Advertisements

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

Posts Tagged ‘1938


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 :

3721 Post No. : 14657 Movie Count :

4005

Today’s song is from a very old film, Raja Gopichand-1938. The film was made by Saraswati Cinetone, Poone in Hindi and Marathi. The film was directed by Bhal G Pendharkar. The music director was C.Balaji. Name of the Lyricist is not mentioned in HFGK. The cast of the film was Chandrakant, Ranade, Chandraprabha, Miss Leela, Usha, Dinkar Kamanna etc.etc. The story was written by Pendharkar and it was translated by Shri Arun, B.A., for film’s Hindi version.

Saraswati Cinetone was a film making company owned by one of the Pioneers of Talkie films in India- Dadasaheb Torne. He is one of those less fortunate people in the film industry, who failed to get the credit of being the First to make a full length Silent film in India. But there are a large number of people in India, who believe that the first film in India was made by Torne and not Phalke. Torne achieved that feat one year before Phalke released his film in 1913. Saraswati Cinetone was one of the major film making company in India in those days.

The young man who migrated from Konkan to Mumbai in search of a new horizon was the pioneer of Indian cinema, Ramchandra Gopal alias Dadasaheb Torne. Unfortunately, this name did not find its rightful place in the history of Indian cinema. Dadasaheb Torne, who had a flood of accolades for his various achievements in the film industry, lost his life’s work in real floods that occurred on July 12, 1961, when the swollen waters of Mutha River destroyed all the valuable negatives, photographs, documents after bursting from Panshet dam near Pune.

The forgotten father of Indian Cinema Ramchandra Gopal alias Dadasaheb Torne made the first ever Indian film ‘Pundalik’ which was screened at the Coronation Cinematograph in Mumbai on May 18, 1912. That was one year prior to Dhundiraj Govind alias Dadasaheb Phalke’s ‘Raja Harishchandra’ which was released at the same venue on May 3, 1913.

Born on April 13, 1890, at Sukalwad in Malvan taluka of (undivided) Ratnagiri district (now Sindhudurg district) Dadasaheb Torne lost his father when he was three years old. His mother Radhabai brought him up. Due to financial difficulties he could not get higher education.

After being involved in the distribution of full-length (30-40 minute long) English films in India, he hit upon the idea of film making, and founded his own studio ‘Saraswati Cinetone’ (1931) in Pune. Under Saraswati’s banner he produced memorable movies like ‘Shyamsundar’, ‘Aut Ghatkecha Raja’, ‘Bhakt Pralhad’, ‘Chhatrapati Sambhaji’, ‘Thaksen Rajputra’, ‘Savitri’, ‘Raja Gopichand’, ‘Bhagva Jhenda’, ‘Majhi Ladki’, ‘Devyani’.

‘Shyamsundar’-32 was the first ever Indian movie to celebrate silver jubilee. Dadasaheb Torne introduced the first ever double role in ‘Aut Ghatkecha Raja’. He was equally proficient in editing and sound recording. He successfully experimented trick scenes in ‘Bhakt Pralhad’ and ‘Savitri’ in the decade of 1930-1940 when the film technique was not advanced.

He gave first break to artists like Rose, Shahu Modak, Dada Salvi, Jayashri (Shantaram), Dinkar Kamanna (Dhere), Ratnamala (Kamal Desai) and Indurani.

Many famous music directors of the earlier years, such as Annasaheb Mainkar, Sureshbabu Mane, C. Balaji and Vinayakbuwa Patwardhan were introduced by Torne.

Dadasaheb Torne also worked as a manager at Maharashtra Film Company, Kolhapur from 1920 to 1924, and worked as a general manager at Laxmi Cinetone, Royal Art Company, Imperial Film Company and Sagar Movietone, later.

Dadasaheb Torne breathed his last on January 19, 1960 in Pune.

Movies produced: ‘Pundlik’ (1912), ‘Sati ka Shaap’ (1923), ‘Prithvivallabh’ (1924), ‘Neera’ (1926), ‘Sindbad Khalasi’ (1930).

Movies produced under the banner of ‘Saraswati Cinetone’: ‘Shyamsundar’ (1932), ‘Aut Ghatkecha Raja’ (1933), ‘Bhakt Pralhad‘ (1933), ‘Chhatrapati Sambhaji’ (1934), ‘Thaksen Rajputra (1934), ‘Krishna shishtai’ (1935), ’Savitri’ (1936), ‘Raja Gopichand’ (1938), ‘Sach Hai’ (Hindi-1939), ‘Bhagva Jhenda’ (1939), ‘Majhi Laadki’ (1939), ‘Devyani’ (1940), ‘Narad Naradi’ (1941), ‘Navardev’ (1941), ‘Awaz’ (Hindi-1942).

As far as the star cast is concerned,lead actor Chandrakant ( father of today’s award winning actor Vikram Gokhale) was given this name by pendharkar. His real name was Gopal. The lead Heroine Leela was Leela Chandragiri, about whom I have written in details in my article on film Alakh Niranjan-40. Dinkar Kamanna( Dhere) was a famous and popular comedian on Marathi drama stage.

Let us now come to the Music Director C.Balaji. I am sure, hardly anyone has ever heard his name so far. it is natural also, because Balaji gave music only to 2 Hindi films. The other film was Paisa-41. Both his films were bilingual-in Hindi and Marathi. Basically Balaji was a marathi film composer. He was the first music director to change his name to look like a South indian name. C.Ramchandra came much later.

His real name was Balaji Gopal Chougule. Originally his family was from Kolhapur, but he was born at Varanashi on 12-10-1913. After the death of his maternal grandfather Balaji came to Kolhapur. here he learnt music from Ustad Manji khan (son of Ustad Alladiya khan), Shankarrao Sarnaik and Govindrao Tembe. Tembe taught him the skill to give music to films.

He started working with some drama companies like Kirloskar natak mandali and Yeshwant Sangeet mandali, as a Harmonium player. In 1937, he became assistant to Govindrao Tembe for film ‘Pratibha'(Hindi/marathi). When Tembe left the film halfway, he completed its music, but his name was not credited. He got his first Marathi film independently, Kanhopatra. Its songs became very popular. Pendharkar gave him Raja Gopichand-38 as an independent MD. Later he did another film in Hindi/Marathi, Paisa-41.

In 1945, Balaji started learning music again, this time under Bhurji khan(youngest son of Alladiya Khan). Balaji gave music to 5 Marathi films and 2 Hidi/Marathi films. When Shivaji University started in Kolhapur in 1962, he started an agitation for inclusion of Music in its curriculum. His efforts bore fruits and it was done in 1964. He gave tutions of Music in his last days. C.Balaji expired on 11-9-1984 at his home town, Kolhapur.

The story of Raja Gopichand is from Navnath Pothi.

When I was about 6 to 7 year old, during the visits to my Naani’s (maternal grandmother’s) home in a village, I used to hear a typical call, ‘ Alakh Niranjan ‘ from the gossain, who stood outside the door. Someone from the house used to give uncooked food material like rice, wheat or jowar. Even wheat atta was given. These gossains had a jholi (a spacious carrying bag made of cloth), having 4-5 compartments and they would expertly add the bhiksha to the appropriate compartment. They never took money. These people were the desciples of Nath Sampraday and used to visit a fixed number of houses for Bhiksha. They were also called by the name avadhoot (अवधूत) (a mystic or a saint who is beyond ego-consciousness, duality and common worldly concerns).

A brief description of the Nath Sampradaay . It is likely that some of our readers may not be familiar with the details behind these names. In the Hindu Sanaatan traditions the worship of Lord Shiva is called Shaivism and the worshippers and followers of Lord Shiva are called Shaivs. Nath Sampradaay is a sub tradition within Shaivism. The followers of this tradition consider Adinath or Lord Shiva as their first Lord. The word Nathimplies Master. In this tradition, there is a lineage of nine Gurus or Teachers. The form of sadhna practiced by the followers of this tradition is called Hath Yog (हठ योग).

The first Guru in this lineage is Matsyendra Nath, who is better known as Machhindra Nath (मच्छिंद्रनाथ). The traditional history recounts that Matsyendra was born under an inauspicious star. This warranted his parents to throw the baby into the ocean. In the ocean the baby was swallowed by a large fish, and he lived and grew up inside the belly of the fish, for many years. The fish swam to the bottom of the ocean where Lord Shiva was imparting the secrets of yoga to Mata Parvati. Matsyendra overheard this discourse and learnt the secrets of yoga. He began to practice this yog sadhana inside the fish’s belly. After twelve years he finally emerged as an enlightened Siddha.

There is a list of Nine Nath Gurus, who are called Navnath. The first Nath Guru is Machhindra. The complete list is as follows

Machhindranath
Gorakhnath
Jalandhar Nath
Kanif Nath (Kanhoba)
Gahini Nath
Raja Bhartrihari Nath (Bharthari)
Revan Sidha Nath
Charpati Nath and
Naag Nath.

The stories surrounding every Nath Guru, especially the earlier ones, are very exciting, thrilling and entertaining. One must read them from the original Nath Puraan or Nav Nath Pothi. I have read all of them. These stories are in no way less than any Arabian Night stories. Due to their entertainment value, several films in several languages have been made on the early Gurus like Machhindranath and Gorakhnath. Films on Machhindranath were made as ‘Maaya Machhindra’ in Hindi, in 1932, 1951, 1960 and 1975. Films on Gorakhnath as ‘Alakh Niranjan’, were made in 1940, 1950 and 1975. Films on Bharthari were made in 1932 and 1944. Films on other Naths were made as ‘Raja Gopichand’ in 1933, 1938 and 1950. Same way films on Naths in Telugu, Tamil, Gujarati and other languages were also made. There could be some more films also on this subject.

Raja Gopichand was the son of Raja Bharthari nath’s sister and was blessed by him and Gorakhnath. The story of Raja Gopichand is..

King Padmasen and queen Mainavati had a son Gopichand and a daughter Chandravali. In due course, Gopichand got married. He got a daughter. He was married again and now also a daughter was born. He was married 16 times and he got everytime a daughter only. Queen Mainavati requested her brother Bharthari nath to help. He advies Gopichand to go to forest and do Penance for 5 years. He did the penance. After the 5 years, once he went , as usual , to get Bhiksha and by chance he visited his sister Chandravali’s home. Seeing her brother as a Gossain, she died in grief. Gopichand met Gorakhnath and requested him to make his sister alive again. Pleased by his love for sister, Gorakhnath not only brought alive Chandravali, but also blessed Gopichand for a Son.

Gopichand returned to his kingdom. He was crowned the king and in due course he got a son also.

Today’s song is sung by Leela Chandragiri. This is a rare song. With this song, MD C.Balaji and the film Raja Gopichand-38 are making its debut on the Blog.

( Credits- Marathi Sangeetkar Kosh, marathisanman.com, theneutralview.com, amarujala.com, wiki, HFGK,and my notes)


Song-Laalan tum ho bade hathheele (Raja Gopichand)(1938) Singer-Leela Chandragiri, MD-C Balaji

Lyrics

bade hathheele
laalan tum ho bade hathheele
laalan tum ho bade hathheele
bade hathheele
laaj lajeele
laalan tum ho bade hathheele

roothh gaye kya
tumhen manaaun
roothh gaye kya
tumhen manaaun
aao
tum par bali bali jaaun
aao
tum par bali bali jaaun
laalan tum ho saaj sajeele
bade hathheele
laaj lajeele
laalan tum ho
bade hathheele
laalan
bade hathheel

kyon chup ho
kuchh bolo bolo
bolo bolo
maa ki mamta man se tolo
maa ki mamta man se tolo
laalan
tum bin naina geele
bade hathheele
laaj lajeele

laalan tum ho
laalan tum ho
laalan tum ho
bade hathheele

Advertisements

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 : 3689 Post No. : 14596

Today’s song is from film ‘Divorce’ (1938) – aka ‘Talaaq’. The song is sung by Sheela, lyricist was Pt. Anand Kumar and the MD was Meer Saheb (assisted by Ramchandra Chitalkar). The cast of the film was Naseem Bano, Gajanan Jagirdar, Prem Adib, Sheela, Vimla, Navin Yagnik, Khan Mastana etc. The film was made by Minerva Movietone and directed by Sohrab Modi. Divorce was one of the 3 films Modi made based on social problems. First film was ‘Meetha Zafar’ on alcohol habit, ‘Divorce’ was on separation of a couple and ‘Bharosa’ was on a very taboo and sensitive issue like incest.

One name in the cast is of Gajanan Jagirdar. We all know the famous actor and director Gajanan Jagirdar (real surname Jahagirdar. B 2-4-1907 D- 13-8-1988), but few know that he was branded ‘unlucky’. ‘Padosi’ (1941) was Jagirdar’s first film with Prabhat film company. By the time the film was complete Shantaram and his some friends left Prabhat making it crippled. Second time Jagirdar worked in  film ‘Ramshastri’ (1944) for Prabhat, the important partner Vishnupant Damle died and Prabhat almost collapsed. The third time Jagirdar worked for Prabhat in film ‘Lokmanya Tilak’, the company was auctioned and closed down for ever ! When Jagirdar worked in “Shahir Parshuram”of Mangal pictures, the company went bankrupt and closed down. In 1953, top production company Alhad Chitra employed Jagirdar for a bilingual film, ‘Mahatma’ (1953), not only the film flopped, it drowned the company and the Producer Datta Dharmadhikari came on the road. For survival he started a roadside kitchen !

Jagirdar started as a freelancer in the industry, in the film studios of Prabhat Films and Minerva Movietone and later acted and directed in a number of films post his accidental debut ‘Jalti Nishani’  in 1932.  He was hand-picked by V Shantaram to act in ‘Jalti Nishani’ when actor DD Mane wasn’t able to say the Urdu dialogues onscreen properly. And even though he was only 25, he enacted the part of a 75-year-old with aplomb.

Jagirdar began acting on the stage as a young child. As he grew older, he formed Arun Players, a theatre group which enacted plays like Harindranath Chattopadhyay’s ‘Returned from Abroad’ to Anton Chekhov’s ‘The Cherry Orchard’.

Not bound to any one studio, he worked as a freelancer for most of the major films studios of the time — from Prabhat Films to Minerva Movietone. At Prabhat, he began with writing the  English inter titles for films. He also taught the Prabhat artistes Urdu dialogue delivery. He assisted Bhalji Pendharkar for a bit and directed a few films like ‘Begunaah’ (1937) for Master Vinayak’s banner Hans Pictures. Later, he moved on to work as a scenarist (screenwriter) for Minerva Movietone’s ‘Meetha Zahar’ (1938) and ‘Divorce’ (1938). He also worked with filmmaker PK Atre, both as actor and director in a few films.

For V Shantaram’s last film with Prabhat Films, the famed director took up the issue of communal tension in the country. Jagirdar played the Muslim character Mirza, while Mazhar Khan played the Hindu character, Thakur in the bilingual. ‘Padosi’ was a critical and commercial hit at the time.

‘Ramshastri’ (1944) was a landmark bilingual film on Peshwa Madhavrao’s chief justice and one of the last classics produced by Prabhat Films. The film went through three directors — Raja Nene, Vishram Bedekar shot portions of the film before Gajanan Jagirdar, who was playing the lead character Ramshastri Prabhune, took over to finish it. It is said that V Shantaram also directed parts of it.

In Asit Sen’s ‘Apradhi Kaun’ (1957), Jagirdar played double role as two brothers Shrinath and Dinanath. It was a fantastic opportunity for the actor. As the wealthy Shrinath who has   inherited all of the ancestral property, Jagirdar was cool and composed. Meanwhile, as the down-on-his-luck brother Dinanath, Jagirdar transformed himself and his body to differentiate the two. Jagirdar acted in 147 films, directed 17 films and wrote 13 songs in film ‘Sant Tulsidas’ (1934).

Prior to his career in films, Jagirdar was also a teacher and later also taught acting. He became the first principal of the Film and Television Institute of India (FTII) in 1960, but resigned after a year.

He wrote two autobiographies that were published in 1971 and 1986. Additionally, he also wrote a book on acting which explored the Konstantin Stanislavsky’s method to the craft.

The film’s songs were written by Pt. Anand kumar. He was born in Delhi in 1907. He was a producer, director, writer and lyricist. From childhood, he was not interested in studies in English medium. He was taught Urdu, Hindi and Sanskrit by his poor Brahmin Shastri father. When he was 15 year old, he entered a business. He was always discontented. He wanted to become an actor, but family resisted. He tried fasting and even suicide. Then he stole some money and ran to Bombay. He could not get into any studio and after money finished, he returned to Delhi, only to take more money and run to Bombay again. Even after this failure, he went back to Delhi and started writing stories.

His first book ‘Mera Haq’ became a hot seller and he started earning money. He was invited by film people and he went to Bombay nth time. He wrote stories, dialogues and Lyrics of scores of films and earned name and money. He produced a film ‘Zameen’ (1943), under his own banner Anand Brothers. He directed 5 films,including a hit marathi film, ‘Gora Kumbhar’ (1942). Some of his films as a Lyricist were ‘Suvarn Mandir’ (1934), ‘Katle Aam’ (1935), ‘Pratibha’ (1937) ‘Divorce’ (1938), ‘Saathi’ (1938), ‘Alakh Niranjan’ (1940), ‘Punarmilan’ (1940), ‘Charnon Ki Daasi’ (1941), ‘Raja Rani’ (1942) etc. As a writer some films were, ‘Divorce’ (1938), ‘Honhaar’ (1936), ‘Saathi’ (1938), ‘Vasantsena’ (1942), ‘Rang Mahal’ (1948) etc.

Today’s song is sung by Sheela.  Sheela (real name – Roshan Ara) was born on 13-3-1925 at Sholapur-Maharashtra. Her father was Station Master at Sholapur Railway Station.

Once Sohrab Modi had come to Sholapur with his drama company. He went to the station to do reservations and saw Sheela. They got to know each other and he proposed to give her roles in his films. Thus Sheela came to Bombay in 1936 and Joined Minerva Movietone as a singer/actress.

Her first film was ‘Khan Bahadur’ (1937), in which she sang and acted. Then came ‘Jailor’ (1938) in which she sang 4 solo songs under MD Mir Sahib. Then ‘Divorce’ and ‘Meetha Zahar’ came.

She became famous only after her songs in ‘Pukar’ (1939). ‘Bharosa’, ‘Wasiyat’ and ‘Sikander’ also gave her name and fame. In ‘Sikander’ she had 6 songs out of total 7 songs. The famous song “Zindagi Hai Pyaar Se” also has her voice in the chorus. She was heroine in film ‘Wasiyat’ (1940).

‘Ulti Ganga’, ‘Bhakta Raidas’, ‘Prithvi Vallabh’, and ‘Patharon Ka Saudagar’ were all Minerva films. She had also done films elsewhere – ‘Alladin and Wonderful Lamp’, ‘College Girl’, ‘Gaibi Gola’, ‘Jahan Ara’, ‘Keemti Qurbani’, ‘Sansar Naiya’, ‘Shaitan Ka Paash’ etc. After 1943, she almost stopped working. Only in ‘Beete Din’ (1947) and lastly in ‘Billi’ (1949)’ sang songs, which was a stunt film of Nadia and Cavas.

She had married the actor Rama Shukla, in 1947. He was a Kanauji Brahmin and the families had terrible opposition to their marriage. The marriage was by Registration. Only 4 friends were present in the marriage. They had one son and one daughter. Rama Shukla died by heart attack in the 50s.

Her voice had a peculiar mixture of muslim style of Amirbai Karnataki and Marathi slant of Shanta Apte.

There is an anecdote with one of her songs. When film ‘Pukar’ was in the making, C Ramchandra was working as an assistant to MD Meer Saheb. He has mentioned in his autobiography also that in the absence of Meer saheb, he used to insert his tunes to songs as Meer Saheb’s. This was known to many, except, may be, Meer Saheb himself. One of the very popular songs sung by Sheela “Tum Bin Hamri Kaun Khabar Le” was actually composed by C Ramchandra. This is supposed to be CR’s first composed song. The credit, of course, went to Meer Saheb.

The song is very sweet and is sung also nicely.

(Credits- Swaron ki Yatra, Cinerang by Mujawar, Film Directory, Hindi Film Singers by Prof Yadav, HFGK, MuVyz and my notes.)


Song – Wo Aayen Na Aayen Yahaan Sajni (Divorce) (1938) Singer – Sheela, Lyrics – Anand Kumar, Music – Meer Saheb

Lyrics (Provided by Sudhir)

wo aayen na aayen yahaan sajni
wo aayen na aayen yahaan sajni
ghar hum ko aaj sajaana hai
ghar hum ko aaj sajaana hai

wo dekhen na dekhen hamen un ko
wo dekhen na dekhen hamen un ko
dil apna aaj dikhana hai
dil apna aaj dikhana hai
wo aayen na aayen yahaan sajni
wo aayen na aayen yahaan sajni
ghar hum ko aaj sajaana hai
ghar hum ko aaj sajaana hai

chaahe tum to kahaani bahut hi padhi
chaahe tum to kahaani bahut hi padhi
hamen apne haal sunaana hai
hamen apne haal sunaana hai

un ko apni kehte kehte
un ko apni kehte kehte
un ke dar par mit jaana hai
un ke dar par mit jaana hai

is raah ki khaaq mili jo hamen
is raah ki khaaq mili jo hamen
un ke kadmon ka thikaana hai
un ke kadmon ka thikaana hai
wo aayen na aayen yahaan sajni
wo aayen na aayen yahaan sajni
ghar hum ko aaj sajaana hai
ghar hum ko aaj sajaana hai
wo aayen na aayen yahaan sajni. . .

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

वो आयें ना आयें यहाँ सजनी
वो आयें ना आयें यहाँ सजनी
घर हमको आज सजाना है
घर हमको आज सजाना है

वो देखें ना देखें हमें उनको
वो देखें ना देखें हमें उनको
दिल अपना आज दिखाना है
दिल अपना आज दिखाना है
वो आयें ना आयें यहाँ सजनी
वो आयें ना आयें यहाँ सजनी
घर हमको आज सजाना है
घर हमको आज सजाना है

चाहे तुम तो कहानी बहुत ही पढ़ी
चाहे तुम तो कहानी बहुत ही पढ़ी
हमें अपना हाल सुनाना है
हमें अपना हाल सुनाना है

उनको अपनी कहते कहते
उनको अपनी कहते कहते
उनके दर पर मिट जाना है
उनके दर पर मिट जाना है

इस राह की खाक़ मिली जो हमें
इस राह की खाक़ मिली जो हमें
उनके कदमों का ठिकाना है
उनके कदमों का ठिकाना है
वो आयें ना आयें यहाँ सजनी
वो आयें ना आयें यहाँ सजनी
घर हमको आज सजाना है
घर हमको आज सजाना है
वो आयें ना आयें यहाँ सजनी॰ ॰ ॰


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 : 3676 Post No. : 14564

Today’s song is from film Watan-1938.

This was a film made by Sagar Movietone. Those days, Sagar was a powerful film making company. They had the best of directors, big stars and MDs. Directors like Mehboob. Sarvottam Badami, Chimanlal Luhar, Ramchandra Thakur, Zia Sarhadi, Ezra Mir ( real name Edwyn Meyers), Virendra Desai,Nanubhai Vakil etc gave famous and popular films. However, not all films made by Sagar were High Class. Film ” Watan” was also one such film, which probably worked as a ‘ filler ‘ for Sagar. 1937 and 1938 were the Golden years for Sagar, in which the company gave popular films like Jagirdar-37, Mahageet-37, Gramophone singer-38 and 300 days and after-38.

Film Watan-38 had a cast of Kumar, Bibbo, Sitara Devi,Maya Banerjee, Yakub and other regulars of Sagar. The film also included Ram Marathe ( credited as Ramchandra), who became a very famous classical singer in later years. The film was directed by Mehboob and the music was by Anil Biswas. Initially Sagar had their favourite MD, S.P.Rane, who was a Maharashtrian from Gujarat. Out of Sagar’s first 18 films, Rane was MD for 15 films. Anil Biswas was associated with Sagar from film Manmohan-36, as an assistant to Ashok Ghosh. Independently, his first film was Jagirdar-37. Later he gave music to 11 more films of Sagar and 2 films of National Studios. he and director mehboob Khan teamed up in 6 films and were very good fiends-till a misunderstanding cropped up, after Sagar merged into National Studios. After this they never worked as a Team.( In 1956, Anil Biswas gave music to film Paisa hi Paisa, made by Mehboob Productions . However, the film’s director was Mehrish- who had insisted for Anil Biswas- and not Mehboob. During the film’s making, Mehboob avoided meeting AB and even left on foreign tour without meeting him even once ! ).

The Hero of the film Watan-38 was Kumar. Actually his real name was Syed Hasan Ali Zaidi. The change of his name to Kumar was part of an interesting story. Anyway, one can easily say that Kumar was the pre-cursor to the unlimited crop of various Kumars that we saw in the decades of 50s onwards.

In Hindi film industry, changing the name of the artiste was nothing new. One thing is sure. This trend of changing names was started by Kumar only. Many actresses changed their names after coming in films. Some did it because they wanted to hide their religion and some did it as there were artistes with the same name already in films. For example, Shyama. There were already 2-3 Khurshids in the films and her real name was Khurshid, so she changed it. Similarly, Meena Shorey’s name was also Khurshid. Some of the actresses who changed their names were, Jyoti, Renuka Devi, Purnima, Meena kumari, Madhubala, Rattanbai, Madhuri, Pramila, Sabita Devi, Bimla kumari, Indira Devi, Latika, Seeta Devi, Manorama, Nadira, Meera etc etc.

In case of male actors, the name changing percentage was mush less. Few cases like Ashok kumar, Kishore kumar,Ranjan,Dilip kumar,Manhar Desai and some more can be counted. Male name changing was seen in as late period as the 80s and 90s too. Cases in point are Rajesh khanna, Akshay kumar etc etc.

Actor KUMAR was born in the prestigious family of Syed s of Lucknow-UP in India,on 23-9-1903.His real name was SYED HASSAN ALI ZAIDI.
His family used to call him MIJJAN Miyan.

He was a handsome and tall person.He was keen on joining cinema,so he came to Calcutta and joined New Theatres. After doing side roles in Subah ka Tara and Zinda lash,he was hero in PURAN BHAGAT in 1933.Even Saigal was also in the film.The film was about to be released and suddenly communal riots broke out in Calcutta.The new Theatre management found it difficult to announce a muslim name of the hero of PURAN BHAGAT,in the tense atmosphere of Calcutta.The director of the film was kumar Debaki Bose,a person from a Royal family.He took a dicision and told Mijjan,” from today,I am giving you a part of my name.You will become KUMAR now.”This solved the film release problem and thus his name became KUMAR,then onwards.Truly enough,Debki Bose,thereafter, never used his name Kumar again in his life !

After doing Yahudi ki Larki,Kumar came to Bombay. First he worked in Sagar ( 5 films) , Imperial (2 films)and then joined Ranjit Studios.
In 1939,he married another actress PRAMILA ,who was actually a Jew, Esther williams. Pramila was later India’s FIRST Miss India in 1947.They got a son and a daughter Naqi Jehan(who too became a Miss India in 1967,exactly 20 tears after her mother. Naqi acted opposite Rajesh Khanna in Akhari Khat,as a Heroine.Later she married into the business family of Kamdar of Bombay and became mrs.Nandini Kamdar. Kumar had 3 sons from his earlier marriage.

Kumar did many films in Ranjit,but in 1942,he was removed from Ranjit.At the same time,his friend,CHANDRAMOHAN also left Minerva Movietone( reason-despite PUKAR-39 being a blockbuster,his salary was not increased inspite of a promise by Sohrab modi).They both decided to lauch own company and on 16-3-1942,SILVER FILM CO. was launched.Its first film was Jhankaar.They produced Bhalai,Bade Nawab Saab,Devar,Naseeb,Dhun and Bahana.Kumar acted in these films.he also directed Dhun and Bahana.

He produced and directed Aap-Beeti-1948 under his company,Kumar Studios.Then under Shama prodn. he made Nahle pe dehla,Dhoom Dham and Dilbar.
later in life he made badal aur bijlee and jungle king under Artists United films. Kumar worked in 73 films as an actor from 1932 to 1963.

From Najma in 1943,Kumar did only character roles in films like bhishm pratigya,Dayara,mahal,Shri 420,khiladi,Maalik,Baiju Bawra,yahudi ki ladki. His memorable role was in Mughal e Azam,that of the sculptor and a famous song-‘Aye mohabbat zindabad’ was shot on him. His last film was Raat aur Din (released in 1967)

In 1963, Kumar migrated to Pakistan, and started to work in Pakistani films without any delay. His son, S. A. Hafiz, who made Tauba, later became one of the best and well known directors of the country. Later he settled in USA. Kamal and Zeba played the lead in Tauba, which became a grand success. Kumar worked in quite a few Pakistani films, including Head Constable, Azad, Shabnam, Naela, Saiqa, Sajda (his own film), Hum Dono, Nadya Ke Paar, Ik Musaflr Ik Hasina, Baalam etc. Kumar died in 1982.

Film Watan-38 was directed by Mehboob Khan. He directed 8 films for Sagar and 1 (Aurat) for National Studios. This film, with a Muslim cultural backdrop, was released on the day of Eid. The film was dominated by grand sets and costumes. The story was usual. Conflict between Kazak and Tatar communities, lasted many generations. The film was a complete entertainment package, consisting of Dances, songs, war scenes, Enemity, Revenge, overwhelming costumes and love scenes, in a proportionate manner.

The music was composed by A.Biswas. All songs were written by Wajahat Mirza. Today’s song, ” Kyun hum ne diya dil ” by Sitara Devi was the most popular song of the film. There were total 10 songs. One of the songs-a duet by Anil Biswas and Bibbo was based on the tune made by kazi nazrul Islam ( Nazrul Geeti).

Today’s song is extremely enchanting and I would list it as the best song of Sitara Devi ( she sang 100 songs in 33 films). It truly sounds as a sad and remorseful song. The words of the song remind me of a duet by Surendra and Shamshad begum ” Kyun unhe dil diya” from film Anokhi Ada-48, composed by Naushad.


Song-Kyun hamne diya dil (Watan)(1938) Singer-Sitaara Devi, Lyrics-Wajahat Mirza, MD-Anil Biswas

Lyrics

Kyun ham ne diya dil
thha kiska ishaara
Kyun ham ne diya dil
thha kiska ishaara
aur kis ne kaha thha
ham tumse kahen kya
aur kis ne kaha thha
ham tumse kahen kya
Kyun ham ne diya dil
tha kiska ishaara
Kyun ham ne diya dil

wo khwaabon mein aana
dil mera churaana
wo khwaabon mein aana
dil mera churaana
aur deke ye jaana
aur deke ye jaana
kyun kaisa liya dil
aur keh ke ye jaana
kyun kaisa liya dil
kyun hamne diya dil
aankhon ka ishaara
kyun hamne diya dil

parwaana na aata
kyun shola jalaata
parwaana na aata
kyun shola jalaata
kabhi ishq bulaata(?)
kabhi ishq bulaata(?)
kaahe ko diya dil
ab ishq bulaata
kaahe ko diya dil
donon ne diya dil
aashiq(?) ka ishaara
kyun hamne diya dil


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 : 3672 Post No. : 14552

Today’s song is from film Jailor-1938, made by Minerva Movietone and directed by Sohrab Modi.

Thousands and thousands of actors, directors and musicians worked in this film industry, since films started. Not all of them are known or remembered by people. 95 % of these people are not remembered today. Most names had no faces. They were in the films without any specific personal identity. 5% names are known to many, but it is the special few names which became permanently etched in the minds of people.

You can ask 10 persons to list out 10 names of film personalities, who gave their major contribution or were famous so much that they can not be forgotten. On checking this list of 100 people, you will find certain names repeated in almost every list. Names like Saigal, Dilip kumar, Dev Anand, Rajkapoor, Ashok kumar and Sohrab Modi are certain to be in all the lists. Their contribution to Hindi cinema is unmatched.

Sohrab Modi is remembered fondly by the film buffs for his towering personality, solid voice and his forceful dialogue delivery. Actually, Modi was much more than that. He was the first and the only film maker who took up Historical subjects to make films that left a long lasting impression on the film goers. He loved to do the roles of Historical persons ( actual or mythical) and deliver long dialogues in his resonant voice, clear diction and superb voice modulation.

Sohrab Modi developed these qualities from his stage acting days. In his growing up age at Rampur, he had spent hours in the library of the local Nawab, where his father worked as a Superintendent. This gave him a command on Urdu language. Added to this was his brother Rustom’s drama company ” The Arya Subodh Natak Mandali” in which he acted. In 1935, the brothers set up the ” Stage Films ” to film the two dramas, namely Hamlet aka Khoon ka khoon and Sayeed E Hawas, based on Shakespeare’s play King John, as movies. However, these movies did not do too well, as the audience had seen them on stage several times.

Modi’s Minerva Movietone was established in 1936 by Sohrab Modi and his brother Rustom. It emerged from Stage Films, set up in 1935 to film the stage repertoire of Rustom’s group, Arya Subodh Natak Mandali. Renowned for big-budget historicals, the studio benefited from the Modi family’s existing distribution interests in Gwalior, expanded by the third brother, Keki Modi, into Western India Theatres, owning a chain of 27 theatres in 10 cities. Set up the first Technicolor laboratory (1952) with Film Group and made Jhansi Ki Rani (1953). From 1936 to 1960 Minerva made 28 films. A very impressive score indeed. Modi directed 20 of them. In all Modi acted in 32 films and directed 27 films.

In 1937, Modi made a film ‘Atma Tarang”…..which was a disaster at the box office with just 20 persons in the audience. He was devastated and decided to quit making films. After the show, 4 persons from the audience came to him and congratulated him for making this nice film. They wished him all the best for his future films and left. Later Modi came to know that they were Bombay High court judges. This incident infused him with new hopes and enthusiasm. This changed his life. Initially he focused on making films on social evils like Drinking (Meetha Zehar-38), Husband-wife separation ( Divorce-38) and Incest ( Bharosa-40 ).

However, making film Pukar-39 changed his outlook and set his goals for the future’ for Historical films. Pukar-39 was actually shot in real courts and Mughal Palaces to give it authenticity. For his next film Sikander-41, he brought in Prithwiraj Kapoor for the role of Sikander and he himself took the role of Porus. The film employed high values of Costumes and Props of that era. The entire film was , however, shot with only one camera. His third film was Prithvi Vallabh-43, which was an adaptation of K.M.Munshi’s novel. In this film Modi enacted a dangerous stunt scene of being trampled to death by an Elephant.

His last Historical film was “Jhansi ki Rani”-53. he had hired the best Hollywood technicians. it was shot directly on 35 mm film, and was in technicolor. Modi had borrowed real weapons from Defence ministry, for the shootings. His next film ‘ Mirza Ghalib-54’ won President’s Gold medal ( now called the National Awards), to become the First Hindi film to win it. However this and his next film ‘ Nausherwan E Adil’-57 could not save Minerva’s from running into loss. It made only 2 more films- Jailor-58 and Mera Ghar mere bachhe-60, before closing down production.

Sohrab Modi was probably the only film maker in Hindi films, who handled many genres like Historical, religious, musical, Costume, Social, Action, Reformative, War, psycho Analytical etc etc.

Sohrab Modi was born in Parsi family on 2nd November, 1897. His parents were Parsi civil Servants. For few years he stayed among Parsi community in Bombay. Sohrab Modi childhood was spent with lot of activities. As he grew up, he displayed more interest in exercise and sports. He was seriously sick several times during his childhood and he had to be hospitalized a few times as well. All that led to his tall but thin physique. Later on he was very active. In school he was an average student, he never got hooked to History subject. Many times teacher complained to his his parents for lagging behind in history subject. His parents left no stones unturned to make him study but it all those efforts went in vain.

But Sohrab was good in sports and from childhood he was interested in exercise which helped him to develop his personality in stage acting. Later he shifted with his family to Rampur in Uttar Pradesh. At the age of 14 -15 his mind absorbed many interesting things in acting as he watched silent movies. Soon his mind got diverted toward stage acting.

Sohrab Modi only acted as an extra or side role which was not very helpful to him in furthering his career. But Sohrab was bidding for his time looking for the opportunity where he could act as a leading actor. Very soon he got an opportunity and made his breakthrough. Soon He earned the reputation as Shakespearean actor. Sohrab Modi’s elder brother Rustom helped him in stage acting and people appreciated Sohrab Modi’s acting.

As Sohrab grew up, his personality kept developing. His personality suited the role of king. His portrayal of King in his two plays ‘Khoon Ka Khoon’ and ‘Saed-E-havas’ were additional feathers in his acting cap.

Sheesh Mahal was one of the better movies by Sohrab Modi. It was observed that even blind people were sitting on booked seats. But they put there head down and heard the voice and dialogues of Sohrab Modi. It was for first time in history of cinema that Blind people had tears in there eyes while hearing the dialogues of Sohrab Modi. When one Blind man wasa asked how he enjoyed movie without watching the set up, the Blind man replied that he watched the movie from his heart and heard the dialogues which enabled him to visualise what was going on and so he was able to understand the movie. Ticket Money of these audience were refunded.

In 1976 Sohrab had complained about weakness and headache which were cured by common home remedies and he kept acting in the roles of father and grandfather. Sohrab Modi health kept deteriorating and he had to be hospitalised in 1979 but the true cause of his sickness could not be diagnosed. Sohrab Modi himself never believed that he was sick and he never allowed any Doctor to do any proper diagnosis of his ill health. His common dialogues to doctors were ‘Sher kabi bimar nahi padta Aur agar main bimar Hu to mai jald theek ho jaunga’. His heavy voice was enough to reassure Doctors that all was well and he was discharged within two days.

Soon after completing Razia Sultan, he had started new movie ‘Guru Dakshina’. But unfortunately this film was never completed. In 1981 or 1982 he was again hospitaled. Whole Kapoor Family visited the hospital to convince him to get all checking done. Doctors were 90% sure that Sohrab had cancer since the symptoms of Sohrab indicated that. Sohrab Modi was soon found to have cancer and immediately medications were bought from other countries. His condition led to his frequently hospitalisation. His kept losing weigh. He tried to involved himself to complete his ‘Guru Dakshina’ but his health did not allow him to do that.

On 2nd November 1984, at the age of 86, Sohrab Modi took breathed his last.

Today’s song is “Kaahe Ko Byaahi Bides”. This is a famous song by Amir Khusro. This has been used in several films like, Jhankaar-42, Heer Ranjha-48,Nadir Shah-68,Suhag Raat-48, Maang bharo sajna-80 and Umrao Jaan-2009, in addition to today’s song from film Jailor-38. It is also sung as a NFS by many famous singers. Mostly in films, the original song is mixed with some new lyrics and the credit is given to film’s lyricist. In film Jailor-38 too, the lyricist’s name is given as Kamal Amrohi.

Amir Khusrow ( 1253 to 1325 ) was a Sufi mystic and a spiritual disciple of Nizamuddin Auliya. He lived for 72 years, out of which 60 years he lived in the courts of as many as ten different rulers of the Delhi Sultanate. He was a poet as well as prolific musician. His primary language to write poems was Persian but he composed almost half a million verses in Persian, Turkish, Arabic, Braj Bhasha, Hindavi as well as the Khadi Boli. His Khaliq-e-bari, which is known as oldest printed dictionary of the world deals with Hindi and Persian words. He is regarded as the “father of qawwali”. He is also credited with enriching Indian classical music by introducing Persian and Arabic elements in it, and was the originator of the khayal and tarana styles of music. Khayal later reached to its zenith during the times of Mohammad Shah Rangile and today is integral part of Hindustani classical music. His association with various sultans enabled him to travel and stay in various parts of India and this gave him exposure to various local traditions. This helped him to assimilate diverse musical influences. He was patronized by three Khilji rulers successively.

The singer is Eruch Tarapore. He was a distant relative of Sohrab Modi and he worked only in Modi’s films. he worked in 16 films, right from Modi’s first film Hamlet-35 up to 1948. Eruch sang one song each in 3 films, Meetha zehar-38, Jailor-38 and Phir milenge-43. He died in 1948.
( credits- Cinestaan, Flash back-Isaq Mujawar, Hindi filmon ke geetkar, upperstall.com,MuVyz, HFGK and my notes.)


Song-Kaahe ko byaahi bades(Jailor)(1938) Singers- Eruch Tarapore, Lyrics-Kamal Amrohi, MD-Meer Sahab

Lyrics

kaahe ko byaahi bades
arey sun baabal mora
kaahe ko byaahi bades
arey sun

ham to baabul torey jhaad ki chidiya
ham to baabul torey jhaad ki chidiya
meh barsat udd jaayen re
meh barsat udd jaayen re
baabal mora
kaahe ko byaahi bades

[Ed Note: ‘meh’ = megh, baadal]


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 : 3668 Post No. : 14543

Today’s song is from a very old film of the 30s decade, ” Industrial India”-38. This is the first song from this film which makes its debut on the Blog.

When the Talkie films started in India, the enthusiasm of the film makers was such that they went on making a large number of films. In the first 10 years ( 1931 to 1940) of Talkie, a total of 924 Hindi films were made, an average of 92 films per year. This created a shortage of stories and film titles. The stories were made on same subjects and even in film titles, we find that some special words were used repeatedly for films. Here, I am not talking about common words like Tere, Mere, Shri, Bhakt, Alibaba, Allaudin, Aurat, Maa etc etc.

Let us take the word INDIA, for example. There were film Tiltles like Fashionable India-35, Romantic India-36, Industrial India-38 ( incidentally all these three films were directed by Mohan Sinha) and India in Africa-39. When I realised this, I went through the lists of films from 1931 to 1940 and I found that the word Jeewan was usde in * film Titles, like Jeewan Natak-35, Jeewan Naiya-36, Jeewan Lata-36,Jeewan Sangram-36, Jeewan Jyoti- 37, Jeewan Prabhat-37, Jeewan Saathi-37 and Jeewan Swapna-37. I also found that 3 words-Kaala,My, and Noor appeared in 7 film Titles. It was followed by Ghareeb and Song in 5 film titles each, Bhedi, Bulbul, Fairy, Bahadur and Gay- n4 film titles each and then 3 film titles with several words like Bharati, Chaar, Daaku, Lehri, Laal etc etc.

We find that from 1941 onwards, there was a variety in titles as well as in stories. Many new genres were tried by adventurous film makers. Romantic musicals became a popular genre from mid 40s. Films like Geeta-40 and Kismet-43 brought in light crime stories and from Sangram -50 onwards Crime films became bolder. The 50s decade was that of softer stories, musicals and mythologicals. The Film Wagon rode on and on with variety thereafter.

Coming back to today’s film Industrial India-38, it was directed by Mohan Sinha. He was born on 2-12-1903 at Indore. he studied upto matriculation in Indore. His uncle was General Bhavnani Singh, who was in the Indore state army. With his help, Mohan got in state army as a Lieutenant. However, he did not continue for long and left the army. In 1933, he started a film company at Indore-Navyug films. But due to lack of opportunities in Indore, it was closed soon.

Mohan came to Bombay, floated Krishna Films and made and directed a film ” Fashionable India”-35. It was a hit film and he got offers from Rajputana films,General FPictures, Circo and National. He worked with all of them. Sinha went to Calcutta and started Murli pictures. he made ” Swaraj ke sipahi”-37, which was a flop. he came back to Bombay and directed Industrial India-38, for General films. Then came Swastik-39, Laxmi-40,Anuradha-40 and Vanmala-41. He floated Murari Pictures in 1942 and made badlati Duniya-43 and krishnarjuna yudha-45 ( This film was appreciated by Dr. Rajendra prasad, Dr. Shamaprasad Mukherji, Veer Savarkar and Acharya kriplani also)

In 1946, Mohan Sinha directed K L Saigal in Omar khayyam and Surendra in 1857, Raj kapoor in Dil ki Rani-47 and Dev Anand in Jeet-49. Mohan Sinha directed in all 32 films. He wrote lyrics for 62 songs in 7 films. His last film was Shaan E Hind-60. He died in 1984. Mohan Sinha’s granddaughter Vidya Sinha was an actress.

The cast of the film consisted of Prem Adib, Shobhana Samarth, R Wasti, K N Singh, Mirza Musharaff etc.etc. Prem Adib and Shobhana Samarth paired first time in this film. Later they acted together in 11 more films. Their pair attained unprecedented fame and popularity when they were cast as Shri Ram and Seeta Mai- first in film Bharat Milap-42. Their popularity reached a zenith after film Ram Rajya-43 was released. Prakash pictures had struck Gold with this film They tried for the same magic by pairing them in film Raam Baan-48 and later in film Ramayana-54 ( it was made with parts of their earlier films).

Flush with fame and popularity, Prem Adib too jumped on the wagon and made a film Ram Vivah-49- under his own banner, Prem Adib pictures. However, the magic of Ram Rajya was waning and the later films did not have that kind of audience response anymore.

I have not seen this film, Industrial India-38, but my guess is that it was a social film with stress on developing industries in India. As in any social film, the comedian’s role was present and Mirza Musharff did it.

Through Mr. Ramesh Advani(son of Bhudo Advani), I got into contact with Mirza Musharraf’s daughter, who stays in Versova itself,where I too stay. I contacted them. Her husband Muneer Khan, a production manager of Feroze khan earlier gave me some information on Mirza Musharraf Agha. Together with my notes, his mini bio is here.

The name of MIRZA MUSHARRAF AGHA may not ring any bells in the newer generation, as he was a comedian in the 30s and 40s-till the late 60s.

During the 30s and 40s there were quite a few real comedians,who regaled the audiences with their humour.Comedians like V.H.Desai, Ghory and Dikshit (the jodi like Laurel and Hardy),Mirza Musharraf,Bhudo Advani,Noor Mohd.Charlie,Yakub (he had travelled to 15 countries including UK and USA, before joining films) and Gope, Fatty Prasad and Durga Mota were much in demand for comic roles in the films.With the times,one by one,all went behind the curtains,giving way to newer set of comedians like Bhagwan, Sunder, Radhkishen, Mukri, I.S.Johar, Majnu, etc.

Artists fading away is a natural phenomena, but out of the above comedians,the end of Durga Mota was very pathetic and touching.

Durga Mota or Durga Prasad was very fat and this fatness which fetched him name and fame in the industry also became the cause of his death.In 1947,there were riots everywhere.Durga was in Lahore.He wanted to come back to India like other thousands.He came to Lahore station and boarded the train.just then a frenzied mob came to the station and started killing thepassengers.People ran helter skelter and saved themselves,but due to his fatness Durga Mota could not run and he was slaughtered on the station of Lahore itself.

Mirza Musharraf was born in a sophisticated educated family, on 12-6-1912, at Shujanabad-Punjab His father was an inspector of Police and claimed to be a scion of the Royal Mughal family. He matriculated from Lahore in 1930. he was keen on becoming a Journalist, so he worked in Daily Zamindar,Tariyaq and Shahid. He was a Nationalist, joined Congress and became Secretary of Lahore Congress committee. He was imprisoned but father got him released. he decided to change profession.

He was very fond of writing Lyrics.he came to Bombay to write film songs and was employed by General films.Those days educated persons were eagerly employed by film studios.He first wrote Lyrics for A.R.Kardar’s film “Baghbaan”-1938.During shootings kardar required an artist and Mirza was called to fill up the slot,as per the studio norms.Mirza had no dialogues,but he exhibited excellent use of facial expressions and comic timing.This actually killed his dream of becoming a lyrics writer,because after that he was made a comedian and got several films.As a comedian,Mirza worked from 1938 to 1972,working in over 400 films.His last film was Roop tera Mastana-1972.

When he was on the peak of his career,a happy producer gave his Bungalow at Versova free to him for living.Though Versova was then quite far off and sparsely populated,Mirza lived there like a king.The marriages of both of his daughters took place there.

Mr.Sanjeet Narwekar-the famous Film historian/journalist writes in his book, The story of Hindi Film comedy,about Mirza-“His specialty was interspersing his Hindi dialogues with English words-quite a curiosity in the pre-independence days. He was almost a permanent with V.M.Vyas and played cameo roles in a fairly long career.” According to Saadat Hasan Manto in his book, stars of another sky, -whichever film he acted in, he used to be the darling of the Heroes. He was particularly liked by Kardar, K.Asif and Rafik Gaznavi. In many films Mirza lip synched songs, but it was only in ONE film that he got a few lines to sing himself. That was the film CAPTAIN KISHORE-1957.He sang along with Mohd.Rafi and Tun Tun.

Film Industrial India-38 had 3 Music Directors- H C Bali, Anil Biswas and Mushtaq Hussain. As per HFGK, out of 10 songs, 5 songs were composed by Anil Biswas and one was by H C Bali. Looks like the rest were composed by Mushtaq Hussain. All songs were written by the director Mohan Sinha. This song is sung by Prem Adib and chorus.

( Credits- Film Directory, Flash Back by Isaq Mujawar, HFGK, MuVyz and my notes )


Song-Ladne waalo katne waalo (Industrial India)(1938) Singers-Female voice, Prem Adib, Lyrics-Mohan Sinha, MD-Anil Biswas
Chorus
Female Voice + Chorus

Lyrics

ladne waalo
katne waalo
aapas mein jhagadne waalo
talwaaren roko
suno suno ek nayi baat
nayi baat
haan nayi baat
dekho ye firangi aaya
nayi nayi cheezen ye laaya
rail car motor ye laaya

mazdooron ko kaam dilaaya
mazdooron ko kaam dilaaya
itna hua
phir bhi ham bhookhe
bharat mein laakhon bhookhe
bharat mein laakhon bhookhe

daudo
daudo
gandhi aaye
gandhi aaye
gandhi aaye
gandhi aaye
gandhi aaye
haan haan
bolo kya ye laaye
charkha laaye
charkha laaye
bekaaron ko kaam dilaaya
ablaaon ka jeewan laaya

itna hua
phir bhi ham bhookhe
itna hua
phir bhi ham bhookhe
bharat mein laakhon bhookhe
bharat mein laakhon bhookhe

main hoon asha
main hoon asha
main hoon industry

daudo daudo
aasha aayi
aasha aayi
aasha aayi
achcha bolo kya ab laayi
ek naya sandesha laayi

dhanwaanon rupayon ki thhaili kholo
naye naye kaarkhaane kholo
bharat naya basega
bharat naya basega
mazdooron o kaam milega
dhanwaanon ko maal milega
bharat naya basega
bharat naya basega
saari cheezen yahin banegi
daulat saari yahi rahegi
bharat naya basega
bharat naya basega
bharat naya basega
bharat naya basega


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 : 3636 Post No. : 14464

Today’s song is from a very old film, ‘Himalay Ki Beti’ from 1938.

It is generally said that in this era, most actors and actresses came from poor families and most artists had no or had negligible education. While it is true to a great extent, it is not 100% true. It is not that even in this period, there were no educated persons in the film industry. Right from the beginning of the silent era to talkie film era up to the end of the 1940s decade, there were actors, actresses, directors, producers and musicians who were quite educated. Some of them had even been trained in western countries.

Take the case of Himanshu Rai and Devika Rani and their team of writers like Niranjan Pal, from the silent era. They were all highly educated and from rich, cultured families. Niranjan Pal was the son of the freedom fighter Bipin Chandra Pal. BN Sircar is another example. Director Nanubhai Vakil was actually an advocate with BA LLB degree. Surendra was BA, LLB. Motilal was a graduate, so were Ramchandra Thakur, Nandlal Jaswantlal, Jayant Desai, Jairaj, Umakant Desai. Ashok kumar, Dev Anand and his 2 brothers etc.

Among actresses, Leela Chitnis, Shanta Apte, Durga Khote, Renuka Devi were graduates. Vanmala was BA, BT. Kamini Kaushal was BA. The point here is, that educated and people with respectable family background were also a part of the film industry. But of course, initially their number was smaller compared to others who were either illiterate or less educated. For example, the beautiful Meena Shorey and Sitara Kanpuri could not even sign – leave alone reading and writing! That is why, they were cheated in their contracts by Sohrab Modi and WZ Ahmed (of Shalimar Pictures and husband of actress Neena).

In the film under discussion today – ‘Himalay Ki Beti, the hero, heroine and the director were all highly educated. The heroine, Enakshi Ram Rao was the daughter of an ICS officer of Madras Presidency. She came to England for her graduation. After graduation, she took part in some stage dramas, where she got introduced to Niranjan Pal and Himanshu Rai. When Himanshu Rai decided to make a silent film on the story of Taj Mahal, he asked Niranjan Pal to write the film story. Sita Devi aka Renee Smith was selected for the vamp’s role and Enakshi was selected for the main role of Selima (who was later named Mumtaj Mahal by Prince Khurram – who was later known as Shahjehan.). The film was named ‘Shiraz’ (1928).

Enakshi is a very unusual name. Comparatively, Meenakshi is a well known name. Meenakshi means ‘one with eyes like a fish’.  Enakshi means ‘one with the eyes of doe or deer’. In other words, Enakshi means Mrignayani. Except name of this actress, I have never ever come across this name (Enakshi) in my life elsewhere!

Her work in film ‘Shiraz’ was applauded in England, Germany and India. When she returned to India, She met Bhavnani, who made a silent film ‘Vasantsena’ (1931), with her in the lead role. More than as an actress of silent and talkie films, Enakshi’s name was known in elite circles for different achievements, after she stopped working in films.

Not many of us know that Enakashi Bhavnani  (Enakshi Rama Rao before her marriage) has done an enormous service to bring Indian dances and designs to the western world. She made immense contribution to bring the Kashmir handicrafts and designs (fabric, wood and papier-mâché) to the west.  An American tourist told in Kerala recently about her detailed work on Kashmir designs (shawls, jackets etc.). This side of Enakshi’s personality and work is in addition to her contribution as a dancer, photographer and actress. Two scholarly books written by Enakshi Bhavnani were also published. Both the books are preserved in the American Museum of Natural History. These are,
(1) Folk And Tribal Designs of India, and
(2) The Dance of India: The Origin and History, Foundation, Art and Science of the Dance in India .

This exceptionally talented woman stayed in Kashmir for sometime in 1950 and met a cross section of people connected with arts and crafts. She had been a visitor thereafter as well. She also visited Leh and Kargil for her book. During this period she also clicked some photographs in Kashmir portraying its rich culture and scenic beauty. She also shot a documentary ‘Valley Of Kashmir’ during this period.

Enakshi was an active membmer of the Crafts Council of India, which was founded in 1964 to support artisans and keep their crafts relevant and marketable amid rapidly changing economies at home and abroad. The photographs clicked by her have also appeared in National Geographic magazine, especially her series. And in her book on folk dances of India, Enakshi covers all forms folk dances of Kashmir.

Enakshi married film maker Mohan Bhavnanai (1903-1962) who was trained in Germany and Hollywood. She was a dancer, actor, photographer and writer on arts, crafts and culture.  From 1929 to 1938, she acted in six films as a leading lady. Out of these six films, five, namely ‘Vasantsena’ (1931), ‘Trapped’ (1931), ‘Jaagaran’ (1936) , ‘Himalaya Ki Beti’ (1938) and ‘Yangrilla’ (1938) were directed by her husband Mohan Bhavnani. Only ‘Shiraz’ (1928) produced by Himanshu Roy was directed by Franz Osten.

Producer director Mohan Bhavnani was a learned and illustrious person. This is what the Encyclopedia of Indian Cinema says about him-

Mohan Dayaram Bhavnani (1903-62)
Hindi director born in Hyderabad, Sind. Studied at College of Technology, Manchester (1921-4), then studied film-making in Germany at UFA (1924). Contracted to Kohinoor (1925-6) where his Sulochana? films were the earliest efforts in the Indian cinema to create a Hollywood-type movie star, e.g. Cinema Ni Rani where she plays a famous actress with whom the painter hero falls in love, or Wildcat of Bombay where she played multiple roles. Joined Imperial (1927-9), where he made Khwab-e-Hasti, adapted from the novel Dreamland (later also adapted by N. Taurog’s Strike me Pink, 1936). Scripted by A.S. Desai, this film is not to be confused with Kashmiri?’s play of the same title. Vasantsena was the first Kannada intertitled film. Became independent producer with Indian Art Prod. (1931-2). Returned to Germany to study sound film technique. Started Ajanta Cinetone (1933-4) and his own Bhavnani Prod. (1935-48). Sound début was a flop, but it introduced ​Dur ga Khote. Hired Premchand to script Mazdoor, representing the author’s only direct encounter with film, following it with the unemployment melodrama ​Jagran. Produced and directed the first full-length colour film shot on 16mm Kodachrome and blown up to 35mm, Ajit. Joined Films Division and became its first Chief Producer (1948-55). In 1958 Bhavnani followed up an invitation from Zhou En-Lai to make a documentary on China and travelled extensively throughout the country shooting with cameramen Kishore Rege and S.K. Kulkarni. His wife Enakshi Rama Rao, who acted in Vasantsena, had earlier played the lead in Shiraz (1928) and became a noted dancer and author of the book The Dance of India (1965).

FILMOGRAPHY: 1925: Cinema Ni Rani; Matri Prem; Veer Bala; Seth Sagalsha; 1 9 2 6 : Pagal Premi; Diwan Bhamasha; Mena Kumari; Ra Kawat; Samrat Shiladitya; Bhamto Bhoot; 1 9 2 7 : Naseeb Ni Lili; Daya Ni Devi; Trust Your Wife; Wildcat of Bombay; Gamdeni Gori; 1929: Hawai Swar; Khwab-e- Hasti; Mysore, Gem City of India (Doc); Khedda (Doc); 1 9 3 0 : Vasantsena (all St); 1 9 3 1 : Shakuntala; Farebi Jaal; Lafanga Langoor (Sh); 1 932: Veer Kunal; 1 933: Afzal; Rangila Rajput; 1 9 3 4 : Dard-e-Dil; Mazdoor; Sair-e-Paristan; 1935: Jung Bahadur; Navjeevan; Shadi Ki Raat; 1936: Dilawar; Garib Parwar; Jagran; Wrestling (Doc); 1 9 3 7 : Zambo the Ape Man; 1 9 3 8 : Double Cross; Himalay Ki Beti; Yangrilla; 1 9 3 9 : Zambo Ka Beta; 1940: Jhoothi Sharm; PremNagar?; 1945: Biswi Sadi; 1 946: Rang Bhoomi; 1 948: Ajit; 1 9 4 9 : Vale of Kashmir (Doc); 1 9 5 0 : The Private Life of a Silkworm (Doc); 1 9 5 1 : Lest We Forget (Doc); 1 9 5 2 : Kumaon Hills (Doc); 1 9 5 3 : Folk Dances of India (Doc); Republic Day Record (Doc); 1 9 5 5 : Republic Day 1955 (Doc); 1 956: Operation Khedda (Doc); 1 957: The Himalayan Tapestry (Doc)

The film ‘Himalay Ki Beti’ had 11 songs. Today’s song is sung by Prof Ramanand. He had 4 solos and 1 duet with Enakshi. She had 2 solos. One song was by Maya Chatterjee. There is no information in HFGK about the balance 3 songs. Pt Badri Prasad had given the music. I heard 4 more songs from this film, but all are copies of stage style songs. Prof Ramanand, the actor and the singer was different than Swamy Ramanand, the lyricist in few films.

The hero of the film was Prof Pt Ramanand Sharma. If you are a regular listener of radio early in the mornings,you would have heard many Bhajans sung by Sharma Brothers of Shriram Darbar. These four brothers – Gopal, Shukdev, Kaushalendra and Raghavendra are the sons of this Ramanand Sharma. These Sharma brothers have sung the famous Bhajan “Sooraj Ki Garmi Se” from the film ‘Parinay’ (1972). Ramanand was the singing hero of many early talkie films like ‘Noor-e-Islam’ or ‘Aurat Ka Dil’ (1934) and ‘Himalay Ki Beti’ (1938). He also sang many songs in other films. After his work in ‘Premnagar’ (1940), RC Boral of the New Theatres, Calcutta came down to Bombay and took Ramanand to Calcutta to act in films. But Ramanand was fed up with the film world and decided to only sing Ram Bhajans for his Shri Ram Darbar which he had established. He went back to Muzaffarpur and used to sing Ram Bhajans all over India. His 7 albums were released by HMV.

Here is a rare song from a rare film, ‘Himalay Ki Beti’ (1938). The film makes its debut on the blog.

[Author’s Note: Credits – Chinar Shade, autarmota.blogspot.com, HFGK, MuVyz, Wikipedia, indiancine.ma, and my notes.]

Song – Siddhraaj Jaago Aaj (Himalay Ki Beti) (1938) Singer – Prof Ramanand, Lyrics – Pt Narottam Vyas, Music – Pt Badri Prasad

Lyrics (Provided by Sudhir)

jaaa..aa..aa..go..oo..o

sidhraaj jaago aaj
sidhraaj jaago aaj
padi hai vipat gaaj
padi hai vipat gaaj
bigade banaawo kaaj
sidhraaj jaago aaj

tum ho paropkaari
tum ho paropkaari
duniya jaanat saari
duniya jaanat saari
meri raakho laaj
sidhraaj jaago aaj

charan pada hoon aaye
charan pada hoon aaye
sharnaagat sahaaye
sharnaagat sahaaye
tum naam di awaaj (??)
sidhraaj jaago aaj
sidhraaj jaago aaj

sidhraa..aa..aa..aaj

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
जा॰॰आ॰॰आ॰॰गो॰॰ओ॰॰ओ

सिद्धराज जागो आज
सिद्धराज जागो आज
पड़ी है विपत गाज
पड़ी है विपत गाज
बिगड़े बनावो काज
सिद्धराज जागो आज

तुम हो परोपकारी
तुम हो परोपकारी
दुनिया जानत सारी
दुनिया जानत सारी
मेरी राखो लाज
सिद्धराज जागो आज

चरण पड़ा हूँ आए
चरण पड़ा हूँ आए
शरणागत सहाय
शरणागत सहाय
तुम नाम दी आवाज (??)
सिद्धराज जागो आज
सिद्धराज जागो आज

सिद्धरा॰॰आ॰॰आ॰॰आज


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 : 3474 Post No. : 13952

The name Keshavrao Dhaiber may not ring any bells for most readers of the Blog. He was not as famous as V Shantaram, one of his contemporaries and a colleague in Maharashtra Film Company and later in Prabhat Film Company. I became aware of his name only during the last 2-3 years when I was deep into the film songs of 1930s and 40s. But the name did not interest me much until recently when I came across a song from his film ‘Nand Kumar’ (1938) which made me to study his filmy career.

Kolhapur born Keshavrao Dhaiber (1890-1978) who had done a short stint in the Army as Lancer, started his filmy career in Baburao Painter’s Maharashtra Film Company, Kolhapur as an actor and a technician in the early 1920s. Here, he came in contact with V Shantaram. Both of them made their debuts as directors for a silent film– Netaji Palkar (1927) which they co-directed. In 1929, due to differences with Baburao Painter, V Shantaram and Keshavrao Dhaiber left Maharashtra Film Company and formed Prabhat Film Company along with V G Damle, Fatehlal and Sitaram Kulkarni in Kolhapur. Under this banner, Keshavrao Dhaiber and V Shantaram co-directed 3 silent films – ‘Khooni Khanjar’ (1930), ‘Rani Saheeba’ (1930) and ‘Udaykaal’ (1931). He got his first film as an independent director in ‘Zuloom’ (1931), a silent film. [Source: Encyclopaedia of Indian Cinema – Ashish Rajadhyaksha].

I find from his filmography of talkie films that Keshavrao Dhaiber and V Shantaram combination worked as Cinematographer and Director, respectively for ‘Maya Machhindra’ (1932), ‘Ayodhya Ka Raja’ (1932), ‘Sinhagad’ ( Marathi,1933), ‘Sairandhri’ (1933), ‘Amritmanthan’ (1934) and ‘Chandrasena’ (1935). Dhaiber got the opportunity to independently direct his first Hindi talkie film ‘Rajput Ramani’(1936).

During the making of ‘Chandrasena (1935) and ‘Rajput Ramani’ (1936), Dhaiber got romantically involved with the films’ heroine, Nalini Tarkhad. As per the contract among the partners of Prabhat Film Company, partners were not allowed to be romantically linked with actresses who were in the payroll of the Company. Since this was a breach of contract, Dhaiber was forced to resign from the partnership of the Company. He later married Nalini Tarkhad.

It is said that the most vocal among the partners to force Dhaiber to resign from Prabhat was V Shantaram. Interestingly, in 1941, V Shantaram too got romantically linked with Jaishree Kamulkar, another actress in the payroll of Prabhat Film Company whom he married in October 1941. Soon, V Shantaram left Prabhat to form his own film company, Rajkamal Kala Mandir. While V Shantaram’s filmy career continued to flourish after he left Prabhat, same was not the case for Keshavrao Dhaiber.

After leaving Prabhat, Dhaiber formed his own film production company, Jaishree Pictures. Under this banner, he produced and directed ‘Nand Kumar’ (1938) which was made in Marathi and Hindi. He roped in A V Meiyappan (AVM) as producer and Jayantilal Thakore (probably, financier/film distributor) for the Tamil version which was also directed by Dhaiber with a Tamil speaking Assistant Director, Krishnaswami. Unfortunately, all the three versions of the film did not fare well on the box office resulting in heavy losses for him and his newly set up banner. As a result, Dhaiber had to close down his film production company.

It is interesting to note that Prabhat’s ‘Gopalakrishna’ (1938) was released just a month ahead of Dhiaber’s ‘Nand Kumar; (1938). Both had, more or less, the same mythological story. Another interesting part of these two films was that while Ram Marathe played the role of Krishna in childhood in ‘Gopalakrishna’ (1938), the same role for ‘Nand Kumar’ (1938) was played by his brother, Anant Marathe. ‘Gopalakrishna’ (1938) was the 3rd highest grosser at the box office for 1938 while ‘Nand Kumar’ (1938) failed at the box office.

After directing a couple of Marathi films in 1939, he joined Minerva Movietone and directed ‘Ulti Ganga’ (1942) and ‘Bhakta Raidas’ (1943). However, these films too failed at the box office plunging his already downward filmy career further. Dhaiber re-joined Prabhat Film Company as Production Supervisor during 1943-46. Later, he was associated with Famous Studios. His last film as a director was the Marathi film ‘Sudamache Pohe’ (1958). He also made a few documentary films for Maharashtra and Gujarat Governments. He wrote his autobiography ‘Eka Zindagichi Patkatha’ (Screen-play of a Life) which was released in 1967. Unfortunately, I could not get this book either from the publisher nor could I locate it online.

Keshavrao Dhaiber left for the heavenly abode on May 11, 1978 at a ripe age of 88.

Today, ‘Nand Kumar’ (1938) makes its debut in the Blog which was Keshavrao Dhaiber’s first Hindi film as producer-director under his own banner, Jaishree Pictures. The star cast included Durga Khote, Anant Marathe, Govindrao Tembe, Jaishree Kamulkar, Govind Kurvalikar etc. As mentioned earlier, the film was simultaneously produced in Marathi, Hindi and Tamil. While the star cast for the Marathi and Hindi versions were, more or less, the same, the Tamil version had different star cast which included T P Rajlakshmi (Yashoda), T R Mahaligam (Lord Krishna), C V V Panthulu (Nandgopan), Master Sethuraman (Krishna in childhood), T R Ramchandran etc.

The Tamil version of the film also did not do well at the box office. However, the film became the stepping stone for the debutant actors T R Mahalingam, the singer and T R Ramchandran, the comedian. Also, it was the debut film for music director S V Venkataraman. For the first time, the playback system in a Tamil film was used in this film with Lalitha Venkataraman lending her voice to the actress playing the role of Devki. [Source: The Hindu, October 12, 2007].

The song I am presenting today is from the Hindi version of ‘Nand Kumar’ (1938). Durga Khote (in the role of Yashoda) sings this unique type of the song ‘rooth gaye kyon kunwar kanhaai’. The song with prelude and interlude of conversations is not an usual lullaby but a song to assure a crying child. The song is penned by Pandit Veer and it is set to music by G P Kapoor.


Song-Roothh gaye kyun kunwar kanhaai (Nand Kumar)(1938) Singer-Durga Khote, Lyrics-Pt Veer, MD-G P Kapoor

Lyrics

[haan haan haan
kyun rota hai
mera laal
mera pyaara
kyun kyun
maara mere bachche ko
kisne maara
haan haan haan
nahin
chup chup chup
mera bachha]

roothh gaye kyun kunwar kanhaai
roothh gaye kyon kunwar kanhaai
maiyya par bar bar bar jaai
maiyya par bar bar bar jaai
rooth gaye kyon kunwar kanhaai
rooth gaye

[kyun
kyun mere laal
maara
kisen maara mere bachche ko
mera pyaara
hmm hmm hmm
mera munna
mera lalla]

ro ro ansuwan jhari lagaayi
ro ro ansuwan jhari lagaayi
baadal dekh chakoran aayi
baadal dekh chakoran aayi
kyun chanda par badali chhaayi
kyon chanda par badali chhaayi
rooth gaye kyun kunwar kanhaai
rooth gaye kyun kunwar kanhaai


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.

Who was the first female music director in Hindi film Industry? The answer to this question has changed thrice during the last few years.

It was believed that Saraswati Devi (real name: Khorshed Minocher-Homji) was the first female music director who composed songs for ‘Jawaani Ki Hawa’ (1935), produced under the banner of Bombay Talkies. Subsequently, it was established that Jaddanbai, who composed the songs for ‘Talaash-e-Haq’ (1935) was the first female music director, her film having been released earlier than ‘Jawaani Ki Hawa’. It will be interesting to know as to which of the songs from these two films were recorded first on the respective film’s sound track.
Read more on this topic…


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.

THE SECRETARY (1938) was produced under the banner of Ranjit Movietone and it was directed by Chaturbhuj Doshi. The star cast included Madhuri, Trilok Kapoor, Charlie, Kalyani, Begg, Wahidan Bai, Rajkumari etc. The film was based on a story written by Gunvantrai Acharya, one of the most prolific novelists in Gujarati language. By the way, I observe that Gunvantrai Acharya wrote story and screen play for films directed by Chaturbhuj Doshi for Ranjit Movietone like Gorakh Aaya (1938), Musaafir (1940) and Sasural (1941). Both came to Ranjit Movietone after their stints with journalism in Gujarati newspapers. Incidentally, all the three films and the film under discussion had Gyan Dutt as the music director.
Read more on this topic…


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.

“Street Singer” (1938) was directed by Phani Majumdar for New Theatres. The movie brought together K L Saigal and Kanan Devi together for the first time. This movie had thirteeen songs in it. As many as ten songs from this movie have been covered in the blog.
Read more on this topic…


Advertisements

Important Announcement

(© 2008 - 2018) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over TEN years. This blog has over 14700 song posts by now.

This blog is active and online for over 3700 days since its beginning on 19 july 2008.

Total number of songs posts discussed

14707

Number of movies covered in the blog

Movies with all their songs covered =1147
Total Number of movies covered =4018

Total visits so far

  • 10,895,139 hits

Enter your email address to subscribe to this blog and receive notifications of new posts by email.

Join 1,622 other followers

Bookmark

Bookmark and Share

Category of songs

Current Visitors

Archives

Stumble

visitors whereabouts

blogcatalog

Music Blogs - BlogCatalog Blog Directory

blogadda

Historical dates

Blog Start date: 19 july 2008

Active for more than 4000 days.

Advertisements
%d bloggers like this: