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

Blog Day :

4546 Post No. : 16123

Today 28th December’2020 is the fifty-second remembrance anniversary of music director Husnlal(born 1918 as per Wikipedia – death 28th December’1968) of the famous music duo of the golden age of Hindi Film Music – Husnlal Bhagatram.

On this occasion here is a song from the ‘1947’ movie ‘Romeo And Juliet’ where music was composed by Husnlal Bhagatram.

“Romeo And Juliet-1947” was directed by Akhtar Hussaain for ‘Nargis Art Concern, Bombay’ (home production of actress Nargis). It had Nargis, Sapru, Anwar Hussain, Sunalini Devi, Nisar, John Cavas, Hameed Murad, Nazir Kashmiri, Violet, Pushpa, Abdul Rasheed, Amanullah and others.

This movie had eight songs as listed below; (songs already posted on the blog are accompanied by their links);

S.No. Song Title Lyricist Singer Posted On
01 Mast jawaani aayi mast jawaani aayi Majrooh Sultanpuri Zohrabai Ambalewali
02 Mausam ye suhaanaa, ahaa ahaa Manohar Khanna Zohrabai Ambalewali 26.07.2017
03 Tumhen sitaaron ne be-akhtiyaar dekha Akhtar Shirani G.M. Durrani 21.09.2014
04 Koyi dil mein samaaya jaaye Manohar Khanna Zohrabai Ambalewali
05 Kisko khabar thi, dil ki ye duniya Manohar Khanna
06 Kya bataayen ishq zaalim Jigar Moradabadi Zohrabai Ambalewali
07 Wo yaad aa rahen hai, laaye unhe kahaan se Majrooh Sultanpuri G.M. Durrani
08 Donon jahaan teri muhabbat mein haar ke Faiz Ahmed Faiz Khayyam 12.08.2014

We can see from the above that three songs of this movie have been posted on the blog so far.

Today’s song is sung by Zohrabai Ambalewali and lyrics are by Majrooh Sultanpuri. Music is composed by Husnlal-Bhagatram.

I came across this song five-six years back when I was looking for songs of Zohrabai Ambalewali. Today’s song is sung by her and it is a nice song to listen to and enjoy.

Let us now enjoy today’s song (a Husnlal-Bhagatram composition) and pay our tributes to music director Husnlal on his remembrance anniversary today.

Audio

Song-Mast jawaani aayi (Romeo and Juliet)(1947) Singer-Zohrabai Ambaalewali, Lyrics-Majrooh Sultanpuri, MD-Husnlal Bhagatram

Lyrics

Mast jawaani aayi ee
Mast jawaani aayi ee
Mast jawaani aayi ee
Aao ji pyaar kar lo o
Dil ka paimaanaa bhar lo
Mast jawaani aayi ee
Mast jawaani aayi ee
Mast jawaani aayi ee
Aao ji pyaar kar lo o
Dil ka paimaanaa bhar lo
Mast jawaani aayi

Dil hi jannat
Dil hi dozakh
zaahid ko behkaane do
zaahid ko behkaane do
Dilwaalon ki mehfil hai ye
Dilwaalon ko aane do
Dilwaalon ko aane do o
Dekho deewaani aayi ee
Dekho deewaani aayi
Mast jawaani aayi ee
Aao ji pyaar kar lo o
Dil ka paimaanaa bhar lo
Mast jawaani aayi ee

Mast nazar se jo behkaa de
Hosh mein laana kya jaane ae
Hosh mein laana kya jaane
Dil mein aag lagaanewaalaa
Aag bujhaana kya jaane ae
Aag bujhaana kya jaane ae
Rut bhi suhaani aayi ee
Rut bhi suhaani aayi
Mast jawaani aayi ee
Aao ji pyaar kar lo o
Dil ka paimaanaa bhar lo o
Mast jawaani aayi ee

Tumne gar na pee isko to
Jeete ji pachhtaaoge ae
Jeete ji pachhtaaoge
Pee loge to hosh ganwaakar
Tum bhi hosh mein aaoge
Tum bhi hosh mein aaoge ae
Pee lo thhodi si pee lo
Pee lo ji bhar ke pee lo
Mast jawaani aayi ee
Aao ji pyaar kar lo o
Dil ka paimaanaa bhar lo
Mast jawaani aayi
Mast jawaani aayi
Mast jawaani aayi
Aao ji pyaar kar lo
Dil ka paimaanaa bhar lo
Mast jawaani aayi ee


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

Blog Day :

4519 Post No. : 16076

Today’s song is from the movie ‘Saathi-1946’.

‘Saathi-1946’ was directed by M. Sadiq for ‘Central Studios, Bombay’. It had Mehtab, M. Ismail, Sadiq Ali, Jyoti, Badri Prasad, Gulab, Majid, Latika and others.

This movie had eight songs penned by Wali Sahab and composed by Gulshan Safi.

HFGK Vol-II (1941-1950) lists the songs of this movie as given below;

S.No. Song Title Singer/s Posted on
01 O pardesi raja aa jaa Shamshad Begam
02 Woh nazron mein samaate jaa rahe hain G.M. Durrani 05.05.2019
03 Aankhon se bahe jaate hain armaan hamaare Zohrabai
04 Haaye main haar gayi, bholey piyaa Zohrabai
05 Duniya basant ka mela, kyun murakh phire akela Shamshad, Rafiq Ghazanvi
06 Kiski yaad sataaye baalam, kiski yaad sataaye Jyoti
07 Dukhiya ki bhi sun lo bhagwaan tumhi ho Shamshad Begam
08 Aabaad kabhi honge na barbaad e zamaana Shamshad Begam

So far, only one song from this movie has been posted. That song is Woh nazron mein samaate jaa rahe hain which was presented by our respected Arun Kumar ji with detailed information about artists involved in the making of this movie and also some of the actors and actresses of this movie.

I would request our readers to visit this interesting post here.

The second song from this movie, being presented here, is sung by Zohrabai Amablewali. It is composed by Gulshan Soofi. Lyrics are written by Wali Sahab.

The movie has six more songs left and they all seem to be available on line.

let us now enjoy today’s song …

Audio

Song-Aankhon se bahe jaate hain armaan hamaare (Saathi)(1946) Singer-Zohrabai Ambalewaali, Lyrics-Wali Sahab, MD-Gulshan Soofi
Zohrabai +Chorus

Lyrics

Aa aa aa aa
aa aa aa aa aa
Aa aa
aa aa aa aa

Aankhon se bahe jaate hain
Aankhon se bahe jaate hain
Armaan hamaare
Armaan hamaare
Rote huye jaate hain ye
Rote huye jaate hain ye
Mehmaan bichaare
Mehmaan bichaare
Aankhon se bahe jaate hain
Hansti huyi basti ko jo
Ujde huye dekha
Hansti huyi basti ko jo
Ujde huye dekha
Aa aa
Rote hain gale chaand se
Rote hain gale chaand se
Mil mil ke sitaare
Mil mil ke sitaare
Mehmaan bichaare
Mehmaan bichaare
Aankhon se bahe jaate hain
Armaan hamaare
Armaan hamaare

Manzil ki garaz hamko
Na saahil ki tamanna
Manzil ki garaz hamko
Na saahil ki tamanna
Ab chhod diya naav ko
Ab chhod diya naav ko
Toofaan ke sahaare
Toofaan ke sahaare
Armaan hamaare ae ae
Armaan hamaare
Rote huye jaate hain ye
Rote huye jaate hain ye
Mehmaan bichaare
Mehmaan bichaare
Aankhon se bahe jaate hain


This article is written by nahm, 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 :

4495 Post No. : 16025

Recently I have written a few posts for songs of films Laila Majnu(1945) and Laila Majnu(1953). In the past also, now that I checked, I have written posts for 5 songs of Laila Majnu(1976).

Ab agar hamse khudaayi bhi khafa ho jaaye
Barbaad e muhabbat ki dua saath liye jaa
Is reshmi paazeb ki jhankaar ke sadqe
Likh kar tera naam zameen par
Ye deewaane ki zidd hai

I have revisited the above posts, just to confirm if I have written my real thoughts on these legends of undying love, which end in tragedy and death. Obviously this sort of love is also unfruitful. The romanticism and glorification of this type of folk love stories and legends has no basis in truth or even historical facts. The civilization has been around for a few millennia now and last few millennia have been recorded by historians. If there was even a bit of truth in these legends, they have had enough time and exposure to intelligent humans to surface by now. So these are legends, myths, folklore, the purpose of creation of these things in the eastern regions, the so called ‘mashriq’, the conservative, the tolerant, the deeply religious and the more civilized compared to the western region, is unclear to me. All those philosophies of ‘love is paramount’, ‘love is pure’ and all are fine. As per my habit I am wondering again, if there are any research papers on this topic. It may have had a certain appeal or fantasy value, beyond this I don’t find any usefulness of it. It fired the imagination of certain poets in West Asia, who wrote eulogies of their stories.

I am giving a part of a story here:

A brave chieftain has three sons. His wife died soon after giving birth to the youngest son, now 10 years old. The chieftain, who had deeply loved his beloved wife, must remarry now for political, social and family reasons. His mother who has looked after the family so far is very old and cannot do so for much longer. The youngest son comes to the father to express his apprehensions about the marriage and the doubt that the fathers love for the sons may be diminished or divided. The father explains to the young son, very patiently, describing the values, culture and traditions of their family and tribe etc. He tells his son, that “when I looked into the ‘gazelle’s eyes’ of your mother for the first time, it was as if I had found the world. When she bore 3 sons for me, it was as if she had given me the world. We couldn’t thank the Almighty enough for this gift. Then she died, but she left to me, her world and my world, in you all.” There after he goes on to explain to the young son, through analogies, how a father’s love for his children never diminishes and cannot be divided.

The above simple story has deep love, love for beauty, family love, tragedy, wisdom, loyalty, duty, eternal love and undivided love. Above all the story has continuity of life. It has thankfulness to God, shows that one can cope with tragedy and move on in due course.

In contrast, the stories of eternal love, obsession of the beloved, so much so that the characters prefer to die, then live without each other, is just a hollow confrontational rhetoric’s. More so, because these are imaginary characters, advocating obsessions with physical beings, though they talk of connections with the souls. These have misled the generations of human societies, with an artificial cloak of ‘commitment’. Self-obsessed and obsessed with each other just doesn’t cut it.

I am going down memory lane in a bid to try and explain my thoughts. When my son was born, my father-in-law said that “ye hamare ghar ka chiraag hai”. In my forthright way, I would have asked him, if he means it so, as it is a son. But that thought did not even completely formulate and never reached the utterance level. For I knew, my father-in-law had a special place in the heart of daughters and sons. Both my mother-in-law and father-in-law had their hearts in correct places in this regard. This is my takeaway from having been part of a family whose core dignity and integrity is what made my relation with them so much more meaningful. May Allah subhan-o-ta’ala grant them both elevated status in jannat-ul-firdous.

So what did my father in law mean, when he called my son ‘ghar ka chiraag’? My son is the youngest one of his generation in the family. It has taken me all these years to realize that my father in law meant that he is youngest one, so the torch bearer of the family to the farthest point in the future. ‘Chiraag’ is the torch which allows you to see in the darkness. Though the future is a dark place, here is a lamp taking the family towards the future. Though the ‘male progeny’ is also part of the statement, but the aspect are not disproportionate. I feel it so, as he was not proclaiming it to all, but said it to me personally. Though there are other grandchildren including sons, but he did not call anyone as ‘ghar ka chiraag’. Part of the intention, may have been the prayer and hope of brighter future of the child. Young kids are also lovingly called ‘budda’ (or ‘budha’ meaning old person). This is again a wish that the child will live a long life till very old.

Thus, in my well thought out opinion, these stories of Laila-majnu, Shirin-Farhad etc. are a part of the flimsy whim which made the myths and gods out of such sacrificial love. They are a relic of past storytelling, and that is where they belong, they have no role to play and importance in the practical living world.

Next song in the “dheere dheere” series is this special all female qawwali, from the film ‘Ghazab’ 1951. The qawwali is referring to Laila-Majnu, Shirin-Farhad etc. Actually I found the song with mukhda “nazar se mil hi jaayegi nazar” in the song list of film Baazaar 1949, when I checked the list of songs posted in the blog, this song was missing, and it shows 15/16 posted. When I searched for the song on youtube, I found the song with same mukhda but not from Baazaar 1949, but from Ghazab 1951. It is listed with the same mukhda in both the films song list at myswar. It can be that it was recorded for Bazaar and used in Ghazab, as the MD’s are different.

The song is in ‘dheere dheere’ category as the mukhda has the words “aahistaa aahistaa”. When I found the qawwali with three singers, a while ago, I had high hopes of it. I was expecting a spectacular qawwali, but after listening to it a few times, I have reached the conclusion that the spectacular thing about it is the crystal clear voice and diction of Lata Mangeshkar. Her co-singers are Zohrabai Ambalewali and Kalyani. It is written by A. Karim, and music director of Ghazab 1951 is, Nisaar Bazmi. For some reason, the Music director for this qawwali is not mentioned.

The following three songs of Ghazab 1951 are posted:

Dil ko nahin hai chain haaye re
Nazar milaa ke muskaa ke
Tere kaaran sabko chhoda

This qawwali is the only song by Lata Mangeshkar in this movie, whereas “Bazaar” 1949 has 6 songs by Lata Mangeshkar. Lyrics credited to A. Karim, are the only clear link with ‘Ghazab’ 1951, as A. Karim is the writer/director of the film. It is quite possible that the qawwali was composed and recorded for Bazaar, and the composer could be Shyam Sunder as no one is credited under Ghazab listing, and somehow it got listed under both the films.

Editor’s note:-“Ghazab”(1951) had two music directors namely Nisaar Bazmi and Naashaad. Record of this song does not mention the music director (which has to be either of the two music directors) so no music director is credited for this song.


Song-Nazar se mil hi jaayegi nazar aahistaa aahistaa(Ghazab)(1951) Singers-Lata, Zohrabai Ambalewali, Kalyani, Lyrics-A Karim, MD-Nisar Bazmi
Chorus

Lyrics

Nazar se mil hi jaayegi nazar
nazar se mil hi jaayegi nazar
aahistaa aahistaa
meri aahon mein aayega asar
meri aahon mein aayega asar
aahistaa aahistaa
meri aahon mein aayegaa asar

aa aaa
aaaaaa
mazaar-e-qais par
jab rooh-e-laila
ek din aayi ee ee
sau armaaonon ke
murjhaaye huye
kuchh phool bhi laayi ee
haan aan
lagi jab phool rakhne ae
qabr se aawaaz ye aayi ee
chadhaana phool jaan-e-man magar
chadhaana phool jaan-e-man magar
aahistaa aahistaa
meri aahon mein aayegaa asar
meri aahon mein aayegaa asar
aahistaa aahistaa
meri aahon mein aayegaa asar

aa aaa
thha dil mein keh rahaa farhaad
shirin se judaa ho kar
mohabbat mein teri mehfil mein
kya paaya dil kho kar
utthaaya uss ne phir “??auq” kahaa
? ? se yun ro kar rr
mere dil ke karo tukde magar
mere dil ke karo tukde magar

aahistaa aahistaa
meri aahon mein aayegaa asar
meri aahon mein aayegaa asar
aahistaa aahistaa
meri aahon mein aayegaa asar

gayi jab raami dhoban
ek dariyaa par nahaane ko
wahan baitthaa thha Chandi Das
afsaana sunaane ko
kahaa uss ne ke raani chhod de
saare zamaane ko oo
basaana hai agar ulfat ka ghar
basaana chaahe gar ulfat ka ghar

aahistaa aahistaa
meri aahon mein aayegaa asar
meri aahon mein aayegaa asar
aahistaa aahistaa
meri aahon mein aayegaa asar

hamaari daastaan bhi
laila majnu ka fasaana hai ae
tumhaare waaste
ab dil mein mitne ki tamanna hai ea
aa aaaa
hamaare tumhaare pyaar mein
bas farq itnaa hai ea ea
udhar to jaldi jaldi hai idhar
udhar to jaldi jaldi hai idhar
aahistaa aahistaa
meri aahon mein aayegaa asar
meri aahon mein aayegaa asar
aahistaa aahistaa
meri aahon mein aayegaa asar

muhobbat ki bhari ee
mehfil mein yeh
kaisa nazaara hai
tumhaare hain qadam
aur unn se liptaa dil hamaara hai
na iss ko bhool jaanaa aa
dil hamaara
ghar tumhaara hai ea
mera dil todnaa chahaa magar
mera dil todnaa chahaa magar

aahistaa aahistaa
meri aahon mein aayegaa asar
meri aahon mein aayegaa asar
aahistaa aahistaa
meri aahon mein aayegaa asar

aaa aaaaaa
jawaani ne abhi
ulfat ka afsaana nahin seekhaa aa
kisi ke waaste
barbaad ho jaana nahin seekhaa aa
aa aaaa
abhi meri adaa ne bhi eee
sharmaana nahin seekhaa aa
mujhe sab kuchh sikhaa denaa magar
mujhe sab kuchh sikhaa denaa magar
aahistaa aahistaa
meri aahon mein aayegaa asar
aaa aaaaaa
meri aahon mein aayegaa asar
aaaaa aaaaaaa
meri aahon mein aayegaa asar
aaaaa aaaaaaa
meri aahon mein aayegaa asar
aaaaa aaaaaaa
meri aahon mein aayegaa asar
aahistaa aahistaa
meri aahon mein aayegaa asar
aahistaa aahistaa


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 :

4486 Post No. : 16005

———————————————–————————————
Blog 10-Year Challenge (2010-2020) – Song No. 88
———————————————————————————–

After a gap of more than one month, we are back with this blog ten year challenge. There is a very good reason why I have decided to resume this series on THIS day viz 29 October 2020. That reason will become clear only in the evening, when I will post the second Blog ten year challenge post of the day.

On this day ten years ago, viz on 29 october 2010, I had posted five songs in the blog. As was usual those days, all the posts were done and dusted with in the morning. The first post of the day appeared at 7:19 AM and the final post at 9L29 AM.

Here are the details:-

Blog Post number Song Movie Year of release Posting time Remarks
3149 Teri nazar mein main rahoon meri nazar mein tu 1857 1946 7:19 AM Movie YIPPEED by now
3150 Tum hamen bhool gaye Balam 1949 8:13 AM Movie YIPPEED by now
3151 Barbaad huyi dil ki duniyaa Jalpari 1952 8:51 AM 7 songs covered out of 9
3152 Hamko samajh baithhi hai ye duniyaa deewaanaa Chaar Deewaari 1961 9:13 AM Movie YIPPEED by now
3153 Mujhe tumse muhabbat hai magar main keh nahin saktaa Bachpan 1963 9:29 AM 3 songs covered out of 7

One can notice that three out of five movies that were represented ten years ago have been YIPPEED by now. That leaves us with “Jalpari”(1952) and “Bachpan”(1964) as the two movies eligible for the Blog ten year challenge.

I had chosen the song for “Bachpan”(1964) yesterday itself, and I thought I had done the same for “Jalpari”(1952) as well. but today morning, I discovered that the song chosen by me was already discussed. What is more, it was discussed exactly ten years ago. So I had to search for another song. Only two songs of “Jalpari”(1952) are left. The first song mentioned in HFGK has no details viz record number, singers etc. That song is as good as unavailable. That leaves us with only one song, viz “Namkeen tumhaari soorat hai”. On YT, a one minute partial version of this song is available which does not do justice to the song. Locating the full song and uploading it took me better part of the morning and so I was not able to post any post in the blog till now.

This elusive song is described in HFGK as sung by Rafi, Shamshad Begam and Zohrabai Ambalewali. On listening to the song, I find that the female singers are correctly identified, but the male singer is not. There are two male playback singers to match the two playback singers. Rafi’s voice is not at all there . Two two male voices sound familiar. One of them sounds like S Balbir to me. I request our knowledgeable readers to help identify the voices.

There were three lyricists in the movie, but only two songs are credited to two lyriciasts. Lyricists of others songs, including the song under discussuion, are not known. Music is composed by Pt Govindram.

Two males and two females have an interesting exchange of words in the song where expression of love is couched in the form of nok jhonk. Very interesting song that has been forgotten with time.

I request our knowledgeable readers to throw light on the picturisatioon of this song.

I feel that the only remaining song from the movie may not be available and so this movie, after this song, may remain unYIPPEED, or may be conditionally YIPPEED, as described by Sudir Jee in one of his posts.

I have mentioned it that one more Blog Ten Year Challenge post will appear today. That would be a special kind of Blog ten yewar challenge. So watch this space.


Song-Namkeen tumhaari soorat hai(Jalpari)(1952) Singers-Male voice 1, male voice 2, Shamshad Begam, Zohrabai Ambalewali, Lyricist-Unknown, MD-Pt Govindram

Lyrics

namkeen tumhaari soorat hai
arre naina tore matwaare hain
ye laddoo pede barfi sab
iske aage jhak maare hain

roop ka bhojan tumhaara
dil pe jaadoo kar gaya
haaye
dil pe jaadoo kar gaya
arre dekh kar soorat tumhaari
pet apna bhar gaya

chaahe nakad karo ya udhaar karo
ho par thhoda thhoda hamse pyaar karo
par thhoda thhoda hamse pyaar karo
dekho hamse na yoon taqraar karo
jora jori mat ankhiyaan chaar karo
jora jori mat ankhiyaan chaar karo

ham gore hain ya kaale hain
arre mard muhabbat waale hain
dhun ke sachche dhun ke pakke
tere roop ke ham rakhwaale hain
in moochhon par
in moochhon par
in moochhon par aitbaar karo
ho par thhoda thhoda hamse pyaar karo

in moochhon se ham darte hain
teri shakl se nafrat karte hain
tum daanav jaise chakram to
meri gali mein paani bharte hain
arre sunaa

oon hoon
mat baaten yoon bekaar karo
jora jori mat ankhiyaan chaar karo

o chaahe nakad karo ya udhaar karo
o par thhoda hamse pyaar karo

aji maine kahaa huzoor
zara suniye to
chal chal
aji maine kahaa sarkaar
zara dekhiye to
kya hai

main ho gaya tera deewaana
tu shamma main tera parwaana
o meri bulbul dekh zara
dil kar diya tujhko nazraana
haaye

chaahe soch karo ya vichaar karo
ho par thhoda thhoda hamse pyaar karo
dekho hamse na yoon taqraar karo
jora jori mat ankhiyaan chaar karo

tum maanus bade nikhhattoo ho
moorakh ho zaahil jattoo ho
tum nayi nawelan naar dekh
phat ho jaate lattoo ho
arre kuchh samjhe
bilkul nahin

mat hamse yoon takraar karo
jora jori mat ankhiyaan chaar karo
o chaahe nakad karo ya udhaar karo
ho par thhoda thhoda hamse pyaar karo


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 :

4432 Post No. : 15865

“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. Eight of these songs have been covered in the past.

Here is the ninth 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. I could be wrong as well, seeing that Zohrabai Ambalewaali’s voice figured in all the ten songs of the movie, so who knows, she may have sung for all the important ladies in the movie, in addition to leading lady. I request our knowledgeable readers tp throw light on the picturisation of the song.


Song-Ho zara meri gali aaa re balam (Bela)(1947) Singer-Zohrabai Ambalewaali, Lyrics-D N Madhok, MD-Bulo C Rani

Lyrics

Ho zara meri gali aa re balam
zara meri gali aaa re baalam
nanhi si jaan hai meri ee
haaye baalma aa
nanhi si jaan hai meri ee
haay baalma aa
tod na de tera gham
ho zara meri gali aa re balam
zara meri gali aa re balam

rain diwas jiya dagmag doley
tera naam pukaare
dheere dheere haule haule
rain diwas jiya dagmag doley
tera naam pukaare
dheere dheere haule haule
jab main pyaar se poochhoon to yehi boley
jab main pyaar se poochhoon to yehi boley
nanhi si jaan hai meri
haaye baalma aa
nanhi si jaan hai meri
haay baalma aa
tod na de tera gham
zara meri gali aa re balam
zara meri gali aa re balam

aadhi aadhi raat
aadhi aadhi raat
mera nindiya se jaagna
aadhi aadhi raat
mera nindiya se jaagna
naam tera le le ke
it ut bhaagna
naam tera le le ke
it ut bhaagna
ab to milo baalma aa
haay baalma aa
ab to milo baalma aa
haay baalma aa
chhoot na jaaye ye dam
zara meri gali aa re balam
zara meri gali aa re balam
nanhi si jaan hai meri ee
haaye baalma aa
nanhi si jaan hai meri ee
haay baalma aa
tod na de tera gham
zara meri gali aa re balam
ho zara meri gali aa re balam


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

Blog Day :

4403 Post No. : 15787

‘Kaafila-1952’ was directed by Arvind Sen for Munshi Productions, Bombay.

It was produced by S.H. Munshi. It had Ashok Kumar, Nalini Jaywant, Motilal, Ranjan, Sunalini Devi, Nazeer Hussain, Amita, Bhagwan Ji, Mona, Krishnakant, Shakti, Mumtaz, D.S. Panchotiya, Samar Chatterjee, Parvatibai, Sachin Ghosh, A. Sharma, Munshi Khanzar, Anand Prabhu and others.

This movie was passed by Censor Board on 05.05.1952.

This movie had total eight songs written by Vrajendra Gaur (five songs), Kavi Pradeep (two songs) and Moti. B.A. (one song). Music for this film was composed by two music directors viz. Husnlal-Bhagatram (six songs) and Bhola Shreshtha (two songs-both songs penned by Kavi Pradeep).

The voices of Geeta Dutt, Kishore Kumar, Lata Mangeshkar, Mohd Rafi, Shamshad Begum, Talat Mahmood and Zohrabai Ambalewali were used in the songs of this movie.

So far, six songs from this movie have been posted on the blog as per following;

S.No. Song Title Posted on
01 Chori chori dil mein samaya… 14.11.2010
02 Lehron se poochh lo 19.06.2011
03 Wo meri taraf yoon chale aa rahe hain 13.10.2011
04 Aansoo ab tum kabhi na behna 12.12.2013
05 Khushiyon ki bahaaren laut gayin … 02.05.2018
06 Is duniya mein kaun bada hai 06.02.2020

Today (7 august 2020) is the 40th remembrance day of Vrajendra Gaur (7 August 1980). On this occasion, here is a song from “Kaafila”(1952). This song is sung by Zohrabai Ambalewaali. Vrajendra Gaur is the lyricist. Music is composed by Husnlal Bhagatram.

To know about Vrajendra Gaur, the best source is this indepth article on memsaabstory, written by the sons of Vrajendra Gaur.


Song-Ho chhoona jee mujhe sambhaal ke (Kaafila)(1952) Singer-Zohrabai Ambalewaali, Lyrics-Vrajendra Gaur, MD-Husnlal Bhagatram

Lyrics

Ho o o o ho o
Chhoona ji mohe sambhaal ke
Ho sainyya saanwre
Ho sainyya saanwre
Ho o o o ho o
Chhoona ji mohe sambhaal ke
Ho sainyya saanwre
Ho sainyya saanwre

Haan haan haan aan aan aan aan
Ye samaa aur ye mausam hai
Josh e ulfat hai ae ae
Ho o o o
Main to betaab hoon
Aur aapko bhi fursat hai
Ho o o o o o
Phir bhi majboor hoon
Anjaam se dard e shaq hai
Ae ae ae
Ho o o o
Is jawaani se husn apna
Bachaane ke liye ae ae ae
Ho o o o
Aayi hoon ghoonghat nikaal ke
Ho sainyya saanwre
Ho sainyya
Ho sainyya saanwre
Ho o o o ho o
Chhoona ji mohe sambhaal ke
Ho sainyya saanwre
Ho sainyya
Ho sainyya saanwre

Ho o o o o o
Aap kehte hain hamesha
Mujhe dil ki malika
Aa aa aa aa aa
Ho o o o o
Kab badal jaaye nazar
Kya hai bharosa aa kal ka
Ho o o o o
Yahi hai fikr
Jo in aankhon se aansu dhalkaa
Aa aa aa
Aa aa aa
Ishq mein aansu hansaate hain
Rulaane ke liye ae ae ae
Ho o o
Aashiq hain mere kamaal ke
Ho sainyya saanwre
Ho sainyya
Ho sainyya saanwre
Ho o o o ho o
Chhoona ji mohe sambhaal ke
Ho sainyya saanwre
Ho sainyya
Ho sainyya saanwre


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 :

4371 Post No. : 15706

“Man Ka Meet”(1950) was directed by Ratibhai Punaatar for Ajit Pictures, Bombay. This “social” movie had Nirupa Roy, Dulaari, Sarita Devi, Shanti Madhok, Manhar desai, Babu Raje, hhagan Romeo, Bhagwan Das, Ibrahim, Maruti, Kamlakant, Barkat Virani, Haridas, Popat, V D Popat etc in it.

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

Today (6 July 2020) is the 16th remembrance day of Sardul Kwatra (1928-6 July 2004). As a tribute to him, here is a song from “Man Ka Meet”(1950). This song is sung by Zohrabai Ambalewaali. Sarshar Sailaani is the lyricist. Music is composed by Sardul Kwatra.

Only the audio of the song is available. For the lyrics, it is clear that it is a mujra song. I request our knowledgeale readers to throw light on the picturisation of the song.

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


Song-Nigaahon se kehti hai dil ke fasaane(Man Ka Meet)(1950) Singer-Zohrabai Ambalewaali, Lyrics-Sarshar Sailaani, MD-Sardul Kwatra

Lyrics(Provided by Avinash Scrapwala)

hmm hmm hmm
hmm hmm hmm
Nigaahon se kehti hai ae ae
Dil ke fasaane ae ae
Haan aan aan aan
Aan aan aan aan
Jawaani ki baatein
aa aa aa aa
aa aa aa aa
aa aa
Jawaani ki baatein
Jawaani ki baatein
Jawaani hi jaane
Jawaani ki baatein
Jawaani ki baatein
Jawaani hi jaane

Nigaahon se
Nigaahon se raja
Nigaahon se kehti hai
Dil ke fasaane
Dil ke fasaane ae
Jawaani ki baatein
Jawaani ki baatein
Jawaani hi jaane

Jawaani ki gardan ko
Jhukte na dekha
Jawaani ki gardan ko
Jhukte na dekha
Kisi ne ye toofaan rukte na dekha
Kisi ne ye toofaan rukte na dekha
Jawaani ka har teer
Baithha nishaane
Jawaani ka har teer
Baithha nishaane
Haan aan aan aan
Aan aan aan aan aan
Nigaahon se
Nigaahon se raaja
Nigaahon se kehti hai
Dil ke fasaane
Dil ke fasaane ae
Jawaani ki baatein
Jawaani ki baatein
Jawaani hi jaane

Na aana na jaana
Na milna milaana
Na aana na jaana
Na milna milaana
Kabhi ye bahaana
Kabhi wo bahaana
Kabhi ye bahaana
Kabhi wo bahaana
Hamen maar daalaa
Bahaane
Bahaane
Hamen maar daalaa
Bahaane
Bahaane
Haan aan aan aan
Aan aan aan aan aan
Aan aan
Nigaahon se
Nigaahon se raaja
Nigaahon se kehti hain
Dil ke fasaane
Dil ke fasaane ae ae
Jawaani ki baatein
Jawaani ki baatein
Jawaani hi jaane ae


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


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


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

This is a labour of love, where “new” songs are added every day, and that has been the case for over TWELVE years. This blog has more than 16100 song posts by now.

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

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