been made and these have received massive support from the viewers, encouraging more such adventures. In due course it surely will reflect on the Indian film industry in the world’s eyes.

The point I wished to make was that the Indian Film Industry (including the regional ones) had never promoted scientific or fictional “hat ke” films. Long back, in the first decade of the talkie films, the first offbeat film I found was WAHAN-1937 by Prabhat Film company. It was a story about a different new planet. Odd looking sets, queer costumes and trick scenes did make the film different from other films. In 1938, there was PROF. WAMAN M.Sc., where a scientist makes a vaccine which sends people into the future. It was made by Ranjit Cinetone. Film KHWAAB KI DUNIYA-1937 was a better Sci Fi film, based on ” The Invisible Man” by H.G.Wells. Prakash Pictures had taken efforts to make it look almost real. Babubhai Mistri’s trick scenes had earned him the title of “Kala Dhaga” in the industry. Then there was a film in 1947 AAJ AUR KAL, based on a story of a future city. The 1957 film MR. X was one of the best Sci Fi films.

Film GOGOLA-1966 was one film which was a reluctant Sci Fi film. It was a story of a giant Sea monster, a-la KING KONG style. I had seen this film, but I had felt that it was a very poor effort. In those days, I had seen the best Sci Fi films of Hollywood and Japan, so I was disappointed.

In the month of August 2017, I received an email from someone called Kelly Robinson, who was a researcher in Hollywood on Horror films and allied subjects. The writer wanted to know the information from me on the film Gogola-1966. I am yet to know how this person knew my name. Perhaps someone told him about me or he must have visited this Blog. Anyway, I wrote back to him giving the film story and all other details which I had. After an year or so, I was informed that my information on Gogola-1966 was used and published with my name in the book “Gods, Monsters and Lucky Peach”. I tried hard but could never get a copy of that book. So much about the International trip of this film !

This film was directed by Balwant Dave and the cast included Azaad, Tabassum (in one of the few C grade films where she was the Heroine),Polson, Nayampalli, Habib etc. Balkavi Bairagi wrote the songs and a pair of Roy-Frank gave the music. While this was the first film of Balkavi as a Lyricist and the last film of Balwant Dave as a Director, for the MD pair of Roy-Frank this was the First and the last film together ! Frank had been working as an assistant to Kalyanji-Anandji before and after Gogola, Roy (real name Mukund Rai Trivedi) had no connection with the film industry. He was the producer of this film and due to his interest in music, he got hold of Frank and made up a pair. Mukund Rai was the son of a rich businessman in M.P. The family was into Mining business. After this film Mukund Rai also joined his family business and became very rich. Later on he also became a Congress M.P. from M.P.

The story of the film Gogola-1966 was….

Asha(Tabassum),Kumar(Azad) and friends are terrified seeing a gigantic Sea Monster coming out of the sea,known as GOGOLA,while picnicking on a Bombay beach.They run away to police who do not believe them.
Asha’s father (Nayampally) is a scientist who is indebted to Lachhoo(Habib),due to loans taken to discover medicine for Heart attack.Asha is a club dancer and Lachhoo is after her,hence Kumar and Lachhoo become enemies.
Gogola comes to town,kills people and breaks buildings and other structures in Bombay,thereby flooding it.Asha’s father develops a poison for Gogola and Kumar goes to the bottom of sea to inject it to Gogola.Lachhoo tries to kill him in the sea,but Kumar injects Gogola.

Before dying, Gogola obliges Kumar by killing Lachhoo.

Kumar gets reward from the Police and Asha from her father…marriage with Kumar !

Today’s song is sung by Usha Mangeshkar and Minu Purushottam.

How does it feel like, losing one’s identity and getting known as a sister of ,not One but Two Celebrities ? For Usha Mangeshkar this is no more a tag problem because after more than 400 films and over 600 songs in a span of 60+ years, she has earned her own place amongst the female singers of Repute !

Born on 15th December 1935, at Sangli, Usha is the fdourth and the youngest sister of Mangeshkars. The line up is very regular-exactly 2 year’s difference in the ages of the siblings-

Name of Mangeshkar sibling Year of birth
Lata 1929
Meena 1931
Asha 1933
Usha 1935
Hridaynath 1937

When master Deenanath died in 1942, Lata, all of 13 years, had to act and sing in films to earn money for the family. Meena, not so keen on singing, chose to stay at home and look after the Mother and young Usha and Hridaynath. Asha joined her sister in acting, singing and earning money for the family. Usha was just 7 year old, so she too remained at home. Besides singing, she was interested in Painting, so she took lessons from the famous painter of those days, M.R.Achrekar. In addition, she also continued learning Music from Pt.Tulsidas Sharma,K. Mahavir and Sushant maharaj.

When Asha left suddenly and went away-in 1948- with Ganpatrao Bhosle, double her age, the family got a terrible jolt. The financial responsibility now fell only on Lata Mangeshkar. At the age of 19 years, Usha decided to start earning herself by singing in films and C. Ramchandra gave her a break with a song “Bhaabhi aayi ” from ‘Subah ka Tara’-1954. Her very first song became so popular that she was flooded with children’s song offers. Her next popular song was “Aplam chaplam chap laayi re ” from Azaad, also by C.Ramchandra.

Thus started her journey of film singing. It is to the credit of her sisters, Lata and Asha that they sang duets with her in plenty. In fact for Usha Mangeshkar, her solo songs are not even half of her duets in her career. By 1970, Usha was well known as a singer through her efforts.

In 1975, came the biggest hit song of her career. It was “Main to aarti utaaroon re Santoshi maata ki ” from the film JAI SANTOSHI MAA-1975. Written by Kavi Pradeep and set to tune by MD C.Arjun. This and other songs of this film sung by Usha, became a rage and till today they are the most popular songs sung by her.

“Jai Santoshi Maa” was produced by Shri Satram Rohera, a producer/Director, who was in trouble after his maiden venture ” Rocky mera naam”-73 bombed miserably. Bringing together a team of not so popular actors, director and MD, he produced this low budget film ” JAI SANTOSHI MAA”-in 1975. With this film making history of success his luck changed so much that, I am sure, he must have done the Santoshi Mata Vrat all through his life !

The success of this film also brought accolades to its MD, C. Arjun and Usha Mangeshkar. Usha Mangeshkar not only got ‘The best Playback singer’s award from Bengal Film Journalists Association, but got a nomination for Film fare award also .

After this film, there was no looking back for her. She was always the choice for Item songs like “Mungdaa Mungdaa main gud ki dalli ” etc. Another achievement for her was her foray into Marathi film singing. She was the most favourite singer of Dada Kondke for all his Jubilee films and all her songs became popular too. She must have sung at least 200 songs in Marathi.

By 1957, Meena got married. Asha was also away again, first with O P Nayyar and then with R D Burman. Usha had to look after Mai, their old mother and her younger brother Hridaynath, managing the entire Mangeshkar family and household. In all this there was no time to get married. Like her eldest sister, Usha also remained Unmarried.

Despite singing so many songs in so many films, Usha NEVER got any Filmfare award for her Hindi songs. For her Marathi songs, of course she got many honours and awards.

The voice of Usha is totally different from Lata or Asha. It is tilting towards shrillness, a sharp, a high pitch voice which has a strange attraction power.

From 1954 onward, she carried two heavy burdens- one that of looking after their old mother and the entire family and Two, a permanent stamp of “sister of Lata /Asha”. But she is not complaining. She says-‘It is an honour for me to be recognised as Lata and Asha’s sister. They are icons in the Hindi film industry. Comparatively my contribution is nothing. Further I prefer remaining in the background only.’

With Usha looking after their homes, the Mangeshkar family members had no worry about the home and they could concentrate on their work freely. Usha could not do justice to her Painting. However, some of her Paintings were showcased in some Art galleries a few times.

Usha is nearing 90 years now. She is not very active, but we will always remember her famous songs from films like, Rajhath, Main nashe mein hoon, Guest House, Grihasthi, Mera qasoor kya hai, Chitralekha, Dus lakh, Pyar kiye jaa(O meri Maina), Pyar Muhabbat, Taqdeer, Beti, Jeene ki raah, Khatta Meetha, Shaan, Shama etc. Usha Mangeshkar produced 2 Marathi films and gave music to one of them. She has sung songs in Hindi, Marathi, Nepali, Bhojpuri, Gujrati, Assamese, Odia, Bangla, Telugu,Tamil etc.

My Salute to Usha Mangeshkar, who epitomises the true Indian woman- sacrificing for the family, looking after Home and when needed,earning for family.

With today’s song being the last and the final song of this film, the film becomes YIPPEED, with all its songs covered.


Song- Dekha dekha balma pyaara(Gogola)(1966) Singers-Usha Mangeshkar, Minu Purushottam, Lyricist- Balkavi Bairagi, MD – Roy-Frank
Both

Lyrics

dekha dekha balma pyaara
dekha dekha balma pyaara

balma pyaara sajna pyaara
chhaliya pyaara rasiya pyaara
dekha dekha balma pyaara
dekha dekha balma pyaara

chaand sa gora bematwaala(?)
chaand sa gora bematwaala(?)
ras ka lobhi man ka kaala
chal hat toone kya keh daala
chal hat toone kya keh daala
dekha dekha balma pyaara
dekha dekha balma pyaara

balma pyaara sajna pyaara
chhaliya pyaara rasiya pyaara
dekha dekha balma pyaara
dekha dekha balma pyaara

main kya uska roop bakhaanoon
main kya uska roop bakhaanoon
jaanoon ree jaanoon
sab kuchch jaanoon

batiyaan tori main na maanoon
batiyaan tori main na maanoon
dekha dekha balma pyaara
dekha dekha balma pyaara

balma pyaara sajna pyaara
chhaliya pyaara rasiya pyaara
dekha dekha balma pyaara
dekha dekha balma pyaara


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 :

5740 Post No. : 18262

“Mastaana” (1970) was produced by Premji and directed by A. Subba Rao for Suchitra films private limited. This movie had Mehmood, Padmini,Bharati, Vinod Khanna, Shyama, Rehman, Mukri, Leela Mishra, Manorama, Jayshree T., Ramesh Deo, wonder- child Bobby, Paro, Kamal Kapoor, Habib, Baby Guddi, RajKishore, Prabhat Kumar, Ram Avtaar, Shivraj, Narbada Shankar, Harbans darshan, M Arora, Salma etc in it.

“Mastaana” (1970) had seven songs in it. Three songs have been covered in the past.

Here is the fourth song from “Mastaana” (1970) to appear in the blog. This song is sung by Lata Mangeshkar. Anand Bakshi is the lyricist. Music is composed by Laxmikant Pyarelal.

The song is lip synced by an actress whom I am unable to identify who is trying to resist the advances of Ramesh Deo by trying to make him drunk, which was quite a standard situation in Hindi movies of those days.

I request our knowledgeable readers to help identify the actress inadvertently playing the desi daaru desi bar dancer in this song.


Song-Pee le pee le tu jee le(Mastaana)(1970) Singer-Lata, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal

Lyrics

pee le pee le
pee le ae
pee le pee le
tu jee le
in nasheele nainon se bhi
thhodi pee le
rangeele baalma
zaalma jaaniyaa
pee le pee le
tu jee le
in nasheele nainon se bhi
thhodi pee le
rangeele baalma
zaalma jaaniyaa
pee le pee le
pee le

roop ka baadal baras raha hai
o o o
o o
roop ka baadal baras raha hai
tu kyun pyaasaa taras raha hai
poochh rahe hain
nain gulaabi
poochh rahe hain
nain gulaabi
poochh rahe hain
honthh raseele
pee le pee le
pee le
pee le pee le
tu jee le in nasheele nainon se bhi
thhodi pee le
rangeele baalma
zaalma jaaniyaa
pee le pee le
pee le

mann madira ka chhalkta pyaala
o o o
o o
mann madira ka chhalkta pyaala
preet ka preetam nasha niraala
dekh ye meri
chaal sharaabi
dekh ye meri
chaal sharaabi
dekh ye mere
nain kateele
pee le pee le
pee le
pee le pee le
tu jee le in nasheele nainon se bhi
thhodi pee le
rangeele baalma
zaalma jaaniyaa
pee le pee le
pee le


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 :

5734 Post No. : 18256

“Pyaar Hi Pyaar”(1969) was directed by Bhappi Soni for R S Productions, Bombay. This “social” movie had Dharmendra, Vyjyantimala, Pran, Helen, Dhumal, Raj Mehra, Madan Puri, Sapru, Sulochana, Manmohan, Sulochana Chatterjee, Paro, Krishn Dhawan, Padma Rani, Junior Mehmood, Mehmood etc. in it.

“Pyaar Hi Pyaar”(1969) had six songs in it. Five songs have been covered in the blog so far. Hasrat Jaipuri was the lyricist for five songs whereas Rajinder Krishan had penned one song. Music was composed by Shankar Jaikishan.

Five songs have been covered in the blog. Here are their details:-

SNo in Blog Song Title Singer/s Lyrics Posted On Remarks
488 Ham aa gaye phir dar kaahe ka Rafi Hasrat Jaipuri 3 January 2009
489 Dekha hai teri aankhon mein pyaar hi pyaar beshumaar Rafi Hasrat Jaipuri 3 January 2009
499 Main kahin kavi na ban jaaun tere pyar me ae Kavita Rafi Hasrat Jaipuri 5 January 2009
15881 Tu mera main teri duniya jaley to jaley Asha Bhonsle, Rafi Hasrat Jaipuri 12 Setember 2020
17261 Abhi salaamat abhi hai zinda aap ka khidmatgaar Rafi Rajinder Krishan 8 December 2022 This song was the only song of the movie that was not penned by Hasrat Jaipuri

Here is the sixth and final song from “Pyaar Hi Pyaar”(1969) to appear in the blog. The song is sung by Asha Bhonsle and female chorus. Hasrat Jaipuri is the lyricist. Music is composed by Shankar Jaikishan.

The song is picturised as a stage dance performance song on Vyjyanti Mala and a few other female dancers. They are giving this performance in a house full hall. Dharmendra is present among the audience duly seated in the front row.

The song has three stanzas. The costumes of other female dancers remain unchanged throughout the song, but Vyjyanti Mala’s sari changes in every stanza. In the first stanza it is white (or is it cream colour ?), in the second stanza it becomes orange, in the third stanza it becomes purple. 🙂

With this song, all the songs of “Pyaar Hi Pyaar”(1969) have been covered in the movie. The movie thus joins the list of movies that have been YIPPEED in the blog.


Song-O sakhiyaan o sakhiyaan (Pyaar Hi Pyaar)(1969) Singer-Asha Bhonsle, Lyrics- Hasrat Jaipuri, MD-Shankar Jaikishan
Female Chorus

Lyrics

o sakhiyaan o sakhiyaan
aa haa
mori ankhiyaan lad gayin
aa haa
ik jaadugar se ae
ik jaadugar se
o sakhiyaan o sakhiyaan
aa haa
mori ankhiyaan lad gayin
aa haa
ik jaadugar se
ik jaadugar se
o sakhiyaan o sakhiyaan

ik dard uthhe hai
haaye haaye
rah rah ke jigar mein
hoy hoy
rehta hai wo zaalim
haay haay
har waqt nazar mein
hoy hoy
yaad uski jo aaye
raaton ko jagaaye
uljhe meri saanses
deewaana banaayen
o sakhiyaan o sakhiyaan
haan haan
mori ankhiyaan lad gayin
haan haan
ik jaadugar se
ik jaadugar se
o sakhiyaan o sakhiyaan
haan haan
mori ankhiyaan lad gayin
haan haan
ik jaadugar se
ik jaadugar se
o sakhiyaan o sakhiyaan

meethhee si kasak hai
haay haay
nas nas mein chamak hai
hoy hoy
jaagi hain umangen
haaye haaye
aur dil mein dhadak hai
hoy hoy
bas ek nazar se
kya cheez pilaayi
mujhko to sharaabi
kehti hai khudaayi
o sakhiyaan o sakhiyaan
haan haan
mori ankhiyaan lad gayin
haan haan
ik jaadugar se
ik jaadugar se
o sakhiyaan o sakhiyaan
haan haan
mori ankhiyaan lad gayin
haan haan
ik jaadugar se
ik jadugar se
o sakhiyaan o sakhiyaan

is pyaar ne meri
hoy hoy
kismat hi badal di
hoy hoy
ikraar ne meri
haay haay
haalat hi badal di
hoy hoy
jab tak na hua thha veeraan thhe nazaare
jis din se hua hai
din hain bade pyaare
o sakhiyaan o sakhiyaan
haan haan
mori ankhiyaan lad gayin
haan haan
ik jaadugar se
ik jaadugar se
o sakhiyaan o sakhiyaan
haan haan
mori ankhiyaan lad gayin
haan haan
ik jaadugar se
ik jadugar se
o sakhiyaan o sakhiyaan
haan haan
mori ankhiyaan lad gayin
haan haan
ik jaadugar se
ik jaadugar se
ik jaadugar se


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 FIFTEEN years. This blog has over 18300 song posts by now.

This blog is active and online for over 5000 days since its beginning on 19 july 2008.

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(© 2008 - 2024) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

18304

Number of movies covered in the blog

Movies with all their songs covered =1411
Total Number of movies covered=4951

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