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

Posts Tagged ‘1942


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.

“Roti”(1942) was produced and directed by Mehboob Khan for National Studios, Bombay. The movie had Chandramohan, Sheikh Mukhtar, Sitara, Ashraf Khan, Kaayam Ali, Jamshedji, Mishra and in a very rare appearance, Malika-E-Gazal Begum Akhtar, who was known as Akhtari Faizabadi in those days.

Begam Akhtar had acted in five movies. “Roti”(1942) was her first movie as an actress. She sang six songs (out of 14 songs in the movie) in this movie which were picturised on herself.

Nine songs (out of 14) have been covered in the blog.

Here is the tenth sing from “Roti”(1942) to appear in the blog. This song is sung by Ashraf Khan and it is picturised on himself.

The song is not a “remonstrating with the Almighty” song. Rather it mocks the almighty for the act of being kind towards poor as if it was a favour to the poor !

Come to think of it, the song could well be mocking certain political parties who project themselves as wellwishers of the poor. They would glorify poverty and making sure that poor people are kept poor. They would be offered low quality sops for free or at subsidised prices. Poor people would be denied opportunities to come out of poverty, because they would be fed the myth that it was evil to become rich. The preachers themselves would not practice what they preached, ofcourse.

This hard hitting song is penned by Safdar Aah Sitapuri. Music is composed by Anil Biswas.


Song-Gareebon par daya kar ke bada ehsaan karte ho (Roti)(1942) Singer-Ashraf Khan, Lyrics-Safdar aah Sitapuri, MD-Anil Biswas

Lyrics

gareebon par daya kar ke bada ehsaan karte ho
gareebon par daya kar ke bada ehsaan karte ho
inhe buzdil bana dene kaa tum saamaan karte ho
inhe buzdil bana dene kaa tum samaan karte ho
gareebon par daya kar ke bada ehsaan karte ho

inhi ko loot’te ho aur inhe khairaat dete ho
inhi ko loot’te ho aur inhe khairaat dete ho
bade tum dharm waale ho
ye achcha daan karte ho
bade tum dharm waale ho
ye achcha daan karte ho
gareebon par daya kar ke bada ehsaan karte ho
haha

daro us waqt se jab rang badlega zamaane kaa
daro us waqt se jab rang badlega zamaane kaa
ahahaha
ye tumse lenge badla
jinka ab apmaan karte ho
ye tumse lenge badla
jinka ab apmaan karte ho
gareebon par daya kar ke bada ehsaan karte ho
inhe buzdil bana dene kaa tum saamaan karte ho

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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.

“Roti”(1942) was produced and directed by Mehboob Khan for National Studios, Bombay. The movie had Chandramohan, Sheikh Mukhtar, Sitara, Ashraf Khan, Kaayam Ali, Jamshedji, Mishra and in a very rare appearance, Malika-E-Gazal Begum Akhtar, who was known as Akhtari Faizabadi in those days.

Today (7 october 2017) is the 103rd birth anniversary of Begam Akhtar (7 october 1914- 30 october 1974).

Begam Akhtar had acted in five movies. “Roti”(1942) was her first movie as an actress. She sang six songs (out of 14 songs in the movie) in this movie which were picturised on herself.

Four of these songs have been covered in the blog.

Here is the fifth Begam Akhtar song from “Roti”(1942) to appear in the blog. This song (the ninth from the movie) is a ghazal. It is sung by Begam Akhtar. The lyrics are penned by Safdar Aah Sitapuri. Music is composed by Anil Biswas.

I have not been able to get a few words right in the lyrics. I request our readers with keener ears (and understanding of the Urdu language) to help fill in the blanks/ suggest corrections in the lyrics.


Song-Phir fasle bahaar aayi dil e deewaana (Roti)(1942) Singer-Begam Akhtar, Lyrics-Safdar Aah Sitapuri, MD-Anil Biswas

Lyrics

aa aa aa
ha aa
phir fasle bahaar aayi ee ee
aaye
dil e deewaana
phir joshe masarrat mein aen
ek naaraa e mastaana
aa aa aa aa

nayi manzil pe aai jawaani meri
nayi manzil pe aai jawaani meri
nayi manzil pe aai jawaani meri
kyun na ho jaaye dilkash kahaani meri
kyun na ho jaaye dilkash kahaani meri
kyun na ho jaaye dilkash kahaani meri
nayi manzil pe aai

bholi kaliyaan
haan aan aan
bholi kaliyaan chaman ko sajaane lagin een
rang taaza bahaaren dikhaane lagin een een een
le mubaarak tujhe shaazmaani meri
le mubaarak tujhe shaazmaani meri
nayi manzil pe aai

zindagi ke taraane ae ae ae
sunaata chale ae
aaj dil har kadam m m
geet gaata chale ae ae ae
aake bulbul kare ??jabaani meri
aake bulabul kare ??jabaani meri
aake bulabul kare ??jabaani meri
nayi manzil pe aai


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

Today we will discuss about a song and the film ” Meenakshi”-42, made by New Theatres, Calcutta in two languages-Hindi and Bangla.

In the early years of Talkie era, New Theatres (NT) was a force to reckon with in the Indian film industry. Top class Directors like P C Barua, Premankur Attorthy, Debki Bose, Hem Chunder, Nitin Bose etc, First grade actors like K L Saigal, Prithwiraj kapoor, K C Dey, Pahadi Sanyal, Asit Baran etc and actresses like Uma Shashi, kanan Bala etc and the Music Maestros like Punkaj mullick, R C Boral, K C Dey etc were from NT. In the studio system New Theatres was undoubtedly the Numro uno, in those years.

However, the second World War outside and the war of king size egos within the company destroyed the Institution in early 1940s. One by one , its artistes, on whom NT had so much pride, left the company and headed for the Alibaba’s cave,i.e. Bombay. By 1945, New Theatres was in deep trouble and on the downhill.

One more reason- and I feel it was equally important- of NT’s diminishing popularity in the Hindi belt was its inability to cope up with the changing scenario in the Hindi film industry. Lahore had brought in the Punjabi music to films, Bombay Talkies led the Cinema dialogue language to be what the common Indian man spoke like and the acting became natural, giving way to theatre style,slow dialogue delivery. None of these changes were adapted by NT. May be, the traditional excessive Regional pride , love for Robindra Sangeet and the typical stubbornness of the land, prevented them from accepting and adapting to newer changes. I have always carried an opinion that people from Bengal take pride in things 50 year old and are not ready to let go of them.

Prabhat films and later Rajkamal of Shantaram changed their Marathi influenced Hindi in their films, Lahore changed its chaste Urdu into Hindustani, but New Theatres Dialogues and songs hovered around ” Prem” and “Preet”, while the rest of the world enjoyed Pyar and Muhabbat.

K C Dey was one of the prominent composers and singers of NT. Meenakshi-42 was his last film with New Theatres. He too shifted to Bombay. However, first his singing style and then his Music style was rejected by the Hindi film audience of Bombay. In Bombay, he gave music to only 4 films ( after shifting there that is.) and sang in only 8 films,which included his own 4 films.

Pankaj Mullick was also losing his sheen. His older NFS and film songs were still very popular but his new songs were not becoming popular. Till end of his career, he was very loyal to New Theatres. Neither he ever deserted it- although he was not very happy there- nor did he shift to Bombay like R C Boral, K C Dey or his other NT mates. After Meenakshi, Pankaj Mullick sang in only 7 films.

Though they had fallen on hard times, New Theatres still had some stars with them like Sadhona Bose, Menaka Devi, Radha Rani, Bharti Devi, director Modhu Bose etc. They also had a newly found star- Jyoti prakash Bhattachaya. Jyoti Prakash Bhattacharya was born in Sridharpur village in Jessore district of undivided Bengal in 1916 in an orthodox Brahmin family. Jyoti Prakash’s father Jyotindra Nath Bhattacharya was an engineer by profession although he passed away early. The actor was raised by his uncle Debendra Nath.

His schooling was in Calcutta at Padmapukur School and he passed the Entrance Examination in the first division. Later he had a brief stint at Ashutosh College and Presidency College and also at Shantiniketan. Before joining films he took training as a commercial pilot and on successful completion of training, started to work as a pilot. He was most interested in films and did not continue in the job and decided to join films as an assistant to Debaki Bose. Soon he was offered a small role in Parajay (1940) ( Hindi version Jawani ki reet) and almost immediately played the hero in the Bangla version of films Doctor (1940), Meenakshi (1942), The Court Dancer- Raj Narkati (1941), Chowrangee, Paper Pathey and other films.

Despite being married he dared society in those days and got married to actress Sheela Haldar, his lady love.This generated a good deal of public interest. He had to convert to Islam to marry for the second time and his Islamic name was Yusuf. The romance had a most unfortunate end when Sheela Haldar died soon after childbirth. The shock caused a serious mental disbalance in the man and he committed suicide on the 16th of December 1942. He lived for twenty six years only but during his brief association with films could become one of the most sought after heroes of the Bengali screen.

Incidentally Jyoti Prakash was the selected hero for the 1943 superhit film Jogajog opposite Kanan Devi. His sudden untimely death left the entire unit of Jogajog shattered, more so because almost two thirds of the film was completed and great interest was generated in the new screen pair of Kanan and Jyoti Prakash. The film was shot again with jahar ganguly as the hero and became a run away hit. (adapted from the mini bio by Dr. J.P.Guha, with thanks).

Though Jyoti Prakash gave way to actors like Najmul Hussain in the Hindi versions of his popular bangla films, he did work small roles in the Hindi films like Jawani ki reet-39, Doctor-41, Meenakshi etc etc. When I take a broad look at the Indian Film History, I do not find any other example of a successful and much in demand Hero or Heroine, who died in the age group of late 20s, like Jyoti prakash Bhattacharya. Only one example I can remember is that of the actress Mushtari of the early 30s, who suddenly died while still in her teens, after doing lead roles in few films only.

Film Meenakshi-42 was a story of a beautiful girl having attractive eyes ( that is why the film’s name was Meenakshi- Eyes like a Fish ) and her love. The cast of the film was Sadhona Bose, Najmul Hussain, Ahindra Chaudhari, K C Dey, Panna Devi etc etc. It was directed by Modhu Bose- husband of Sadhona Bose, the film’s heroine. All the songs were written by Pt. Bhushan and the music was by Pankaj Mullick. The story of the film was….

Amitabh ( Najmul Husain) was a bachelor, living in his own flat all alone. One day,after coming home, he finds a girl Meenakshi( Sadhona Bose) in his house. She thought it was her relative’s house- not knowing that now it was purchased by Amitabh. She has run away from her tyranical uncle Radha Govind, who fixed her marriage to an old doctor for a consideration of Rs. 5000/- only. After some time her uncle comes there to find her. Amitabh hides her, but uncle sees her bag. he goes away to bring police. Amitabh and meenakshi got to the sea shore. He starts loving her.

Back again, uncle comes back and is ready to fix their marriage for Rs. 5000. Amitabh feels cheated and gives the money and throws them out. She returns his money and goes away, hurt.

Minakshi takes up a job in Kartikpur, which is Amitabh’s native place. She stays with his mother,unknowingly, as a paying guest. once Amitabh comes visiting his mother. The lovers meet again and decide to get married, but meenakshi’s eyes give problem and she feels she will become blind.

Amitabh brings her to a Eye doctor in Calcutta. He happens to be the same doctor with whom her marriage is fixed. Doctor repents and assures the couple that he will operate on her. The operation is successful and she is cured for ever.

All is well and the lovers unite happily.

Film Meenakshi had 6 songs. 4 songs are already discussed. This is the 5th song. Now only one song is remaining. Today’s rare song has been provided by our friend shri Deepak Choudhari ji, from his collection. The singer is Bela Mukherjee-wife of Hemant kumar. Enjoy the song…..


Song-Main pal pal tumhen rijhaaun (Meenakshi)(1942) Singer-Bela Mukherji, Lyrics-Pt Bhushan, MD-Pankaj Mullick

Lyrics

main pal pal tumhen rijhaaun
main pal pal tumhen rijhaaun
rijhaaun
par preetam kahaan bithhaaum
main pal pal tumhen rijhaaun
main

aankhon mein bithhaaun
aankhon mein bithhaaun to dar hai
aankhon mein bithhaaun to dar hai
aansoo na baha le jaayen
sapnon mein
sapnon mein basaaun
to sapne ??
kahin le jaayen

main man mein tumhen bulaaun
praanon ke andar paaun
main man mein tumhen bulaaun
praanon ke andar paaun
main pal pal tumhen rijhaaun
main pal pal tumhen rijhaaun

man mohan
man mohan madan muraari
main pooja karoon tumhaari
man mohan
man mohan madan muraari
main pooja karoon tumhaari
tum murli madhur bajaao
?? pyaari pyaari
raadha raadha
raadha raadha ka swar goonje
aur main usmein kho jaaun
main pal pal tumhen rijhaaun
oon
main pal pal tumhen rijhaaun


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.

During the last two years or so, I have been working on a major exercise of presenting rare songs from films released in the 1940s on the Blog. In the process, I became aware of some of the productions houses (called banners), producers, directors, actors, singers, lyricists and music directors etc that were unknown to me earlier. One of the little known banners which I came to know about during the last few months was Sunrise Pictures. But I had no idea about the owner/s of this banner.
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.

“Garib”(1942) was directed by Ramchandra Thakur for National Studios, Bombay. This movie had Surendra, Rose, Baby Meena, Veena Kumari, Santaka, N A Ansari, Agha, Pesi Patel etc in it.
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.

“Sewa”(1942) was directed by Dhirubhai B Desai for Ashok Pictures, Bombay. This “social” movie had Zahoor Raja, A K Kabuli, Hadi, Prabha Shankar, Shyam sundar, Bulbul, Shanta, Radha Rani, Anwari, Alice etc in it.
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.

At the time of the release of National Studios’ film ‘Roti’ (1942) in August 1942, the production house was sold to KM Modi, a prominent film exhibitors of that time who had no interest in producing films. At that time, three films of National Studios were under the advance stage of completion. ‘Jawaani’ (1942) was one among the three films, other two films being ‘Lala ji’ (1942) and ‘Apna Paraaya’ (1942). Anil Biswas was the music directors for all the three films.
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.

Some established producer-directors generally have their wish list to make a film or two on the subjects that are close to their hearts. The fulfilment of their wishes gets postponed until such time the producer-directors are able to make the successful films in normal course of their career. After all, they need the financial security to take risk in producing films of their personal choices irrespective of the outcome at the box office.
Read more on this topic…


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.

Today’s song is from film ‘Jawani Ki Pukaar’ aka ‘Call Of Youth’ (1942). The film makes its debut on our blog today. It is sung by Sarfaraz Deen, who too makes his debut with this song.
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.

Before the partition in 1947, two of the well-known and successful Lahore-based producers-directors were Dalsukh M Pancholi of Pancholi Art Pictures and Roop K Shorey of Shorey Pictures. After the partition, both of them had to shift to Bombay (Mumbai), having lost their assets including the studios which were burnt down during the communal riots. It took some time for both of them to re-organise their film production companies in Bombay. Roop K Shorey released his first post-partition film, ‘Ek Thhi Ladki’ (1949) under a new banner, Shorey Films. Dalsukh M Pancholi took one more year to release his first post-partition film ‘Meena Baazar’ (1950) under a new banner, Pancholi Productions.
Read more on this topic…


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

This is a labour of love, where “new” songs are added every day, and that has been the case for more than nine years. This blog has over 13600 song posts by now.

This blog is active and online for over 3300 days since its beginning on 19 july 2008.

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Blog Start date: 19 july 2008

Active for more than 3250 days.

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