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

Archive for the ‘Zohrabai Ambalewaali song’ Category


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

Blog Day :

3999 Post No. : 15096 Movie Count :

4144

Today’s song is from an obscure film – ‘Jeb Katra’ aka ‘Pick Pocket’ aka ‘Girahkat’. The film may be obscure, but the song is extremely melodious and it is a pleasure to listen to such a song. I have liked it very much. The film was produced by actress-singer Brijmala’s home production Brij Prakash Productions. Looking at the cast of film and its director, it seems to be a stunt film. It was advertised as a Social Stunt film – whatever that means. To me it was like saying ‘a religious murder mystery film’ !

I have seen this film’s advertisements in the Jan and Feb 1946 issues of magazine Film India. In the Jan issue the lyricist is given as Shams Lucknowi and the composer as Bashir Khan Dehalvi. Next month – Feb – the ad says the lyricist is Ahsan Rizvi and MD is Nisar Bazmi.

The cast of the film was Navin Yagnik, Raj Rani, Samson, Ali, Radha, Habib, Sandow etc. The role of the ‘Pick Pocket’ was done by Samson, as mentioned on a photo of the film. The film was directed by Nari Ghadiyali- a veteran of C grade stunt films. Nari (Nariman) was a Parsee.

From the silent film era, Parsee community has been involved in film industry in different ways. In about every department of film making, there has been a Parsee, sometime somewhere. Parsee community is a very small entity. They never, even at their best times, exceeded a population of 3 lakhs in entire India. This is the only community which is truly a Minority community with just about 70000 people in entire India now. They have never ever asked for any reservation from the government. Parsees have significantly contributed to India’s industrial growth. Parsee greats like Tata, Godrej and Wadias have been extremely philanthropic too.

Parsees are mainly seen in Bombay and so it was no wonder that they joined the film industry, but a Parsee in Bengal has been a Pioneer in Cinema in the eastern India. JF Madon (1856 to 1923) had a roaring Parsee Theatre business in Bombay, but he shifted to Calcutta in 1902 and built an empire of Theatres and Cinema making. At one time the Madons had control on 127 Theatres in India. They made silent and talkie films in Bangla and Hindi. After his death, his third son JJ Madon took over. However, they closed their film business in 1937 and concentrated on their other interests like, imports, foods, pharma, insurance and real estate.

In Bombay, who can forget the contribution of Ardeshir Irani in starting the Talkie era with his ‘Alam Ara’ in 1931 ? In the early era, many Parsees contributed to Hindi cinema like Homi Master, Sohrab Modi, Sarswati Devi, JBH and Homi Wadia, John Cawas etc. In later period, the Irani sisters (Honey, Daisy and Manaka), Aruna Irani, Shammi, Fali Mistry and many others contributed. Earlier, in the field of direction, there were two well known names- Aspi (Aspinder) Irani and Nari (Nariman) Ghadiyali. Aspy Irani had married actress Husn Banu and Nari Ghadiyali had married actress Pramila. Both worked for stunt films made by another Parsee group – Wadia Brothers. Today’s film is also directed by Nari Ghadiyali. He directed 25 films, starting with ‘Jungle King’ (1939) to ‘Murad’ (1961).

The hero of film ‘Jeb Katra’ was Navin Yagnik, who was frequently seen in  C grade action/stunt films. Such films were made with tight budgets by small producers and hence the actors did not earn much money. To earn more money, their endeavour used to be to get roles in social films or films of other genres, especially made by well known production houses. Their payments were much better and also timely. Thus Navin also worked in some social films made by big banners.

As such stunt films declined in the latter half of the 50s, compared to 30s and 40s, as many producers like the Wadias, Mohan Pictures etc. shifted their focus to social films. Similarly major stunt film actors like Master Vithal, Master Bhagwan, Baburao Pehelwan, Azim Bhai etc. started getting roles in social films. Recently, I found a reference to Navin Yagnik in the autobiography of Hansa Wadkar- ‘Sangte Aika’ (‘सांगते ऐका’)  roughly translated as ‘Listen, I tell you’. In it she said. . . “My hero in this film was one Navin Yagnik, a handsome boy from UP. He was very shy and after the shootings, he would quietly sit in one corner reading something. He never joined our drink parties, nor he participated in any other group activity. I was attracted towards him but he gave no response. He sent me invitation card of his marriage, when it was fixed.’  Navin Yagnik (3-10-1912 to 28-10-1977) worked only in 30 films from film ‘The Mill’ (1934) to ‘Bhagwat Mahima’ (1955).

The MD for film ‘Jeb Katra’ was Nisar Bazmi. He was one of those musicians who migrated to Pakistan much later after the partition. There is a general perception among Indians that all those who migrated to Pakistan had a tough time there and they died in poverty. While this is true in cases of many actors and actresses, the converse is true about music composers.

Music directors who were worthless, unknown and unsuccessful, who gave music to obscure of B and C grade films here, in India, prospered very well in Pakistan. Composers like GA Chishti, Nisar Bazmi, Firoz Nizami, Tufail Faruqui, Rashid Atre, Inaayat Hussain, Fateh Ali Khan, Inaayat Nath, Khursheed Anwar were not very famous or popular in India, but in Pakistan almost every musician from India became famous, popular and successful. For example, Nisar Bazmi gave music to 40 films (only 27 released) in India. They were mostly C grade films and most songs were forgotten here. Same person, in Pakistan gave music to almost 60 films, won several awards and became famous and successful. How this happened ? What is the mystery ?

To understand this we must know what happened in Pakistan after partition and how was their film and music industry. According to an article in Wiki, since 1947, Pakistan film and music industry underwent several changes. It is worth repeating here. The period is divided as following,

‘Due to shortage of composers, all were welcomed with open arms. Those who had talents did extremely well here. Unfortunately the second generation of composers of calibre were not prepared and once these migrants disappeared from the scene, the musical fields of Pakistan dried up. According to  Wiki, there are 7 ages in Pakistan film music –

  1. Independence and growth – 1947-1958
  2. The Golden Age of Pak Film Music –  1959 – 1977
  3. The Age of Disaster – 1977 – 1988 (Onslaught of VCR and brain drain to Bangladesh in 1971)
  4. Politics, Islamisation and Downfall – 1979 – 1987
  5. Collapse – 1988 – 2002
  6. Decline – 2002 – 2009
  7. New Wave and Hope – 2010 onwards’

Anyway, Nisar Bazmi migrated to Pakistan during the Golden Age period and got all the benefits. Let us see what happened to Nisar Bazmi in Pakistan. His last film in India was ‘Mister Toofan’, released in 1963. Nisar migrated to Pakistan in 1962. Producer Sibtain Fazli of Fazli brothers offered him first film ‘Aisa Bhi Hota Hai’. The music of this film became hit and very popular and there was no looking back for Nisar Bazmi. He gave music to 57 Pak films. He won Nigar Awards 7 times and also won ‘Pride of Performance’ award from the President.

His last film was in 1981. He came back to Karachi and started teaching aspiring singers, but only one of them became a famous singer. He regretted that the younger generation looked for quick money and did not put hard work. None of his 8 sons loved music. They all followed different avocations. In his later life he was famous for learning Quran by heart.

Bazmi sahib taught music to up-and-coming youngsters, but only Faisal Latif managed to become somewhat popular. When asked why his students like Shafiq-ur-Rehman, Tanveer Afridi, Shabana and Shazia Kausar are unable to reach the top, he said, “My job was to train them, which I did. Now it is up to the musicians to utilize them as I am sure they have the talent to be the best.” When asked if the youth (of Pakistan) are going in the right direction, Bazmi Sb felt that it was because of our youths’ lack of interest that our music is not what it used to be. “A youngster today doesn’t want to be taught like the legendary singers. His only interest is to become rich and famous in a short time, which is certainly the wrong way.”

Nisar Bazmi died on 22-3-2007 at Karachi.

Today’s song from film ‘Jeb Katra’ is an exceptionally melodious song comparable to any leading composer’s song in India. With such tunes in his repertoire, I wonder why Nisar bazmi could not gain fame here itself. Usually when the film is a failure, the music of that film does not reach more audience and hence does not get exposure to become popular. Of course there are songs which became popular from flop films also. After all, it is a matter of luck only.

Song – Chaandni Raaten Kya Huin (Jeb Katra) (1946) Singer – Zohrabai Ambaalewali, Lyrics – Ahsaan Rizvi, MD – Nisar Bazmi

Lyrics

chaandni raaten
haaye
chaandni raaten kya huin
sukh ke wo din guzar gaye
chaandni raaten
haaye
chaandni raaten
jee bhar ke hum hanse naache
jee bhar ke hum hanse naache
aankhon mein aansoo bhar gaye
chaandni raaten
haaye
chaandni raaten

aisi buri hawa chali
aisi buri hawa chali
murjha gaye chaman ke phool
aisi buri hawa chali
aisi buri hawa chali
murjha gaye chaman ke phool
hasraten dil ki mit gayin
hasraten dil ki mit gayin
armaan saare mar gaye
chaandni raaten
haaye
chaandni raaten

doobhar hui hai zindagi
doobhar hui hai zindagi
marna bhi ho gaya kathin
doobhar hui hai zindagi
doobhar hui hai zindagi
marna bhi ho gaya kathin
doobne hum jahaan gaye
doobne hum jahaan gaye
dariya wahaan utar gaye
chaandni raaten
haaye
chaandni raaten

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

चाँदनी रातें
हाए
चाँदनी रातें क्या हुईं
सुख के वो दिन गुज़र गए
चाँदनी रातें
हाए
चाँदनी रातें
जी भर के हम हँसे नाचे
जी भर के हम हँसे नाचे
आँखों में आँसू भर गए
चाँदनी रातें
हाए
चाँदनी रातें

ऐसी बुरी हवा चली
ऐसी बुरी हवा चली
मुरझा गए चमन के फूल
ऐसी बुरी हवा चली
ऐसी बुरी हवा चली
मुरझा गए चमन के फूल
हसरतें दिल की मिट गईं
हसरतें दिल की मिट गईं
अरमां सारे मर गए
चाँदनी रातें
हाए
चाँदनी रातें

दूभर हुई है ज़िंदगी
दूभर हुई है ज़िंदगी
मरना भी हो गया कठिन
दूभर हुई है ज़िंदगी
दूभर हुई है ज़िंदगी
मरना भी हो गया कठिन
डूबने हम जहां गए
डूबने हम जहां गए
दरिया वहाँ उतर गए
चाँदनी रातें
हाए
चाँदनी रातें

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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 : 3919 Post No. : 14982

 

Today’s song is from film ‘Shahenshah Babar’ (1944).

Hindi film makers seem to have an attraction for Mughal Empire. Films were made on life events of right from Babar to Bahadurshah Zafar- the first to the last Mughal kings. I do not know what the film makers found so magnetic in their lives. Not only Mughal kings, but also the Mongol king Changez khan, Nadir Shah and generals like Behram Khan also became the subject matters of films. May be the producers found lot of scope to show big palaces, big armies, wars, dances and songs, beautiful women etc. in such films which attracted the audience.

More than any other Mughal king, it is Babar, who has been in public discussion in India , since about 20-30 years, for well known reasons for which we are not concerned here. Babar was born as Zaheeruddin Mohammed, on 14-2-1483 in Fergana valley in what is known today as Uzbekistan. He was a direct descendant of Taimurlane. At the age of 12 years he ascended his father’s thrown and faced rebellion. Next few years were spent on fighting to save his kingdom. Having lost, and won and again lost the valley of Fergana and Samarkand three times, Babar decided to go to India.

He marched with his army towards India, which was ruled by Ibrahim Khan Lodhi that time. Babar’s army was tired and tried rebellion till they reached India. In the battle of Panipat, he defeated Lodhi and became the Emperor of India. Later he fought with several Rajput kings and won also. Babar married several times and had several children too. His 3 sons were main and Humayun was his dearest son. Babar established the Mughal Empire in 1526 at Delhi. It was Humayun, who succeeded Babar when he died on 26-12-1530.

‘Shahenshah Babar’ is a depiction of his life from childhood to death, but most part of the film is about the love affair and sickness of Humayun. After his death Babar was first buried in Agra, but later his remains were buried again in Kabul. Babar is considered a national hero in Uzbekistan and Kergystan. In India Babar is not known for such good things.

This film was made by Ranjit Movietone, calling it a historical film. It was directed by Wazahat Mirza Changezi (20-4-1908 to 4-8-1990). He directed 5 films, namely, ‘Swaminath’ (1942), ‘Jawaani’ (1942), ‘Shahenshah Babar’ (1944), ‘Prabhu Ka Ghar’ (1945) and ‘Nishaana’ (1950). He wrote lyrics in films like ‘Watan’ (1938), ‘Hum Tum Aur Woh’ (1938), ‘Bahen’ (1941), ‘Roti’ (1942) and ‘Jawaani’ (1942). Later he became famous as a screenplay and dialogue writer. Some of his famous films are ‘Zeenat’ (1945), ‘Shaheed’ (1948), ‘Shikast’ (1953), ‘Mother India’ (1957), ‘Yahudi’ (1958). ‘Mughal e Azam’ (1960), ‘Ganga Jamuna’ (1961), ‘Leader’ (1964), ‘Palki’ (1967) etc.

The music director was Khemchand Prakash and lyricists were Pt. Indra, Munshi Aziz and Munshi Shums. Out of the 9 songs, today’s song is 5th song to be discussed here. The cast of the film was Khurshid, Sheikh Mukhtar, Sushil Kumar, Yakub, Majid, Anwari, Agha and others.

Religious, mythological or historical stories have some characters who are with extra ordinary strength or even Rakshasas. Such characters maintained the equilibrium of entertainment in those films and made them more interesting with their actions. In the Hindi film industry, some actors fitted this requirement. Some of them were BM Vyas, Ramayan Tiwari, Sheikh Mukhtar, Dara Singh, Dev kumar etc. Sheikh Mukhtar fitted into these roles perfectly, for example as ‘Nadir Shah’ in film ‘Nadir Shah’ (1968), as Changez Khan in film ‘Changez Khan’ (1957), or as Sher Afghan in film ‘Noor Jehan’ (1967). In social films, roles of police officers and in action/stunt films as dacoit, drunkard, gambler etc. In some of the films directors used to make him do unimaginable and unbelievable acts like in film ‘Roti’ (1942), he brings down an aircraft with his spear throw ! As a police officer, he would hold 5-6 criminals by their scruff in his extra large hands or run barefoot after a speeding jeep and stop it !

His real name was Mukhtar Ahmed Siddiqi. He was from old Delhi. His father was a senior police officer. He was Bollywood`s first ‘hunk’ – one who would have put today`s WWF hulks to shame. Exceptionally tall and frighteningly hefty, he was endowed with an immense physique. His face was a roadmap of crisscrossing muscles. A sharp jaw line added to the dimensions of his rock-hard face. Hardly `star` material compared to the Hrithiks and Salmans of today. Yet, this rugged man was once a hero.

Those were the days when a limp-wristed hero, who could not even unlock the mysteries of the lush curls of his beloved, was universally adored in cinema halls. In such times, Sheikh Mukhtar adorned the garb of a hero. This feat was achieved by movie monarch Mehboob Khan. In ‘Ek Hi Raasta’ (aka ‘The Only Way’), a film directed by Mehboob Sb for Sagar Movietone way back in 1939, Sheikh Mukhtar was one of the three heroes. The other two were Arun Ahuja (matinee idol Govinda`s father) and a certain Harish (who later directed films such as ‘Burma Road’, he was Tara Harish). Though billed as male lead, Sheikh Mukhtar never fitted into the `romantic` mold. And why should he? He portrayed an uncouth lover, almost a pre-Neanderthal man, in Mehboob Khan`s ‘Roti’ with sensuous Sitara Devi as his beloved. In that film, Sheikh would bring down an aircraft with the mere strike of his spear. When thirsty, he would empty an entire bucket down his throat in one go. Soppy dialogues oozing with maudlin emotions such as love and romance, did not come forth from the super-hunk.

In Wadia`s ‘Krishnabhakt Bodana’ (1944), Sheikh Mukhtar was the Lord`s devotee. In ‘Bahen’ (1941), he portrayed the role of Nalini Jaywant’s brother. His imposing personality fitted well into period films which dabbled in history. He played the role of Shahenshah Babar; went on to become Chengez Khan and then donned the mantle of Sher Afghan in ‘Noor Jehan’, a film which he produced. He was often teamed with Begum Para, the bewitching beauty of that era. The pair hit it off exceedingly well on the screen. For countless cinema aficionados, the Sheikh Mukhtar-Begum Para pair was a classic case of the beauty and the beast. With pint-sized Mukri, Sheikh Mukhtar had a successful celluloid partnership. Sheikh Mukhtar produced a string of Hindi films, such as ‘Dada’, ‘Dara’, ‘Ustad Pedro’, ‘Toote Taare’, ‘Mr. Lambu’, ‘Annadaata’, ‘Mangu’ (with another beauty, Nigar Sultan), ‘Do Ustaad’, and ‘Noor Jehan’, among others.

He wove into his films a variety of songs, from “Bahaaron Ke Dole Mein Aayi Hai Jawaani”, a romantic number from ‘Annadaata’, to naughty ditties, such as “Dil Ka Ye Injan Seetiyaan Maare” from ‘Ustaad Pedro’, and “Namaste, Doctor Baaro, Hum Ko Bhi Ek Injection Maaro”. Sheikh Mukhtar`s pair of shoes, of twelve number size, (in ‘Do Ustaad’), summed up his big time existence. His role in this film was widely appreciated. Sheikh Mukhtar showcased his acting talents in the concluding scene of ‘Do Ustaad’ when he holds his long-lost brother and son to his bosom.

Sheikh Mukhtar invested all his hard-earned money on ‘Noor Jehan’, his dream project. However, the period film bombed miserably at the box office. And with the film collapsed this mighty man. Debts began to pile up. Income Tax arrears kept multiplying in geometrical progression. Unable to resolve this crisis, Sheikh Mukhtar, who was adored in Bollywood for his integrity and for his firmness to keep vices of every variety at bay, fled to Pakistan with the alacrity of a small-time house burglar. He took with him the prints of his films. But, sadly, the Pakistan film industry offered him no succor. He kept running from pillar to post, visiting government offices with a plea that he be allowed to release his films.

He was not at all welcomed by Pak film industry. As it is Indian films were already banned there. When all efforts failed, he met General Zia ul Haq. He was a great fan of Sohrab Modi. When he learnt that Sohrab Modi was acting in this film, he allowed the film’s release. However, the Pak film industry went to Supreme court against this order. The case dragged on and finally on 11th may 1980 he won the case. While hee was returning to Lahore with his son Sheikh Moinuddin, Mukhtar got a severe heart attack in the flight. He was immediately taken home and doctor was called. Strangely no doctor came to help him. Finally by the time he was taken to hospital, he died on the way.

‘Noor Jehan’, which was released in Pakistan after Sheikh Mukhtar died, on 23rd may 1980, kept the box office registers ringing with cash. In his 40 years’ career he acted in 70 films and under the banner of his own Omar Khayyam Films, he produced 8 films. (Some information from articles by Shirish Kanekar and Jawed Hamid is used here with thanks).

Singer actress Khurshid played the heroine Hameeda’s role and sang good songs too. Here is an edited interview of Khursheed, taken in 1992,by Pakistani journalist, Navid Rasheed (Thanks to Cineplot)..

Khursheed Bano was born as Irshad Begum in Lahore, on 14th April 1914. As a child she resided in the Bhatti Gate area next to Allama Iqbal’s house. The two families were pretty close. Khursheed was a child then. There was no ambition of joining the showbiz bandwagon then and it was by chance that led her to this arena.

Khursheed was very still young when she became an actress in the early 30’s. The era of the silent movies had already ended with the release of ‘Alam Ara’ in 1931 and the Indian film industry was going through a revolution. What set her apart from other heroines were her attractive face and certain flamboyance owing to which she made her presence felt. And then she was very good actress who could be melodramatic and happy-go-lucky with equal ease.

Each star then was required to playback for themselves and Khursheed was lucky to have a good voice. Hence started the brilliant era of some timeless classical and exemplary numbers like “Panchhi Baawraa Chaand Se Preet Lagaaye”.

The graceful and decent actress was luckier to secure some of the best films including ‘Sitaara’, ‘Shaadi’, ‘Musafir’, ‘Pardesi’, ‘Bhagat Surdas’, ‘Dekha Jayega’, ‘Shehanshah Babar’ and ‘Tansen’. ‘Pardesi’ had a very famous soundtrack comprising of memorable numbers by the late actress. In ‘Tansen’ she played the protagonist Tani with Kundan Lal Saigal as Tansen. Together they made indelible performances and the role took her to great heights. She even transcended Saigal with her strong performances and pretty looks and her fans started calling her Tani after that. Her leading men in those days apart from Saigal were Motilal, Ishwar Lal, Nazeer and Sadiq Ali. She made a successful pair with Motilal the most. Her female contemporaries included actresses of caliber like Kanan Bala, Devika Rani, Leela Chitnis, Suraiya, Swaranlata and Noor Jehan. The last three were her juniors.

Khursheed said that there was no such thing as rivalry in those days and actresses worked in close coordination. Abusing, backbiting or gossiping was not amongst their traits. Even the male stars with whom she worked treated her with great respect and there were no scandals.

Though she was an accomplished singer, acting remained her forte and first love. “Singing was a requirement to be a heroine in those days”, she said, “and even heroines with not too good voices were forced to sing if they were to act. But the composers were so good that they managed to get the best out of them then. Each song was recorded after several rehearsals. But I was an actress first and singing was just to complement that.”

Khursheed was not too happy with the way films shaped up in the years to come. So much so that she never wanted to see films anymore. In the interview she expressed her displeasure, “In spite of the resources and much higher budget, there is not a single film maker in the entire sub continent who could make a film even half as good as the films made in my era. Ours were simple films but treated well and had strong content. Plus the hard work and honesty of each unit member reflected in the entire film. This thing is missing now. A film is not only about technique, rather the issue, sensitivity and sincere dedication too.

Following partition in 1947, Khursheed opted to move to Pakistan. She worked in two Pakistani films too – ‘Mandi’ and ‘Fankaar’. But then she decided to quit and tied the knot with a Karachi – based businessman Yousaf Bhai Mian. They had one daughter who lived in the US when the interview was conducted. She then concentrated on her marriage alone and emerged equally successful on the home front as much as she was in films. She was happy that she quit films before their standards declined .

Khursheed died on 18-4-2001 at Lahore.

Khursheed Bano sang about 170 songs in about 40 films in India. Her life and career would have been like any other actor/singer, but for the controversy of her initiation into films as ‘SHEHLA’ ( HFGK writes this name as SHAILA ) at Calcutta between 1931 and 1935. It was finally and conclusively proved by Shri Kamlakar Pasupuleti ji, that Khurshid and Shehla were different and two separate individuals.

The story of film Shahenshah Babar,

The film starts with the march of Babar’s army to India in 1526, with flashbacks of his childhood and activities as an young man. Defeating Ibrahim Khan Lodhi in the battle of Panipat, Babar becomes Emperor of India.

One of his knights Sardar Sheikh has a daughter Hameeda. She and Babar’s son Humayun fall in love and meet often. When Babar comes to know this, he takes a promise from Humayun that he will forget Hameeda. Humayun promises and leaves Hameeda. Heart broken Hameeda is taken by her father to their native place .

Humayun falls ill and is on death bed. To save his life Babar prays to God that he saves Humayun and instead give death to Babar. In addition, he himself goes and brings back Hameeda to Humayun. In few months Humayun gets well, but Babar dies.

I distinctly remember, when I was studying in 5th or 6th standard, we had a lesson “The Power of Prayer” and in this lesson Babar and Humayun’s story was told, how Babar sacrifices his life for son’s life by praying to God. The film too has the same theme. It seems this story is there in ‘Humayun-Nama’ written by Gulbadan Begum, half sister of Humayun. I have not seen this film.

Today’s song is a duet of Zohrabai and Munshi Aziz. The song is written by Pt. Indra.

(Some information has been used, with thanks, from book ‘Forgotten movies on Muslim Culture 1933-1947’, by Shri Kamlakar Pasupuleti ji.)

Song – Hamen Bhool Mat Jaiyo Raja Ji  (Shahenshah Babar) (1944) Singer – Zohrabai, Munshi Aziz, Lyrics – Pt Indra, Music – Khemchand Prakash

Lyrics

hamen bhool mat jaiyo raja ji
hamen bhool mat jaiyo raja ji

ho raja ji
souten ke lambe lambe kes
o raja ji
souten ke lambe lambe kes
ulajh mat jaee
ulajh mat jaiyo raja ji
hamen bhool mat jaiyo raja ji

o rani ji
jaana padey hai bides
o rani ji
jaana padey hai bides
sandesa deti rahiyo
ho sandesa deti rahiyo rani ji
hamen bhool mat jaiyo raja ji

purab mat jaiyo ho morey raja
purab mat jaiyo ho morey raja
maalan ke teekhe teekhe nain
ho raja ji
maalan ke teekhe teekhe nain
paagal na ban jaiyo
ho paagal na ban jaiyo raja ji
hamen bhool mat jaiyo raja ji

dil to rahega paas tumhaare
dil to rahega paas tumhaare
naadan hai kismet kahiyo
o rani ji
naadan hai kismet kahiyo
sandesa deti rahiyo
ho sandesa deti rahiyo rani ji
hamen bhool mat jaiyo raja ji

dacchin mat jaiyo o morey raja
dacchin mat jaiyo o morey raja
panihaari ki matwaali chaal
ho raja ji
panihaari ki matwaali chaal
machal mat jaiyo
haaye machal mat jaiyo raja ji
hamen bhool mat jaiyo raja ji

pyaasa rahoon par panghat na jaavun
pyaasa rahoon par panghat na jaavun
tum hi pyaas bujhaiyo o rani ji
tum hi pyaas bujhaiyo
sandesa deti rahiyo
ho sandesa deti rahiyo rani ji
hamen bhool mat jaiyo raja ji

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

हमें भूल मत जइयो राजा जी
हमें भूल मत जइयो राजा जी

हो राजा जी
सौतन के लंबे लंबे केस

राजा जी
सौतन के लंबे लंबे केस
उलझ मत जइ
उलझ मत जइयो राजा जी
हमें भूल मत जइयो राजा जी

ओ रानी जी
जाना पड़े है बिदेस
ओ रानी जी
जाना पड़े है बिदेस
सँदेसा देती रहियो
हो सँदेसा देती रहियो रानी जी
हमें भूल मत जइयो राजा जी

पूरब मत जइयो हो मोरे राजा
पूरब मत जइयो हो मोरे राजा
मालन के तीखे तीखे नैन
हो राजा जी
मालन के तीखे तीखे नैन
पागल ना बन जइयो
हो पागल ना बन जइयो राजा जी
हमें भूल मत जइयो राजा जी

दिल तो रहेगा पास तुम्हारे
दिल तो रहेगा पास तुम्हारे
नादाँ है किस्मत कहियों
ओ रानी जी
नादाँ है किस्मत कहियों
सँदेसा देती रहियो
हो सँदेसा देती रहियो रानी जी
हमें भूल मत जइयो राजा जी

दछिन मत जइयो ओ मोरे राजा
दछिन मत जइयो ओ मोरे राजा
पनिहारी की मतवाली चाल
हो राजा जी
पनिहारी की मतवाली चाल
मचल मत जइयो
हाए मचल मत जइयो राजा जी
हमें भूल मत जइयो राजा जी

प्यासा रहूँ पर पनघट ना जावूँ
प्यासा रहूँ पर पनघट ना जावूँ
तुम ही प्यास बुझइयो ओ रानी जी
तुम ही प्यास बुझइयो
सँदेसा देती रहियो
हो सँदेसा देती रहियो रानी जी
हमें भूल मत जइयो राजा जी


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 : 3804 Post No. : 14797

When we talk of Partition and Migration of artistes from India to Pakistan and vice versa, only the famous and the well known names are considered. There were hundreds of small time less known artists, viz. actors, directors, lyricists, composers, instrument players, chorus singers, technicians etc who also had migrated for various reasons. The other day I was reading a book, ” Who’s who: Music in Pakistan ” written by A.Shaikh and M.Shaikh. In this book I found several names of singers,composers,lyricists and above all instrument players, who shifted to Pakistan.

It is a well known fact that in olden times,the instrument players,chorus singers and orchestra players had personal attachments and preferences,for particular composers and vice versa too. That is why, when Ghulam Haider went back to Lahore,he was extremely happy to meet some of his orchestra players in Lahore. In one of the interviews he had said that he felt like a family reunion. He arranged a get together for all those people.

In the Hindi film industry,many Partition immigrants came to dominate and transform the scene here.Film makers like Pancholi, Sippy,B R Chopra,Yash Chopra,Ramanand Sagar-all India’s most successful commercial producers were also Partition immigrants. Once heavily dominated by Muslim Film makers,writers,actors and composers,the Hindi film industry changed drastically after the Partition.

Many successful film personalities had gone to Pakistan between 1947 and 1950,including producers like Mehboob and Shaukat Hussain Rizvi-who went to Lahore,with capital to buy the Hindu-owned studios. Prominent producers of Lahore like Dalsukh Pancholi and Shorey were forced to sell their studios and properties for a song and flee for their life,to India,after riots in Pakistan post Partition. Some Muslim artistes returned to India,after a few years when they realised that Lahore film industry had largely collapsed due to exodus of prominent Hindu producers.

The crucial role played by films in Indian culture could be seen in the Refugee camps of Delhi,where ever evening,for 2 hours Hindi films were shown free to all. ‘ Film India’ commented that there were more than 15000 refugees from Sindh and Punjab in Bombay.It also suggested that good looking and educated women can be employed in films.Due to polarisation,there was much explosive writing published in this magazine,that time.

However,as before and always, Bombay film industry maintained its secular culture and a big rally,led by Durga Khote and Prithviraj Kapoor was taken out on 2-10-1947,in Bombay. The entire film industry had joined in it and slogans like ‘Hindu-Muslim bhai bhai’ etc were shouted in the rally. Similarly,to pacify over one lakh refugees from East Pakistan (now Bangaladesh) in Calcutta, Lata Mangeshkar had led a rally in Calcutta during 1971.

The famous Music Historian James Mc Connachie said, ” As India marched into an uncertain future-in 1947-Film songs offered something Unique: they helped creating a sense of belonging to One Nation,something that the divisive extremist right wingers in India,chanting” Hindustan for Hindus” could never achieve. When Hindi film singers sang,nobody cared that Mohd.Rafi was a Muslim or Lata was a Hindu Brahmin. Its great music bridged the gap between Hindus and Muslims,mush better than any Politician (including Gandhi and Nehru) ever could achieve.” -World Music-The rough guide,Vol II,pp 106,pub.1990 by Harper.

Like many top class composers who migrated to Pakistan, there were some small time or recently started composers who also left, like Inayat Hussain (only 1 Punjabi film Kamli),Fateh ali khan (2 films,Aaina-44 and Director-47),Tufail farooqi (2 films-Sona Chandi-46 and Dekhojee-47). Inayat Hussai of course became a Legend in Pakistan.

Today’s song is from film Aaina-1944. Its music directors were Gulshan Sufi and Fateh Ali Khan. Fateh ali khan migrated to Pakistan after Partition and Gulshan Sufi went after mid 50s.

Fateh Ali Khan was a classical singer and a Qawwali musician in the 1940s and 1950s. He was born in Jalandhar, Punjab, British India in 1901. Fateh Ali Khan was the father of Pakistani Qawwali musicians, Nusrat Fateh Ali Khan and Farrukh Fateh Ali Khan. Their family had an unbroken tradition of Qawwali, linked closely to the Sufi Chishti Order for over 600 years. Fateh Ali Khan was trained in classical music and Qawwali by his father, Maula Baksh Khan (Ali Khan), and he, soon after his training, distinguished himself as a skilled vocalist and instrumentalist. He learned to play traditional Indian instruments such as sitar, sarod and vichitra veena as well as Western instruments like the violin. He also mastered thousands of verses in Punjabi, Urdu, Arabic and Persian.

Fateh Ali Khan was the leader of his family’s Qawwali party but they were billed as Fateh Ali Khan, Mubarak Ali Khan & Party. Mubarak Ali Khan, his brother, shared both singing and harmonium-playing duties with him. They were regarded as among the foremost exponents of Qawwali in their time. They are credited with popularizing the poetry of Allama Iqbal through their singing. Iqbal’s poetry was regarded as difficult to set musical tunes to, and while he was highly admired in academic circles and by intellectuals, Allama Iqbal did not have much of a popular following yet among the common people mainly due to the radio broadcasting technology still under development back then in British India. Fateh Ali Khan and Mubarak Ali Khan, more than anyone else, helped Iqbal achieve popular success as well: Allama Iqbal paid the ultimate homage to the two brothers by saying: ‘I was restricted to schools and colleges only. You (Ustad Fateh Ali Khan) have spread my poetry through India’.

Like many other musicians,Fateh ali khan too wanted to try his hand at Film music. In India,he gave music only to 2 films, that too with other composers. One was film Aaina-1944, along with Gulshan Sufi and the other was film Director-1947, along with Lachhiram Tamar. After partition he migrated to Pakistan with all his family. In Pakistan, however, he had better luck in films. He gave music to Do kinare-50, Harjaai-52, Shola-52, Bedari-57 ( ditto copy of our film Jagriti-1954), Saathi-59 and Tum na maano-61. He also sang in film Waada-57 and Raagini-58. Ustad Fateh Ali Khan was the foremost sitar-player and film music composer of the 1950’s in Pakistan.His compositions in Bedari (1957)became run-away super-hits in Pakistan because they were a heart-felt tribute to the founder of Pakistan, Mohammad Ali Jinnah, and the public’s sentiments about patriotism.

In 1948, his son, Nusrat, was born in Faisalabad, Pakistan. Fateh Ali Khan wanted Nusrat to become a doctor or an engineer because he felt Qawwali artists had low social status. However, Nusrat showed such interest in and aptitude for Qawwali that his father soon relented, and began training him. However, Fateh Ali Khan died in 1964 at the age of sixty-three, when Nusrat was sixteen and still in school. Nusrat’s training was completed by Fateh Ali Khan’s brothers, Mubarak Ali Khan and Salamat Ali Khan. (information adapted from wiki, Harish Raghuwanshi ji, pakfilms.net and my notes).

The cast of the film Aaina-41 consisted of Husn Banu, Yakub, Trilok kapoor, Yashodhara katju, Rajkumari Shukla, Gope etc etc. The film had two Lyricists- Pt. Phani and Tanvir Naqvi. ( Naqvi had also migrated to Pakistan). The film was directed by S.M. Yusuf. Even he had migrated to Pakistan.

S.M.Yusuf – Shaikh Mohammed Yousuf, (20-6-1910 at Poona to 17-8-1994 at Lahore) was originally from U.P. and started his career by assisting directors in various studios. He was one cine artist who migrated to Pakistan and became a very successful director there too. Actress Nigar Sultana was his second wife for 5 years.

After Partition,several artistes-heroes,heroines,Directors,Comedians,lyricists,Composers, Singers and character artistes migrated to Pakistan. Almost 90% of them failed there miserably. Some of them like Meena Shorey shone for a while but ended up in penury and anonymity. Exceptions were like Malika -e-Tarannum Noorjahan. from the successful artistes,the major chunk was musicians-composers like Khurshid Anwar,Nissar Bazmi, Nashad etc. Among the directors. S M Yusuf was the exception who succeeded. The migration of Cine artistes continued till 1965,when President General Ayub Khan banned Indian actors. Shaikh Mukhtar-1963 and Kumar-64 were probably the last to migrate to Pakistan. Till then some artistes like Sheila Ramani,Nasir Khan,pran,Manorama,composer Timir Baran etc went and worked in Pakistani films.

S.M.Yusuf started directing films in India from Bharat ke Laal-36. He directed 20 films like,Darban, Aaina, grihasthi, Saheli, Mehendi,GuruGhantal, Bahurani, Maalik, Gujara, Hyderabad ki Nazneen, Bikhre Moti etc.

When he went to Pakistan,in late 50s,he made his first film there Saheli,which was a ditto remake of his own Hindi film- Mehendi-1950. This film Saheli became such a great hit that it virtually grabbed all major awards including a Nigar award for S M Yusuf himself. He made about 13 films in Pakistan,before he died on 17-8-1994,at Lahore,from where he had begun his career !

Film Aaina-44 was a social film. It depicted a family, in which the mother in law, due to her short temper, querulous and quarrelsome nature almost destroys her happy family. She has 2 existing daughters in law who are submissive. The third daughter in law is different. Initially she tolerates mother in law’s tantrums,but later on she teaches her a lesson and brings peace and happiness back to the family. This type of stories were abundant in the 70s and 80s in Bollywood. Title Aaina was used in 1944,1977, 1993 and 2014 also.

Film Aaina-44 had 8 songs. 7 songs were already covered. Today’s song is the 8th and the final song of the film. So, film Aaina-44 joins those films which have ALL songs covered.


Song-Bharat Mata ki Beti shakti ka avtaar (Aaina)(1944) Singer-Zohrabai Ambalewali, Lyrics-Pt. Phani
MD- Fateh Ali Khan
chorus

Lyrics

Bharat Mata ki Beti
shakti ka avtaar

ae Bharat Mata ki Beti
shakti ka avtaar
ae Bharat Mata ki Beti
shakti ka avtaar

aa samay samay par devi toone
samay samay par devi toone
badla hai sansaar
samay samay par devi toone
badla hai sansaar
ae Bharat Mata ki Beti
shakti ka avtaar
ae Bharat Mata ki Beti
shakti ka avtaar

jahaan pati pooja karwaaya
wahaan shaanti laayi
jahaan pati pooja karwaaya
wahaan shaanti laayi

deep bani andhere ghar ka
shobha ban muskaayi
deep bani andhere ghar ka
shobha ban muskaayi

pati ki kismat ka hai taara
bindiya teri naam
pati ?? hai taaraaaa
bindiya teri naam
ae bharat mata ki beti
shakti ka avtaar
ae bharat mata ki beti
shakti ka avtaar

dheeraj tera dharam hai naari
daya hai teri shaan
dheeraj tera dharam hai naari
daya hai teri shaan

prem pujaaran tu satwanti
pati tera bhagwaan
prem pujaaran tu satwanti
pati tera bhagwaan

sote bhaagya jagaaye
tere paayal ki jhankaar
sote bhaagya jagaaye
tere paayal ki jhankaar
ae Bharat mata ki beti
shakti ka avtaar
ae Bharat mata ki beti
shakti ka avtaar


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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3760 Post No. : 14731 Movie Count :

4026

Today’s song is from a film called “Sona”(1948). In 1946, there was a film titled “Sona Chandi”. In 1964 there was a film titled not just “Chandi”, but a whole “Chandi ki Diwar” and in 1977 there was a film called “Chandi Sona”. So much for the precious metals in Hindi film Titles !

We have often heard and read that in olden days, young film aspirants from far off cities and smaller towns, ran away from homes to the Maya Nagari-Bombay, to try their luck. Few of them succeeded. But mind you, not ALL stars came running away to Bombay. Many of them were actually invited by Bombay filmmakers, rolling out red carpets for them. This normally used to offer in case of promising stars from other film centres like Calcutta and Lahore. For example, Shamshad Begum was specially brought to Bombay from Lahore. Saigal was brought from Calcutta to Bombay, with an attractive offer.

That, precisely, was the reputation of Bombay, that careers are made in Bombay and opportunities are found in abundance for them who have Talent and Luck ! Munawar Sultana, Heroine of film Sona-48 was one such star, who was brought from Lahore with an offer of Rs. 4000 pm and rented furnished accomodation – by Mazhar Khan.

Munawar Sultana was born on 8 November 1924, in Lahore, into a strict Punjabi Muslim family. According to an interview with son Sarfaraz and daughter Shaheen, conducted by Shishir Krishna Sharma, Munawwar’s father was a radio announcer. Munawwar wanted to become a doctor, but was side-tracked by an offer in films. This was a small role in the film, Dalsukh Pancholi’s Khazanchi (1941), where she played a barmaid, and had a song, Peene ke din aaye piye jaa picturised on her. She went by the screen name Asha for this period.

In 1945, she was visited in Lahore by producer-actor-director Mazhar Khan, who contracted her on a monthly fee of Rs. 4000 plus an apartment, and brought her to Bombay. Munawwar’s first film with Mazhar was Pehli Nazar, where she was cast opposite actor Motilal. In the popular song Dil jalta hai to jalne de (Let the Aflame Heart Burn) playbacked by singer Mukesh for Motilal, Khan focused on Munawwar’s close-ups during the picturisation.

Following Pehli Nazar, she was kept busy through 1947 to 1949 working in several films. Baburao Patel wrote in the cine-mag Filmindia 1949, about her being one of the most over-worked actresses along with Suraiya and Nargis.

In 1947, Munawar acted in four films Dard, Elaan, Andhon Ki Duniya and Naiyya. Dard was directed by Kardar under Kardar Productions. In spite of no big stars being in the film, it turned out to be a surprise “musical hit” at the box office. The hero of the film was Kardar’s brother Nusrat (Kardar). The song Afsana likh rahi hoon became a big success. Elaan garnered positive reviews for Munawwar. A Muslim social, the film was praised for its “progressive attitude” towards the need of education.

A lot has already been written about Elaan-47,elsewhere, as well as on this blog too,earlier.

When Mehboob Khan heard the story initially, he spent few days thinking about it. He anticipated adverse reactions of the Fundamentalists on this film. His team for this film included many Muslims, almost in every department. Major contributors like Naushad, Zia Sarhadi, Amirbai Karnataki and most important , Munawar Sultana,the Heroine,were all Muslims.Others at least were connected indirectly,but Munawar was the Heroine.

Mehboob Khan had a sitting with her and explained to her the entire story and the likely repercussions to the film. He gave her an option to opt out of the film. Munawar played very brave and firmly told Mehboob Khan that she was 100% with him and was ready to work and face, whatever happens as an aftermath.

This act of courage was loved and appreciated by Mehboob Khan very much and he remained indebted to her ever after.

1948 saw Munawar in four more films. Parai Aag, Sona, Majboor and Meri Kahani.

1949 was Munawar’s busiest year with seven releases. Out of her four films released in 1950, Munawar’s most notable film was Babul (Father’s House). She acted opposite Dilip and Nargis in this love triangle. Directed by S. U. Sunny, the music was composed by Naushad. The film became a major success at the box office. She acted in a few more films till 1956, with Jallad being her last appearance.

From 1950, Munawar’s career slowed down, and she acted in fewer films. She met her husband Sharif Ali Bhagat, a businessman, on the sets of a movie for which he provided furniture. He produced two films with Munawar in the lead, Meri Kahani (1948) and Pyar Ki Manzil (1950). Following the sudden death of her husband in 1966, Munawar managed her family of four sons and three daughters. In the last eight years of her life, Munawar suffered from Alzheimer’s disease. She died on 15 September 2007, at her home in Ambedkar Road. Pali Hill, Mumbai, Maharashtra, India.

The cast of film Sona-48 also consisted of the producer director Mazhar Khan as the Hero, Madhuri, Dikshit, Navin Yagnik, Madan Puri and others.

How many of us know anything about Navin Yagnik ? Navin was a well known stunt film actor who did social films also with the same ease. Navin was born in Calcutta in 1912. His father was from U.P. and mother from Bengal. During school days, he was more interested in sports, dramas and oratory. He did not complete his Matriculation, but ran away to Bombay, to become an actor-against the wishes of his family.

He joined Sagar Films in 1930, as an Extra, without salary. After few months he got Rs.35 pm, but no credited roles. After an year or so, he left Sagar and joined Mohan Bhavnani’s Ajanta Film company. He first worked in film ‘ The Mill ‘-34. Unfortunately, this film was banned for 2 years. The film was based on a story by Munshi Premchand and depicted the poor conditions of mill workers in Bombay. The Mill Owners’ Association brought pressure on Government and got the film banned. After 2 years, the film was released as ” Ghareeb Parivar”-36 aka ‘Daya ki Devi’. Two more films and Navin became Hero in film ” Pyar ki maar”-35.

He also worked in Minerva Movietone, Prakash pictures, Filmistan and other good banners. Some of his well known films were, Zambo-The ape Man-37, Meri Bhool-37, Divorce-38, Son of Zambo-39, Main Haari-40, Vasantsena-42, Raja Rani-42, School Master-43, prithvi Vallabh-43, Chal chal re Naujawan-44 etc. His last film was Bhagwat mahima-55. In all, he worked in 30 films.

The Music Director for film Sona-48 was Vasant Desai. Vasant Desai ( 9-6-1912 to 22-12-1975 ) was an incredibly talented man who never got his dues.

That greatness has no correlation with commercial success, is best personified in the life and works of Hindi film music director Vasant Desai. Well versed in every department of film making, Desai’s talent was a blessing to the music world. Though critics may credit Naushad as a composer steeped in classical traditions, Vasant Desai was equally, if not more, proficient in making tunes based on complex ragas. Sadly, despite his prowess, this simple man whose birth anniversary was in 2012, has not been given his due by the film industry befitting his stature and contribution to its music.

Veteran Marathi film music director and Desai’s creative mentor Keshavrao Bhosle in his memoirs “Mazhe Sangeet” applauds Desai for many such firsts as well as introduction of echo in sound recording in India with Zohra Bai’s song Jo dard banke zamaane pe chhaaye jaate hain from “Parbat Pe Apne Dera”. Hear Rafi’s immortal kah do koyi na kare yahaan pyaar(Goonj Uthi Shehnaai) and you realise how echo was not a tool for experimentation for Desai but a magnificent instrument of creative ability.

Though Lata Mangeshkar doesn’t acknowledge any of Desai’s creations in her top 20 personal favourites nor praises his vast repertoire, it is a fact that some of her finest renditions were under Desai. Allegedly, Lata had a grouse against him for promoting other singers, especially Vani Jairam, and hence ignored his contribution in her career even when most of her songs under Desai’s baton have been unsurpassed till this day. Go down the memory lane and you can’t ignore sublime creations like Jo tum todo piyaa (Jhanak Jhanak Paayal Baaje) , Tere sur aur mere geet(Goonj Uthi Shehnaai), Main gaaun tu chup ho jaa (Do Aankhen Baarah Haath) , Piyaa te kahaan gayo (Toofaan aur Diyaa) or Ek thhaa bachpan (Aasheerwaad) . Even though Desai made her Ae maalik tere bande ham (Do Aankhen Baarah Haath) into a memorable secular prayer, Lata hardly ever commends the composition. May be she is unhappy that Desai created an equally powerful bhajan Hamko man ki shakti dena(Guddi) into a nationwide school prayer through Vani’s vocals.

His proficiency was the reason why he was greatly admired by maestros like Bismillah Khan (who made the shehnai famous with his recitals in “Goonj Uthi Shehnai”, Amir Khan, Bhimsen Joshi, and M. S. Subbulakshmi. She even got a song composed from Desai for her recital at the UNO headquarters. It was Desai’s virtuosity that made Dada Muni (Ashok Kumar) render an all-time favourite children’s song rail gaadi rail gaadi (Aasheerwaad) (“Aashirwad”) with minimum instrumentals. Nowadays when Cannes Film Festival is a place of photo opportunity rather than exploration of artistry, it is overwhelming to know that decades ago Desai’s versatility made “Amar Bhoopali” the only Indian film to win a Grand Prix award for original musical score at Cannes ! Obviously, lyricist Gulzar isn’t wrong to hail Desai as a “music composer extraordinaire” especially when he catapulted his Bole re papeehara(Guddi) to Himalyan heights of popularity.

Born in a wealthy family in Sonwad village in Maharashtra, Desai joined the famous Prabhat Film Company at Kolhapur at its inception. Apart from performing several minor chores, he also acted, sang and sometimes composed songs in Prabhat’s films like “Dharmatma” and “Sant Dnyaneshwar” but once he had mastered the craft of music composition, he stuck to it. Devoted to V. Shantaram from his Prabhat days, Desai went along with the maestro when he broke away from Prabhat to form his own Rajkamal Studios. Scoring music for a majority of Shantaram’s films, Vasant’s career suffered a major blow when their relations soured in the late 1950s. Yet it is to his credit that even though they split after recording of “Aadha Hai Chandrama” (later re-done by C. Ramchandra), he never ever spoke ill about “Anna” till his dying day.

Film director Vikas Desai says, “even family members never came to know the reasons for leaving Shantaram though he went back to score the background music of ‘Geet Gaya Patharon Ne’ on Anna’s request”.

Going through his long and enviable list of songs would be difficult but suffice to say that his memorable songs are valuable gems of musical heritage. And though the patriotic Vasant Desai may have remained unsung for his cinematic as well as academic contribution to school music curriculum, his songs regale listeners with their inherent melodic fragrance.

In his initial stage of career, he had acted in films like, Dharmatma-35, Amar Jyoti-36, Wahan-37 and Sant Dnyaneshwar-40. He even sang songs in films like Amrit Manthan-34, Dharmatma-35, Amar Jyoti-36, Wahan-37, Sant Dnyaneshwar-40, Sant Sakhu-41, Shakuntala-43 and Parbat pe apna dera-44. In all, Vasant Desai gave music to 50 films. His first film was Shobha-42 and Last released film was Shaque-76.
(some information in the article adapted from Wiki and The Hindu).

Shantaram was planning a path breaking film Maanus(Marathi)-Aadmi in Hindi,in those days and was in the process of finalising the cast.Vasant Desai who was Shantaram’s chela in those days,was aspiring to become a Music Director. He started his career as an actor in small roles and he sang songs too.He had very high hopes that Shantaram will do something for him. One day Shantaram called him and said,” I am planning a new film. You will be the Hero and Shanta Apte will be the Heroine.” Vasant was very happy. His auditions were good.

Meanwhile Mera Ladka-38 became quite popular and its songs, particularly,Dekhoon kab tak baat( Paahu re kiti waat-Marathi)” by Shanta bai and composed by Keshavrao Bhole was a great Hit.Impressed with her effortless acting and natural singing style, Shantaram changed his mind and decided to cast Shanta Hublikar and Shahu Modak as the lead pair for Aadmi – 39.

Shantaram called Vasant Desai and told him,” Be ready for a shock. I have decided to make Shanta Hublikar and Shahu Modak as the Hero and Heroine of my new film. You will have to wait. But your time will come ” Vasant Desai was heart broken. With Shantaram’s permission he composed music for Shobha and Aaankh ki sharm in 1942 and Mauj in 1943. he had worked as assistant to Tembe, Krishnarao, Bhole and Mainkar. He had acted and sang in Amar Jyoti . His time came when Shantaram gave him SHAKUNTALA-1943 as a Music Director.

Today’s song from film Sona-1948 is sung by Zohrabai Ambalawali and Chorus, but there is also an unidentified male’s voice in the song. The song was procured and uploaded by our Sadanand ji Kamath on my request. Thanks. The song is very melodious and immediately reminds another popular song Mubaarak ho dulha dulhan ko ye shaadi from film Paak Daaman-1957-MD Ghulam Mohd. As per the prevailing custom of composers having a classical base and a stage music background, the prelude music of this song is also quite long, lasting for 54 seconds. Not all songs had such preludes, but majority had.


Song-Umangon ke din hain khushi ka zamaana (Sona) (1948) Singer-Zohrabai Ambalewaali, unknown male voice, Lyrics-Nakshab, MD-Vasant Desai
Both

Lyrics

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

aa haa ha
hahahaha

Umangon ke din hain khushi ka zamaana
Umangon ke din hain khushi ka zamaana
ye mausam suhaana
yahin aana jaana
ye mausam suhaana
yahin aana jaana

nigaahon ko milne lagin hain nigaahen
nigaahon ko milne lagin hain nigaahen
wafa ke kadam hain mohabbat ki raahen
wafa ke kadam hain mohabbat ki raahen
machalti chali jaa rahi hai jawaani
aa aa aa aa
aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa

machalti chali jaa rahi hai jawaani
thaharta chala ja raha hai zamaana
thaharta chala ja raha hai zamaana
ye mausam suhaana
yahin aana jaana
Umangon ke din hain khushi ka zamaana
ye mausam suhaana
yahin aana jaana

o ho ho ho
ho ho ho ho ho
chale daur par daur
saaghar uthhaao
chale daur par daur
saaghar uthhaao
zamaane ka har ek gham bhool jaao
zamaane ka har ek gham bhool jaao
hamesha jamegi ye ?? ki mehfil
zara tum bhi peena hamen bhi pilaana
zara tum bhi peena hamen bhi pilaana
ye mausam suhaana
yahin aana jaana
umangon ke din hain
khushi ka zamaana
ye mausam suhaana
yahin aana jaana


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

Blog Day : 3489 Post No. : 14016

“Paraayi Aag”(1948) was directed by Najam Naqvi for Great India Pictures. The movie had Munawwar Sultana, Ulhas, Mumtaz (Madhubala), Sheri, A Shah, W M Khan, Jilloo Bai etc in it.

The movie had eight songs in it. Seven of them have been covered in the past.

The details of the songs discussed in the past are as under:

Song Title

Post No.

Post Date

Nigaahein milaane ko jee chaahtaa hai 2983 18-Sep-10
Kaun tere man bhaaya 9225 2-Jan-14
Man geet suhaane gaaye 10125 21-Aug-14
Kuchh bhi na kahaa aur keh bhi gaye 12243 21-Jul-16
Bhool jaa wo pyaar ke rangeen fasaane 12363 10-Sep-16
Kis’se kahen ki kaun hamaare chale gaye 13755 22-Nov-17
O tohe kaise dikhaaun dil cheer ke 14010 4-Feb-18

Here is the eighth and final song from “Paraayi Aag”(1948) to appear in the blog. This song is sung by Zohrabai Ambalewaali. Akhtar Ul Imaan Naqvi is the lyricist. Music is composed by Ghulam Mohammad.

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

With this song, “Paraayi Aag”(1948) joins the list of movies that have all their songs covered in the blog.


Ae dil jahaan mein tera thhikaana koi nahin (Paraayi Aag)(1948) Singer-Zohrabai Ambalewali, Lyrics-Akhtar Ul Imaan, MD-Ghulam Mohammad

Lyrics

ae dil il il
ae dil il il il
ae dil jahaan mein tera aa
ae dil jahaan mein tera
thhikaana koi nahin
thhikaana koi nahin
ae dil jahaan mein tera aa
ae dil jahaan mein tera
thhikaana koi nahin
thhikaana koi nahin
jeene ka tere paas
bahaana koi nahin
bahaana koi nahin
jeene ka tere paas
bahaana koi nahin
bahaana koi nahin

ab tu hai aur dukh bhari ee ee
raaten judaai ki ee
raaten judaai ki
kismat mein teri khwaab
suhaana koi nahin
suhaana koi nahin

tu geet hai wo jiski ee ee ee
tadap so gayi kahin
tadap so gayi kahin
tu daastaan hai jiska
zamaana koi nahin
zamaana koi nahin

sunsaan door tak hai
mohabbat ki bastiyaan
mohabbat ki bastiyaan
kisko pukaaren
apna begaana koi nahin
begaana koi nahin
ae dil jahaan mein tera aa
ae dil jahaan mein tera
thhikaana koi nahin
thhikaana koi nahin


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

Blog Day : 3488 Post No. : 14010

“Paraayi Aag”(1948) was directed by Najam Naqvi for Great India Pictures. The movie had Munawwar Sultana, Ulhas, Mumtaz (Madhubala), Sheri, A Shah, W M Khan, Jilloo Bai etc in it.

The movie had eight songs in it. Six of them have been covered in the past.

Here is the seventh song from “Paraayi Aag”(1948) to appear in the blog. This song is sung by Zohrabai Ambalewaali and Naseem Akhtar. Akhtar Ul Imaan Naqvi is the lyricist. Music is composed by Ghulam Mohammad.

Only the audio of this song is available. It sounds like a stage performance song where who ladies are presenting a roothhna-manaana song and dance performance, with one lady playing the role of a male. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-O tohe kaise dikhaaun dil cheer ke (Paraai Aag)(1948) Singers-Zohrabai Ambalewali, Naseem Akhtar, Lyrics-Akhtar Ul Imaan, MD-Ghulam Mohammad

Lyrics

tohe kaise dikhaaun dil cheer ke
tohe kaise dikhaaun dil cheer ke
ho gori
kaise dikhaaun dil cheer ke
ho gori
ho gori
kaise dikhaaun dil cheer ke
haay
tohe kaise dikhaaun dil cheer ke

hato jaao jee
hato jaao jee
baaten banaate ho kyun
hato jaao jee
hato jaao jee
baaten banaate ho kyun
jhoothhi chaahat jata ke jalaate ho kyun
jhoothhi chaahat jata ke jalaate ho kyun
khote hote hain chhore aheer ke

haay gori
kaise dikhaaun dil cheer ke

ek hi daaon mein
khelwaa rahoon main
aen aen aen aen
ek hi daaon mein
khelwaa rahoon main
keh diya tere nainon ka maara hoon main
tohe kaise dikhaaun ghaav teer ke
haay gori
kaise dikhaaun dil cheer ke

bhanwre udte phirte hain
idhar se udhhar
bhanwre udte phirte hain
idhar se udhhar
aaj is phool par
kal hai us phool par
aaj is phool par
kal hai us phool par
lobhi kaaran hai auron ke peer ke
haaye
lobhi kaaran hai auron ke peer ke

to main harjaai hoon
jaao yoon hi sahi
ab na aaunga mud kar tumhaari gali
haan tumhaari gali
dhun ke pakke hain chhore aheer ke
kahaan jaate ho
o o o
kahaan jaate ho tum to
banaati thhi main
man ki lene
jhoothhon sataati thhi main

tum hi maalik ho
man ke shareer ke
haay bhala kaise
dikhaaun dil cheer ke
ho gori
ho chhaila
ho gori
ho chhaila
tohe kaise dikhaaun dil cheer ke


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

“Bela” (1947) was directed by Chaturbhuj Doshi for Ranjit Movietone, Bombay. The story, screenplay, dialogues and Lyrics of this movie were by D N Madhok. The movie had P Jairaj, Nigar Sultana, Shrinath Tripathi, Pt.Iqbal, Krisnakumari, Master Mehmood, Rekha, Usha, B.R.Sharma etc. in it.

The movie had ten songs in it. Seven of these songs have been covered in the past.

Here is the eighth song from the movie. This song is sung by Zohrabai Ambalewaali. D N Madhok is the lyricist. Music is composed by Bulo C Rani.

Only the audio of the song is available. Seeing that Zohrabai Ambalewaali sang most female playback songs in the movie, my guess is that she sang for the leading lady and so this song is picturised on the leading lady viz Nigar Sultana.


Song-Pardesi piya re ho ab mose na guzre rain(Bela)(1947) Singer-Zohrabai Ambalewaali, Lyrics-D N Madhok, MD-Bulo C Rani

Lyrics

pardesi piya re
ho ab mose na guzre rain
pardesi piya re
ho ab mose na guzre rain
jiya bada bechain
ho ab mose na guzre rain
jiya bada bechain
ho ab mose na guzre rain

sardi guzaar li garmi guzaar li
beete naa saawan ki raat
sardi guzaar li garmi guzaar li
beete naa saawan ki raat
wo kaali kaali badli mohe chhed gayi
wo kaali kaali badli mohe chhed gayi
kaa se kahoon jee ki baat
more barsan laage donon nain
more barsan laage donon nain
pardesi piya re
ho ab mose na guzre rain

thhandi hawa bhi hai ae
barsaat ka maza bhi hai
thhandi hawa bhi hai ae
barsaat ka maza bhi hai
aur bijli bhi chamke hai kahin kahin
aur bijli bhi chamke hai kahin kahin
par mere dukh bhare dil se poochhe koi
par mere dukh bhare dil se poochhe koi
tu nahin to kuchh bhi nahin een
mere bas mein ho chura loon tora chain
mere bas mein ho chura loon tora chain
pardesi piya re
ho ab mose na guzre rain


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

“Bela” (1947) was directed by Chaturbhuj Doshi for Ranjit Movietone, Bombay. The story, screenplay, dialogues and Lyrics of this movie were by D N Madhok. The movie had P Jairaj, Nigar Sultana, Shrinath Tripathi, Pt.Iqbal, Krisnakumari, Master Mehmood, Rekha, Usha, B.R.Sharma etc. in it.

The movie had ten songs in it. Si of these songs have been covered in the past.

Here is the seventh song from the movie. This song is sung by Zohrabai Ambalewaali. D N Madhok is the lyricist. Music is composed by Bulo C Rani.

Only the audio of the song is available. My guess is that this melancholic song was picturised on the leading lady viz Nigar Sultana.


Song-Sukh le ke dukh de gaya (Bela)(1947) Singer-Zohrabai Ambalewaali, Lyrics-D N Madhok, MD-Bulo C Rani

Lyrics

sukh le ke dukh de gaya aa aa
wo jo hamaara dil le gaya
wo jo hamaara dil le gaya
sukh le ke dukh de gaya aa aa
wo jo hamaara dil le gaya
wo jo hamara dil le gaya

abhi bhare dil ko samjhaaya aa aa
phir yaad aayi phir bhar aaya
abhi bhare dil ko samjhaaya aa aa
phir yaad aayi phir bhar aaya
dard anokhe de gaya aa
wo jo hamaara dil le gaya
wo jo hamaara dil le gaya
sukh le ke dukh de gaya aa
wo jo hamaara dil le gaya
oy
wo jo hamaara dil le gaya

labon ko haaye aakh ka paani ee
dil ko meethhi peer suhaani
labon ko haaye aakh ka paani ee
dil ko meethhi peer suhaani
chhail nishaani de gaya aa
wo jo hamara dil le gaya
wo jo hamaara dil le gaya
sukh le ke dukh de gaya aa
wo jo hamaara dil le gaya
wo jo hamaara dil le gaya


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

“Mera Geet”(1946), a social movie, was directed by Shanti Kumar for Jayshakti Pictures, Bombay. This movie had Naseem Junior, Susheel Kumar, Leela Pawar, Vikram Kapoor, Mehndi Raja, Bholaram, Kashinath, Chiman Seth, Baby Tara, Shalini, Nalini, Heera Date, Chandrika, Om Prakash Sharma, Mukri, Aathwale etc in it.

This movie had sixteen obscure songs in it that were composed by five music directors. HFGK does not have details of singers for any of these songs,while music directors are known only for three of these songs.

Two songs from the movie have been covered in the past and we have been able to identify the singers of those songs. Here is the second song from “Mera Geet”(1946) to appear in the blog. Though the singer is not mentioned in HFGK, it is clear that this song is sung by Zohranbai Ambalewaali. Ramesh Gupta is the lyricist of this song. Music is composed by someone called Ghulam Miyaan.

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

I have not been able to get a word right in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.


Tore bina ho balma balma kaise kategi mori raina(Mera Geet)(1946) Singer-Zohrabai Ambalewali, Ramesh Gupta, MD-Ghulam Miyaan

Lyrics (Provided by Avinash Scrapwala)

tore bina ho balma balma
kaise kategi mori raina
bata ja aa ja
kaise kategi mori raina
tore bina ho balma balma
kaise kategi mori raina
bata ja aa ja
kaise kategi mori raina

jab se piya pardes sidhaare
raah takoon main tori saanjh sakhaare
jab se piya pardes sidhaare
raah takoon main tori saanjh sakhaare
paaye jiyara kal na kal na
kaise kategi mori raina
bata ja aa ja
kaise kategi mori raina

jab kaali koyaliya boley
mora haaye jiyarwa doley doley
jab kaali koyaliya boley
mora haaye jiyarwa doley doley
ab chhod baalam chhalna ho chhalna
kaise kategi mori raina
bata ja aa ja
kaise kategi mori raina

ab chhod sajan naadaani
mori beeti jaaye haaye jawaani
ab chhod sajan naadaani
mori beeti jaaye haaye jawaani
ab chhod jalaana jalna ho balma
kaise kategi mori raina
bata ja aa ja
kaise kategi mori raina
tore bina ho balma balma
kaise kategi mori raina
bata ja aa ja
kaise kategi mori raina


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

“Bela” (1947) was directed by Chaturbhuj Doshi for Ranjit Movietone, Bombay. The story, screenplay, dialogues and Lyrics of this movie were by D N Madhok. The movie had P Jairaj, Nigar Sultana, Shrinath Tripathi, Pt.Iqbal, Krisnakumari, Master Mehmood, Rekha, Usha, B.R.Sharma etc. in it.

The movie had ten songs in it. Five of these songs have been covered in the past.

Here is the sixth song from the movie. This song, a philosophical cum pathos filled separation song is sung by Zohrabai Ambalewaali. D N Madhok is the lyricist. Music is composed by Bulo C Rani.

It is an obscure never heard song, but it sounds like it was a gem that stayed undiscovered all these years. I feel that this song should qualify as one of the best lyrics penned by D N Madhok in his career.


Song-Thhode dinon ki zindgaani (Bela)(1947) Singer-Zohrabai Ambalewali, Lyrics-D N Madhok, MD-Bulo C Rani

Lyrics

thhode dinon ki zindgaani ee
tu bhi phaani hai main bhi phaani
jaane waale
o yoon naa roothh ke jaa
jaane waale
o yoon naa roothh ke jaa
thhode dinon ki zindgaani ee
tu bhi phaani hai main bhi phaani
jaane waale
o yoon naa roothh ke jaa
jaane waale
o yoon naa roothh ke jaa
chain hamaare bina
tumhen bhi naa aayega
aaja aaja o jaane waale dukh paayega
dukh paayega
chain hamaare bina
tumhen bhi naa aayega
aaja aaja o jaane waale dukh paayega
dukh paayega
dukhi jiya pukaare
laut ke aa
o yoon naa rooth ke jaa
dukhi jiya pukaare laut ke aa
o yoon naa rooth ke jaa
thhode dinon ki zindgaani ee
tu bhi phaani hai main bhi phaani
jaane waale
o yoon naa roothh ke jaa
jaane waale
o yoon naa roothh ke jaa

teri meri kahaani saara jag gaayega aa aa
teri meri kahaani saara jag gaayega
bura kahenge jab naam tera aayega aa
pyaar ko dekh tamaasha naa banaa
o yoon naa roothh ke jaa
pyaar ko dekh tamaasha naa banaa
o yoon naa roothh ke jaa
thhode dinon ki zindgaani ee
tu bhi phaani hai main bhi phaani
jaane waale o yoon naa roothh ke jaa

kya hai bharosa zindgaani ka
kya hai bharosa zindgaani ka
aadmi bulbula hai paani ka aa
aana hai to mere jeete jee aa
nahin to karega kya
aana hai to mere jeete jee aa
nahin to karega kya
thhode dinon ki zindgaani ee
tu bhi phaani hai main bhi phaani
jaane waale o yoon naa roothh ke jaa
jaane waale o yoon naa rooth ke jaa


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(© 2008 - 2019) 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.

What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has over 15100 song posts by now.

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

Total number of songs posts discussed

15130

Number of movies covered in the blog

Movies with all their songs covered =1172
Total Number of movies covered =4154

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Active for more than 4000 days.

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