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


This article is written by Sudhir, 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 :

3792 Post No. : 14778 Movie Count :

4040

Missing Films of 1960s – 85
– – – – – – – – – – – – – – –

The next in this series is a religious film from 1970. Yes, the times were when this genre of films had a serious following, and the producers in the industry would be creating films in this category. Today’s film, ‘Shri Krishna Leela’ is from the house of Wadia’s, under their banner of Basant Pictures. As we review the data about film production under this banner, we find that this has been one of the very active production houses over the decades. [Note: I am examining the data in the Geet Kosh from 1931 to 1980 only.]

Over the years, Wadia film production company went about its business under the names as – Wadia Brothers, Wadia Brothers Productions, Wadia Films and Wadia Movietone. Collectively, these banners have been active since 1933 till the year 1971, having produced 50+ films in various genres – social, stunt, religious, mythical, costume dramas, historical etc. In 1943, the company launched another banner, named Basant Pictures. As we scan their list of films, once again we find slight variations in the banner names as – Basant Pictures, Basant Pictures (Wadia Brothers) and Basant Wadia Brothers Production. Collectively, this banner has a listing of about 60 films between 1943 and 1980. The films in this list also cover just the same set of film genres.

A brief about the House of Wadia. The ancestors of this Parsi family originally settled in Surat after migrating from Persia. The original business of Wadia family was shipbuilding. The logo of Wadia Movietone prominently carries an image of a ship – it is a representation of their origins – the legacy business that started off their fortunes. The Wadia Group’s shipbuilding business was set up in 1736 by Lowjee Nuserwanjee Wadia. Later during that century, the group shifted its base from Surat to Bombay. They built trading ships, and later in 1800s they build maritime vessels for the Royal Navy (Great Britain).

Wadia Movietone was founded in 1933 by the brothers – JBH Wadia and Homi Wadia. JBH Wadia (born 1901) was a very well educated young man, who came into the film industry in the closing years of silent cinema. He produced about a dozen silent films, with moderate success. His productions were mostly adaptations of successful Hollywood productions of that era.

The other co-founders were Manchersha Billimoria, and Burjore and Nadirshaw Tata. Their first film – ‘Laal e Yaman’ (1933) was a major commercial success. In 1935, the company produced ‘Hunterwali’ with Nadia in the title role, along with Boman Shroff and John Cawas in prominent roles. This film became a surprise hit, bringing in a huge commercial windfall for the company. In the process, it set a trend which was duplicated by Wadias themselves and also copied by many other production houses. In 1936 came ‘Miss Frontier Mail’, followed by ‘Lutaru Lalna’ in 1938, ‘Punjab Mail’ in 1939, ‘Diamond Queen’ in 1940, and ‘Bambaiwali’ in 1941. However, by this time, the repeated use of the stunt formula lost its luster, and the company started facing losses. In 1936, the Tata brothers had already moved out from the partnership. In 1942, the Wadia Movietone studio was put up for sale. V Shantaram, who was moving out of Prabhat at the same time, purchased this studio and set up his famous production house – Rajkamal Kalamandir, at this premises.

In 1942 itself, the younger brother, Homi Wadia, set up Basant Pictures as a new production house. He started producing films under this banner using studio facilities at other premises. In 1947, he eventually set up his own studio once again. Basant Studio was functional till 1981. In 1990, the studio was inherited by Riyad Vinci Wadia, the grandson of JBH Wadia. He revived film production once again under this banner. However, he too passed away in 2003. The studio now houses the Wadia Movietone and Basant Pictures archives and memorabilia collection.

The film ‘Shri Krishna Leela’ is directed by Homi Wadia. The star cast includes Master Sachin, Heena Kumari, Jaishri Gadkar, Sapru, Manhar Desai, Kumar Dighe, Deepak, Tabassum, Ratnamala, Padmarani, Uma Dutt, Shekhar, Master Bobby, Master Ratan, Tuntun, Babu Raje, Habeeb, Dalpat, H Prakash, and Prince Arjun. The songs of this film are penned by Bharat Vyas and the music is from the mind of SN Tripathi.

Today’s song is a lullaby, in the voice of Asha Bhosle. On screen, the song is performed by Jaishree Gadkar, in the role of Maa Yashoda, as she is crooning to put the infant Krishna to sleep. Close to the end of this clip, we see a little more grown up child Krishna, role played by Master Sachin.

A wonderfully soothing melody. . . listen, and relax.

Song – Palkon Ka Palna Nainon Ki Dori  (Shri Krishna Leela) (1970) Singer – Asha Bhosle, Lyrics – Bharat Vyas, MD – SN Tripathi

Lyrics

palkon ka palna
nayanon ki dori
palkon ka palna
nayanon ki dori
maiyya jhulaaye gaaye
meethi meethi lori
sapnon mein aaye tere
parion ki chhori
maiyya jhulaaye gaaye
meethi meethi lori
so ja mere laal
mere nnnhe se gopal

dekhun jo mukhda
mit jaaye dukhda
dekhun jo mukhda
mit jaaye dukhda
mere liye tu hai
chanda ka tukda
mere liye tu hai
chanda ka tukda
mamta bhari hai
mere mann ki katori
palkon ka palna
nayanon ki dori
maiyya jhulaaye gaaye
meethi meethi lori
so ja mere laal
mere nnnhe se gopal

soya hai madhuban
jamuna hai soi
saari nagariya hai
nindiya mein khoi
saari nagariya hai
nindiya mein khoi
tujhko chandaniya sulaaye chori chori
palkon ka palna
nayanon ki dori
maiyya jhulaaye gaaye
meethi meethi lori
so ja mere laal
mere nnnhe se gopal

mmmmm hmmmmm
hmmmm hmm hmm hmmm
mmmmm hmmmmm
hmmmm hmm hmm hmmm
mmmmm hmmmmm
hmmmm hmm hmm hmmm
mmmmm hmmmmm
hmmmm hmm hmm hmmm

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

पलकों का पलना
नयनों की डोरी
पलकों का पलना
नयनों की डोरी
मैय्या झुलाए गाये मीठी मीठी लोरी
अपनों में आए तेरे पारियों की छोरी
मैय्या झुलाए गाये मीठी मीठी लोरी
सो जा मेरे लाल
मेरे नन्हें से गोपाल

देखूँ जो मुखड़ा
मिट जाये दुखड़ा
देखूँ जो मुखड़ा
मिट जाये दुखड़ा
मेरे लिए तू है चाँद का टुकड़ा
मेरे लिए तू है चाँद का टुकड़ा
ममता भरी है मेरे मन की कटोरी
पलकों का पलना
नयनों की डोरी
मैय्या झुलाए गाये मीठी मीठी लोरी
सो जा मेरे लाल
मेरे नन्हें से गोपाल

सोया है मधुबन
जमुना है सोई
सारी नगरिया है नींदिया में खोई
सारी नगरिया है नींदिया में खोई
तुझको चंदनीया सुलाये चोरी चोरी
पलकों का पलना
नयनों की डोरी
मैय्या झुलाए गाये मीठी मीठी लोरी
सो जा मेरे लाल
मेरे नन्हें से गोपाल

म्ममममम हम्मममम
हम्ममम ह्म्म ह्म्म ह्म्ममम
म्ममममम हम्मममम
हम्ममम ह्म्म ह्म्म ह्म्ममम
म्ममममम हम्मममम
हम्ममम ह्म्म ह्म्म ह्म्ममम
म्ममममम हम्मममम
हम्ममम ह्म्म ह्म्म ह्म्ममम

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

3792 Post No. : 14777 Movie Count :

4038

Recently, I came across one of the interesting topics of discussion about the ‘ghost’ singers of Hindi film industry in an editorial in October 1945 issue of ‘Filmindia’ magazine. I reproduce below some relevant portion of the discussion for the purpose of the article:

Outside the film industry, very few people seem to know what the ‘ghost’ singers of the screen earn per month. Many people are under the impression that music is still a cheap commodity in the motion picture world and can be purchased with paltry payments. Whatever be the actual quality of the film music from purely classical point of view, the silly, insipid music which Indian film producers usually give, cost them anything from Rs,400/- to Rs.1000/- per song and very often merely for the singing voice apart from the cost of orchestration and recording.

Amir Karnataki, a popular ‘ghost’ singer charges Rs.1000/- per song which require an hour for the rehearsal and two hours for recording the song. India’s best musicians (singers) – man or women – never earned so much money even during 24 hours of non-stop singing. There are many ‘ghost’ singers in the film industry. Some of the prominent ones like Zohra Jaan (Ambalawaali), Shamshad, Zeenat, Naseem Akhtar and Rajkumari should be earning Rs.8000/- to Rs.10000/- per month in good season. Amir Karnataki’s monthly earning should be colossal the way we find selling her voice to all and sundry pairs of lips on the screen.

The editorial has further estimated that with the number of films produced in a year, assuming an average of 9 songs per films, the total cost of music during a year comes to about Rs.6,50,000 with an average payment of Rs.500/- per song. This amount is shared by a dozen female playback singers and about half a dozen male playback singers, most of whom, according to the editorial, are rotten singers.

The editorial smacks of the jealous attitude towards the popular playback singers of that time. I have, however, brought this out for a different reason. If the producers thought that these were the popular playback singer those days and deserved such kind of payments, then why did producers refrain from giving them publicity to add value to their films in terms of creating the audience’s interest ?. Names of playback singers did not appear in the credit titles of the films until sometime early 1950s. Based on a few cases which I had come across, I guess, the song pamphlets of the films of the 1930s and the 40s may have mentioned mostly the names of the actors on whom the songs were picturised. So the playback singers during these times remained really the ‘ghost singers’ without any official identity with the films’ music. But why did they remain ‘ghost singers’?

The concept of ‘ghost singers’ has to be seen in the background of how the music in sound films evolved in its early stages. During this stage, actors were required to sing the songs on themselves in the films. Although the playback system was introduced in 1935 in Calcutta and in 1937 in Bombay, the system got well-established only in the early 1940s. However, the convention of giving credit to the actors as singers either in their own names or in the names of the roles they performed on the screen continued in most cases well into the end of the 1940s. The convention created a lot of problems in the latter years in identifying the so called ‘ghost singers’ especially for those who had interest in listening to the songs of pre-golden era period of Hindi film music. It was only after Lata Mangeshkar became a force to reckon with in the sphere of playback singing in early 1950s, the system of giving credit to playback singers both in the credit titles of the films as well as on the gramophone record labels was put in place.

It is in the context of identifying the playback singers and also music directors/lyricists that Har Mandir Singh ‘Hamraaz’ of Hindi Film Geet Kosh has rendered yeoman service in documenting the Hindi film music up to 1985. The process of documenting the Hindi film music – especially of 1930s and 1940s are an on-going process as we still come across many songs of these periods where playback singers, lyricists and music directors have not been identified.

Recently, I came across 4 rare songs of an obscure film ‘Mohini’ (1947). All the songs are very melodious. However singers for the songs have not been identified. There were three lyricists – Bekal, Sarshar Sailani and Raj Hashmi and two music directors – Lachhiram Tamar and Bhai Lal. But the individual songs were not identified with any one of the lyricists and music directors.

It was so frustrating for me for not being able to formally identify those associated with four melodious songs of the film. So I contacted Sudhir ji for help in identifying at least the singers of the songs. Though he had all the four songs in his collections, none of them were tagged. So he contacted one of his collector-friends who identified not only Munawwar Sultana as singer for all the four songs, but also confirmed that all the four songs were composed by Lachhiram Tamar. I am thankful to Sudhir ji and his friend for the help.

‘Mohini’ (1947) was produced under the banner of Mahindra Pictures, Lahore and was directed by Mahindra Gill. The star cast included Chand Kumar, Mahapara, Pran, Roofi, Nazar, Niranjan, Baby Shamshad etc. The film had 7 songs.

I am presenting the first song from the film,’meri mast aankhon se aa pee bhi le’ sung by Munawwar Sultana to appear in the Blog. As mentioned earlier, there were three lyricists and the song writer for this song has not been identified. The song was set to music by Lachhiram Tamar. The prelude music of the song would give an impression that the song belongs to the music style of early 1950s.

Enjoy this ‘Aankh’ song with ‘masti’.

With this song, ‘Mohini’ (1947) makes a debut in the Blog.

Audio Clip:

Song-Meri mast aankhon se aa pi bhi le (Mohini)(1947) Singer-Munawwar Sultana, MD-Pt Lachchiram

Lyrics

o o o
jeenewaale
pee bhi le
pee bhi le
pee bhi le
o o o
jeenewaale
pee bhi le
pee bhi le
pee bhi le
meri mast aankhon se
aa pee bhi le
aa pee bhi le
aa pee bhi le
meri mast aankhon se
aa pee bhi le
aa pee bhi le
aa pee bhi le

lutaayi huyi zindagi laayi hoon
lutaayi huyi zindagi laayi hoon
laayi hoon
bebasi ki hansi
laayi hoon
laayi hoon
bebasi ki hansi
laayi hoon
bol kar aaj saahab mein tere liye
bol kar aaj saahab mein tere liye
ye aahon bhari zindagi laayi hoon
ye aahon bhari zindagi laayi hoon
zindagi ka sahaara hai hi kya
zindagi ka sahaara hai hi kya
aa pee bhi le
aa pee bhi le
aa pee bhi le
meri mast aankhon se
aa pee bhi le
aa pee bhi le
aa pee bhi le

meri yaad dil ko sataati thhi jab
kya tujhe
yaad hai
yaad hai
aankhon(?) ke baat
yaad aati thhi jab
kya tujhe yaad hai
yaad hai
yaad ho ya na ho
ab aa bhi jaa
aa pee bhi le
aa pee bhi le
aa pee bhi le
meri mast aankhon se
aa pee bhi le
aa pee bhi le
aa pee bhi le


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 : 3792 Post No. : 14776

I was very fond of seeing movies and listening to the songs since childhood.Those days,children were not allowed to see films,unlike today. If at all a film is to be seen,the children had to go with their mother,aunt, grandmother or some such female relative and the film would invariably be something like Ram Ravan Yudh or Bakasur ki Maut.

Hyderabad state,where I spent my early years was ruled by a Muslim king-The Nizam(Ala Hazarat).There were some social customs,like Burkha,which reflected in the social lives of the citizen.

For example, in almost every theatre,there used to be a special class-“Zanana Class”.It was made out of the half of the Balcony class with a wall partition between them.The frontal portion facing the screen had a thick curtain,which was removed after the film started and covered again after the film ended,thus protecting the women spectators from the prying eyes of the public.

Same procedure was for Interval period also.Only women and small children were allowed in this subsidised class.A special ‘Curtain Mover’ used to be the in charge of this and the Zanana Class.

Usually a She -Male or a He -Female (don’t know which) was appointed for women’s safety.This type of arrangement was also available in other Muslim states like,Junagarh,Bhawalpur,Lucknow,Bhopal etc.Women used to make lot of noise and at times there were big quarrels,when the films were stopped,curtain moved, peace restored and the films were restarted.

I was lucky to start seeing films independently from the end of 40s. Usually,it was from the school directly. Every Friday to Sunday,there used to be a Morning show from 11 am. In this,the tickets were almost half rates, like 4 annas, 6 annas, 12 annas etc. Thus I was able to see many films of 30s and 40s, till about 1955-56 or so.

Once I went to college, then took up the job and other priorities of life,I saw less films,but never missing an opportunity to see older films and making notes. From 1980 onwards, I stopped seeing films, and when I retired in 1998, I dug out my old collections. I have not visited a theatre after 1980 and yet to see how a Multiplex looks like. I saw few films on TV and players.

In the initial era of Talkie films, Calcutta’s New Theatres and Poona’s Prabhat were the most well known film makers. They used to make films on social issues. Particularly, Prabhat was famous for keeping their films centred on the Reform themes like,Dowry, Child Marriage, Second Marriage, Cast difference etc.From the mid 30s one more company came into limelight and that was Bombay Talkies- founded by Himanshu Rai and Devika Rani. They also followed the trend and films on social issues like Untouchability, illiteracy etc were made. Today’s song is from a film made by Bombay Talkies- Jeewan Prabhat-37.

This was also a film dealing with Caste differences and second marriage. In this film,however, it was shown that the Caste difference stayed and the proposed second marriage got cancelled. I would say, it was quite a realistic depiction of the Indian mindset, because even after hundreds of years, the caste differences exist today, while the other social ills like child marriage, dowry, illiteracy etc are controlled to a greater extent. It would not be wrong to say that as long as the Reservation Policies exist, caste differences will continue to exist-with official support !

Film Jeewan Prabhat-37 was directed by the German Director Franz Osten. The Music Director was Saraswati Devi and lyrics and dialogues were by J.S.Casshyap. The screen play was by Niranjan Pal- Himanshu Rai’s friend since their London days. Kishor Sahu and Renuka Devi made their Debut in this film. Others in the cast were Mumtaz Ali,Prithwiraj kapoor, Maya Devi and M.Nazeer etc etc. The film was released on 2-11-1937 at Minerva Talkies in Bombay. Baburao Patel of Film India, in its December 1937 issue had not much good about this film. He, in fact, criticised both the Debutantes, for their acting calling them as ‘ disappointments ‘. However, the film did good business and ran for 17 weeks in Bombay.

Unlike Prabhat or New Theatres, Bombay Talkies produced their films in quick time. This film-Jeewan prabhat- was made in just 2 months. Their most popular film Achhut kanya-36 was made in 6 months. This was possible due to self sufficient facilities, good planning, modern equipment and total involvement of the staff. Franz Osten’s speed and his planning was such that in the span of just 4 years, Franz directed 16 films for Bombay Talkies !

The Debut making actress Renuka Devi was one of a kind. I am not only surprised,but awed and terribly impressed,when I went through her Autobiography ” A woman of substance-Begum Khursheed Mirza “.

Begum Khursheed Mirza is none other than the famous Heroine of the 30s and 40s-Renuka Devi ( 4-3-1918 to 8-2-1989 ). She was perhaps one of the most educated, upper class, sophisticated and highly cultured Muslim lady, who ever joined the film industry then. One more striking feature of Renuka Devi was that she was one of the very few actresses,who joined the films after their marriage. The other such examples I remember offhand is that of Meenakshi Shirodkar (Bramhachari-38 fame), Shobhana Samarth and actress Neena ( real name Shahida-wife of Mohsin Abdulla, brother of Renuka Devi and later wife of W.Z.Ahmed) in those times.

Renuka Devi had studied upto Masters degree in English Literature,from Aligarh Muslim University. The only other nearest example I remember offhand is that of actress Vanmala (real name Susheela Devi Pawar), who had done B.A and B.T. and was a Teacher in the college before joining films,at the behest of writer,journalist and Director P.K.Atre.

The story of Renuka Devi is quite interesting. Khursheed Jehan was born in Aligarh on 4-3-1918, to Shaikh Abdulla and his wife Waheed Jehan Beg. She was the 6th of the 7 siblings. Her father Shaikh Abdulla (1874-1965) was originally a Hindu. He was the son of a rich Jahagirdar and Landlord from Poonch,Kashmir. They were Kashmiri Brahmins. His name was Thakur Das. He embraced Islam in 1890, while studying in Aligarh. When his family learnt about it, he was disowned by them. He took the name Shaikh Abdulla.

He became a leading Advocate of Aligarh. After he married Waheed Jehan Beg,they both- being of progressive thinking- decided to work for the Muslim women’s education. They faced lot of resistance from the fundamentalists,but they established a Muslim women’s college in Aligarh. To provide students for this college,a school was also started for Muslim girls. soon the girls started joining the school and college. Shaikh Abdulla ensured that all his children were educated. One daughter became a Doctor,another Advocate and two daughters did master’s degrees and later on became Principals of the women’s college. Khursheed also studied upto masters but due to her marriage could not complete it. ( she completed her Masters in English Litterateur in 1963,at the age of 45 years,later).
Khursheed Jehan was married to Akbar Mirza,a Police Officer in Aligarh. Soon she gave birth to 2 sons also.

Her brother Mohsin Abdulla was working in Bombay Talkies,at Bombay. He used to describe how professional these studios were. Khursheed was 21 year old and beautiful. She desired to work in films. She wrote a letter to Devika Rani expressing her desire. This she did, without informing her husband. She received a letter from Devika Rani, inviting her to Bombay for an interview. Now she confided in her husband and he wholeheartedly supported her.

Thus started her acting career. She was 21 years,married and had 2 children too. Her first film was ‘ Jeewan Prabhat”-37. She was given the name RENUKA DEVI. This was a Debut film for Kishore Sahu. Bombay Talkies bosses were very happy with her performance and she was offered a Heroine’s role opposite Jairaj in film ” Bhabhi”-1939. Jairaj was also from a rich background,cultured and highly educated. Their tuning was excellent and the film was a grand success. Renuka also sang few songs in Bhabhi-39. ( when the news of her acting in films reached Aligarh,there was a hue and cry. Her mother wrote to Renuka,’not to visit Aligarh for now’. Renuka did not go to Aligarh for next 2 years).

She was invited to Calcutta By New Theatres to act in film, Badi Didi-39. Her other films were Naya Sansar-41 (Ashok kumar), Sahara-43 (S D Narang), Ghulami-45 ( Masood Parvez) and Samrat Chandragupta-45 ( Ishwarlal ). her film career was very short. She announced her retirement from films in February 1944,while shooting for her last films. She did only 7 films and sang only 3 songs in 3 films.

After partition,her family migrated to Pakistan. In Pakistan,though in demand,she refused to do any films. Instead,she decided to devote her time for women’s uplift,education,welfare and social work. She also did some work on Pakistan Radio.

When TV came to Pakistan,she became very active and for next 15-20 years she was a popular figure on Pak TV. In 1963,she completed her Master’s degree,at the age of 45 years. From August 1982 to April 1983,she published 9 instalments of her autobiography in the popular magazine ” Herald ” as ” The uprooted sapling”. This was,later on,edited and published as a Book, ” A woman of substance- the memoirs of Begum Khursheed Mirza “, by her daughter Lubna,in 2004. Renuka Devi died on 8-2-1989 at Lahore after a prolonged illness.

In her book she included a chapter of 24 pages ” Renuka Devi-my celluloid identity”,in which she has described many interesting anecdotes. her detailed description of the times of the 30s and 40s is a lovely chronicle of history of Bombay film industry. here are some excerpts from her book, for you…

1) Back in the Thirties, acting in films was not considered an honourable profession for anybody. And for a married woman from a well-educated and respectable upper-middle class Muslim family, it was forbidden to even think about it. But Khurshid Mirza, the daughter of the founders of the Aligarh Women’s College, the wife of a police officer and already a mother of two, was too free-spirited to be tied down by any social norm. I took the plunge and soon a star named Renuka Devi was born.

2) In 1939, Shanta Apte wrote that she received four or five letters each day from young girls wanting to join the movies “due perhaps to this monetary attraction”. Actresses themselves acknowledged in interviews that the money was substantial and more than one actress claimed that her salary rivalled that of the Governor of Bombay! But aside from several myth-building exercises, it is now apparent that film acting was a uniquely high-paying profession for women. According to Filmindia, Shobhana Samarth’s approximate total income in 1942 was Rs 36,000 while Sardar Akhtar, Naseem Banu, and Madhuri earned about Rs 30,000 each. These figures indicate that leading heroines of the day averaged an income of Rs 3,000-4,000 per month (some actresses were freelancers and did not work through the year), at a time when a French chiffon sari cost Rs 9, and a brand new imported Studebaker cost Rs 6,000. It is hardly surprising then, that I would want to make “a little dough”.

3) Akbar stood by me in the face of stiff opposition from both our families. Nevertheless, he maintained a strange attitude towards my work. He enjoyed the benefits the money brought us, such as a new car, expensive game-hunts, and pleasure trips to fashionable Mussoorie in summer and excellent schooling for our children. And, yet, he treated my work as a hobby, instead of giving it its due importance.

( My thanks to the book,”A woman of substance “, some information from ” Free Library”,Cineplot and my own notes).

One more name Maya Devi may be new to readers. Maya Devi was from Bombay and started her career from silent films in 1928 with Anarkali by imperial. Her first Talkie film was Kunwari ya widhva-35. Her real name was Leela. She became a favourite of Bombay Talkies and she did 6 films with them in 37 and 38. In all she did 5 silent films and 31 Talkie films till 1949. She got married with a Muslim and then migrated to Pakistan, where she did 19 films and then retired in 1964. She died in Lahore on 1-2-67. She did films in Gujarati and Punjabi also.( info from pakfilms.com).

The story of film Jeewan Prabhat-37 was……..

In this film Uma (Devika Rani) is born in a high caste Brahmin family,but falls in love with a boy of Kumhar caste(Potters).Her love with Ramu (Kishore Sahu) leads them nowhere as there is a great opposition to this from all sides. They realise that their love will lead them nowhere. Finally Uma is married off to Nandlal (Prithviraj kapoor), a Brahmin boy and Ramu accepts the reality.

The marriage makes the potters very happy too. Later it is rumoured that Nandlal is about to marry Padma (Chandraprabha),because Uma is a ‘ baanjh’ (infertile). Ramu meets Uma and their meeting is seen by Nandlal. He sends Uma back to her parents. Few days later, Uma discovers that she is pregnant,but Nandlal doubts her fidelity. At the end Padma, herself understands how much Uma loves Nandlal. She withdraws from the proposed marriage. Not only this,she also convinces Nandlal about Uma’s purity.

Finally, Nandlal and Uma begin a new life a new Jeevan Prabhat.


Song-Paalna mero munwa jhoole (Jeewan Prabhat)(1937) Singer-Chorus, Lyrics-J S Kashyap, MD-Saraswati Devi

Lyrics

bado bado ?? jhoola
dole it ut ??
bado bado ?? jhoola
dole it ut ??

baat banaawe bhori bhori
baat banaawe bhori bhori
bhookh lage par daudo aawe
kare ??
bhookh lage par daudo aawe
kare ??

ma ma
oti de
ma ma
dudhu de
ma daudo aawe doodh pilaawe
ma daudo aawe doodh pilaawe
paalna mero munwa jhoole
paalna mero lalna jhoole
paalna mero munna jhoole
paalna

?? ghar mein aawe
maatha peete
daud lagaawe
?? ghar mein aawe
maatha peete
daud lagaawe

arre kinne maara
baabu
babuwa kaun laaya
baabu
doodu kaun pilaaya
amma
paala kiska beta
amma

mere maara raajdulaara
amma amma karta pyaara
mere maara raajdulaara
amma amma karta pyaara
laalna mero jhulwa jhoole
paalna mero lalna jhoole
paalna mero munwa jhoole
paalna


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 : 3791 Post No. : 14775

“Aaina”(1974) was produced by N Selvaraja and L Duraiswamy and was directed by K Balachandar for Kalakendra Films production. The movie had Mumtaz, Rajesh Khanna, A.K.Hangal, Nirupa Roy, Rita Bhaduri, Ratan Chopra, Lalita Pawar, Jayasudha, Adil Aman, Manmohan Krishna, Anjum Savera, Vandana Rane, Yasmin, Baby Seema, Kalpana, Jagdish Raj, Polson, Madhukar, Brahmachari, Suraj, Prem Kumar, Master Paresh Kumar, Master Jaganath, Madan Puri, Suresh Chatwal, Jagdeep etc in it. This movie had Neetu Singh and Dharmendra in special appearances. The film also had Kamal Hasan in it who was also one of the dance directors of the movie.

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

Here is the fourth song from “Aaina”(1974) to appear in the blog. This song is sung by Asha Bhonsle. Jaan Nisaar Akhtar is the lyricist. Music is composed by Naushad.

The song is picturised as a wedding ritual song where Mumtaz, playing a saheli of the bride is seen teasing the bridegroom. While I can identify a few actors seen in the picturisation (such as Nirupa Roy), I am unable to identify most of them. I request our knowledgeable readers to help identify them.


Song-Kaho to aaj bol doon (Aaina)(1974) Singer-Asha Bhonsle, Lyrics-Jaan Nisaar Akhtar, MD-Naushad
Chorus

Lyrics

kaho to aaj bol doon

kaho to aaj bol doon
main saare bhed khol doon
ke dulha sharmaaye
rang ud ud jaaye
kaho to aaj bol doon
main saare bhed khol doon
ke dulha sharmaaye
rang ud ud jaaye

mujhko maaloom hai sab
dhang iske hain ajab
kabhi jhaanke ye idhar
kabhi taake ye udar
har haseena pe mare
roop kya kya na bhare
laakh nadaan lage
mujhko shaitaan lage ae ae
kaho to
haha
kaho to aaj bol doon
mai sare bhed khol doon
ke dulha sharmaaye
rang ud ud jaaye

itna bhookha hai ke bas mujhko aata hai taras
iske man bhaaye sabhi
jo mile khaaye sabhi
chaahe jhootha hi mile
sabka thhooka hi mile
ye kahaan tak hai gira
munh na khulvaao mera
kaho to
kyun
kaho to aaj bol doon
main saare bhed khol doon
ke dulha sharmaaye
rang ud ud jaaye

poochho dulhe se zara
kyun hai gusse mein bhara
aisi kya maine kahi
teer ban ke jo lagi
kyun jhuki jaaye nazar
kyun paseene mein hai tar
iski baaten main sabhi kah deti hoon abhi ee
kaho to aaj bol doon
ho o
kaho to
kaho to aaj bol doon
main saare bhed khol doon
ke dulha sharmaaye
rang ud ud jaaye


This article is written by Peevesie’s mom, 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 : 3790 Post No. : 14774

Hullo to Atuldom

At the outset let me wish our friend of Atuldom “A very Happy Birthday” and lotsa of love and joy forever. Let her always be a mystery (paheli); atleast till I meet her personally. But from accounts about her that Sudhirji had once shared on the blog and Atulji’s had written in his post I am very eager to meet her. Till then I will be content with the occasional telephonic chat or WhatsApp masti that we indulge in. Wish you a very Happy Birthday Khyatiji. Have a great day musical day.

“Amir Garib” is a movie I have seen ages back at the time it was released. I have very foggy memory of the contents, only thing I recollect is both Dev Anand and Hema play petty thieves in addition to picking each other’s pockets, and sing the same song one after the other i.e. “soni aur moni ki hai jodiajeeb” has two versions that follow each other in quick succession, in Kishore Kumar and Lata Mangeshkar. Also, I recollect how gorgeous and petite Hema lookedand Dev Anand’s style of dressing, and dancing.

For the plot content I consulted the WIKI and this is what I found :-

The film starts with Mumbai police officials deliberating how to crack a spate of robberies targeting the rich in the city by a masked thief called Bagula Bhagat. Inspector Anand (Sujeet Kumar) is given charge of the case.
Meanwhile, one gets to see musician and singer, Manmohan, alias Moni, working in a hotel owned by Seth Daulatram (Premnath) who is pursued by Sunita aka Soni, a pickpocket, who lives with her foster mother (Sulochana). In fact, Sunita’s rich businessman father died when he was duped by his treacherous manager, Daulatram.

Actually, Bagula Bhagat is Moni in disguise, whose informers (including Birbal and Tuntun) garner information about the misdeeds of unscrupulous traders and businessmen. These then become the target of Bagula Bhagat, who robs them of their riches only to distribute among the poor and the needy. Moni’s heart beats for the ill trodden after a childhood incident, in which his grandfather was killed by a ruthless landowner, who not only belittles him for his poverty, and mocks him about Moni’s mother having been duped by a rich man.

After a series of incidents-some interesting, others outright boring and outlandish Moni and Soni agree to teach Seth Daulatram a lesson for his misdeeds. But before that, Moni comes to know that Soni’s foster mother is actually his mother and that inspector Sujeet Kumar is the fiancé of his foster sister. The film ends after a courtroom drama, in which the judge tries Bagula Bhagat for his misdemeanours. Does the judge take a lenient view of Moni’s plea for rights of the poor? Or is he delivered a harsh punishment?

Lets have this party song today to celebrate our Khyatji’s birthday. It has the normal masala movie setup of a climax song, with the villain (Premnath) bringing in the heroine’s mother (Sulochana) as his hidden trump to thwart the hero and heroine in their mission. We have Ranjeet playing Premnath’s chamcha.

This song also shows Dev Anand in the style he was known for after the advent of colour in movies.

Video

Audio

Song-Kahin janaab ko mera to intzaar nahin (Ameer Ghareeb)(1974) Singers-Lata, Kishore Kumar, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Both

Lyrics(Based on Audio version)

thha intzar jiska aaa
woh raat aa gayi hai
thha intzaar jiska
woh raat aa gayi hai
dulha miyaan kahaan hai
baaraat aa gayi hai
uljhe huye hain saahib
uljhan ko dhoondhte hain
mehfil mein doston ki ee
dushman ko dhoondhte hain

nashe ka jhonka hai woh
nazar kaa dhokha hai woh
nashe ka jhonka hai woh
nazar kaa dhokha hai woh
huzoor aayega woh zuroor
aayega woh

magar woh dushman e jaan
na aa chuka ho yahaan
magar woh dushman e jaan
na aa chuka ho yahaan
kisi pe kya hai yaqeen
kahin woh main toh nahin
kisi pe kya hai yaqeen
kahin woh main toh nahin
kuchh aitbaar nahin ee
kahin janaab ko mera toh intzaar nahin ee
kahin janaab ko mera toh intzaar nahin
kisi pe kya hai yaqeen
kahin woh main toh nahin
kuchh aitbar nahin
kahin janaab ko mera toh intzaar nahin ee
kahin janaab ko mera toh intzaar nahin

nazar udaas hai kyon
labon pe pyaas hai kyon
nazar udaas hai kyon
labon pe pyaas hai kyon
uthhaaon jaam piyo
usi ke naam piyo
guzarne do yeh ghadi
badi hai raat padi
guzarne do yeh ghadi
badi hai raat padi
ke thhodi der mein woh kahega aake suno
tumhen karaar nahin
kahin janaab ko mera toh intzaar nahin ee
kahin janaab ko mera toh intzaar nahin

aaa
aa aa aa aa aa
yeh ameer aur gareeb
zara se aayen kareeb
yeh ameer aur gareeb
zara se aayen kareeb
toh koyi baat bane
meri baaraat bane
yahi toh soch ke haan
main aa gaya hoon yahaan
yahi toh soch ke haan
main aa gaya hoon yahaan
yeh meri bhool sahi
ghalat asool sahi
main sharmsaar nahin ee
kahin janaab ko mera toh intzaar nahin ee
kahin janaab ko mera toh intzaar nahin

mera jo haal hai abb
kiya hai tumne yeh sab
mera jo haal hai abb
kiya hai tumne yeh sab
tumhaara kaam hai yeh
ke intekaam hai yeh
diya jo toone mujhe
wahi main doongi tujhe
diya jo toone mujhe
wahi main doongi tujhe
yahi hai kaam mera
khizaa hai nam mera
ke main bahaar nahi ee
kahin janaab ko mera toh intzaar nahin ee
kahin janaab ko mera toh intzaar nahin
kisi pe kya hai yaqeen
kahin woh main toh nahin
kuchh aitbaar nahin
kahin janaab ko

mera toh intzaar nahin
kahin janaab ko mera toh intzaar nahin


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.

This article is his 700th writeup in the blog.

Blog Day : 3789 Post No. : 14773

This is my 700th article on this Blog. At this moment, of course, I am very happy. I can not forget the people who helped me reach here. The first is our ATUL ji, who has always been very supportive, helpful and considerate. I have been associated with this Blog for more than 8 years now, but believe it or not, I have yet to meet him ! We have not even talked on Phone anytime. His work is so systematic and perfect that this has never been a hindrance. I do hope to meet him in one of his visits to Mumbai.

The other person is the most popular one on this Blog. You guessed it right. SUDHIR ji. From our first interaction in 2011 on E mail, we are in contact with each others. I had the good fortune to meet him a couple of times. He has been very helpful to me in more than one way. Thank you, Atul ji and Sudhir ji.

Besides these two V.I.P.s, I am fortunate in getting many friends in the Atulite’s group. I find that every one of them has some special characteristic, from which I learnt something. Yes, it is never too late to learn from others.

Sometimes I wonder how the Destiny works. I retired from service in 1998. After being a Pharma Consultant for next 6 years, I left working and enjoyed life with family, visiting various places all over India with my wife. After I crossed 70 years of my age, I learnt working on Computers from my grandchildren on a Laptop gifted by my son in law. At the same time I learnt using the smart Phone and some other gadgets. I, then, found this Blog on the Internet and my life changed. I dug out my old diaries and notebooks in which I used to note down information on every film that I saw. Though some had spoiled with white ants, faded and torn, they were very useful . My first article on this Blog appeared on 1-10-2012 and then there was no looking back. I started writing on various sites and Blogs, but my heart was always with this Blog.

I never imagined in my dreams even, that I would ever write more than 700 articles on old films, that I would write a Book, or that I would be invited to join the Boards of some Pharma companies. But all this did happen, after I crossed my 70 years of age. Looks like, that age is just a number. What matters is your outlook towards life. A positive approach and a will to learn new things makes all the difference.

My First 100th article came on 11-4-2013…..after 6 months

Here is the progress of my writeups in the blog.

Century article Number Song Date Period taken
100th article Meri aankhen banin deewaani (Jagmohan Sursagar NFS) 10-4-2013 7 months
200th article Bhagwaan ye de vardaan mujhe (Tulsi Vivaah)(1971) 16-11-2013 7 months
300th article Hey Satyanaraya swaami (Maha Pooja)(1954) 10-6-2014 7 months
400th article Tu mi piaci caara(Bewaqoof)(1960) 21-4-2015 10 months
500th article Bedard tujhko pyaar kiya (Tajmahal)(1941) 6-4-2016 12 months
600th article Main patton mein chhupi kali hoon (Aandhi)(1940) 4-9-2017 17 months
700th article Shehron mein se sheher (Heer Ranjha)(1948) 2-12-2018 15 months

My sincere thanks to everyone.

Today’s song is from film Heer Ranjha-48, the first film in which the great composer Khayyam gave the music, albeit as Sharmaji, along with his colleague Varmaji as a pair Varmaji-Sharma ji. In one of his interviews, Khayyam had said, ” After working with the Batish brothers ( Pt. Amarnath, Pt.Husnlal and Bhagatram), I went to Lahore and joined G.A.Chishti. In 1947, he took me to Calcutta. I assisted him in 2 films- Yehi hai zindagi-47 and Jhuti kasme-48. His other assistant was one Rehman Varma. After these 2 films, Chishti saab went back to Lahore and we two came to Bombay. Those were the Partition times and we were little scared. We met Husnlal-Bhagatram. They not only assured us safety but also encouraged us to start giving music as a pair. They suggested that we call ourselves ” Varma ji-Sharma ji “. On their suggestions we went to Punjab Film Corporation, owned by Wali sahab. He knew me. He heard our tunes. Those days he was making a film Heer Ranjha and wanted some Punjabi type songs. Aziz Hindi, taken by him already was unable to do Punjabi type music. Wali sahab told us to make such songs and Aziz would do other songs. Thus started my music career.”

Today’s song is ” Shehron mein se shehar suna tha Lahore….”. Those who lived in Lahore in pre-partition days were extremely attached to that city. There was a saying ” Jine Lahore nai dekhya, wo te jamiya hi nahin” ( one who has not seen Lahore, has not been born). Everyone is proud of his town, but Lahore wasi people were different.

From my house towards Juhu, there is a building at the corner of Gulmohar Circle which has a board-” Karachi Residents’ Association”. On inquiry I discovered that this was a building owned by ( Sindhi speaking Hindu and Muslims) people who resided in Karachi before Partition. I was told that 5-6 such buildings exist all over Mumbai. On further inquiries, I was informed that there were a few buildings of ” Lahore Residents Association” also( Punjabi speaking Hindus and Muslims). When I met one of the residents of ” Lahore” wala building, that old gentleman was speaking so lovingly about old Lahore that I was surprised. Even after 70 years of Partition, these people had such fondness for Lahore…or Karachi, for that matter.

Lahore had played an important role in India’s film industry till Partition separated us. Lahore had a built in advantage that it was in the midst of Hindi/Urdu speaking population. Bombay was far off and Calcutta and Madras catered mainly to regional aspirations. In the 40s, some really good films like Khazanchi, Khandan, Daasi etc were made in Lahore. All the 3 leading actors, Dilip, Raj and Dev had roots across the border. Shyam, Omprakash, Karan Dewan, Pran, Surendra, Balraj Sahni, Khursheed, Mumtaz Shanti, Veena, Begum Para, Noorjehan, Meena Shorey, Suraiya, Manorama, Kamini Kaushal, Shyama…. a string of artistes who worked in Lahore enriched Indian films. Pancholi, Kardar, Rafi, Shamshad Begum, Jhande Khan, Ghulam Haider, Pt. Amarnath and brothers, Hansraj Behl, Khayyam, Vinod also worked in Lahore.

Lahore city in particular gave us many Gems in Music. They came from HIRA MANDI. (old name ‘ Tibbi’ ). Hira Mandi was an area which was for Tawayafs. For centuries, Hira mandi in Lahore nurtured some outstanding performing artistes. The famous Noorjehan, Khursheed, Shamshad begum, Mumtaz Shanti and many others came from Hira Mandi. Sardar Akhtar and Bahar Akhtar, wives of producer Mehboob khan and A.R.Kardar were also from Hira Mandi.

Most of the early film actresses for pre-partition Lahore cinema came from the Kothas of Hira Mandi. Cine people scouted Hira mandi for fresh new talents. The art of Music was confined to the streets of the courtesans, with Hira Mandi taking the lead as the largest settlement in the cultural capital of the state in the undivided Punjab.

Writer Nirupama Dutt said about Hira Mandi, in her book,’ Half the sky ‘…

Come evening and they would be out in their balconies in the finest of silks and jewels. Their eyes would be lined with kohl and their lips red with dandasa, bark of the walnut tree and the most fragrant of eastern perfumes or itars would fill the air. They were known as diamonds and such was their glitter that the whole street would seem studded with stars. These were the courtesans of Heera Mandi of Lahore in the years before Partition in 1947.

Heera Mandi was to Lahore what Chowk was to Lucknow, Sonagachi to Calcutta, Bhendi Bazar to Bombay and Mehboob ki Mehendi to Hyderabad, before Independence. These forbidden yet most sought-after bazaars where women sold their many talents were known as “kothas”. In these abodes lived women, many of them very talented artists, who were nevertheless social outcasts living on the fringes of the society. Interestingly, this place was first known as Tibbi Bazar. And this name is recorded in a Punjabi “tappa”:

Tibbi waliye la de paan ni teri

Tibbi de vich dukan ni”,

Pran Nevile,a Die hard ” Lahorite” and a retired I.A.S Diplomat of International reputation, says about Lahore,in his book ‘ Lahore ‘ –

Why was Lahore called the gem of India?” I asked. “That it indeed was,” Pran replied, “It was totally different from the rest of India, in every way. It was the educational centre of North India. It had more colleges than any other city of India. The student population of Lahore was lively and wonderful. Co-education came late, but there it was. Lahore was always very prosperous; it was the hub of North India right up to Peshawar. Everything about Lahore was special. If you wanted to see the best-dressed young men in India, they were to be found in Lahore. The best food in India was to be found in Lahore. It was a city of gourmets and it had romance. A popular film song of those days went: Ik shehr ki laundia, nainoon ke teer chala gayee.And this doggerel that we all knew and I to this day remember: Tibbi mein phir ke jalwa-e-Parwardigar dekh: Hai dekhney ki cheez issay baar baar dekh.The great stars, the great movers and shakers of the Bombay movie world were all from Lahore.”

The song mentions not only Lahore, but some other cities of old Punjab( pre-partition) like Multan,Ambala etc. The music and tune has a clear Punjabi style and it is having a fast rhythm too. Considering that it was Khayyam’s first film as an MD, the songs are very catchy.Among the crop of new composers, who began their career after Independence, I rate Khayyam very high. Unlike some others, his name was never heard in any controversy or filmy behaviour. He was always very dignified.

Khayyam did only 69 films composing 381 songs. He wanted to be a singer and actually started his film career by singing a song in film Romeo and Juliet-47. Later he also sang one ore song in film Anjuman-86. His last fil, so far, is Bazaar E Husn-2014.

Let us enjoy this song, obtained from the collection of our Sudhir ji. I am sure you too will like it.


Song- Shehron mein se shehar suna tha (Heer Ranjha)(1948) Singers- Uma Devi,Unknown female voice, Lyrics- Wali Sahab, MD- Varmaji- Sharma ji
chorus

Lyrics

o o
beliyaa
Shehron mein se shehar suna tha
sheher suna Lahore

main mar gayi
sheher suna Lahore
miley jo mera chhail chhabeela
miley jo mera chhail chhabeela
kuchh na maangoon aur
main mar gayi
kuchh na maangoon aur
kuchh na maangoon aur
main mar gayi
kuchh na maangoon aur

ho o
beliyaan

Shehron mein se shehar suna tha
sheher suna thha Dehli
Shehron mein se shehar suna tha
sheher suna thha Dehii
main mar gayi
sheher suna thha Dehli

bina piye wo huye sharaabi
bina piye wo huye sharaabi
dekh ke mujhe akeli

baalam le chal re
le chal re mohe Dehli
baalam le chal re
le chal re mohe Dehli
baalam le chal re ae
ho o

ho o
beliyaan
Shehron mein se shehar suna tha
sheher suna Multan

main mar gayi
sheher suna Multan

aaye jo pardes se baalam
aaye jo pardes se baalam
jaan meri qurbaan beliyaa
jaan meri qurbaan
jaan meri qurbaan beliyaa
jaan meri qurbaan

ho o
beliyaan

Shehron mein se shehar suna tha
sheher suna Kashmir
Shehron mein se shehar suna tha
sheher suna Kashmir
main mar gayi
sheher suna Kashmir

baalam ki mohe yaad sataaye
baalam ki mohe yaad sataaye
uthe ped ke ??

baalam
le chal re
le chal re Kashmir
baalam
le chal re
le chal re Kashmir
baalam
le chal re ae
ha aa

ho o
beliyaan
Shehron mein se shehar suna tha
sheher suna Ambala

main mar gayi
sheher suna Ambala

main chhori hoon gori gori
main chhori hoon gori gori

baalam kaala kaala
main to dekhoongi
dekhoongi Ambala
main to dekhoongi
dekhoongi Ambala
main to dekhoongi
haa


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 : 3788 Post No. : 14772

SONGS FROM ARTISTE NAME FILMS….Song No. 11
——————————————————————————

Today’s song is from the film Sitara-1939.

About 4 years ago, I had run a series of songs from films with Artiste’s names. I had discussed songs from films like, Madhubala-50, Nargis-46, Veena-48, Usha kiran-52, Renuka-47, Madhuri-32, Hurricane Hansa-37, Zubeida-2000, Kamla-46 and Aasha-38 ( A to Z ). When the series ended discussing 10 songs, I found that I had few more songs from similar titled films like, Nirmala-38, Sitara-39, Vasanti-38, Poornima-38, Meenakshi-42 and Durga-39. Today’s song is from this collection.

Film Sitara was made and directed by Ezra Mir, under his own banner, Everest pictures Corporation. The music was by Rafiq Ghaznavi for songs written by Munshi Dil. The cast of the film was Ratanbai, Khursheed, Nazeer, Mubarak, K N Singh, Sunalini Devi, Violet Cooer, Mirza musharraf and many others. There was, however, no artiste of name Sitara in it.

Senior readers in the bracket of 55 to 75 years of age would recollect the Indian Documentaries made by Ezra Mir, shown before almost every film in the theatres. Indian News Reel and these documentaries on various subjects were actually used as a facility to enter the theatre late and still catch the whole movie from the beginning. These documentaries were made mostly by Ezra Mir and the voice over used to be that of Pratap Sharma usually. ( his younger brother Mahesh Sharma was my good friend in those days).

Ezra Mir was one of the rare persons who worked in the famous Hollywood studios for a considerable time, before he came to India and got involved in making films here. He was also a rare person who, despite being in great demand in the commercial cinema, chose to join a Government organisation and did a monumental significant work for the future generations. For a long time, I was thinking him to be a Muslim man, but at a much later date, I came to know that he was a Jew person.

Ezra Mir ( real name Edwyn Meyers) was born on 26-10-1902 at Calcutta. After completing his education, he joined Madon Theatres in 1921. In 1923, he left for Europe and America to work in film industry. After doing bit roles in Rudolph Valentino’s films in Long Island, New York and working for First National Biograph Studios, he joined the Universal studios as a ” Film Cutter ” and later as a Scenario writer. By his diligent and hard work he became the chief of story Department in United Artistes. In 1929, he wrote and directed a film ‘ Simbolisque ‘, which created a sensation in the film circle there.

With the advent of the Talkie, he came back to India , joined Imperial Film co. and made film Noorjehan-31 in Hindi and English. In 32-33, he joined Sagar movietone and directed Zarina-32, Pagal premee-33 and Farzand e Hind-34. Then Ezra went to Calcutta. After doing some films he came back and made documentaries on second world war. In 1940, he was appointed by the Govt. on Film Advisory Board. In 1942, when V.Shantaram left as its head, he became the head. From 1942 to 1946, he made 170 documentaries.

In 1951 he joined Films Division and in 1956, became its President. In his tenure here, he made 400 documentaries. In 1970 he got ‘ Padmashri ‘. Ezra Mir died on 7-3-1993. His Filmography is Noorjehan-31, Zarine-32, Pagal premi-33, Farzand e Hind-34, Mera Pyara and Rasheeda-35,Jeevan Sangram, Parivartan,Rajdulari and Shaitan ka pash-36, Rikshawala-38,Sitara-39, Beete din-47, pamposh-54 and Raju aur gangaram-64.

The Music Director of film Sitara-39 was Rafiq Ghaznavi, who was a multi faceted artiste. He acted in 18 films, directed 1 film, sang 30 songs in 15 films and gave music to 22 films and composed 191 songs, according to MuVyz.com.

Private life of a celebrity has always been a matter of curiosity for the common man and if the celebrity is from the show world like films ,then there are all attempts to dig out the ‘ behind the scene’ stories about the famous people.

In the early era, the female artistes were from the courtesan or the singing families. Most males too were not much educated. Thus there were many cases of illicit relationships and children out of wed locks. For the rich producers, having an ‘extra facility’ was a matter of a few thousands. In those days the social medias and the film magazines were not common, hence such matters hardly came into the open. The insiders, however, knew many stories. Few personalities like actor Shyam, Rafiq Ghaznavi, Prem Adeeb,C.Ramchandra were some of the artistes who were claimed to be involved in ‘ extra-curricular activities ‘. So were some Producers and Directors.

When careers are on the rise,talents are bright and the work is extraordinary, it hardly matters what the artistes do in their private lives. People are happy with their work. Yesteryear Actor,Singer and Music Director RAFIQ GHAZANAVI was one such person.

Rafiq was a singer from his school days and he became famous by the time he completed his Matriculation. He had learnt music from a blind expert. He was called by H.M.V. to Lucknow and several records were made of his songs. He completed his graduation. He was an expert in Hindi, Urdu, English, Punjabi, Pushtu and Afghan Persian languages fluently. He was a voracious reader of English books. He edited a magazine “Raavee”. His stage shows were always housefull. He was honoured by the American Art Society with a Gold Medal. He was famous in the art circles of Lahore.

His first film as a composer was ” Pavitra Ganga”-1932. Then came Prithviraj Sanyogita-33 and Deewaani-34 etc. He was a good friend of producer Director Mehboob Khan. The voice accompanying the Mehboob Productions Logo is that of Rafiq Ghazanavi, “Muddai lakh bura chaahe to kya hota hai, wohi hota hai jo manzoor-e-Khuda hota hai”. The famous Logo consisted of a Hammer and Sickle, indicating the socialistic inclination of Mehboob Khan, who was a great follower of Pandit Nehru’s idealogy. When 14 year old Nargis was offered the heroine’s role in Mehboob’s ” Taqdeer ” the music was entrusted to Rafiq Ghaznavi. Shamshad Begum was brought from Lahore specially to sing her first songs in Bombay for “Taqdeer” and Rafiq Ghaznavi was directing her songs.

Famous writer Saadat Hasan Manto, in his book “Stars from another sky “, had devoted a full chapter to Rafiq. Manto, in his inimitable style has described all his ‘extra ‘ activities in details,as he was an observer for most of them. Rafiq was tall and handsome and had the magical quality to attract women. Wine and women were his weaknesses. But there was much more to Rafiq than only running after lowly women. He was never a one woman man. He had married 3 sisters, one after another, but never remained faithful to any one of them. As far as his music was concerned, he was very strict and never mixed these two things. He always tried to give his best in every film. Here is a short Bio from a Pakistani source-pakfilms.net, some years ago.

Born to an enlightened family in 1907, in Rawalpindi, Rafiq Ghaznavi was full of life since his earliest days. He passed his childhood amidst scenic, natural beauty, surrounded by mountains, valleys and lakes.

After receiving his matriculation examination degree, Rafiq Ghaznavi moved to Lahore. In Lahore, he completed his intermediate examination from Islamia College, Lahore. Then he graduated from the Punjab University.

During those days if a handsome, enthusiastic young man was endowed with acting talents, he was more inclined towards the glamorous movie business. Rafiq Ghaznavi was no exception. Let us go seventy-five years back in time and see how movies were made in that time period.

Those were the days of silent movies. Though the vocal film ‘Alam Ara’ was released in 1931, still silent movies were in vogue for quite sometime, just like black and white movies continued to flood the market after the advent of color movies.

Visionary movie director, Mian A.R. Kardar, is considered the discoverer or ‘Columbus’ of the Lahore film industry. Moved by Rafiq Ghaznavi’s powerful voice and good looks, Kardar signed him as hero for his silent movie, ‘Brave heart’, while the latter was studying in college.

Thus, Rafiq Ghaznavi debuted in the film ‘Brave heart’ in 1931 at the age of twenty-four. Soon Rafiq Ghaznavi began to outlive his town and his time while his companions were thinking what to make of their lives.

Director A.R. Kardar, on the other hand, made his first talking film, ‘Hoor Punjab’ in 1932. Later, he changed its name to ‘Heer Ranjha’ and it was released under the banner of Play art photo tone.

Handsome, as Rafiq Ghaznavi was, Kardar picked him up for the romantic lead role of ‘Ranjha.’ While actress Anwari played the lead romantic role of ‘Heer Seyaal’. Additionally, Rafiq Ghaznavi composed music and lent his impressive voice to all the songs. Hence, he was the hero-composer-singer in the film ‘Heer Ranjha.’ Since all the songs were pictured on him he was also the singing star.

After working in ‘Heer Ranjha’, Rafiq Ghaznavi migrated to Bombay and worked diligently for the Bombay film industry. Rafiq was a multi talented man. He acted in 18 films. He directed 1 film-Prem pujari-35. He sang 30 songs in 15 films and he gave music to 22 films, composing 191 songs. (all statistics from MuVyz.com)

Dwelling on his personal life, Rafiq Ghaznavi married film actress Zehra and had a daughter, Shahina, from her. Shahina grew up and made her mark as an actress in movies like ‘Beli’, ‘Nigar’, ‘Aankh ka nasha’, ‘Bharosa’, and ‘Intiqaam.’

Rafiq Ghaznavi also had a son, Murad, from his first wife, Zehra. In due course of time, Rafiq Ghaznavi divorced Zehra. She married director A.M. Mirza and was known as Zehra Mirza.

Actress Anwari was the second wife of Rafiq Ghaznavi with whom he had a daughter, Zarina Agha. Later, Zarina changed her name to Nasreen and worked in director A.R. Kardar’s movie, ‘Shah Jehan’ and Daud Chand’s movie, ‘Aik Roaz.’
After Rafiq left Anwaribai, she married Jugal Kishore Mehra ( Raj kapoor’s Mama), who converted to Islam and became Ahmed Salman. He was also the director of Radio Pakistan. He adopted Nasreen and got her married to Agha Liyaqat Gul Tajik. He settled in London doing Diamond business.

Further, Nasreen Agha’s daughter, Salma Agha, achieved great name and fame as a singing star.

Actress Anuradha, whose real name was Khursheed Akhtar, was the third wife of Rafiq Ghaznavi, with whom he had a son, Ayaz Mehmood. Furthermore, one of Rafiq Ghaznavi’s daughter married popular writer-director, Zia Sarhadi. Zia Sarhadi’s two sons, Khayam Sarhadi and Bilal Sarhadi attained fame in show business.

Interestingly enough, all three wives of Rafiq Ghaznavi were real sisters and they hailed from Amritsar.

Rafiq Ghaznavi, who was such a charismatic figure, a talented composer of the highest grade and a visionary, passed away on 2-3-1974, in Karachi, at the age of sixty-seven.

Today’s song is sung by Rafiq himself. In those days, films used to have many songs. Even this film had 13 songs. There were 5 singers who sang these songs. I first heard few songs of this film and I selected this song as it is better than the other songs.


Song- Main sadke tere nigaahe muhabbat (Sitaara)(1939) Singer- Rafiq Ghaznavi, Lyrics- Munshi Dil, MD- Rafiq Ghaznavi

Lyrics

main sadqe tere ae
nigaahe mohabbat
main sadqe tere ae
nigaahe mohabbat

banaaya mujhe baa
banaaya mujhe baa
banaaya mujhe baa
aadshaah e muhabbat
haaye
main sadqe tere ae
nigaahe mohabbat
main sadqe tere ae
nigaahe mohabbat

taaron ki hansi hai meri
taaron ki hansi hai meri
kaliyon ki khushi hai meri
kaliyon ki khushi hai meri
phoolon ki pari hai meri
phoolon ki pari hai meri
ye jungle hai aaraamgaah e muhabbat
ye jungle hai aaraamgaah e muhabbat
haaye
main sadqe tere ae
nigaahe mohabbat
main sadqe tere ae
nigaahe mohabbat

banaaya mujhe baa
banaaya mujhe baa
banaaya mujhe baa
aadshaah e muhabbat
main sadqe tere ae
nigaahe mohabbat
main sadqe tere ae
nigaahe mohabbat


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 : 3787 Post No. : 14771

“Lakhpati”(1948) was directed by Ravindra Jaikar for Fim Chitra Corporation, Bombay. This “social” movie had Sulochana Chatterji, D M Sapru, Rajan Haksar, Om Prakash, Baby Tabassum, LLeela Chitnis, Narmada Shankar, Dharpure, Nagotkar, Satyapal etc in it.

This forgotten movie had eleven obscure songs in it. Two of these songs have been covered in the past

Here is the third song from “Lakhpati”(1948) to appear in the blog. This song is sung by R P Sharma. Qamar Jalalabadi is the lyricist. Music is composed by Husnlal Bhagatram.

Only the audio of the song is available.

The singer R P Sharma appears to be a new name and he makes his debut in the blog with this song. I request our knowledgeable readers to throw light on him.


Song-O bhoolne waale tera iqraar kahaan hai (Lakhpati)(1948) Singer-R P Sharma, Lyrics-Qamar Jalalabadi, MD-Husnlal Bhagatram

Lyrics

Kahaan hai
kahaan hai
kahaan hai ae
o bhoolne waale
tera iqraar kahaan hai
iqraar kahaan hai
o bhoolne waale
tera iqraar kahaan hai
iqraar kahaan hai
khwaabon ne jise paala thha
wo pyaar kahaan hai
wo pyaar kahaan hai
khwaabon ne jise paala thha
wo pyaar kahaan hai
wo pyaar kahaan hai

o jaane waale
tujhko mubaarak nayi duniya
o jaane waale
tujhko mubaarak nayi duniya
mubaarak nayi duniya
hamne jo basaaya thha
wo sansaar kahaan hai
sansaar kahaan hai
hamne jo basaaya thha
wo sansaar kahaan hai
sansaar kahaan hai
kahaan hai ae
kahaan hai
kahaan hai ae
o bhoolne waale
tera iqraar kahaan hai
iqraar kahaan hai

ae aansuon ke haar
mujhe itna bata de
ae aansuon ke haar
mujhe itna bata de
itna bata de
phoolon ka banaaya hua
wo haar kahaan hai
wo haar kahaan hai
phoolon ka banaaya hua
wo haar kahaan hai
wo haar kahaan hai
kahaan hai ae
kahaan hai
kahaan hai ae
o bhoolne waale
tera iqraar kahaan hai
iqraar kahaan hai


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in 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 : 3786 Post No. : 14770

Today’s song is from the film Safar-1946. This was a film made by Filmistan, directed by a comparatively new person-Bibhuti Mitra. The lyricist was G S Nepali and composer was C.Ramchandra.

This was C Ramchandra’s first film after joining Filmistan. His friend, Kavi Pradeep, who was close to S Mukherjee of Filmistan, had brought C Ramchandra to this company. Now it was imperative for C Ramchandra to make his first film a musical hit, to establish himself, impress the owners and earn respect.

The working conditions at Filmistan were much better than what they were at Jayant Desai’s company, C Ramchandra’s earlier job. This was because, here all the people-atleast the most important ones- were from Bombay Talkies and Discipline and commitment were built into their work pattern. The planning was good and good facilities were provided to its workers.

The cast of film Safar-46 was Shobha, Kanu Roy, V.H.Desai, Haroon, Chandrika, Mumtaj Banu etc etc.

When I talk about film Safar-46, I invariably remember the film ” Maine Pyar kiya”-89. There are many similarities in both films.

First, both films were made by Big banners like Filmistan (Safar-46) and Rajashri (Maine Pyar Kiya-89).

Secondly, the lead pair in both films were unknown and New comers. It was just the second film of Salman Khan-his First film as a Hero. His Heroine Bhagyashree (Patwardhan) was making her Debut with the film Maine Pyar kiya-89. In Safar-46, the Heroine Shobha was totally unknown and she was making her a Debut as a Heroine here. For Kanu Roy, this was the first film as a Hero.

The name Kanu Roy is generally confused with composer Kanu Roy. Actor Kanu Roy was a different person.

Kanu Roy (the Actor) was in reality a name for Nalini Ranjan Roy, born on 9-12-1912 at Jabalpore. He was very fond of acting and so landed at Bombay Talkies, a company started by two Benagalees- Himanshu Roy and Devika Rani. Those days many people from Bengal used to come to Bombay Talkies, but only the capable ones like Amiya Chakravarty, Shashadhar Mukherjee or Ashok Kumar etc could make their careers here.

Kanu Roy started his acting career from the film Basant-1942. His name Nalini was sounding like a Girl’s name in Bombay ( there were already half a dozen Nalinis working in films those days), so it was changed and he opted for Kanu, his pet name in the house. Thus Kanu Roy came into films. Due to his good looks, he even became a lead actor in a few films. Nazrana-46 (UR) was one such film where he was working opposite Kamini Kaushal.

Kanu Roy worked in about 40 odd films from 1942 to 1983 ( Kisi se naa kehna). Kanu Roy also left Bombay Talkies along with S.Mukherjee and others and joined Filmistan. He was in many Filmistan films like, Munim ji, Nastik, Naagin, Jagriti etc. He acted in a Bangla film ‘Samar’ too in 1950.

Kanu Roy (the Composer) gave music to very few films like Uski Kahaani-66, Anubhav-71, Avishkar-74, Tumhara Kallu-76, Grih pravesh-79, Mayuri-81 and Shyamla-79 which was re-censored in 1981 as Woh phir naa aayee. Some people and sites describe him as Geeta Dutt’s brother, but he was not her brother. Her brother was Mukul Roy. Kanu Roy, the composer died in Bombay on 20-12-1981.

Thirdly, the Director of Maine Pyar Kiya, Sooraj Barjatya was making his Debut with this film. ( Later on he made Hits like, Hum apke hai kaun and Hum saath saath hai etc.). For film Safar-46, the Director was Bibhuti Mitra-an import from Calcutta.

It was just his second film. His first film ‘ Angoothi’-43 was a resounding Flop. Actually Ashok Kumar was its Hero and when Angoothi was released Ashok’s film Kismet was making records all over India. Film Angoothi ran only for 3 days and it was then withdrawn from theatres. Normally, in Film Industry, an unsuccessful Director is not touched even with a barge pole, but S. Mukherjee selected him as a Director. ( C Ramchandra has written in his autobiography that this Bibhuti Mitra had a nasty habit of interfering in Music Director’s work, which irritated him. He tolerated him, because this was C Ramchandra’s first film in Filmistan. Anyway, after this film was done, Mitra went back to Calcutta….only to come back again to Filmistan to direct Shabistan-51, for which C Ramchandra was the Music Director. This time, C Ramchandra was ready. When Mitra started his interference, C Ramchandra not only left the film halfway, but also left Filmistan.)

Lastly, the Music Director for Maine Pyar kiya-89 was Ram-Laxman, hardly a known name at all. For Safar-46, C Ramchandra was selected. He had done 10 C grade films and just 5 social films till then and his name had not yet become famous. In spite of this, S.Mukherjee took the risk and trusted his talent, which he had judged correctly. S.Mukherjee was known to judge person’s capabilities accurately. In only one case- that of Lata- he went flat wrong.

Despite the Actors, MDs, Director and the lead pair being either Unknown, making a Debut or less known, both the films became Hits- only because of Music. Both Music Directors, C Ramchandra as well as Ram-Laxman became famous overnight and this became virtually the starting point of their ascent to the Top of HFM. What happened first with Safar-46 repeated itself after 43 years in the success of Maine Pyar Kiya-89 !!!

Besides this similarity, I feel the story of Safar was inspired by a Hollywood film of the year 1934- ‘It happened one night’. Directed by Frank Capra, the film had Clark Gable and Claudette Colbert in the lead. This film had become popular wherever English films were shown in the world. In turn, film Safar-46 inspired many films made in later years, in many languages. Two names come to the mind- Raj-Nargis film Chori Chori-56 and Amir Khan-Pooja Bhatt film ‘ Dil hai nki manata nahin’-1991. Of course in every such film some changes to suit the public taste were made.

Today’s song is sung by Naseem Akhtar. The history of Hindi Films and Music is replete with unsolved mysteries, disputes, misinformation, riddles and puzzles as well as half or wrong informations. Fortunately, there are few dedicated workers who constantly dig out correct information and few matters are thus straightened. Though delayed, at least the true information is available for the future workers.

There was the case of who actually sang the song Dilli se aaya bhai Tingu from film EK THI LADKI-1949. For almost 50-60 years it was believed that Honey O’Brion, who lip synched this song in the film had sung this song herself-though there was no history of her singing any songs anytime. And then the interview of singer Binota Chakraborty (nee Vinita Amladi ) was published in July 2007 issue of the Listeners’ Bulletin of Hamraz ji, and it was revealed that it was she who had actually sung this song !

Similarly, the name of MD Mohan Junior (Ajamil-48 and Dana pani-52) was treated as the cover-name of MD Madan Mohan. After about 60 years, it was proved that Mohan junior (Real name- Mohan kanoji Rajpoot) was a Gujarati composer and a different person-and NOT Madan Mohan. Even mMadhubala Jhaveri who sang for him also confirmed this in an answer to a Telephone call made to her.

It was commonly believed that the MD pair of “VASANT-RAMCHANDRA” ( Kalakar, Suhagan of 1954) was short forms of Vasant Desai and C Ramchandra. The myth of almost 65 years was busted when it was revealed that C Ramchandra himself had said, that it was not him, but they were Vasant Prabhu and Ramchandra Vadhavkar.

One more example is that of Child actor Shashi Kapoor. It was popularly believed that Shashi Kapoor (Deewar, Trishul, Dharmaputra fame) had acted as a child artist in about 25 films. This misinformation was cleared when the real child artist-Shashichand Kapoor gave an interview on Cineplot and Maitri Manthan, explaining that it was him who had acted in 21 films as child actor (Bhakta Prahlad-46 etc). Shashi Kapoor (Deewar wala) had actually done only 5 child roles-in Aag-48, Bhakta Bilwamangal-48, Patanga-49, Sangram-50 and Aawara-51.

In case of today’s singer-Naseem Akhtar also, the same thing is happening. It was popularly believed that Naseem Akhtar is the sister of Sardar Akhtar( wife of Mehboob Khan) and Bahar Akhtar( wife of A.R.Kardar),but it is NOT TRUE !

Both Sardar Akhtar-known as Daari and Bahar Akhtar-known as Bahaaro were tawayafs of Hiramandi Lahore. When A R Kardar eloped with Bahar Akhtar and married her, Sardar Akhtar registered a Police complaint of abduction. Kardar and his family were arrested and put in lock up. It was only after Bahar’s statement that she married Kardar on her own choice, they were released. Sardar Akhtar herself later married Mehboob Khan.

Naseem Akhtar’s father was a Sarangi player. They were originally from Kashmir. She was born in 1924. She started singing on Lahore Radio. Impressed with her singing style, composer Pt. Amarnath gave her a break in Nishani-1942. Till then she used to sing at rich persons functions and mehfils etc. after Nishani, she came to Bombay to sing for Khooni Laash-43. She never acted in any films. She sang in Bhai, Ek din ka Sultan, 40 karod, Flat no.9, Pehli nazar, Ratnavali, Dharma, Sanyasi, Tadbir, Shahjehan, Nek Parveen, Safar, keemat, Sohni Mahiwal, Bhanwar, Ek Roz, Doli, Parai aag etc. She sang for Naushad, Ghulam Mohd, Anil Biswas, Shyam sunder, Ghulam Hyder, Rafiq Gaznavi, Govind Ram, Sajjad Hussain, Firoze Nizami and C.Ramchandra. She sang 67 songs in 38 films.

She left for Pakistan after Partition and sang in few films,but was not successful She got married to Rauf Maula, a Producer and settled as housewife. It seems, she died in Lahore on 11-5-2007.

Out of the 10 songs of film Safar-46, 6 songs have already been discussed. This is the 7th song. The song is quite good, however some other songs of this film had more melodious tunes and catchy rhythms.


Song-Dil jo diya kehne lage aaj na(Safar)(1946) Singer- Naseem Akhtar, Lyrics-G S Nepali, MD- C Ramchandra

Lyrics

dil jo diya
dil jo diya
kahne lage aaj naa
dil jo diya
kahne lage aaj naa
mujhse
mujhse mil ke gaye bhole bhaale saajna
o mere
o mere saajna
saajna aa
mujhse
mujhse mil ke gaye bhole bhaale saajna
dil jo diya
kahne lage aaj naa
mujhse mil ke gaye bhole bhaale saajna

daal milee daal se ae ae ae ae
phool mila phool se
phool se
daal milee daal se ae ae ae ae
phool mila phool se
ham bhee mil gaye kaheen pe raaste kee dhool se
kahne lage ae ae
maan jaao
ek maheena
main kah naa sakee naa
taar mere
taar mere dil ke uthhe jhanjhana
mujhse
mujhse mil ke gaye bhole bhaale saajna
o mere
o mere saajna
saajna aa
mujhse
mujhse milke gaye bhole bhaale saajna
dil jo diya
kahne lage aaj naa
mujhse mil ke gaye bhole bhaale saajna

mere prem ke kumkum
khilo tum hanso tum
aise hee mere baag mein uss roz bhee khilna
jis roz hamaara ho kisee kunj mein milna
aise hee mere baag mein uss roz bhee khilna
jis roz hamaara ho kisee kunj mein milna
nain miley jinse hamaare
jinse hamaare
ab unki
abb unki yaad mein hai jaagna
mujhse
mujhse mil ke gaye bhole bhaale saajna
o mere
o mere saajna
saajna aa
mujhse
mujhse mil ke gaye bhole bhaale saajna
dil jo diya
kahne lage aaj naa
mujhse mil ke gaye bhole bhaale saajna


This article is written by Sudhir, 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 : 3786 Post No. : 14769

Mohammed Rafi – Duets – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 30
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –

‘ल’ – लीजिये दिल का नज़राना, लीजिये आँख का शुक्राना ॰ ॰ ॰

– – – –

आवाज़ दे कर हमें तुम बुलाओ ॰ ॰ ॰ 

Ah yes, that is what the heart desires, but sadly, that will happen no more. . . you are so far away now, that our supplications so sent, do not reach you any more.

– – – –

OK, wow, another gem from the radio listening days. And what a wonderful reminder this song is. The film is ‘Naya Kanoon’ from 1965, and Rafi Sb is accompanied by Asha Bhosle in this song. Given that Madan Mohan is the music director, I am a little surprised that Lata does not figure in this film at all. Eight songs in all, with four female solos, and one duet (this one) – all carry the voice of Asha Bhosle. Possibly this recording may have been done during the time when there was a stand off between Lata ji and Rafi Sb. Still surprising that Madan Mohan did not get Lata to sing even one of the solo songs. Or possibly, other reasons, circumstances may have intervened.

The film is directed by RC Talwar for the banner of Manchanda Productions, Bombay. The main star cast is listed as Ashok Kumar, Vaijayantimala, Bharat Bhushan, Poornima, Nishi, Leela Mishra, Badri Prasad, Kamal Mehra, and Om Prakash among others. There are eight songs in this film, or may be seven, because one song is a multi version song sung as a solo by both Rafi Sb and Asha Bhosle. All songs are from the pen of Hasrat Jaipuri, except one, which is written by Saraswati Kumar Deepak.

On screen, this song is filmed a recording studio song. The two singers – Bharat Bhushan and Vijayantimala, are recording this song in a studio. Or maybe the song is being broadcast live.  As we see the three stanzas, there are short visual interludes, and the dresses of the two artistes are different in each stanza. The intervening scenes convey a message as if displaying the rising popularity, as well as prosperity of the singer.

Bharat Bhushan in this 1965 film is a distant call from his heydays of ‘Baiju Baawra’ in 1952. Decidedly not looking any younger, but he is also looking much more morose. As the visual clip starts and the music comes on, the mind gets into position for a fast paced light hearted duet. But the expression on the face of the hero conveys as if he is going to break into “Maayoos To Hoon Waade Se Tere. . .” 🙂 🙂 .

Regardless, a very breezy composition which will tickle a few memories in the minds of radio listeners.  Listen and relive those memories.

 

Song – Lijiye Dil Ka Nazraana, Lijiye Aankh Ka Shukraana  (Naya Kanoon) (1965) Singer – Mohammed Rafi, Asha Bhosle, Lyrics – Hasrat Jaipuri, MD – Madan Mohan

Lyrics 

lijiye dil ka nazraana
lijiye aankh ka shukraana
ye preet banegi afsaana
bolo to sahi hai kya marzi
bolo to sahi hai kya marzi
lijiye dil ka nazraana
lijiye aankh ka shukraana
ye preet banegi afsaana
bolo to sahi hai kya marzi
bolo to sahi hai kya marzi

aankh ne dekha to dil ne paa liya
meethi baaton ne hamne behka liya
pyaar mein hum bhi tumhaare ho gaye
tum miley to hum khushi se kho gaye
kadmon mein khada hai deewaana
bolo to sahi hai kya marzi
bolo to sahi hai kya marzi
lijiye dil ka nazraana
lijiye aankh ka shukraana

dil bade armaan se laaya hoon main
ye kali toofaan se laaya hoon main
meri palken jhuk rahi hain laaj se
tum hamaare ho chuke ho aaj se
aaya hai shama ka parwaana
bolo to sahi hai kya marzi
bolo to sahi hai kya marzi
lijiye dil ka nazraana
lijiye aankh ka shukraana

aur bhi duniya mein laakhon chaand hain
aapke aage magar wo maand hain
aur bhi duniya mein laakhon phool hain
aapke aage magar wo dhool hain
haazir hai tumhaara mastaana
bolo to sahi hai kya marzi
bolo to sahi hai kya marzi
lijiye dil ka nazraana
lijiye aankh ka shukraana
ye preet banegi afsaana
bolo to sahi hai kya marzi
bolo to sahi hai kya marzi
lijiye dil ka nazraana
lijiye aankh ka shukraana

———————————————————
Hindi Script Lyrics (Provided by Sudhir)
———————————————————

लीजिये दिल का नज़राना
लीजिये आँख का शुक्राना
ये प्रीत बनेगी अफसाना
बोलो तो सही है क्या मर्ज़ी
बोलो तो सही है क्या मर्ज़ी
लीजिये दिल का नज़राना
लीजिये आँख का शुक्राना
ये प्रीत बनेगी अफसाना
बोलो तो सही है क्या मर्ज़ी
बोलो तो सही है क्या मर्ज़ी

आंख ने देखा तो दिल ने पा लिया
मीठी बातों ने हमने बहका लिया
प्यार में हम भी तुम्हारे हो गए
तुम मिले तो हम खुशी से खो गए
कदमों में खड़ा है दीवाना
बोलो तो सही है क्या मर्ज़ी
बोलो तो सही है क्या मर्ज़ी
लीजिये दिल का नज़राना
लीजिये आँख का शुक्राना

दिल बड़े अरमान से लाया हूँ मैं
ये काली तूफान से लाया हूँ मैं
मेरी पलकें झुक रही हैं लाज से
तुम हमारे हो चुके हो आज से
आया है शमा का परवाना
बोलो तो सही है क्या मर्ज़ी
बोलो तो सही है क्या मर्ज़ी
लीजिये दिल का नज़राना
लीजिये आँख का शुक्राना

और भी दुनिया में लाखों चाँद हैं
आपके आगे मगर वो माँद हैं
और भी दुनिया में लाखों फूल हैं
आपके आगे मगर वो धूल हैं
हाजिर है तुम्हारा मस्ताना
बोलो तो सही है क्या मर्ज़ी
बोलो तो सही है क्या मर्ज़ी
लीजिये दिल का नज़राना
लीजिये आँख का शुक्राना
ये प्रीत बनेगी अफसाना
बोलो तो सही है क्या मर्ज़ी
बोलो तो सही है क्या मर्ज़ी
लीजिये दिल का नज़राना
लीजिये आँख का शुक्राना

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