Archive for the ‘Zeenat Begam songs’ 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.
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Blog Day : |
5427 | Post No. : | 17803 |
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Blog 10-Year Challenge (2013-2023) – Song No.129
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On this date ten years ago (28 May 2013), four songs from four different movies were covered in the blog. Here are the details:-
| Post No | Song Title | Name of the movie | Remarks |
|---|---|---|---|
| 8138 | Rut madhur milan ki aayi hai | Khaamosh Nigaahen (1946) | 5 Songs covered out of 11 by now |
| 8139 | Meri ulfat soyi hai yahaan | Oot Pataang (1955) | 6 songs covered out of 9 by now |
| 8140 | Chal ae dil e majboor | Surang (1953) | Movie YIPPEED in the blog by now |
| 8141 | Mausam bada rangeela | Zimbo Comes To Town (1960) | Movie YIPPEED in the blog by now |
We observe that two movies (out of four) whose songs were covered on this date ten years ago have since been YIPPEED in the blog. That leaves us with two unYIPPEED movies that are eligible for Blog Ten Year Challenge today (28 May 2023).
“Khaamosh Nigaahen”(1946) is one such BTYC eligible movie.
“Khaamosh Nigaahen”(1946) was directed by Moti B Gidwani for Shorey Pictures. The movie had Manorama, Al-Nasir, Majnu, Jauhar, Pran, Zahoor Shah, Iqbal Sheikh, Kamla, Nafees, Neeta, Haidari, Fazal Shah, Ghlam Qadir etc in it.
The movie had 11 songs in it. Five songs have been covered in the past.
Here is the sixth song from the movie to appear in the blog. The song is sung by Zeenat Begam. aziz Kashmiri is the lyricist. Music is composed by Vinod.
Only audio of the song is avilable. I request our knowledgeable readers to throw light on the picturisation of the song.
Lyrics of the song were sent to me by Prakashchandra.
Audio link:
Song-Door basat hain piyaa na laagey jiyaa (Khaamosh Nigaahen)(1946) Singer-Zeenat Begam, Lyrics-Aziz Kashmiri, MD-Vinod
Lyrics(Provided by Prakashchandra)
Door basat hain piyaa
na laagey jiyaa
na laagey jiyaa
bahut tadpaaye rey
haayye rey haayye
haayye rey haayye
door basat hain piyaa
na laagey jiyaa
na laagey jiyaa
bahut tadpaaye rey
haayye rey haayye
haayye rey haayye
o o o oo
dekh dekh ghat kaalee
o o o o
dekh dekh ghat kaalee
morey man mein aen
morey man mein
uthhey uchhaalee
morey man mein
uthhey uchhaalee
aisey mein teri yaad aaye rey
yaad aaye rey
jiyaa lalchaaye rey
jiyaa lalchaaye rey
ghataa tadpaaye rey
haayye rey haayye
haayye rey haayye
door basat hain piyaa
na laagey jiyaa
na laagey jiyaa aa
bahut tadpaaye rey
haayye rey haayye
haayye rey haayye
ho o o o o
hho shyaamaa hho shyaamaa hho o o
ho o o o
hho shyaamaa hho shyaamaa hho o o
haayye padey baagon mein jhooley
baagon mein jhooley
kahey raadhaa hamein kaahey bhooley ae
kahey raadhaa hamein kaahey bhooley ae
tere binaa chain na aaye rey
naa aaye rey
jiyaa lalchaaye rey
jiyaa lalchaaye rey
ghataa tadpaaye rey
haayye rey haayye
haayye rey haayye
door basat hain piyaa
na laagey jiyaa
na laagey jiyaa
bahut tadpaaye rey
haayye rey haayye
haayye rey haayye
door basat hain piyaa aa aa
Aao saathhi aao
Posted on: August 22, 2022
- In: Devnagri script lyrics by Sudhir | Duet | Feelings of heart | Guest posts | Imdaad Husain Songs | Lyrics contributed by readers | Post by Arunkumar Deshmukh | Songs of 1940s (1941 to 1950) | Songs of 1947 | Yearwise breakup of songs | Zeenat Begam songs | Zeenat Begum - Imdaad Husian Duet
- Leave a Comment
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.
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Blog Day : |
5148 | Post No. : | 17110 |
Today’s song is a duet from the film ‘Aaj Aur Kal’ (1947).
This is yet another movie from 1947, about which very little information is available, other than what is given in HFGK inadequately. Names of the cast are given by only 3 names and the lyricist name is missing.The film was made Chitra productions Ltd., Lahore. It was directed by KA Abbas and the MD was Khursheed Anwar. No names of any singers are given.
Khursheed Anwar gave music to only 10 Hindi films in India. His only one film had songs which became famous and that film was the last film of KL Saigal – ‘Parwana’ (1947), after which Saigal left this world. No other film was musically popular or famous. The last film of Khursheed Anwar was ‘Neelam Pari’ (1952). He migrated to Pakistan after this film. In Pakistan, however, he was one of the most celebrated and honored composers. He gave music to about 20 films and many of his films like ‘Intezar’ (1956), ‘Jhoomer’ (1959), ‘Ghunghat’ (1962), ‘Heer Ranjha’ (1970), ‘Parai Aag’ (1971) and ‘Mirza Jaat’ (1982) became hits. He also won several awards in Pakistan. He is credited with keeping the classical music alive in films. He got the Nigar Award 3 times. It is a matter of curiosity how those MDs who were not so popular in India became famous and popular in Pakistan. Examples are GA Chishti or Nissar Bazmi. Eminent composer in India like Ghulam Haider did not succeed in Pakistan.
I had to strive very hard to collect information on this film from various sources and I learnt that the producers of this film were CR Gwalani and RK Parasher. Actors Shyam and Nayantara were the lead actors and singers Zeenat Begum, Imdad Hussain and Naseem Akhtar sang some of the songs of this film. The most important information I got was that the story of this film was a science fiction story. It portrayed life in an imaginary city called Gandhi Nagar in the year 2048 (100 years later in future).
This was not the first Sci Fi film in India. Way back in the year 1937, there were 2 such films were made. One was by Prabhat film co. -‘Wahan’ (1937), in which Chandra Mohan and Shanta Apte were the lead pair. The second was by Prakash Pictures – ‘Khwab Ki Duniya’ (1937), with Jayant and Sardar Akhtar in lead. This film was based on the novel ‘The Invisible Man’ by HG Wells, published in 1897. A Hollywood film was made on it in 1933 with the same title. In the year 1938 again there were 2 Sci Fi films made. Ranjit Movietone made ‘Prof. Waaman M.Sc.’ (1938). This was about a man who travels in time. The second film was ‘Mr. X’ made by Prakash Pictures again.
In the 50’s there was a film ‘Mr. X’ (1957), with Ashok Kumar and Nalini Jaywant in lead. After 1960, there may be more Sci Fi films but I am not much aware about them, except ‘Mr. X in Bombay’ (1964) and ‘Mr. India’ in 1987. Our readers may enlighten us about any other such films.
The cast of the film ‘Aaj Aur Kal’ aka ‘Today Or Tomorrow’ (1947) was Neeta, Rashid Ahmed and Arif as per HFGK. I do not know who Neeta or Arif, but I certainly know who Rashid Ahmed was. He was popularly known as Rashid Khan in later films. Rashid Khan was a new entrant in Hindi films then, having debuted in ‘Dharti Ke Lal’ (1946), this was his just 4th film. Vadodara or Baroda has given many actors to the film world. Some of them are Mehboob Khan, Urmila Bhatt, Shabbir Kumar, Farooque Sheikh, VH Desai, Dinesh Hingoo etc. Add to this, Rashid Ahmed Khan aka Rashid Khan, who was a villain, comedian, character artiste and everything else, except the hero.
He was born on 5th July 1915. He was a Suleimani Muslim, hence very liberal and secular in nature. He studied upto BA, LL.B., but without becoming an advocate he came to Bombay to become an actor. He met Jaddan Bai,who gave him tit bit roles in films. Then he was employed by Sohrab Modi as a painter in his studio. Rashid Khan used to copy the acting of Chandra Mohan. After two months this job was also gone. Finally, Rashid Khan got a job in All India Radio, Bombay as an announcer.
One day Balraj Sahni met him. He was directing KA Abbas’ drama ‘Zubeida’ and was looking for an actor for the important role of Munshi Bedil in the drama. He was impressed with Rashid Khan and offered him the role. Rashid Khan flatly refused. Next one month, on and off, Balraj Sahni was trying to convince Rashid Khan, but he was adamant in not doing acting. Just one week prior to the staging of the drama, Rashid Khan met Balraj Sahni and accepted his offer.
Rashid Khan’s acting was much appreciated by critics. Balraj gave him a role in the film ‘Dharti Ke Lal’ (1946), which became his debut film. Many stage stalwarts were acting in that film. Deena (Sanghvi) Pathak had a dance item in it. Later she became a famous character actress in Hindi films in the 70s and 80s. Rashid Khan got several films like ‘Hasrat’, ‘Gudia’, ‘Aaj Aur Kal’, ‘Anjuman’, ‘Aarzoo’ etc. Initially he was credited as Rashid Ahmed, but later on he ensured that he was mentioned as Rashid Khan. In the beginning, he had to improve his Urdu/Hindi diction, as he was a Gujarati person.
Dev Anand cast him as Postmaster in Navketan’s first film ‘Afsar‘. Then came ‘Baazi’, ‘Jaal’, ‘Aah’, ‘Shri 420’ and many others. He acted in most Dev Anand and Guru Dutt films. KA Abbas cast him in his 8 films. He was a favorite of Hrishikesh Mukherjee. He worked with Mukherjee in 18 films. Personally, I like his role of a ‘body builder and exercise freak’, in the film ‘Ek Phool Chaar Kaante’ (1960). In his career, Rashid Khan did acting in 96 films.
In 1953, he married one Suraiya. His son Fazal is a photographer and daughter Heena married into the Fida Hussain family.
Rashid Khan rarely got long and big roles, but he made his small roles memorable. He was not typecast. He did roles as villain, comedian and character artiste as father, brother or friend of the hero. While shooting at Famous Studio, on 7-11-1972, he got a massive heart attack and died while working, just like Gope. [Adapted, with thanks, from a Gujarati article by Harish Raghuwanshi ji.]
Today’s duet is sung by Zeenat Begum and Imdad Hussain. I have no information about this male singer. The song is reasonably good one.
Song- Aao saathi aao (Aaj aur Kal)(1947) Singers- Zeenat Begum, Imdad Hussain, Lyricist- [Unattributed], MD- Khursheed Anwar
Zeenat Begum + Imdad Hussain
Lyrics
o o o
aao saathi aao
saathi tum kis oar chalin
kis oar chalin
main andekhe desh chali ee ee ee ee
andekhe desh chali
phaile phaile khet hamaare dekho
khet hamaare
ham sabne mil jul ke sanwaare dekho
mil ke sanwaare
mehnat ka chamka hai suraj
mehnat ka chamka hai suraj
raat ki baat gayi ee ee ee ee
o o o
aao saathi aao
main andekhe desh chali ee ee ee ee
andekhe desh chali
nayi umangen
ho o naya zamaana
nayi umangen
ho o naya zamaana
nayi tarangen
ho naya fasaana aa
nayi tarangen
ho naya fasaana
main hoon aaj ki prem kahaani ee
main hoon kal ki nayi nishaani ee
aaj aur kal se milke banaayen
aaj aur kal se milke banaayen
duniya ek nayi ee ee ee ee
o o o
aao saathi aao
main andekhe desh chali ee ee ee ee
andekhe desh chali ee
o o o
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Hindi script lyrics (Provided by Sudhir Kapur)
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ओ ओ ओ
आओ साथी आओ
साथी तुम किस ओर चलीं
किस ओर चलीं
मैं अनदेखे देस चली
अनदेखे देस चली
फैले फैले खेत हमारे देखो
खेत हमारे
हम सबने मिल जुल के सँवारे देखो
मिल के सँवारे
मेहनत का चमका है सूरज
मेहनत का चमका है सूरज
रात की बात गई
ओ ओ ओ
आओ साथी आओ
मैं अनदेखे देस चली
अनदेखे देस चली
नई उमंगें
हो ओ नया ज़माना
नई उमंगें
हो ओ नया ज़माना
नई तरंगें
हो नया फसाना
नई तरंगें
हो नया फसाना
मैं हूँ आज की प्रेम कहानी
मैं हूँ आज की नई निशानी’
आज और कल से मिलके बनाएँ
आज और कल से मिलके बनाएँ
दुनिया एक नई
ओ ओ ओ
मैं अनदेखे देस चली
अनदेखे देस चली
ओ ओ ओ
Meri beete jawaani mastaani
Posted on: July 26, 2022
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.
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Blog Day : |
5121 | Post No. : | 17070 |
Today’s song is from the film Intezar ke baad-1947.
1947 was the year of our Independence and this was also the year in which the highest number of Hindi films were made-187 ! This record remained unbroken till 1985 when 187 Hindi films were made. That means from 1931 to 1984 – a span of more than 50 years – thi record remained unbeaten. Even for the All India film count of all languages was the highest till 1947 – it was 280 films. This of course was broken sooner when in 1949, a total of 291 films of all languages were made in the country.
When the quantity increases without a valid reason, it usually damages the quality.Although few landmark Hindi films were made in 1947, like Jugnu,Do Bhai, Dard, Mirza Sahibaan, Shehnai, Elaan, Parwana, Saajan, Neelkamal, Aap ki sewa mein,Meerabai (of M.S.Subbulaxmi), Naatak, Sidoor etc., most others were below par. This possibly happened as there was a deluge of migrating Muslim film artistes from India to Pakistan and they completed their films somehow to fulfil ther contractual responsibilities. Thus not much attention was given to quality, but to complete the film.
Intezar ke baad-47 was also one such film. Based on an unbelievable flimsy story, directed by a veteran of silent films and a lusterless musical score made this film an ordinary movie to remember. The film was directed by G.P.Pawar, a fall out of the silent era. The music was by Aziz Khan aka Aziz Hindi. A point to note was, however, that few old time artistes like Shantarin, Shanta Kumari and madhav kale etc. featured in the film. The cast, besides these artistes, consisted of Jeevan, Rahaman,Husn Ara, Gope, Rajkumar, madhukar gupte, Shanta Patel, Vijaya etc. The story of this film was….
The Zamindar of Ratanpur had no child for a long time. At last he got a charming daughter. His wife fought with him bitterly when he was drunk and left the home with the baby. She left the baby at the doorsteps of Dada patel- a kind gentleman and then she committed suicide. Eventually the baby grows up into a beautiful girl-Shama. The zamindar also adopts an orphan-Mohan, who too grows up.
A local merchant Fakirchand wants to marry his daughter Shaila to Mohan- who is a wayward wasted young boy and he wants to marry Shama. Shama loves another good person-Dr. Ajay who also loves her. The Dewan of the zamindar blackmails zamindar to expose that his son Mohan is actually the dewan’s own son. He also blackmails Dada patel to expose that Shama is not his daughter. When Mohan learns all this, he kills Dewan.
The police arrest him. In the court everything is exposed and Mohan is jailed for 2 years. Dr. Ajay and Shama get married. After Mohan comes out he is a reformed person. He gets married to Shaila. All’s well that ends well ( and the audience is happy that the film has ended ! ).
2 names from this film attracted me. One was actress Shanta kumari. To get some information on Shanta Kumari, I had spent a few years and had scanned several sources like books and sites etc. Finally, here is her information that I collated from several sources.
Miss Shanta Kumari , a forgotten name of early Bollywood, who championed in both silent and talkies (please do not confuse with the South Indian actress of the same era).
Miss Shanta Kumari was born in 1904 to a family of ten and entered silent movies at the age of sixteen (1920). She worked in 1920 s with the Sharada film company ( Kala Pahad, 1927) with Master Vitthal and later joined Delhi’s Great Eastern film company ( Bhai ki Kasai, 1928, Pilgrims of Love 1929, Kumud Kumari 1929). She later joined the Ranjit film company ( later Ranjit Movietone) and acted with Eddie Billimoria in Prince Charming (1930) & Castles in the Air (1930). In 1930 also she worked with Kohinoor Film Company for the movie Arya Kanya (1930). Since she was a very accomplished singer and dancer she hadn’t got any difficulty in entering Talkies and excelled in Talkies. She made her debut talkie with Shri Krishna Film Company’s Heer Ranjha (1931). Her some other memorable early Talkies were Lanka Dahan (1933), Hatim Tai (1933), Bulbul-e- Punjab(1933), Bhoola Shikar (1933), Aaj Kal (1934), Sinhasan (1934), Baal Hatya (1935)
Shanta Kumari was very beautiful. After her first Talkie film Heer Ranjha-1931, came many films, including 4 parts of the film Hatimtai-33, in which she was Heroine Husnbanu. In film Sant Tulsidas-34, she sang along with even G N Joshi, famous classical singer of those times and later on an officer in H.M.V. Recording section. Due to her good singing, till 1936 she sang on A.I.R. Bombay. In 1940, she got married to Sound Recordist Kothari. In the later period, she acted in some famous films like Bharat Milap-42, Ramrajya-43, Prithvi Vallabh-43, Gwalan-46, Ram Vivah-49 and Grih Laxmi-49. After a gap, she appeared in the film Toofan aur Diya-56. She acted in few C grade films and her last film was Toofani Tarzan-62. She acted in 27 films and sang 21 songs in 8 films. She died on 18-1-2006 ( information collated from Beete kal ke sitare by Shriram Tamrakar, MuvYz,interview by V S Nigam on medium.com and book The lost Treasure by K.Pasupuleti with thanks).
The other name was singer Munawar Sultana. There was an actress Munawar Sultana working in Indian films from 1941 (Khazanchi) to 1956 (Jallad), but she never sang and the singer Munawar Sultana never acted in any film-here or in Pakistan. Still, due to similarity in names, people mixed up these two artistes. Here is the singer’s information.
Munawar Sultana was a film playback singer of Pakistan active in the 1950s. She was born on 8-11-1924 at Lahore. She started her career in the mid-1940s as a radio and film playback singer. She used to take music lessons from the renowned music director Ghulam Haider. She started singing in Hindi films. She sang 25 songs in 14 Hindi films. The films were Shukriya-44,Dhamki-45, Behram Khan-46, Aai Bahar, Pagdandi-47, Mehendi, Intezar ke baad, Ek roz, But Tarash, Rooprekha, Reet, Patjhad, Chup chup ke and Barsat ki ek raat-48.
After independence of Pakistan in 1947, Lahore film industry had to rebuild itself because most of the Hindu film studio owners decided to migrate to India and they left Lahore, Pakistan. Music Director Ghulam Ahmad Chishti, Munawar Sultana and Inayat Hussain Bhatti are mostly credited with bringing the dead music industry of Lahore back to life again.She also worked with music directors Rashid Attre, Safdar Hussain besides Ghulam Haider and Baba Chishti to produce many super-hit film songs in the 1950s.
She continued to work at the Radio Station, Lahore and recorded many popular Punjabi folk songs there as well. Munawar Sultana was known for her melodious voice among the Pakistani public. In the late 1950s,she married the then Station Director of Radio Pakistan, Lahore-Ayub Roomani.
Her marriage coupled with arrival of new playback singers-especially Zubaida Khanum and Naseem Begum ended her singing career. She started focusing more on her family life and kids. She died on 20 May 1995 in Lahore,Pakistan. (Information adapted from pak.mag and IMDB, with thanks.)
Today’s song is sung by Munawar Sultana. This is the second song from this film here.
Song- Meri beete jawaani mastaani (Intezaar Ke Baad)(1947) Singer-Munawar Sultana, Lyricist- C.Zaman, MD- Aziz Khan Hindi
Lyrics
Meri beete
Meri beete jawaani mastaani
haaye Raama
mere baanke balam nahin aaye
Meri beete
Meri beete jawaani mastaani
haaye Raama
mere baanke balam nahin aaye
mera dhak dhak ye nanha sa dhadke jiya
mera dhak dhak
mera dhak dhak ye nanha sa dhadke jiya
joban aaya
joban aaya
magar tum na aaye piyaa
haan
joban aaya
joban aaya
magar tum na aaye piyaa
kaun roothhi jawaani ko manaaye
haaye
kaun roothhi jawaani ko manaaye
haaye Raama
mere baanke balam nahin aaye
Meri beete
Meri beete jawaani mastaani
haaye Raama
mere baanke balam nahin aaye
gore gaalon ka
gore gaalon ka rangat gulaabi gayi(?)
baanke naina mere ab sharaabi nahin
ab to saawan bhi man ko na bhaaye
haaye
ab to saawan bhi man ko na bhaaye
haaye Raama
mere baanke balam nahin aaye
haaye aana naa
aana naa
hai sooni nagariya meri
ab to lelo piyaa jee khabariya meri
haaye na aana
aana aana
hai sooni nagariya meri
ab to lelo piya jee khabariya meri
aag birha ki man ko jalaaye
haaye
aag birha ki man ko jalaaye
haaye Raama
mere baanke balam nahin aaye
Meri beete
Meri beete jawaani mastaani
haaye Raama
mere baanke balam nahin aaye
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
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Blog Day : |
5078 | Post No. : | 17001 |
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Blog 10-Year Challenge (2012-2022) – Song No. 52
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This date (13 June) ten years ago (2012) saw five songs from five different movies getting covered in the blog.
Here are the details:-
| Blog post number | Song | Movie (Year) | Remarks |
|---|---|---|---|
| 6072 | Jab ankhiyaan pehli baar milin | Paraaye Bas Mein(1946) | 3 songs covered out of 7 by now |
| 6073 | Chanda taley muskuraaye jawaaniyaan | Chandi Rani (1953) | 1 song covered out of 9 by now |
| 6074 | Ganga ki reti pe bangla chhawaayi de | Mirza Ghalib (1954) | Movie YIPPEED by now |
| 6075 | Aankhon mein teri yaad liye jaa reha hoon main | Hamaari Yaad Aayegi(1961) | Movie YIPPEED by now |
| 6076 | Subah hoti hai shaam hoti hai | Aplam Chaplam (1961) | 3 songs covered out of by now |
We can see from the table that two movies out of five whose songs were covered ten years ago on this date have since been YIPPEED in the blog. That leaves us with three movies that are eligible for Blog Ten Year Challenge today (13 June 2022).
“Paraaye Bas Mein”(1946) is one of the three eligible movies. This movie was directed by by Dawood Chand for India United Pictures, Lahore. The movie had Pran, Asha Posley, Ramlal, Zubeida, Zahoor Shaah, Ghulam Khadir, Maala, Deepak, Wazir Begum, Nazar etc in it.
“Paraaye Bas Mein”(1946) had 7 songs in it. Three songs have been covered so far.
Here is the fourth song from “Paraaye Bas Mein”(1946) to appear in the blog. The song is sung by Zeenat Begam. Though HFGK is silent about the music director and lyricist, the music sounds typical of Vinod (who was one of the two music diretors of the movie, other being Niaz Hussain Shami. The movie had two lyricists as well, namely Aziz Kashmiri and Tufail Hoshiarpuri. It is easy to guess that Aziz Kashmiri , a regular collaborator of Vinod has to be the lyricist. Our regular Mr Sadanand Kamath also feels the same about the music director and lyricist of this song.
Only the audio of the song is available. My uess is that the song was picturised on Asha Posley, the heroine of the movie. Nevertheless, I request our knowledgeable readers to throw light on the picturisation of the song.
Lyrics of the song were sent to me by Prakashchandra.
Song-Mere dil pe lagegi chot na karna khot raseele baalam (Paraaye Bas Mein)(1946) Singer-Zeenat Begum, Lyrics-Aziz Kashmiri, MD-Vinod
Lyrics(Provided by Prakashchandra)
mere dil pe lagegi chot
na karnaa khot raseeley baalam
ho o o raseeley baalam
mere dil pe
mere dil pe
mere dil pe lagegi chot
na karnaa khot raseeley baalam
ho o o raseeley baalam
main kyaa jaanoon pyaar ki rasmein
main kyaa jaanoon pyaar ki rasmein
haan..aaa…aaaa…aaan
main majboor paraaye bas mein
haan..aaa…aaaan
main majboor paraaye bas mein
main kaisey baat chhipaaoon
kaho kit jaaoon raseeley baalam
ho o ho raseeley baalam
mere dil pe
mere dil pe
mere dil pe lagegi chot
na karnaa honthh raseeley baalam
ho o o raseeley baalam
ho o oo o
nain milaakar ye sukh paayaa…aaa
ho o oo nain milaakar ye sukh paayaa aa
sukh ka saans kabhi na aayaa…aaa…aa aa
sukh ka saans kabhi na aayaa..aa
main chupke chupke roun
jawaani khoun raseeley baalam
ho o ho raseeley baalam
mere dil pe
mere dil pe
mere dil pe lagegi chot
na karnaa khot raseeley baalam
ho o o raseeley baalam
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4881 | Post No. : | 16677 |
Songs from Artiste Name Films….Second Season….No. 3
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What is Beauty ?
Everybody’s definition of Beauty is different. It all depends upon individual likings. Some like good eyes, some like long hair, some like a round and attractive face….long nose…good smile… etc etc. Because of this, Shakespeare ended this debate by saying ” Beauty lies in the beholder’s eyes”. In other words, to each his own. However, there are many who go by the majority.
There have always been debates in the film industry as to who is the most beautiful actress and as expected there was no common answer. In the early times of cinema neither the audience nor the filmmakers ever bothered about the beauty of the actresses. In the 30’s, the stress was on film producing company names and the story of the film. It was in the 1940s that the point of beauty of the film heroine took prominence. When one sees the magazine and newspaper advertisements of that time, one notices this point.
During the 40’s decade two actresses were declared beautiful. One was Naseem Bano- who was called ‘ Pari Chehra” (face of the Fairy), and the other was Ragini- who was called “Aahoo Chashm” (Magical Eyes). Ragini’s eyes were Brown, which is a rarity. in all those years, there have been only three actresses, who had brown eyes. One was Vanmala, the second was Kamla Kotnis and the third was Ragini. However, it was only Ragini, who was given extraordinary publicity through newspapers, Hoardings and magazine articles, of being the ” Aahoo Chashm ” !
Ragini was born Shamshad Begum, on 11-12- 1923, at Gujranwala, in a bazaar, where, to quote that great sage, Agha Hashr, “Days are dormant and nights wide awake.” Her mother named her Shamshad Begum, and her father, Seth Diwan Parmanand, happily allowed a Muslim name. But, her mother died during her childhood, and Diwan took this young girl from Gujranwala to Lahore.
Even this early, Ragini had the looks that made her noticeable. In those days, the classical sense of beauty was quite different. Large, sparkling eyes and a fair complexion was enough for any girl in the films to be termed beautiful. Aahoo Chashm Ragni and Pari Chehra Naseem (Saira Bano’s mother) were both considered the epitome of beauty, although young people question those attributes today as “just average”. Ragini had Brown eyes. In Indian cinema there were only 3 Heroines who had such Brown eyes. Ragini was one, Kamla Kotnis was second and the third was Vanmala.
Ragini was not able to go to school for undisclosed reasons, although she had a happy childhood. Diwan Sahab’s good friend, Roop K. Shorey was a well known film maker, and one day, while visiting his house, he noticed the girl child. “Isn’t she cute?” he said. “She has the looks of a fine film actress.” Although Diwanjee had some reservations about allowing the girl to join the industry, Shorey pledged that he would look after her at every step of the shootings. In those days, there were very few girls in the industry. To find a seventeen year old girl as the heroine meant that you had hit the jackpot.
Shorey cast Shamshad as Ragini, in Kamla Movietones’ Punjabi film, Dulla Bhatti in 1940. M.D. Kunwar was the hero, while Ragini played Nooran in the film. It was a hit and people were spellbound by her charm. Her next film, Sehti Murad did not make such a bang. She also did ‘himmat’ and ‘Raavipaar’. Later, she worked in many films before Partition, including her first Hindi film,Nishani-42,,naila,Anarkali,Poonji, Kaise Kahoon, Dasi, Shirin Farhad,farz and others. In Kardar’s film, Shahjahan, Ragini played Mumtaz Mahal, while her first hero, M. D. Kunwar, who had done Dulla Bhatt’s role, characterized Shahjahan with great aplomb. Kunwar was so enamoured of Ragini that he had requested Kardar for the role, to be close to Ragini. Unfortunately, Ragini did not respond to his romantic advances, and Kunwar sank himself in perpetual drunkenness, which led to his getting infected by tuberculosis and his death soon after that.
After Kardar’s Shahjhan, Ragini did a few more films before Partition, namely Nek Parveen, Farz, etc. Amongst these, director Niranjan’s film, Farz was Sudhir’s first film too, and Ragini played the lead with him. Ragini acted in 14 Hindi films, before her migration. Ragini got married to mian Mohd. Aslam in 1945 and took a break to raise a family. After Partition,she migrated to Pakistan and was welcomed with open arms in Pakistan. She worked as the heroine in films like Mundri, Akeli, Nazrana, Beqarar, Shararey, Mumtaz and Zanjeerin Pakistan. Radio Pakistan , during its creative days, used to play the hit songs of Beqarar, Naukar and Bedari in the 1960s. The song from producer S. Gul and director NazeerAjmeri’s 1950 film, Beqararis, still played on the radio. Dil ko laga ke kaheen thokar na khana. It was sung by Ali Bux Zahoor and Munawwar Sultana, and remains one of the earliest hit duets of Pakistani films.
Ragini was an expressive character actress, who did a variety of roles in films like Husn o Ishq, Anarkali, and Aab e Hayat She made a perfect Mumtaz Mahal in Naseem usSaqlain’s Taj Mahal, although she wore a half veil in some of the scenes. It was a remarkable spectacle, but flopped because the local audience could not understand its historical significance. A huge expense to uplift it, with superb costumes, apart from the details taken care of during the royal procession shown in the film, are its high points. Ragini was able to use her arching eyebrows and expressive eyes brilliantly in Taj Mahal. Much has been written about her intimacy with famous producer, S. Gul, but he always maintained and proved by his actions that he had sympathy and reverence for her and shared her grief and heart felt fondness for the good times she had spent in the undivided India.
Ragini was invited to India to do two films,Chamkee-52 and Insaan-52. She completed these and went back to Pakistan. Later she divorced her first husband and married producer Gul. Her last days in Pakistan were very sad. She was thrown out of her house by her Son in Law,as he did not want an actress in his house. She spent her last days in a small room in Lahore and died unsung on 27-2-2007 at the age of 85 years. (information collated from various sources like pak.mag, cinerang by Isaq Mujawar, muVyz, HFGK,Flashback, Chanderi Smriti Chitre by Samant, upperstall with thanks and my notes)
Today’s song is from the film Ragini-1945. Actress Ragini was not in the film. The film cast consisted of Smriti Biswas, Najam ul Hasan, Pran, Aruna Devi, Gyani ji, Roofi and many others. The film was made by Maheshwari Pictures, Lahore and was directed by Shankar Mehta. He directed only 4 films in his career-Pagli -43, Ragini-45, Aai Bahar-46 and Rokshawala–60 ( for which he was also one of the producers). The music was by Pt. Amarnath – the eldest brother of Pt. Husnlal and Pt. Bhagatram.
The Hero of the film Ragini (RAGNI, as per the HFGK)-45 was Najam, who was (in)famous for eloping with Devika Rani of Bombay Talkies. Najmul Hasan was born on 5-9-1910, into a noble family of Lucknow. He was tall and very handsome and was bitten by the urge to act in the films. He left his Law studies and headed for Bombay. He met Sarojini Naidu, who was a family friend. She strongly recommended his name to Himanshu Rai. His Screen test was taken in which he passed. Though at first sight, Himanshu Rai was not impressed with his manner of behaviour, he still selected him for the First film of Bombay Talkies, opposite Devika Rani in Jawani ki Hawa-1935.
During Jawani ki Hawa-35- which was loosely based on Agatha Christie’s “Murder On The Orient Express”, published in 1934 only- Devika Rani fell in love with Najmul Hasan and they decided to elope. Their second film- Jeewan Naiyya-36 went on floor and the love birds flew to Calcutta. There was a great commotion in Bombay Talkies. Shashdhar Mukherji the production manager was close to his Bengali Boss Himanshu Roy. Mukherjee traced the couple to Calcutta, met Devika Rani and convinced her to return to Himanshu. Devika Rani returned, Himanshu Roy pardoned her, but not Najmul Hasan.
Najmul Hasan did not come back to Bombay. He joined the New Theatres in Calcutta and did films like Anath Ashram-37,Dushman-38,Kapal kundala-39,Jawani ki Reet-39, and Nartaki-40. Even in Calcutta, Najmul Hassan had a rocking affair with superstar Jahan Ara Kajjan. After doing the film Meenakshi-42, Najmul Hasan did some films like Daasi-44 , Ragini-45 and kaise Kahoon-45 in Lahore and then he decided to migrate to Pakistan in 1947. In Pakistan he did some films like Eid-1951, Ashiyana, Doctor, Mirza Jatt, Taxi Driver and Heer Ranjha etc.
Najmul Hasan, a very bitter man for the treatment he received in Pakistan, died in 1980 in Pakistan. (Based on information from सुंदर ती दुसरी दुनिया by Ambarish Mishra,pak.mag, The magical world of Bombay Talkies by Lalit Joshi with thanks and my notes)
Today’s song is sung by Zeenat Begum, who was not only a find of Pt. Amarnath, but also his main singer for many of his films.
Song- Ik hook si uthhti hai dil mein baar baar kyun(Raagini)(1945) Singer- Zeenat Begum, Lyricist- not known, MD- Pt. Amarnath
Lyrics
Ik hook si uthhti hai dil mein baar baar kyun oon
aankhon ne baandh rakkha hai ashkon ka taar kyun oon
ik hook si uthhti hai dil mein baar baar kyun oon
maatam hai jiski aarzuon ka jahaan mein aen
maatam hai jiski aarzuon ka jahaan mein aen
har cheez mein gar ho rahi hai sogwaar kyun
aankhon ne baandh rakkha hai ae ashkon ka taar kyun oon
ik hook si uthhti hai dil mein baar baar kyun oon
hook uthh raha hai dil mein janaaza ummeed ka
taar taar samne sab ro karaar kyun oon
aankhon ne baandh rakkha hai ae ashkon ka taar kyun oon
ik hook si uthhti hai dil mein baar baar kyun
barbaad ho chuka hai mera aashiyaan ??
barbaad ho chuka hai mera aashiyaan ??
bijli chaman mein kaundhhti hai baar baar kyun oon
aankhon ne baandh rakkha hai ae ashkon ka taar kyun oon
ik hook si uthhti hai dil mein baar baar kyun oon
Man achcha ke nain saajnaa
Posted on: September 22, 2021
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.
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4814 | Post No. : | 16584 |
“Champa”(1945) was directed by Barkat Mehra for Shorie pictures, Punjab. This movie had Manorama, Asha Posle, Hari Shivdasani, Majnu, Salma, Zahoor Shah wtc in it.
The movie had nine songs in it. One song has been covered in the past.
Here is the second song from “Champa”(1945) to appear in the blog. HFGK mentions Anupam Ghatak as the music director of the song. No other details are mentioned in HFGK. According to the uploader, this song is sung by Zeenat Begam and Gulrej. Lyricist is not known.
I request our knowledgeable readers to throw light on the picturisation of this song.
Song-Man achcha ke nain saajna (Champa)(1945) Singers-Zeenat Begam, Gulrej, Lyrics-, MD-Anupam Ghatak
Lyrics
hayee ho o
haiyya ho o
Itni baat bata do sainyya
man achcha ki nain saajna
man achcha ki nain
man achcha ke nain
haan
man achcha ke nain saajna
man achcha ke nain
man
nainon se pal mein aake
apne sukh mein aag lagaa ke
man
nainon se pal mein aake
apne sukh mein aag lagaa ke
dheemi dheemi aag mein tapna aa
dheemi dheemi aag mein tapna
jalta hai ?? saajna
man achcha ki nain saajna
man achcha ki nain
sainyya
sainyya ho
nain baawre jab mil jaayen ae
nain baawre jab mil jaayen ae
dukhi banaayen man chhalkaayen aen
ho o
dukhi banaayen man chhalkaayen
ik baar ?? aur khojo
ik baar ?? aur khojo
jeewan bhar ka chain saajna
man achcha ke nain saajna
man achcha ke nain
Barkha ki rut hai baanke balamwaa
Posted on: August 17, 2021
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws
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4778 | Post No. : | 16530 |
We are in the midst of Saawan, the 5th month of the Hindu calendar. Besides, being a holy month for Hindus, it is also a month for romanticism. After experiencing the scorching summer for a couple of months, rains bring a great relief to the people. By the time, the month of saawan starts, the rains have already transformed not only the dry agricultural fields into green but also the surroundings areas. Also, in the saawan month, the intensity of the rains gets reduced allowing the inter-play of showers and soft sunrays. All these changes in the climate make the atmosphere congenial for romanticism. Longing, rejoicing and separation become the part of the romantic month of saawan for those in love. Poets, writers and artists have been inspired by the romaticism of saawan in their works.
In ‘Meghdoot’, written by Kalidas about 1600 years ago, there is no direct reference to ‘saawan’ in the poems. But the reference to the clouds gives an indication of the rainy season when the exiled Yaksha on a mountain sees a cloud perched on the peak. He requests the cloud to deliver his message to his beloved in the Himalayan city of Alaka. Probably, this was the inspiration for some ‘saawan’ songs in Hindi films, the popular one being saawan ke baadalon unse ye jaa kaho from ‘Rattan’ (1944).
In the 14th century, Amir Khusrau wrote a ‘saawan’ poem, ‘amma mere baba ko bhejo ri ke saawan aaya’. The poem was written in a form of the conversation between the mother and her newly married daughter staying in her sasural (in-law’s place). The full song is as under:
amma mere baba ko bhejo ri ke saawan ayaa
beti tera baba to boodha ri ke saawan ayaa
amma mere bhai ko bhejo ri ke saawan ayaa
beti tera bhai to baala ri ke saawan ayaa
amma mere mamu ko bhejo ri ke saawan ayaa
beti tera mamu to baanka ri ke saawan ayaa
Probably, Amir Khusrau wrote this piognant poem in the background of a convention among the some of the Hindu families that the newly married daughters stay with their parents during the month of saawan, among other reasons, to celebrate the festivals like Naag Panchami, Teej, Raksha Bandhan, Shri Krishna Janmashtmi etc. for the first time after the marriage. In olden days, it was either father, brother or the maternal uncle who would bring the newly married girl to her parent’s house. Khusrau’s poem is the reflection of a newly married girl who is longing to visit her parent’s house in the month of saawan but unable to visit as her father is too old and her brother is too young to undertake the journey to fetch her.
As against this, for the girl whose marriage has been fixed, the month of saawan is the longing for her fiancé. There is an eagerness to meet him. The mood of joie de vivre is well expressed in Shailendra’s lyrics in aaye re din saawan ke in the film ‘Gaban’ (1966).
The rejoicing mood in Meerabai’s bhajan, barse boondiyaan saawan ki which Lata Mangeshkar sang, became very popular though it was a non-film song. I will not be surprised if other poets of Bhakti movements at that period also wrote on the month of saawan.
In the Urdu drama, ‘Inder Sabha’ (1850s) which was written in verses by Amanat Lucknawi, there is a ghazal praying for the early arrival of ‘saawan’. He had used the metaphor of saawan in various romantic instances, like the swirling of beloved’s ‘zulfen’ and ‘dupatta’ to that of the clouds of saawan. A somewhat similar metaphor was used by Raja Mehdi Ali Khan in the mukhda of the song, zulfon ki ghata lekar saawan ki pari aayi in ‘Reshmi Roomaal’ (1961).
This was an unique ghazal in the sense that it had two matla (the first she’r) and had used ‘radif ‘(repeat words) – ‘saawan ki’ in all the 11 she’rs of the ghazal. One can say that it was a ‘saawan dominated’ ghazal. The first two she’rs of the ghazal are as under:
dil ko marghoob hai thandi hawa jo saawan ki
maangta hoon main sada haq se duwa saawan ki
yaad aata hai wo sabza wo ghata saawan ki
shaql dikhlaaye kahin jald khuda saawan ki
And lastly, Amanat Lacknawi writes:
ae ‘Amanat’ yah nikaali hai zameen tu ne nayi
pahle thhi kiski ghazal tere siwa saawan ki
Not all the poets used in their poems, the context of ‘saawan’ in the conventional sense of romance, separation and rejoice. Neeraj used the month of saawan in one of his ghazals to depict the ironies of life. He said:
ab ke saawan mein ye sharaarat mere saath huyi
mera ghar chhod kar kul shahar mein barsaat huyi
zindagi bhar to huyi guftugoo ghairon se magar
aaj tak hamse na hamaari mulaakaat huyi
Hindi film music has also been influenced by ‘saawan’ songs since the sound films appeared in 1931. Unfortunately, in the initial period of sound films, the songs were rarely released on gramophone records. Due to non-availability of the films’s print, most of songs from the films of early 1930s have been lost. The earliest ‘saawan’ song’ from the Hindi films for which I could get the mukhda of the song is from ‘Maharani’ (1934) in which the song ‘saawan ghan barse chaatak kyun tarse’ was listed. However, the song is not available. As far as I know, the earliest ‘saawan’ song from Hindi films that is available for listening (also for watching) is naahin aaye ghanshyam from the film ‘Devdas’ (1935). There has been a steady flow of ‘saawan’ songs in Hindi films since the inception of sound films.
Some of the ‘saawan’ songs in Hindi films which are of my liking (not an exhaustive list) are as under:
saawan aaye na aaye – Sadhana (1939)
saawan ke nazaare hain – Khazaanchi (1941)
kayi din se saawan barasta hai rimjhim rimjhim – Samaaj (1954)
thandi thandi saawan ki phuhaar – Jagate Raho (1956)
do boonden saawan ki – Phir Subah Hogi (1958)
garjat barsat saawan aayo re – Barsaat Ki Raat (1960)
deewaana huwa baadal saawan ki ghata chhaayi – Kashmir Ki Kali (1964)
saawan ke din aaye sajanwa aan milo – Bhumika (1977)
saawan ki aayi bahaar re – Junoon (1978)
lagi aaj saawan ki phir wo jhadi hai – Chaandni (1989)
Notwithstanding my above list, if someone was to ask me to instantly give one example of ‘saawan’ song from the Hindi films, the first song that will invariabnly come to my mind is rimjhim gire saawan sulag sulag jaaye man from ‘Manzil’ (1979) The reason is that I had watched the film and the song was picturised on Amitabh Bachchan and Maushumi Chatterjee in the midst of real rains. This song gives a real feel of the atmosphere of the month of saawan.
Our Blog has covered as many as 99 ‘saawan’ songs. The count could be more as tagging of few ‘saawan’ songs may have been missed. I am presenting today, a lovely ‘saawan’ song, ‘barkha ki rut hai baanke balamwa saawan ka aaya mahina’ from the film ‘Papeeha Re’ (1948). HFGK is silent on the singers of the song. However, I am fairly sure that the two voices sound like that of Munawwar Sultana and Zeenat Begum.
From the lyrics of the song, it appears that Zeenat Begam is singing for an actress doing a male character in this song sequence.
Audio Clip:
Song-Barkha ki rut hai baanke balamwa saawan ka aaya maheena (Papeeha Re)(1948) Singers-Munawwar Sultana, Zeenat Begam, Lyrics-Mulkraj Bhakri, MD-Dhaniram
Both
Lyrics
barkha ki rut hai baanke balamwa
saawan ka aaya maheena
o na jaa pardes
o na jaa pardes
na jaa
na jaa haan
mera mushqil tum bin jeena
saawan ka aaya maheena
tum to chale pardesiya
yahaan laagega kaise jiya
o piya
kaahe ka jadoo kiya
jo thhaa jaana chhod ke hamko
jo thhaa jaana chhod ke hamko..o o o
kaahe ka jaadoo kiya
o raaja
phir kaahe ka jaadoo kiya
barkha ki rut hai baanke balamwa
saawan ka aaya maheena
naukri karne ko jaana zaroori
gori jaana zaroori
aayi badi majboori
dil mein tu apne aake basaa le mori
aake basaa le
phir kaahe ki doori sajaniya
phir kaahe ki doori
barkha ki rut hai baanke balamwa
saawan ka aaya maheena
maar tu goli naukari ko
o raaja naukari ko
morey raaja
rah jaa tu mere paas
dekh sooratiya bhookh mitegi mori
bhookh mitegi
nainon ki jaayegi pyaas
o morey raaja
nainon ki jaayegi pyaas
barkha ki rut hai baanke balamwa
saawan ka aaya maheena
na ro tu na ro
na ro tu na ro
o meri raani na ro
o meri raani
kaahe bhayi tu udaas
ab to karoonga teri main chaakri
ho teri main chaakri
tera banoonga daas
o meri raani
tera banoonga daas
barkha ki rut hai baanke balamwa
saawan ka aaya maheena
Sun le tu meri iltijaa
Posted on: June 27, 2021
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws
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Blog Day : |
4727 | Post No. : | 16442 | Movie Count : |
4463 |
Wadia Movietone has been one of the well-known Hindi film production companies which was set up by Wadia Brothers – J B H Wadia and Homi Wadia in the late 1920s. Wadia Brothers’ partnership continued till 1942 when the brothers decided to split with Homi Wadia forming Basant Pictures while J B H Wadia continue to produce films under his own name.
Recently, I came to know that there was one more Wadia in Hindi film industry as a producer under his banner D R D Productions. I was aware of this banner but was not aware that it belonged to D R D Wadia, fondly called as ‘Daddy Wadia’ in the film circle. He was Bar-at-Law, an industrialist, an amateur photographer and the radio enthusiastic of international repute. I have seen some of the photographs taken by him in the 1940s including a few with Mahatma Gandhi on the Google Photos.
D R D Wadia set up his film production company, D R D Productions in 1942 almost at the same time when V Shantaram was setting up his Rajkamal Kala Mandir. Another coincidence was that D R D Productions maiden film, ‘Ishaara’ (1943) and Rajkamal Kala Mandir’s maiden film, ‘Shakuntala’ (1943) had the same writer – Dewan Sharar. While ‘Ishaara; (1943) was adapted from Dewan Sharar’s internationally well-known novel ‘The Gong of Shiva’ (1935), the screen-play and dialogues for ‘Shakuntala’ (1943) was written by Dewan Sharar.
After the box office success of ‘Ishaara’ (1943), D R D Productions produced ‘Aaina’ (1944), ‘Nek Parveen’ (1946) and ‘Pati Seva’ (1947) which seems to be the last film produced by the banner.
‘Nek Parveen’ (1946) was directed by S M Yusuf. The star cast included Ragini (Sr.) and Ulhas in the lead role with W MKhan, Yakub, Yashodhara Katju, Mirza Musharaf, Kumar, Nazir Kahsmiri, Shakir in the subsidiary roles. It was a Muslim social film, a love triangle. The story, screen-play, dialogues and songs were written by Waheed Qureshi.
Surprisingly, the film is available for viewing on one of the video sharing platforms on the internet. The lead actress, Ragini has been known for her tear-jerking performances just as Nimmi got branded as such in the 1950s. So, before watching the film ‘Nek Parveen’ (1946), I was sure that it would have a tear-jerking story. The film was released on June 14, 1946 in Mumbai’s Novelty theatre. The story of the film is as under:
Afzal (Ulhas), Shaukat (W M Khan) and his crony Nabbu (Yakub) are friends. They often meet to play cards and gamble in Shaukat’s gambling den. Both Afzal and Shaukat love Parveen (Ragini). Except for card gambling as his vice, Afzal is a good person while Shaukat has all the bad vices and is also the leader of the gang of gamblers and drunkards. The elders in Parveen’s family had already approved Afzal as a husband of Parveen.
Shaukat is not happy about Parveen getting married to Afzal. So, with the help of Nabbu, he devises a plan to make Afzal a vagabond person in the eyes of Parveen and her aunt. Both of them make him a habitual drunkard and a visitor to a courtesan. Afzal’s newly acquired vices are resented by Parveen’s aunt. After some initial hesitation, Parveen’s aunt, who has looked after her after the death of her father, agrees for the marriage of Parveen with Afzal. Their married life is smooth. But Shaukat is bent upon spoiling their married life.
With the help of Nabbu, Afzal is induced to gambling and drinking in Shaukat’s gambling den. In the process, Afzhal loses all his money. Even his palatial house is mortgage to Shaukat. In the gambling den, a heated argument between Shaukat and his friend, Munir results in the death of the latter. The murder is falsely pass on to Afzal who was found drunk near Munir’s dead body. When Afzal realises the seriousness of the situation, he runs away from the den before the police forces arrive. To wood wink the chasing police forces, Afzal boards a running train to Mumbai. In the train, he meets one businessman( Kumar) who offers him employment.
In the meanwhile, Parveen’s aunt dies leaving her alone with a kid to fend herself. The trusted servant, Thasin (Shakir) looks after Parveen and her child with his meagre savings. Afzal is untraceable to the police and after some time, he is presumed dead as a dead body was found under the same train in which he was travelling.
Shaukat is trying to win over Parveen and persuade he to marry him. But she is not interested in the marriage. Afzal with his new employer in Mumbai performs well and over a period of time, he becomes financially well off. Once he visits his house incognito and finds that Shaukat has kidnapped Parveen and the child. Afzal visits Shaukat’s den incognito where Shaukat is forcing Parveen to accept nikah with him. In this effort, Nabbu refuses to help Shaukat and in a fit of rage, Shaukat kills Nabbu. Some one from the den informs the police about the murder of Nabbu. Before, the police arrive, Shaukat is overpowered by Afzal and is handed over to the police. Afzal and Parveen are united.
‘Nek Parveen’ (1946) has 7 songs written by Waheed Qureshi which have been set to music by Feroz Nizami.
I am presenting the film’s first song ‘sun le meri iltija, sun le khuda meri dua’ to appear on the Blog which is sung by Zeenat Begum. The song is picturised on Ragini who has preferred Zeenat Begum’s voice in most of her films in which she had lead actress roles. Ulhas is also seen in the picturization of the song.
This is a ‘iltija’ (prayer) song which Ragini sings after her marriage with Ulhas for the well being of their married life. A feature of this song is that there is no interlude music. I like the song’s soft musical composition and Zeenat Begum’s rendition.
With this song, ‘Nek Parveen’ (1946) makes its debut on the Blog.
Video Clip:
Audio Clip:
Song-Sun le tu meri iltija (Nek Perveen)(1946) Singer-Zeenat Begam, Lyrics-Waheed Qureshi, MD-Feroz Nizami
Lyrics
sun le tu meri iltija
sun le khuda meri dua
sun le tu meri iltija
sun le khuda meri dua
lamba safar hai zindagi
ham do musaafir ajnabi
lamba safar hai zindagi
ham do musaafir ajnabi
bhool naa jaayen raasta
sun le khuda meri dua
sun le tu meri iltija
sun le khuda meri dua
ham ko tu kar de ek jaan
ghar ko bana de gulsitaan
ham ko tu kar de ek jaan
ghar ko bana de gulsitaan
tujhko nabi kaa waasta
tujhko nabi kaa waasta
sun le khuda meri dua
sun le tu meri iltija
sun le khuda meri dua
jhoole kushi ke jhoolen ham
paas naa aaye koi gham
jhoole khushi ke jhoolen ham
paas naa aaye koi gham
tu meharbaan rahe sada
sun le khuda meri dua
sun le tu meri iltija
sun le khuda meri dua
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws
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4726 | Post No. : | 16440 |
Today’s song is from the film Farz-1947. This is an absolutely unknown and obscure film, made in the melee of the Partition blues. No information about this film is available anywhere. Even information in HFGK is also not complete.
When I first saw the name Farz, I remembered the 1967 film of Jeetendra and Babita. In those days, Jeetendra had become famous as ‘Jumping Jack’ and his trademark was White T-Shirt and White shoes. Farz was his just the 5th film, but the overwhelming success of this film catapulted him to the Top of the league. He became the young girls’ heartthrob.
In the film Farz he played the role of Secret Agent 116. This film was a remake of the Telugu film ” Goodachari 116″ made in 1966. A very interesting feature of the film Farz was that 2 sequels were made on this film – Keemat-73 with Dharmendra and Rakhsha-82 with Jeetendra himself. In all the 3 films, the Hero’s name was Gopal Krishna Pandey- Secret Agent 116 !
Film Farz-67 and its ” original” Goodachari 116 were actually based on Hollywood films of Agent OSS 117. French author Jean Bruce wrote 88 novels describing the adventures of Agent OSS-117. After the author’s death in an accident, his wife Jesette wrote 143 novels on OSS-117 and after her death, their daughter wrote 23 novels on OSS-117. This must be a World Record, surely ! Several movies too were made on these books, till the end of the 80’s.
But the film Farz-1947 may not have been of this type, looking at the cast and the director and in any case that was not the period of such films. HFGK does not mention the film’s Genre. The film was made by New Hindusthan Pictures Ltd, Bombay. It was the second film of writer-Director Niranjan. He had already directed the film Kahan Gaye in 1946. Later he also directed the film Sajan ka Ghar-1948. Then his name disappeared, till it appeared in 1954 in the case of his divorce.
As per HFGK, the cast of the film was Ragini, Chand Burke, Sudhir, Agha, Fareeda and Leela. No names of lyricists or the singers of the 9 songs were given. The MD was K.S.Sagar. He seems to have given music to one more film Sajan ka Ghar-1948. One song from this film is already discussed here.
As far as the actors were concerned, this was the First and the Last film of the Hero Sudhir-in India- before he migrated to Pakistan and made a name there. Sudhir ‘s real name was Shah Zaman Khan Afridi. He was born on January 25, 1921 and died on January 19, 1997 in Lahore. Sudhir was married thrice, first in his own family, second was actress Shammi and the third actress Zeba for a while. Sudhir’s son from his first wife, Shah Zaman (film name) was seen in the film Dushman ki Talash (1978).
Sudhir was a legendary film hero in both Urdu and Punjabi films. He had a long film career of 38 years and appeared mainly in main roles. Almost all main heroes were seen in side roles with Sudhir. His first film was before partition, New Hindustan Film’s release Farz (1947). It was directed by Niranjan and the heroine was Ragini.
In Pakistan, he was the hero of the third released film Hichkolay in 1949. Daud Chand was the director and Najma was the heroine. He got huge success as action hero in the film Baghi in 1956 and his last film was a Pashto film Pat Khamar in 1989.
Sudhir was a highly respected film personality. He was known as Lala Sudhir – Lala means Uncle in Pashto language and Elder Brother in Punjabi language. He was of Pashton origin but he spent all his life in Lahore. He had only a single Pashto film in his career and that was actually a Punjabi film Puttar da Pyar (1972) which was released in Pashto version.
Secondly, the Heroine Ragini, who had acted in 14 Hindi films- for her this was the last film in India, before she migrated to Pakistan. Ragini was born as Shamshad Begum, in 1923, at Gujranwala, in a bazaar, where, to quote that great sage, Agha Hashr, “Days are dormant and nights wide awake.” Her mother named her Shamshad Begum, and her father, Seth Diwan Parmanand, happily allowed a Muslim name. But, her mother died during her childhood, and Diwan took this young girl from Gujranwala to Lahore.
Even this early, Ragini had the looks that made her noticeable. In those days, the classical sense of beauty was quite different. Large, sparkling eyes and a fair complexion was enough for any girl in the films to be termed beautiful. Aahoo Chashm Ragni and Pari Chehra Naseem (Saira Bano’s mother) were both considered the epitome of beauty, although young people question those attributes today as “just average”.
Ragini was not able to go to school for undisclosed reasons, although she had a happy childhood. Diwan Sahab’s good friend, Roop K. Shorey was a well known film maker, and one day, while visiting his house, he noticed the girl child. “Isn’t she cute?” he said. “She has the looks of a fine film actress.” Although Diwanjee had some reservations about allowing the girl to join the industry, Shorey pledged that he would look after her at every step of the shoot. In those days, there were very few girls in the industry. To find a seventeen year old girl as the heroine meant that you had hit the jackpot.
Shorey cast Shamshad as Ragini, in Kamla Movietones’ Punjabi film, Dulla Bhatti in 1940. M.D. Kunwar was the hero, while Ragini played Nooran in the film. It was a hit and people were spellbound by her charm. Her next film, Sehti Murad did not make such a bang. She also did ‘himmat’ and ‘Raavipaar’. Later, she worked in many films before Partition, including her first Hindi film,Nishani-42,,Naila,Anarkali,Poonji, Kaise Kahoon, Dasi, Shirin Farhad,farz and others. In A.R. Kardar’s film, Shahjahan, Ragini played Mumtaz Mahal, while her first hero, M. D. Kunwar, who had done Dulla Bhatt’s role, characterized Shahjahan with great aplomb. Kunwar was so enamoured of Ragini that he had requested Kardar for the role, to be close to Ragini. Unfortunately, Ragini did not respond to his romantic advances, and Kunwar sank himself in perpetual drunkenness, which led to his getting infected by tuberculosis and his death soon after that.
Ragini was invited to India to do two films,Chamkee-52 and Insaan-52. She did this and went back to Pakistan. Later she divorced her first husband and married producer Gul. Her last days in Pakistan were very sad. She was thrown out of her house by her Son in Law,as he did not want an actress in his house. She spent her last days in a small room in Lahore and died unsung on 27-2-2007 at the age of 85 years.
In this film, the director’s wife Chand Burke was also acting. Chand Burke was born in a Punjabi Christian family in Lahore. She made her debut in Maheshwari Productions’ Kahan Gaye (1946), which Niranjan wrote and directed. They fell in love on the sets and got married in 1945. Thereafter, Chand appeared in a number of Punjabi films made in Lahore, and was widely known as “the Dancing Lily of the Punjab.”
Partition and her subsequent migration to Bombay adversely affected her career. After “Hamari Manzil,” which was released in 1949, Chand Burke went into complete oblivion. It was Raj Kapoor who selected her for that important role as children’s tormentor in “Boot Polish-53,” over 200 other contestants, her screen-test convincing Raj Kapoor that she was a talented actress. Some of her well known films were Ferry-54, Basant Bahar-56, yahudi ki beti-56, Adalat-58 and Lajwanti-58.
Chand was the only one in a family of twelve brothers and sisters to have joined the films. Her brother S. M. Burke, I.C.S., was a Minister to the Scandinavian countries for Pakistan. Chand obtained judicial separation by mutual consent from her husband, writer-director Niranjan in 1954.
She was also married to Sunder Singh Bhavnani- grandfather of superstar Ranveer Singh. She is also related to Suneeta Kapoor.
She acted in 32 films. Her last film was Pehchan-72.
Today’s song is a duet sung by Zeenat Begum and Dilshad Begum, as per the uploader-our own Sadanand Kamath ji, who also says that the Lyricist is also the Music Director. Enjoy….
Song- Hawa aa rahi ghata chha rahi naach rahi hai jawaaniyaan (Farz)(1947) Singers- Zeenat begum, Dilshad begum, Lyricist -K.S.Sagar, MD- K.S.Sagar
Lyrics
Hawa aa rahi ghata chha rahi
naach rahi hai jawaaniyaan
hoy
Hawa aa rahi ghata chha rahi
naach rahi hai jawaanniyaan
ye piya milan ki nishaaniyaan
ye piya milan ki nishaaniyaan
nishaaniyaan nishaaniyaan
hoy Hawa aa rahi ghata chha rahi
naach rahi hai jawaaniyaan
baagh mein jab khile chameli
baagh mein
haay baagh mein jab khile chameli
kyun dhadke mera jiya saheli
ho jaaun chanchal albeli
ho jaaun chanchal albeli
kyun abkhiyaan banin nishaaniyaan
ye piya milan ki nishaaniyaan
nishaaniyaan nishaaniyaan
hoy Hawa aa rahi ghata chha rahi
naach rahi hai jawaaniyaan
solah baras teri umariyaa baali
solah baras haaye
solah baras teri umariyaa baali
hirni si teri chaal niraali
chaal niraali teri
chaal niraali
honthon pe hansi
gaalon pe laali
honthon pe hansi
gaalon pe laali
teri ankhiyaan kahen kahaaniyaan
hmm
hmm
ye piya milan ki nishaaniyaan
nishaaniyaan nishaaniyaan
hoy Hawa aa rahi ghata chha rahi
naach rahi hai jawaaniyaan
mori atariya kaaga boley
mori atariya
mori atariya kaaga boley
mast jawaani meri dagmag doley
kaliyon ne jab ghoonghat kholey
kaliyon ne jab ghoonghat kholey
arre bhanwron ko soojhi shaitaaniyaan
ye piya milan ki nishaaniyaan
nishaaniyaan nishaaniyaan
hoy Hawa aa rahi ghata chha rahi
naach rahi hai jawaaniyaan
Tu chanda main chaandni
Posted on: January 24, 2021
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.
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Blog Day : |
4573 | Post No. : | 16176 |
“Papiha Re”(1948)was produced by Kuldeep Sahgal and directed by Dawood Chand for Kuldeep Pictures, Bombay. The movie had Amarnath, Akhtari, Pran, Asha Posley, Mumtaz Begum, G N Butt etc in it.
The movie had 12 songs in it. One song has been covered in the past.
Here is the econd song from “Papiha Re”(1948) to appear in the blog. This song is sung by Zeenat Begam and Dhaniram. Lyrics are by Mulkraj Bhakri. Music is composed by Dhaniram ho as making his debut as a music director ith this movie.
Only the audio of the song is available. I request our knoledgeable readers to thro light on the picturisation of this song.
Song-Tu chanda main chaandni (Papiha Re)(1948) Singers-Zeenat Begam, Dhaniram, Lyrics-Mulkraj Bhakri, MS-Dhaniram
Both
Lyrics
Tu chanda main chaandni ee
tu chanda main chaandni
ho tera mera
mera tera
janm janm ka saath
haath pakadkar chhod na dena
rahe haath mein haath
hamaara rahe haath mein haath
tu chanda main chaandni ee
main baaghon ki morni
main baaghon ki morni
aur tu ghata ghanghor
main sajan teri baawri
aur tu mera chitchor
main pyaasi ik boond hoon saajan
main pyaasi ik boond hoon saajan
tu meri barsaat
haath pakadkar chhod na dena
rahe haath mein haath
hamaara rahe haath mein haath
tu chanda main chaandni ee
ho o o
aan basi tu dil mein mere
ho o o
aan basi tu dil mein mere
jaise phool mein baagh
in nainon ko o
en nainon ko
hardam laagi tere daras ki pyaas
tere bina mohe kuchh na bhaaye
tere bina mohe kuchh na bhaaye
bhool gaya har baat
haath pakadkar chhod na dena
rahe haath mein haath
hamaara rahe haath mein haath
tu chanda main chaandni ee
>milke na bichhden do dil saajan
aisa ho jaaye pyar
bhool ke bhi patjhad na aaye
hardam rahe bahaar
hum tum donon jab mil baithen
hum tum dono jab mil baithhen
rahe sada phir saath
haath pakadkar chhod na dena
rahe haath mein haath
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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