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

Posts Tagged ‘1943


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

Blog Day :

5174 Post No. : 17145

Today’s song is from the film Nagad Narayan-1943. This was a film made by New Hans Pictures, Bombay. The director was Hindi/Marathi veteran- Vishram Bedekar. Songs were written by Kavi Bekal, Kavi Shamim and Munshi Dil. The MD was Shridhar Parsekar.

Film Nagad narayan was a bilingual film made in Hindi and Marathi (with a title of ‘ पैसा बोलतो आहे ‘ means The money is talking ). Marathi was the first language to make bilingual Talkie films regularly since 1932. The very first Marathi Talkie film- अयोध्येचा राजा , was also made in Hindi as Ayodhya ka Raja, simultaneously. This was purely a business move on the part of Marathi film makers. Though the Marathi film industry was growing by the day, it also wanted to capture the biggest All India Hindi market.

This was followed by the Bengal film industry and every successful Bengali film was remade in Hindi or was simultaneously made bilingual in Bangla and Hindi. By this, not only the filmmakers were benefited, but the audience of All India was also enjoying the feast of the best of Bangla and Marathi films. One offshoot of this bilingual game was that many Marathi artistes – actors, directors and MDs and singers also entered the Hindi films. Thus along with the audiences, the industries also benefited by this activity.

In due course of time i.e. by 1948, the Southern film industry too entered this fray of Multilingual films. In the South, the trend was to make films in 3 or more languages at the same time or make their remakes later in Tamil, Telugu, Kannada and Hindi. Comparatively Malayalam and Kannada film industries were late to play this multilingual game. By the decade of 1950, the Marathi and Bangla film industries had their own playing fields in sufficiently big size and they reduced making bilingual films. The South took the advantage and continued making films in Hindi even in the from the 50’s to the end of the 70’s decades. Later on Dubbing the Southern films became cheaper and more frequent than making bilingual or remaking the films in Hindi.

Because of the Bilingual system of Marathi and Hindi films, many Music Directors from Marathi entered Hindi films. MDs like Dada Chandekar,Govindrao Tembe, Keshavrao Bhole, S.P.Rane, Prof. B.R.Deodhar, Baurao ketkar, Annasaheb Mainkar, K.R.Gore, Master krishnarao, Datta Korgaonkar (K.Datta) etc gave music to early Hindi films. It was followed by Vasant Desai, Datta Davjekar, Snehal Bhatkar, Sudhir Phadke etc etc.

There were many small-time MDs from Marathi films like C.Balaji aka Balaji Chaugule-for example, who remained unknown. In this rush and jumble of competetion for survival few really meritorious but commercially unsuccessful Music Directors appeared like Comets and disappeared.

Shridhar Parsekar, composer of today’s film, was one such Gem, who had immense talent but insufficient Luck. And when he became famous and in demand for his music, he fell victim of Alcohol and embraced death in very pitiable conditions. Here is his story….

From the crop of Musicians from GOA,there was one outstanding Musician- SHRIDHAR PARSEKAR, who was a singer,an All India Famous Violin Player,composer of many Marathi songs/films/dramas and few Hindi films.He was an expert in playing almost 10 different instruments.

SHRIDHAR PARSEKAR was born in 1920 in Goa. From the childhood he was a lover of Music and learnt classical Music first from his uncle Parshuram buwa Parsekar and he was trained by him in playing various instruments like Harmonium, Jaltarang, Tabla and Violin.He was a disciple of Gajanan Buwa Joshi a noted musician.He operated a Band in Bardez-Goa and played Violin,Clarionet,harmonium and many other instruments.He was a Genius and soon became a name for playing Violin.

He came to Mumbai and continued learning Music here under many well known gurus, like Khadeem Hussain Khan, Natthan Khan and Awar Hussain. Soon he was performing in stage shows doing Jugalbandis with stars of the day like Ravishanker, Vilayat Khan and Akbar Ali Khan. Kishen Maharaj was very pleased with him. For some time he joined AIR-Bombay as a Musician and got friendly with Ustad Alla Rakha who also worked in AIR. R G Ramnathkar, who got him the Radio job, also taught him many Raaga/Raaginis. Parsekar did Radio work for 6 years.

Later he worked as assitant to Music Director Annasaheb Mainkar and then started as MD for Marathi Films and stage dramas.His music in dramas like Bhakta Damaji, Paisa bolto ahe, Kuber and Kanyadaan was very popular.He also recorded many Bhavgeets and Natyageets from reputed singers in Marathi. HMV and Odeon took out his records. Singers like Jyotsna Bhole, Saraswati Rane, Hirabai Badodekar,Vatsala Kumthekar and Master Krishnarao Chonkar also sang for him. One of his songs- ” Vithal Vithal Gajari,awaghi dum dumali Pandhari ” ( विठ्ठल विठ्ठल गजरी, अवघी दुमदुमली पंढरी ) from Bhakta Damaji is so popular that it is sold even today.

With Marathi films, recording of private songs, stage shows with prominent musicians,Shridhar had every happiness with him.He had a Bungalow,cars,bank balance, name, fame and plenty of demand. He wrote a book on Music-‘Swar Ninad’.

And then it happened !

He became an Alcoholic. Normally, a person becomes Alcoholic when he is unsuccessful, but this was an opposite case. While on the top of success he became an Alcoholic. He used to drink day and night.

Once there was a jugalbandi programme of him with Ustad Vilayat khan. Shridhar came fully drunk to the Theatre. Vilayat Khan scolded him and left the show. Such things kept on happening leading to his downfall.

He stopped getting work and all his wealth, house, cars etc was sold for liquor. His condition was such that he would play Violin on streets and earn money. Lata Mangeshkar has narrated an incident, which I read in a book ” From Noorjehan to Lata ” by Isak Mujawar. Book says…

” one day Lata’s car stopped in the traffic. Out of curiosity she peeped out to see what happened. There was a person in tattered clothes playing a violin beautifully and people had gathered to listen to him. Some people gave him alms. She asked the driver if he knew that person. The driver replied that it was Parsekar buwa. She got down, went to Parsekar and told him to come with her. She will look after him now. On this, Parsekar replied that her father had asked him to look after their family, which he could not do, so why should she look after him. If she wants to help, just give some money. She gave him 50 rupees and he almost ran away from there….probably to the wine shop ! “-

Finally Shridhar Parsekar died of liver Cirrhosis on 10-9- 1964 ! He was only 44 years old !! Such a brilliant artist wasted by Alcohol.So Sad ! Pt.Ravi Shankar and Vilayat Khan had personally met his family after his death,so much was the respect for his talent !!

In addition to 7 Marathi films, Shridhar Parsekar gave music to five Hindi films like, Nagad Narayan-43,Mahakavi Kalidas-44, Meri Amanat-47, Andhon ka Sahara-48 and Gokul ka Raja-54. He composed 45 songs in these films. He sang 5 songs in 2 films, Andhon ka sahara-48 and Gokul ka Raja-54. Many famous singers sang for him, like, Minakshi, Khan Mastana, Rajkumari, Master Krishnarao, Mohantara, Vinodini Dikshit etc.

Pt. Ravi Shankar shared his memories of Sridhar-: “I knew Sridhar. He was a wonderful violinist, a disciple of Gajananrao Joshi. Sridhar Parsekar was a staff artist at AIR Bombay when Alla Rakha was also a staff member there. This is the period I knew him in the early forties. He was a smart young fellow, dark and very good looking. He came to hear me a lot and I also heard him a lot. I played one duet with him as I did with his Guru in the late 40’s in Bombay. It was a wonderful duet I played with him and Alla Rakha accompanied us. Along with many other musicians Kishen Maharaj was sitting in the front. I admired him as a musician and I have always felt very sad how he ruined his life and killed himself with his addiction to alcohol.”

In 1993, the violinist V.G. Jog said about Parsekar…. “Sridhar Parsekar was a tayyar and sweet violinist. Excellent presentation. SP used to call me Bandu Jog! The tragedy was that such a big artiste did not maintain his kala. Before preparing any students, he passed away and that caused me great sadness. Else there might have been excellent violinists in India today. When he was at his peak, I was just a student, but AIR programs were greatly appreciated and he was also a great composer especially for Marathi films. Ramakrishnabua Vaze blessed him. He learnt from Gajananrao Joshi and once he played a Jugalbandhi with Ravi Shankar.”
(Information from these sources also used herein- Marathi Chitrapat sangeetkar kosh, Marathi cinema in retrospect by Sanjit Narwekar, Purvasurinche soor by Dr. Suresh Chandvankar and the book ‘kalatmak Gomantak’-kala Academy,Panji-1972, blog parrikar.org. Thanks to all of them) .

Film Nagad Narayan was directed by Vishram Bedekar. Born as Vishwanath Chintamani Bedekar,on 13-8-1906 at Amravati,Maharashtra,he took the name Vishram,once he started writing. After graduation,he did his Post-graduation in English Literature from Nagpur university. He went to Poona in 1930 to do a Teaching job. Here he met his student cum future wife Balutai Khare…who was one of the First girls riding on Bicycles to college,in those days. They got married in 1938.She became Malati Bedekar,a famous Marathi writer later on. His first novel ” Ranangan” came out in 1939,while he was in the film business.

He started with Sangeet Natak company Balwant Sangeet Mandali as playwright-lyricist. Moved to film-making when the theatre group expanded its box-office draw by producing Krishnarjun Yuddha, starring the group’s writer-actor Chintamanrao Kolhatkar. Unlike other films produced by Sangeet Natak companies (e.g. Lalit Kaladarsh), the film succeeded commercially and he co-directed three more with the group’s owner-producer Vamanrao N. Bhatt. Scripted the mythological Pundalik (1936) and, according to his autobiography, co-d the film with V.N. Bhatt. Briefly studied film-making in the UK (1938); published his first novel, Ranangan (1938), on his return. Joined Prabhat briefly to write Shantaram’s Shejari/Padosi (1941), returning to the studio to script Ramshastri (1944, a re-edited version of which, credited to him, was later released as a children’s film entitled Ramshastri Ka Nyay) and to direct Guru Dutt’s début, Lakhrani. This was the first film in which Guru Dutt played a role and also did its Choreography. It was here that Guru Dutt met Dev Anand,who had joined Prabhat as an apprentice.

He made classic melodramas for Baburao Pendharkar’s New Huns, Baburao Pai’s Famous Pics and Minerva Movietone. Wrote Shantaram’s Amar Bhoopali (1951). Directed some of the Ramsay Brothers’ early productions (Rustom Sohrab, Ek Nannhi Munni Ladki Thi). Works in the modernist frame defined by K. Narayan Kale’s generation and G.B. Shaw; most of his literary and filmic work recasts stereotypes of pre-WW1 Marathi social reform novels into the declamatory style of prose melodrama with increasingly complex storylines. As playwright, works include Brahmakumari, Vaje Paool Apule and Tilak Ani Agarkar (1980). Also scripted his films. Published autobiography, Ek Jhaad Ani Don Pakshi (1985).

Vishram Bedekar divided his life and time between writing and films. He was a trained Cinematographer and Director from London in those days. He wrote several Dramas in marathi. After directing 28 films in Marathi and Hindi,he left films after doing Bharat ke shaeed-1972. In 1985 he wrote his autobiography in Marathi- एक झाड आणि दोन पक्षी-. He got the Sahitya Academy Award for this book. He is the only Film director with such laurels. Vishram Bedekar died in Pune on 30-10-1998,at the age of 92 years. (based on Encyclopedia of Indian Cinema and marathifilmdata.com information. with thanks.)

Here is an excellent song from the film Nagad Narayan-1943, sung by Rajkumari, Khan mastana and chorus. The song was provided to me by our friend Deepak Choudhari ji and was uploaded for me by another stalwart Sadanand Kamath ji. Thanks to both.


Song – Dekho raar karo na mil ke raho jee (Nagad Narayan)(1943) Singers – Rajkumari, Khan Mastana, Lyrics-Kavi Bekal, MD – Shridhar Parsekar
Chorus

Lyrics

Dekho raar karo na
milke raho jee
dekho raar karo na
milke raho ee
milke aage badho
hanske aage badho
milke aage badho
hanske aage badho
ladkar jeet dikha do
ladkar jeet dikha do
dekho raar karo na
milke raho jee
dekho raar karo na
milke raho jee

loota hamin ko
loota hamin ko
hamin hain bhikaari
loota hamin ko
hamin hain bhikaari
mushqil mein aayi hai jaan hamaari ee
mushqil mein aayi hai jaan hamaari

aaho(?) ab door hato jee
aaho(?) ab door hato jee

dekho raar karo na
milke raho jee
dekho raar karo na
milke raho jee

duniya ko sab cheez tum apni bataa do
duniya ko sab cheez tum apni bataa do
uthho aur julmo sitam ko mita do
uthho aur julmo sitam ko mita do

jaan ganwaa do
jaan ganwaa do
par tum desh bachaa lo
desh bachaa lo
desh bachaa lo

duniya ?? tum apni bata do
photo aur cinema se sabko dikha do
jaan ganwaa do
jaan ganwaa do
par tum desh bachaa lo
desh bachaa lo
desh bachaa lo

dekho raar karo na
milke raho jee
milke aage badho
hanske aage badho
ladkar jeet dikha do
dekho raar karo na
milke raho jee


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

Blog Day :

5163 Post No. : 17128

Today’s song is from the film Adab Arz-1943. The film was made by Amar pictures, Bombay – which was started by Chimanlal Desai after Sagar Movietone closed and he also left National Studios. The film was one of the 8 films that his son-Virendra Desai – directed in his failed career. Music was provided to the 12 songs written by Rammurthy Chaturvedi, Kailash G Matwala and Pt. Indra, by Gyan Dutt who had recently left his long association with Ranjit Movietone. The cast of the film was Nalini Jayawant, Karan Dewan, Kamla Chaterjee, Ansari, Pratima Devi, Dulari, Mukesh, Nagendra M, M Kumar, and many others.

Not much information is available about this film anywhere. This is one great obstacle in writing about old films. Maybe the people who collect records and Film Booklets have its booklet giving some extra details and an incomplete storyline. otherwise such stories are available only in the reviews appearing in Film magazines of those times. Magazine Film India was a good source of such stories, but unfortunately issues of 1943 year are not available on the Net-like other years.

Luckily, at least HFGK gives the data for film songs of most films of the year. Here also there are films for which absolutely on information – except the film title – is available. I do not know why it is so, but surely HFGK makers must be helpless in such cases. I know how much effort Har Mandir Singh ji and his team took in collecting the data for films for compiling one volume for each decade.

In the year 2012, I had bought all the then available Volumes (5 Volumes) for the 30’s, 40’s, 50’s, 60’s, and the 70’s decades. Of late, volumes for next decades are also available, but I have not bought them, as I don’t generally write on films made after the year 1980. However, I have got the Book of filmography from 1981 to 2000, published by Hamraz ji. Except song details, it has all other details about films made in these 20 years.

The HFGK volumes for 1930 to 1960 which I have, are in complete tattered condition. This is due to its constant-almost daily- use for the last so many years. The cardboard covers have separated from the rest of the papers and the pages are in “divorced” condition with other pages ! Even then I use the same volumes in ” as is where is ” condition (they are beyond ‘gumming’), because of the hundreds of the small notes I have made on each page and each name, song and each detail. Buying new volumes means losing all this information being used as a reference or maintaining all 10 volumes, at a time, which will be cumbersome !

HFGK has been one of the tools I have used in writing my more than 1100 articles. I can not imagine how I would have done it without them. HFGK provides names of major and minor actors, the director, the MD and the song details which makes it very easy for finding the songs on social media like YouTube etc. Kind song collectors upload “new” old songs from time to time. There are music collectors who collect only the songs of the old films (without collecting 78 RPM records), like, for example Dr. Surjit Singh ji. He allows any song lover to download these songs for FREE. A real social worker, I would say. My friend Shri Abhay Jain from the USA has given me more than 6000 songs from films of the 30’s and 40’s alone !

Many times HFGK provides names of some actors, singers , MDs, or Directors who evoke my interest as they are not commonly seen and I spend months collecting information about them from various sources. Even in today’s film cast I find 2 interesting actor names, Nagendra M. and A.N.Ansari. Today I will provide information about Nagendra M here.

Nagendra Majumdar. He was the father of Music Director Ninu (Niranjan) Majumdar. Nagendra was born in a happy family in the year 1894 in Bombay. After his father died, “Pearl Dairy” established by his father ran very well doing good business. Suddenly, Nagendra’s wife fell seriously ill and despite taking her full care, she expired. Due to neglect of the Dairy in this period, Dairy also closed down.

He shifted to Baroda and worked as a State Police Inspector. Later he worked as Watch and Ward Inspector in Baroda Railways. He left the job and started working as a hero in dramas of famous dramatist R.V.Desai. Heeralal, the owner of Laxmi Film Company, Bombay was impressed with his personality and took him to Bombay in 1926 to act in his silent films. Thus started his film career. In those days Silent films used to be completed within a month. He worked as a Hero in films of Laxmi, Jagdish and Imperial film companies.

In the same year, he directed a film ‘Paani mein aag’-1926, made by Royal Arts. Then came two more films made by Kaiser E Hind films. He also directed films for other companies. In all, he directed 15 Silent films by 1932. By then the Talkie had arrived. In the next 14 years he directed 12 Talkie films like – Ras Vilas-32, Sassi Punnu-32, Patit Pawan-33, mirza Sahibaan-33, Mera Imaan-34, Kala Wagh-34, Rangila nawab-35, Kimiyagar-36, Aaj ka Aladdin aka Aladdin II-36, Lehri lutera-37, Talwarwala-46 and Swadesh Sewa-46.

When offers for direction became few, he started acting in films. He acted in 12 films. When K L Saigal came to Bombay, Nagendra wanted to work with him. In the film Tansen-43, he did the role of Tansen’s (Saigal’s) father and he was very happy. Other films that he acted in were Kanchan-41,Beti-41, Khilauna-42, Bhakt Surdas-42, Armaan-42, Tansen-43, Gauri-43, Adab Arz-43, Bharthari-44, Prabhu ka Ghar-45, Ghazal-45 and Dhanna Bhagat-45.

His last 2 films came in 1946, but his health was not cooperating for quite a few years. He gave up work and took a rest. However, he suffered from paralysis and died on 22-8-1951. His son Ninu Majumdar worked in Bombay A.I.R. as head of Gujarati programmes, since 1937. By the time Nagendra died, Ninu had already started working as a Music Director.

As a Director, Nagendra had worked with the best of his times like, Master Vithal, Zubeida, Jillo, Billimorea brothers, Madhuri, Navinchandra, Durga Khote, Jairaj, Sultana, Noorjehan sr and such luminaries of those days. He had worked for Ranjit, Imperial, Sharda, Lakshmi, Jayant Desai films, Yagnik films etc etc.

I have information about Ansari also, but the post will be too long and I know from my own experience that nowadays long posts are not read by most people. Ansari will have to wait for some other time, another day.

Lastly, a little information about Director Virendra Desai and the heroine of this film Nalini Jayawant. They got married in 1943, when Virendra was 15 years older than the 17 year old Nalini and when he was already married having 2 daughters and 1 son too ! Their marriage was not successful and they divorced in 1948. Virendra Desai led a dejected and defeated life personally after this, whereas Nalini married again and shone a lot in Hindi films as an actress. When she died, she was living alone and her body was discovered after 3 days. The ‘ May-December ‘ marriage was not lucky for both of them !

Today’s song is the second song from this film in this Blog and is sung by Nalini Jayawant again.

(Author’s note- Information for this article is collated from various sources like Listener’s Bulletins No. 40 of Feb-80 and No.145 of July 2010, HFGK, muVyz, Sapnon ke Saudagar by Vithal Pandya, Silent films by Dr.Verma, Lost Treasures by Kamlakar P., Sagar Movietone by Biren Kothari ji and my notes.)


Song- Kheton pe chale bhaiyya kisaan re (Aadaab Arz)(1943) Singer- Nalini Jaywant, Lyricist- Rammurthy, MD-Gyan Dutt

Lyrics

kheton pe chale bhaiyya
kisaan re ae
kheton pe chale bhaiyya kisaan re ae
thumak bhaagi (??) peechhe jaaye re
thumak bhaagi (??) peechhe jaaye re

aage badha hindustan re ae
aage badha hindustan re ae
talwaar sang sang jaaye re ae
talwaar sang sang jaaye re ae
kheton pe chale bhaiyya
kisaan re ae
kheton pe chale bhaiyya kisaan re ae
thumak bhaagi (??)
haan haan
thhumak bhaagi (??)
haan haan
thhumak bhaagi (??)
peechhe jaaye re

hare bhare haaye khet humaare
hare bhare haaye khet humaare
bhaiyya ke sariya(?) pagariya daari
bhaiya ke sariya(?) pagariya daari
gori bhaabhi ?? samjhaaye
gori bhabhi ?? samjhaaye
jhanda tiranga jaise phahraaye re
jhanda tiranga jaise phahraaye re
kheton pe chale bhaiyya
kisaan re ae
kheton pe chale bhaiyya kisaan re ae
thumak bhaagi (??)
haan haan thhumak bhaagi (??)
haan haan thhumak bhaagi (??)
peechhe jaaye re
thhumak bhaagi (??) peechhe jaaye re


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

Blog Day :

5119 Post No. : 17067

Today’s song is from the film Ladai ke baad-1943.

This is a very misleading title for a film which was made during the peak period of Second World war. Reading this title, it is natural for anyone to feel that this was a film which was on the matters which will take place after the war is over, or it may be a depiction of the country and the social life going through changes after the war ended. But none of it ! It was simply all about a war (Ladai) between two neighbouring families, caused by the usual Ego clash – though there is a loving couple in both families, hoping to get married. And it was called a Comedy film.

The film was made by Navyug Chitrapat, Poona. There is a little history behind the launch of this film making company. Master Vinayak (father of actress Baby Nanda) had his own film company Hans Pictures, in partnership with half brother Baburao pendharkar and cameraman pandurang Naik. Their first film was Chhaya-36-aq bilingual in marathi and hindi. It was not only a hit film but also it won many awards. Next 2 films, Premveer-37 and Dhrmveer-37 were also successful. Then came the film Jwala-38, a bilingual. Unfortunately this film was a big flop and Vinayak suffered heavy loss. To make it up, he then made 2 more films-Bramhachari-38 and brandy ki botal-39. Although these were successful at the Box office, the loss was not compensated. Even the last attempt with marathi film Ardhangi-40 (Hindi-Ghar ki Rani-40) could not salvage the damage done by jwala and Hans Pictures was dissolved.

He then launched navyug Chitrapat, along with Acharya P.K.Atre as a partner. Navyug was the first film company to offer 100 rupees shares to the common public (Bombay Talkies had given its shares to its Directors initially). The first film made was in Marathi-Lapandav-40. Then came Amrit-41(in Hindi and marathi) and ‘Pahili Mangalagaur’-42 in marathi, wherein Lata Mangeshkar made her Debut. During the making of this film, Vinayak left navyug and started his own ” Prafull Pictures’. After the last film Ladai ke baad-1943, navyug Chitrapat also closed down.

Actually, if one goes through the early marathi Cinema production history, one would know that launching and closing film companies was quite frequent in the Marathi film industry. In the early era, films were made in Poona, Kolhapur and Bombay. Two major communities in Maharashtra, Gujarati and Marathi entered the cinema field. Gujaratis were businessmen and had the money power. They immediately became the owners of film companies, supplied finance and made profits. Marathi people had no money but they had a hard working nature, acting Talent, Music expertise and Technical knowledge. Thus the jobs were automatically divided. Whenever Marathi people owned or launched film companies, they lost the battle due to lack of business sense and clash of false egos among partners. In later years, however, this picture changed.

Film Ladai ke baad-43 was directed by R.S.Junnarkar. Raghunath Shankar junnarkar was born on 19-3-1911 in Bijapur. After matriculation, he joined the film industry as a technician,in 1931, in Zarina pictures. He moved to kohinoor film company and then to United Artistes. Later he joined Kohinoor Cinetone in the capacity of screenplay writer and editor in 1934. master Vinayak Called him to Hans pictures in 1936. He was diligent and hard working. He got his first chance as a director of film sangam (Hindi and Marathi)-1941. Before this, he had jointly directed the film Bahurani in 1940, with actor Mubarak.

For navyug pictures he directed Pahili mangalagaur, Tuzach (Hindi version Main tera hoon) and Pundalik all marathi films. After Vinayak left navyug he completed the film pahili mangalagaur. In this film, there was a kissing scene of Snehaprabha pradhan and Shahu Modak. Lata also debuted in this film with acting and singing for herself.

Junnarkar was excellent as a screenplay writer. he wrote for films Nigahe nafrat -35 (Debut of Shobhana Samarth), Chhaya-36, dharmaveer-37, jwala-38, Neera and nanda-1946(directed also). he also wrote lyrics for film Taqrar-1944, he edited films, premveer, Nigahe nafrat, dharmaveer, Birha ki raat and Baazuband. (Thanks to the book ‘ Marathi Cinema in retrospect’ by Sanjit Narvekar).

Coming back to film Ladai ke baad-43, the songs were written by Wali Saeb.He was the brother of lyricist Nazim Panipati. Wali Saheb was a person of one of a kind. He was an educated person fond of writing stories and songs, but he was also very orthodox in nature, So much so, that he had made it compulsory for his actress wife Mumtaz Shanti, to come for shootings in a Burkha, and was also a perfect Hypocrite who allowed her to act in films as a lover of the Hero ! He would put it in her contract that the hero would not touch her during the shoots. To ensure this, he used to be present personally in her every shoot. After the shooting, she was to put on her Burkha again and head straight home, without talking a word with anyone.

It seems her uncle Barkat Nizami ( husband of actress Geeta Nizami) had brought her in films and he used to take away 75% of her earnings ( 50% for himself and 25% for his son). However, after her marriage to Wali saheb, this had stopped.

His name was Wali Mohd Khan. He was born in Poona on 10-8- 1908. His family was from Punjab. He became a Compounder with a Doctor in Lahore till 1938. He used to write songs for the Recording companies, for a sum of Rs. 5 per song ! He entered film line as a story writer and Lyricist, with film,” Soni Kumharan ‘ produced by East India Film Company.His songs became popular and he started writing dialogues too.He wrote songs, stories and dialogues for 36 films in all, with 280 songs. He worked for Kamla Movietone, Pancholi studios,Talwar productions, Cine art production etc.He even sang one song in the film Udhar-1949.

After trying his hand at Direction in Venus pictures film ” Lady Doctor”-44, he went on to produce and direct film ” Dekhoji”-47, under his own banner, Punjab film corporation ltd. Bombay. He produced and directed 4 more films, Padmini-48, Heer Ranjha-48, Putli-50 and Zamane ki Hawa-52. In all these films, the Heroine was Mumtaz Shanti. He migrated to Pakistan, with his actress wife, in the mid 50s. ( Thanks to information from Film Directory-46, muVyz, HFGK and my notes.)

I am not giving the film story because it was given along with the film’s first song discussed here in 2016. The music was by Dada Chandekar. Shankar Vishnu aka Dada Chandekar was from Kolhapur. He was born on 19-3-1897. His father used to do Keertan in temples and also play Harmonium. Dada also became an expert in playing the harmonium. Due to poverty, Dada joined Kirloskar drama company and used to do female roles. One day, by chance when the regular Harmonium player was absent, Dada got the opportunity to play Harmonium in a drama, which was lauded by all.

Later he joined Deenanath Mangeshkar’s Balwant Natak company where he played Harmonium for 20 years. Now Dada wanted to join the film industry. He assisted Dhamman Khan in the film Kaliya Mardan made by Bhali Pendharkar. When Dhamman Khan was removed due to his irregularity, Dada was appointed MD for the same film. Thus started his career finally. In 1937, he joined Huns Pictures of Master Vinayak and gave background music for the film Jwala-1938. This prompted the film Brahmachari-1938 to be given to him. This film’s music became Hit and created records in Hindi and Marathi versions. He gave music to Huns and Navyug films.

His other films as a MD were Brandy ki Botal-39, Devta-39, Ghar ki Rani-40, Amrit-41, Sangam-41, Ladai ke baad-43, Lieutenant-44, Din Raat-45, Main Tera Hoon-47, Moti-47 and his last Hindi film Phool aur Kaante-48. Meanwhile he was doing Marathi films also. He gave music to 25 Marathi films till 1964. It was he, who gave the First ever opportunity to Lata Mangeshkar to sing in a film. The film was ” Pahili Mangalagaur”-1942. It was a duet with Snehprabha Pradhan.

Dada Chandekar gave music to many Marathi dramas and he also worked for All India Radio, Poona for a few years. Dada Chandekar, one of the early composers of Hindi and Marathi films, died on 27-1-1976 at Poona.

Today’s song is a duet sung by Snehprabha Pradhan and Govind Kuruvilkar.

Editor’s note. This is the 100th song of Wali sahab as a lyricist in the blog. He becomes 32nd lyricist and 94th artist overall to complete 100 songs in the blog.


Song- Dagar mori chhodo ji (Ladaai Ke Baad)(1943) Singers- Snehprabha Pradhan, Govind Kuruvilkar, Lyricist- Wali Sahab, MD- Dada Chandekar

Lyrics

Dagar mori chhodo ji
Dagar mori
chhodo ji
tum to chhedoge
main hoon akeli
tum to chhedoge
main hoon akeli
Dagar mori chhodo ji
Dagar mori
chhodo ji

donon haathhon mein mere kabootar
donon haathhon mein mere kabootar
tere sar se bhari hai ye gaagar
tere sar se bhari hai ye gaagar
kaise chhedoonga
naar naveli

Dagar mori chhodo ji
Dagar mori
chhodo ji
tum to chhedoge
main hoon akeli
tum to chhedoge
main hoon akeli
gaagar mein donon kabootar bithhaakar
gaagar mein donon kabootar bithhaakar
gaagar ko dhhakke se upar uthhaakar
gaagar ko dhhakke se upar uthhaakar
hamse karoge athhkheli
hamse karoge athhkheli
tu ko samjhaye ??
tu ko samjhaye ??

Dagar mori chhodo ji
Dagar mori
chhodo ji
tum to chhedoge
main hoon akeli
tum to chhedoge
main hoon akeli

mujhe baadh liya kaajal ki dori se kyun
mujhe baadh liya
mujhe baadh liya kaajal ki dori se kyun

toone chhedaa thha
toone chhedaa thha
panghat pe chori se kyun
toone chhedaa thha
panghat pe chori se kyun
mose bhool hui
aaj mose bhool hui
naar naveli

kahin dekhe na mori saheli
Dagar mori chhodo ji
Dagar mori
chhodo ji
tum to chhedoge
main hoon akeli
tum to chhedoge
main hoon akeli
agar mori chhodo ji
Dagar mori
chhodo ji


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

Blog Day :

5040 Post No. : 16951

Today’s song is a Fun-Duet from the film Aage Kadam-1943.

This is a duet sung by Leela Pawar and Master Amritlal. There were many actresses who carried the name Leela. Some were famous, some were not.Leela Desai and Miss Leela (Chandragiri) formed a part of ” Same Name Confusion” pair, as both acted and sang in A grade films. Some others were, Leela Mishra (the eternal Leela Mausi), Leela Sawant, Leela Kumari and Leela Pawar. Later on came Leela Naiduand Leela Mehta also. Those who used their surnames faced no identity problem. As such Leela Sawant and Leela Pawar were actresses of B and C grade action films. Leela Mishra did roles of elderly persons and mothers from the very beginning.

However, Master Amritlal caused a lot of confusion with another same name film personality- Amritlal Naqgar. Master Amritlal was originally a stage and silent film artistes from Gujarat, who acted in 20 Talkie films. His first film was Vikram Charitra-1932 and his last film was Roop Nagar-1947 as an actor He sang 23 songs in 10 films from his film Vikram Charitra-32 uptoPagli Duniya-44.

The other Amritlal (Nagar) was a renowned author who spent his time in Hindi film industry from 1940 to1947, after which he went back to his original profession as writer. Here is what the Encyclopedia of Indian films says about him…..Amritlal Nagar ( 17-8-1916 to 23-2-1990). He was an extraordinary person. He handled almost every department of Literature-except perhaps Poetry and Autobiography. Short stories, Novels, dramas,travelogues etc etc were written by him During 1940 to 1947 period, he was in the film industry. He wrote stories, s/p, dialogues of as many as 20 films in Bombay , Kolhapur and Madras. He dubbed M.S.Subbulakshmi’s Tamil film ‘ Meerabai’ into Hindi. he also worked to translate Russian films like Zoya and Bukhara into Hindi. He won innumerable awards, including Padma Bhushan and Sahitya academy award. He was one of the very rare Hindi Literature stalwarts to work in the film industry for such a sustained period. As a Lyricist he wrote 33 songs in 4 films- Sangam-41, Kunwara Baap-42, Kisiko na kahna-42 and Raja-43.

Unfortunately, due to similarity in the first name, most people consider them as one person who acted, wrote lyrics, sang songs and wrote stories, dialogues and screen plays !

1943 was an year in which the II world war was in full swing. Both sides were almost equal. The effects of the war on India were… it faced the infamous Bengal Famine, caused by the war profiteering. Controls on film production were tightened by the Government. I.P.T.A. became operative with its first staged p0lay ‘ Nibanna’. Film Kismet became one of the biggest Hits ever. V.Shantaram’s Rajkamal Kalamandir debuted with Shakuntala, as did Mehboob with his film Najma. Government made showing of Newsreel before any film mandatory. Film Raj Nartaki’s english version The Court Dancer was exhibited in the USA, first time for an Indian film.

1943 produced 105 Hindi films, the highest number during the war years, 1939 to 1945. Many landmark and musical films appeared in this year giving a respite to the war torn audience of Indian Cinema. Let us take a look at some of these films.

Film Bhaichara had music by the only other ” Sursagar” musician – Himangshu Dutt ( the more well known being the singer Jagmohan Sursagar).

C.Ramchandra had his first musical hit with the film Bhakta Raj, made by Jayant Desai productions.

Gauri from Ranjit became Monica Desai’s first Hindi film in Bombay. It was a very successful film with songs by Khemchand Prakash, based on Bangla Folk tunes.

Kanan Devi gave some sweet songs in the film Hospital, under Kamal Dasgupta’s baton.

Bombay Talkies film Hamari Baat was the last film in which Devika Rani acted. Anil Biswas was the composer.

Music Director Khurshid Anwar brought Gauhar Sultana from Lucknow to sing some songs in the film Ishara. Naushad'[s musical film Kanoon had some good Suraiya and Shyam duets.

Film Kashinath was Nitin Bose’s last film in New Theatres, after he developed differences with B.N.Sircar.

Anil Biswas gave his career best musical Hit film ” Kismet”- the longest running film from Bombay Talkies.

Nurjehan’s musical film Nadaan was popular with songs from composer K.Datta. Director Mehboob made his first film Najma, under his own banner Mehboob productions.

Yet one more musical from Naushad- film Namaste.

At last a musical hit for composer S.N.Tripathi- Panghat from prakash Pictures. Rajkumari Shukla sang her only Hindi song in this film;. (the film was remade as Chitchor-1976).

Film Paraya Dhan had music by Bengal’s famous musician Gyan Prakash Ghosh. Deena Pathak sang her only 2 songs in this film as Deena Sanghavi.

Ghulam Haider makes merry again with Shamshad hit songs in the film Poonji from Pancholi, Lahore.

One more superhit film – Ram Rajya from Prakash Pictures had very good songs from composer Shankar Rao Vyas. Saraswati Rane gave 2 melodious songs. Yashwant joshi and Yashwant Nikam sang the famous song ” Bharat ki ek Sannari ki katha”. Ram Rajya had also a distinction as the only Hindi film that was seen by Mahatma Gandhi, on 2-6-1944.
( Before this, Gandhi had seen ” Mission to Moscow-43′ an English film, in Wardha, according to The Hindu (Kathmandu Ed.) dt.8-2-2010). The film had early songs by Manna Dey also.

Naushad in full swing with his 3rd Musical Sanjog, where Suraiya gave playback to Mehtab, the Heroine.

Vasant Desai gave excellent songs in the hit film Shakuntala by V.Shantaram.

Hospital– excellent songs by kanan Devi.

Kanoon– another hit from Naushad.

Mera Khwab– MD Ghulam Mohammed’s Debut film

Najma– Mehboob khan’s first film, on Muslim society.

Nurse– Gyan Dutt gave an excellent song of Rajkumari-‘ Vo gaye nahin’

Prithvi Vallabh– A big budget costume drama made by Minerva, based on the story of K.M.Munshi. It had songs by Minakshi Shirodkar.

Tansen– Saigal’s first film in Bombay. Khurshid matches him song by song.

Taqdeer– Nargis aka Baby Fatima debuted as an adult. However her name comes third in the credits, after Motilal and Chandramohan.

Compared to all this, the film Aage kadam-43 was nowhere in any field-story, music or Box office. The film cast included Motilal, Anjali Devi, Mubarak, Rajkumari Shukla, Padma Banerjee, Master Amritlal, Leela Pawar, Narmada Shankar etc. Heroine Anjali Devi was not the actress from the South,who entered Bollywood much later in the next decade. This was a different actress about whom I have written earlier. The director was N R Acharya.

Today’s song is a Fun Duet by Leela Pawar and Master Amritlal. The lady is urging her lover that he should stop smoking. She describes all the bad things of smoking and the Lover replies with his explanations, countering all her objections.


Song-Ho mat piyo morey chhaila (Aage Kadam)(1943) Singers-Leela Pawar, Master Amrutlal, Lyrics-Kailash Matwala, MD-Madholal Master and Ramchandra Pal

Lyrics

Ho mat piyo
ho mat piyo
ho mat piyo more chhaila
tambaaku re mat piyo
hey main to piyoon
hey main to piyoon
sun gori sajaniya ho o o
main to tambaaku piyun
sun gori saaniya ho o o
main to tambaaku piyoon
hey main to piyoon
hey main to piyoon

tum tambaaku jo piyoge
tum tambaaku jo piyoge
main naagan ban kar jaaungi
torey haath kabhi na aaungi
torey haath kabhi na aaungi

tu naagan ban kar jaayegi
main jogi ban kar aaunga
tu naagan ban kar jaayegi
main jogi ban kar aaunga
tujhe pungi se rijhaaunga
tujhe pungi se rijhaaunga

tum tambaaku jo piyoge
main Maachhaariya ban jaaungi
tum tambaaku jo piyoge
main Maachhaariya ban jaaungi
torey haath kabhi na aaungi
torey haath kabhi na aaungi

tu maachhariya ban jaayegi
main bagla ban kar aaunga
tu maachhariya ban jaayegi
main bagla ban kar aaunga
tujhe chonch mein le ud jaaunga
tujhe chonch mein le ud jaaunga

ho mat piyo
hey main to piyoon
ho mat piyo
hey main to piyoon

tum tambaaku jo piyoge
main jal jal kar mar jaaungi
tum tambaaku jo piyoge
main jal jal kar mar jaaungi
main maati mein mil jaaungi
torey haath kabhi na aaungi
tu maati mein mil jaayegi
ho o o ho o o ho o
tu maati mein mil jaayegi
to teri chilam banaaunga
tere dil mein
ho tere dil mein
hey tere dil mein aag lagaaunga
phir ??
phir ?? ho
phir ?? ka dhuaan udaaunga

ho mat piyo
hey main to piyoon
ho mat piyo
hey main to piyoon


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

Blog Day :

4997 Post No. : 16894

———————————————–—————————————
Blog 10-Year Challenge (2012-2022) – Song No. 36
————————————————————————————–

This date ten years ago (viz 24 march 2012) saw five songs from five different movies getting covered in the blog. Here are the details:-

Blog Post number Song Movie (Year) Remarks
5686 Beena madhur madhur kachhu bol Ram Rajya(1943) 5 songs covered so far out of 12
5687 Chhota sa fasaana hai tere mere pyaar ka Birha Ki Raat(1950) Movie YIPPEED by now
5688 Ye zindagi ka mausam aur ye samaa suhaana Ghoonghat (1960) Movie YIPPEED by now
5689 Wo ghar ghar ke diye bujhaakar bane huye dhanwaan Ham Bhi Insaan Hain (1948) 4 songs covered so far out of 9
5690 Chal diye banda nawaaz Mr and Mrs 55(1955) Movie YIPPEED by now

We can see from the table that three of the movies whose songs were covered on 24 march 2012 have since been YIPPEED. That leaves us with two movies that are still unYIPPEED and therefore eligible for Blog Ten Year challenge today on 24 March 2022.

“Ram Rajya”(1943) is one such movie.

“Ram Rajya”(1943) was produced and directed by Vijay Shankar Bhatt for Prakash Pictures, Bombay. The movie had Prem Adib, Shobhana Samarth, Umakant Desai, Chandrakant, Badri Prasad, Yeshawant Nikam, Pandit, Ranjana, Amirbai Karnataki, Shanta Kumari, Athawaale, Madhusudan Jani, Pande etc in it.

This movie had 12 songs in it. Five songs have been covered in the blog so far.

Here is the sixth song from “Ram Rajya”(1943) to appear in the blog. This song is sung by a male singer that is not identified in HFGK. Ramesh Gupta is the lyricist. Music is composed by Shankar Rao Vyas.

The song is picturised as a song being sung on the occasion of the coronation of Lord Ram (played by Prem Adib.

I request our knowledgeable readers to help identify the singer. From the voice, it appears that the singer was a classiclly trained singer.

Lyrics of the song were sent to me by Prakashchandra.

Video link:

Song-Surya dev Jagdeep tej jinka jag saaje (Ram Rajya)(1943) Lyrics-Ramesh Gupta, MD-Shankar Rao Vyas

Lyrics(Provided by Prakashchandra)

Surya Dev
Jagdeep tej
jinnkaa…aaaaa…
jag saajey aey ae ae
saat ashw ke aey ae rath par
saarathi ..eee…eee…eee
Arun biraajey aey ae ae ae

tum unnke kul deep Raam
ghar ghar jay gaaje ae aey ae ae
goonj uthhey ae aey ae
dash deesh
keerti ka dankaa…aaaa..aaaa
baajey aey ae ae ae

DaanVeer Harishchandra nripati
satya sewaa vratdhaari..eee…eee
putra naari diye bech satya par
bann gaye aap bhikhaari..eee..eee

kathin tapasyaa
bhagirath ne ki
gangaa jee ko laaye aey ae ae
woh brahman prathipaal bhoopati
Dilip Raaj kahaaye ae
Raghu Raaj kee
gaurav gaathaa
koyee nahin bisraaye ae ae
ashwamedh kar
ajj ne jag mein
keerti dhwaj pharkaaye aey ae
Dashrath jee ne
deh tajaa par
bachan nahin taj paaye ae aey ae
tum ho unnke praan jagat
jin ke nit din gun gaaye ae ae
Sooryaavansh kee
vijay pataakaa
tum phir se pharkaa do o o
Raam raajya se
Bhaarat mein tum
sukh shaanti barsaa do o o o o
Raam raajya se
Bhaarat mein tum
sukh shaanti barsaa do o o o o o


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

Blog Day :

4991 Post No. : 16886

One can easily get philosophical too, besides the celebratory aspect. So okay, one more year, one more Holi celebration, one more set of songs posted. . .  And the wheel of life continues to roll. . .

Into the fourteenth year of continuous daily publication, since July 2008. And we have gone past on the way, fourteen Holi celebrations. In the earlier post today, Peevesie’s Mom ji has written that we have 66 Holi songs already posted here. She refers to one of my earlier posts, in which I have written that the Hindi cinema has an intense liking for this festival. And that we still have quite a number of Holi celebration songs that are awaiting discovery out there, and also, waiting to take their place on this blog.

As I check on the Geet Kosh, I am able to identify three Holi songs in 1932, almost immediately.  There is a film by the name ‘Raas Vilaas’ from this year. The song list of this film includes the following two song titles, which are clearly Holi songs. The first one is “Ab To Ghanshyaam Mache Holi, Ab To Sukhdhaam Mache Holi”. The second one from the same film is “Rang Rangee Main Ab Rang Na Daalo”.

In the same year, there is a film by the name ‘Zaalim Jawaani’ that has a song with the title “Biraj Dhoom Machaayo Kaanha”. Like wise, I am sure there are going to be many more songs for this celebration, where the song title may not immediately lend itself for identification. Ah but. . . how longingly one wishes we had all the songs available with us.

A similar search today has led to me to this very rare song from the 1943 film ‘Zabaan’. The rarity can be measured by the fact that this song is not yet available anywhere on line. I am able to locate it in my collection, and have uploaded it today. In all likelihood, this is the first time this song has been brought online.

It is a very attractive composition. Music is from the mind of C Ramchandra and the singing voices are of Ishwar Lal and Kaushalya, supported by chorus. The lyrics of this song are written by Ratan Piya. I was wondering whether this is a new songwriter for the blog. But no, this poet has written a few songs for the film ‘Shakuntala’, also from 1943, and some of those songs are already showcased here. As I checked the Geet Kosh, I find this name appear only for three films, these two fillms from 1943 and one from 1944 (‘Maali’). After that we do not hear from this poet.

Although quite late in the day, but I would still prompt the readers to listen to this wonderful melody. And maybe not too late either. The astrological computations of the Indian system, being based on the lunar cycle does not exactly synchronize with the standard calendars that are based on solar cycles. The full moon day started around mid day yesterday, and continued well almost up to 2 pm today. And the day that we traditionally called ‘dhulendi’, which is the day of playing Holi with colors and water, continues till tomorrow. And so, although the official holiday for Holi this year has been listed for today, as the astrological charts of the Indian system, ‘dhulendi’ is tomorrow. Now figure this out as well as we can.

Early rather than late, or may be later rather than earlier – based on which system you would prefer, here is wishing all readers and friends, a very auspicious, colorful and happy Holi.

Listen to this newly available old melody, and enjoy.


Song – Aai Aai Re Rangeeli Holi Aai Re  (Zabaan) (1943) Singer – Ishwarlal, Kaushalya, Lyrics – Ratan Piya, MD – C Ramchandra
Chorus

Lyrics

aai aai re
rangeeli holi aai re
rangeeli holi aai re. . .
ho aai re
aaj jholi khushi ki bhar laai re
aaj jholi khushi ki bhar laai re
khushi ki bhar laai re
ho aai re

ho oo oo oo oo
holi ko dekh badi machti umangen
ho oo oo oo oo
holi ko dekh badi machti umangen
rangon ko dekhte hi chadti tarangen
rangon ko dekhte hi chadti tarangen
jaise paani mein aag lagaai re
jaise paani mein aag lagaai re
ho aag lagaai re
ho aai re
aai aai re
rangeeli holi aai re
rangeeli holi aai re. . .
ho aai re

laal aur gulaal le ke phirte hain saare
laal aur gulaal le ke phirte hain saare
pheeke bina saajan ji ke saare. . .
pheeke bina saajan ji ke saare
yaad preetam ki mann mein jagaai re
ho mein jagaai re
ho aai re
aai aai re
rangeeli holi aai re
rangeeli holi aai re. . .
ho aai re

bhaye sajaniya mahina rangeela
bhaye sajaniya mahina rangeela
ghere na koi tujhe baanka chhabeela
ghere na koi tujhe baanka chhabeela
kaan(?) bahuton ne tujh pe lagaai re
kaan(?) bahuton ne tujh pe lagaai re
ho tujh pe lagaai re
ho aai re
aai aai re
rangeeli holi aai re
aai aai re
rangeeli holi aai re
rangeeli holi aai re. . .
ho aai re

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

आई आई रे
रंगीली होली आई रे
रंगीली होली आई रे॰ ॰ ॰
हो आई रे
आज झोली खुशी की भर लाई रे
आज झोली खुशी की भर लाई रे
खुशी की भर लाई रे
हो आई रे

हो ओ ओ ओ
होली को देख बड़ी मचती उमंगें
हो ओ ओ ओ
होली को देख बड़ी मचती उमंगें
रंगों को देखते ही चढ़ती तरंगें
रंगों को देखते ही चढ़ती तरंगें
जैसे पानी में आग लगाई रे
जैसे पानी में आग लगाई रे
हो आग लगाई रे
हो आई रे
आई आई रे
रंगीली होली आई रे
रंगीली होली आई रे॰ ॰ ॰
हो आई रे

लाल और गुलाल ले के फिरते हैं सारे
लाल और गुलाल ले के फिरते हैं सारे
फीके बिना साऊ जी के हैं सारे॰ ॰ ॰
फीके बिना साऊ जी के हैं सारे
याद प्रीतम की मन में जगाई रे
हो मन में जगाई रे
हो आई रे
आई आई रे
रंगीली होली आई रे
रंगीली होली आई रे॰ ॰ ॰
हो आई रे

भए सजनीया महिना रंगीला
भए सजनीया महिना रंगीला
घेरे ना कोई तुझे बांका छबीला
घेरे ना कोई तुझे बांका छबीला
कान(?) बहुतों ने तुझ पे लगाई रे
कान(?) बहुतों ने
हो तुझ पे लगाई रे
हो आई रे

आई आई रे
रंगीली होली आई रे
आई आई रे
रंगीली होली आई रे
रंगीली होली आई रे॰ ॰ ॰
हो आई रे


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

Blog Day :

4967 Post No. : 16838

Today’s song is from the film Sahara-1943 – an almost 80 year old one !

Whenever I rummage through the pages of HFGK issues of the 30’s to 50’s for something,I see a lot of names of actors, actresses, directors, Lyricists, singers and composers. I find that names which are prolific in the beginning became rare and then disappeared. Like waves in the sea, artistes appear and disappear from time to time. Very few artistes have a longer career of more than 25 years. Similarly, some artistes have a very short career, say of just 3 or 4 films.

One type of artistes are those who join the industry and continue to work till they can work ,in different capacities like Heroes, side heroes, character artistes and finally as extras. Actors like Master Nissar, Master Shiraz, Parshuram, Sunder, Sajjan, Bharat Bhushan etc come in this category.

Another category is of those who leave the films and go back to their earlier vocations or fulfil their other ambitions. Artistes like Moti, B.A.-Lyricist, Laxmi Shankar, S D Batish, actor Arjun Bakshi,Child actor Shashi Kapur Sr., Child actor singer Ram marathe, Firoze Dastoor etc. fall in this category.

Yet another group consists of actresses or singers who stop working after they get married, as if that was their final goal in life. Artistes like Lalita Deulkar, Smriti Biswas, Nalini Tarkhud, Sardar Akhtar, Gohar Mamajiwala, Mehtab etc can be counted in this group.

Lastly there is a group of actresses-famous and popular- who actually joined films directly as Heroines only after they were already married and what’s more this fact was not hidden. Offhand I can name few such actresses – Nirupa Roy, Meenakshi Shirodkar, Renuka Devi, Shobhana Samarth, Neena etc. come in this category.

Until about 1950 or so, many of those who joined films were not much educated. In fact we have examples like Meena Shorey who was so illiterate that she could not even sign her name in any language, forget about reading,writing or speaking English. Similarly, singer Sitara kanpuri was also totally illiterate. Therefore a highly qualified educated person joining the films was unimaginable. In such times both the Hero and Heroineof film Sahara-1943 were the most educated, polished and from highly respected families. This itself was a wonder.

Heroine Renuka Devi, in first place she was already married before joining the film line and additionally, she was M.A.in English Literature from Aligarh University. The Hero-S.D.narang – was B.Sc., M.B.B.S., Ph.D, a research scholar and an author of 2 books. All this before joining the film line. Other such examples I remember now are actress Vanmala who was B.A.,B.T. and actor Ranjan who was a Ph.D and a fellow of New York university….before joining films.

While Renuka Devi kept her film career limited to only 9 films (1937 to 1947), Dr. Narang continued in films till his last days. Renuka Devi returned to continue as a Housewife-away from films. She engaged herself in Social work, was on TV talk shows in Pakistan and also wrote her autobiography in English.

It is unbelievable that people like Dr. S D Narang ever worked in the film industry. here in his short Bio for our New readers….

Here is a story which is stunning and unbelievable ! A young man was born on 18-6-1918,at Lyallpur,Punjab. He studied hard and got high education.First he did B.Sc., then completed M.B.B.S. and became a Medical Doctor. Later he submitted a Thesis and got his Ph.D. All this from Lahore Medical College. He also wrote some research papers and 2 books. With this sparkling education, he could have had a luxurious living,but he chose to join the uncertain Film World. True to his wont,he succeeded here too and became a Hero,Producer,Director,Studio owner , a Lyricist and a writer.

Yes, in the early era of the late 30s,when educated people were a rarity,this highly qualified young man came into films. His name was SATYA DEV NARANG or simply, S.D.Narang.(18-6-1918 to 25-1-1986 ). Here are some highlights of his life,adapted from the site sdnarangsfan.com…With thanks.

1. During his life, from 1918 to 1986, he served the Indian Film Industry, at three Capitals of this industry, Lahore (1936 to 1946), Calcutta (l947 to 1951) and Bombay (1952 to 1980), as hero, producer, director, writer and Studio owner.

2. He had the distinction of being the highest educated man in the film industry. He was B.Sc., M.B.B.S and Ph. D from Lahore Medical College.

3. He had the credit of being the debut making leading man of ‘ Khazanchi’ which was The First Indian Film to celebrate the Platinum Jubilee.

4. He was the youngest leading man in Lahore, who played the lead in Khazanchi, Ravi Paar, Zamindar, Patwari, Gawandhi,Thekedar, Sahara,Yeh Hai Zindagi (his first venture as producer-director) and Kamini.

5. In Calcutta he produced ‘Chittagong Armoury Raid’, which was India’s ‘First Revolutionary Film’. He also produced Nai Bhabhi, Ek Raat, Aparajitha, and Chiner Putul and also played the leading roles in these films. Apart from his own movies, he played the lead in Iran Ki Ek Raat and Kajari,which were produced by outside producers.

6. After partition, he had to leave Lahore, like a Refugee, leaving all his assets and immovable property behind him. With his hard work and experience once again he was able to establish himself as the hero, producer, director, writer and Studio owner at Delhi. But the studio proved disaster in disguise for him. Being a soft hearted person, he was giving credit to the producers, who used to shoot their films in his studio. They duped him and he had to suffer heavy losses. With this bitter experience he left the city and entered the City of Dreams and the capital of Entertainment, Bombay, in 1952.

7. Being a passionate movie maker, Dr. S. D. Narang was able to get himself settled in Bombay, within a very short span of time. He had already dedicated himself to the silver screen. Once again he arose alive from his own ashes, like a Phoenix.

8. He made his presence felt in a big way in the big City of Bombay. He produced and directed many films with big stars. In Tanhai and Darban he played the leading role himself. Some of the important films produced by him in Mumbai include, Arab Ka Saudagar, Yahudi Ki Ladki, Dilli Ka Thug, Sagai, Babul Ki Kaliyan, Do Thug, Ram Kasam, College Girl, Do Ustad, Kismatwala and Nishanebaaz. He had also produced Shehnai, which was India’s First Air-Force Film.

9. He was also the producer of Bombay Ka Chor, which was India’s First ‘Holiday-on-Ice’ movie.

10. He has also the credit of producing India’s First Under-water-movie, ‘Anmol Moti’ Jeetendra and Babita starrer.

11. The movie maker with Midas touch, Dr. S. D. Narang, had spent his 50 golden years of his cinematic profession, in the service of Silver Screen.(1936-86). He acted in 7 films and directed 14 Hindi films.

12, Before venturing into the film industry as the leading man, S. D. Narang, had an aptitude for research and while studying in Lahore Medical College, he did research on ‘Binocular Theory Of Vision’, which was published in his college Magazine. He bagged the Ph. D and became the Doctor of Philosophy, though he was already a Doctor of medicines.

13, Apart from being the author of a novel ‘Hippy Aur Yogi’ and ‘Human Psychology’, he had written a most praiseworthy book, ‘An Introduction To The Theory Of ‘Bio-Economics. It was actually a new approach to diagnosis and cure of Inflation and poverty. If applied to the present Global financial crisis, it can change the face of the fiscal fate of the World.

14. In 1960 he got married to actress of his time Smriti Biswas,with whom he had played the lead in many films. After her marriage she stopped signing new films, and decided to play the roles of faithful wife and caring mother. Still she prefers to prepare food for her beloved sons Rajiv Narang and Satyajeet Narang.

Today’s song is sung by Zeenat Begum and an unknown male singer. It seems to be a funny song. Written by lyricist Nazim Panipati ( brother of Producer,Director and Lyricist author Wali Saheb- who was the husband of actress Mumtaz Shanti), it was musically composed by Music Director Pt. Govind Ram. This rare song was given to me by my friend from the US- Abhay Jain and uploaded by our Sadanand ji Kamath. Thanks to both.


Song- Main to lahenga nahin pahnoon (Sahaara)(1943) Singers- Zeenat Begum, Unknown male voice, Lyricist- Nazim Panipati, MD- Pt. Gobind Ram

Lyrics

Main to lehenga nahin een pehnoon
Main to lehenga nahin pehnoon
koi haaye laa de makhmal ki salwaar
o sainyya laade makhmal ki salwaar
o raaja
main to lahanga nahin pehnoon

?? waali
lehanga pahani
?? waali
lehanga pahani
tu isse bejaar

haan haan main isse bejaar
laa de makhmal ki salwaar
o sainyya laa de makhmal ki salwaar
o balma

mohe lahanga raas na aaye
mohe lahanga raas na aaye
dekh kamariya lachki jaaye
mohe lahanga raas na aaye
dekh kamariya lachki jaaye
ise pahan kar gir gir jaaun
sun o makkhi-maar
o
ise pahan kar gir gir jaaun
sun o makkhi-maar
sab dukaanen band padi hain
aaj to hai itwaar
sab dukaanen band padi hain
aaj to hai itwaar

kab laa doge tum
parson
arre bhaad mein jaaye parson warson
makhmal laa de kal ya parson
bade saab se tankha lekar
laa doonga sarkaar
bade saab se tankha lekar
laa doonga sarkaar

pehnoon makhmal ki salwaar
o sainyya
pehnoon makhmal ki salwaar
o raaja
main to lahanga nahin pahnoon
main to lahanga nahin pahnoon


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

Blog Day :

4931 Post No. : 16773

“Kurbaani”(1943) was directed by Ram Daryani for Murli Movietone, Bombay. This obscure “social” movie had Durga Khote, Ishwarlal, Vasanti, Kaushalya, Gulab, Kamla, Gope, Majid, Sheikh, Dharpure etc in it.

The movie had nine songs in it.

One song from “Kurbaani”(1943) has been covered in the past.

Here is the second song from “Kurbaani”(1943) to appear in the blog. This song is sung by Kaushalya and Ishwarlal. Wali Sahab is the lyricist. Music is composed by Khemchand Prakash.

Only the audio of this song is available. Seeing that the singers of this song acted in the movie as well, one can assume that the song was picturised on Kaushalya and Ishwarlal themselves.

Like the first song from the movie, this song too is a delightful song to listen to. This song has retained its freshness even today nearly 80 years after the song was created. Clearly a song that deserves to be better known among music lovers.


Song-Aao aao sajan tohe jhoola jhulaaun (Kurbaani)(1943) Singers-Kaushalya, Ishwarlal, Lyrics-Wali Sahab, MD-Khemchand Prakash
Both

Lyrics

aao
aao
aao
aao aao
aao aao sajan tohe jhoola jhulaaun
aao sajan tohe jhoola jhulaaun
saawan saawan manaao
saawan saawan manaao
tohe jhoola jhulaaun
tohe jhoola jhulaaun
aao sajan tohe jhoola jhulaaun

kaajal ki dori ka jhoola banaa ke
kaajal ki dori ka jhoola banaa ke
nainon ki putli mein tohe bithha ke
nainon ki putli mein tohe bithha ke
aasha ki duniya basaaun
aasha ki duniya basaaun
tohe jhoola jhulaaun
tohe jhoola jhulaaun
tohe jhoola jhulaaun
tohe jhoola jhulaaun
tohe jhoola jhulaaun
tohe jhoola jhulaaun
aao sajan tohe jhoola jhulaaun
aao sajan tohe jhoola jhulaaun
jhoolo to main baanh ka jhoola banaaun
jhoolo to main baanh ka jhoola banaaun

tumhen is naye jhoolne mein bithhaaun
tumhen is naye jhuoolne mein bithhaaun

udhar gaao tum
main idhar gungunaaun
udhar gaao tum
main idhar gungunaaun
tohe jhoola jhulaaun
tohe jhoola jhulaaun
tohe jhoola jhulaaun
tohe jhoola jhulaaun
aao
aao
aao
aao aao
aao aao sajan tohe jhoola jhulaaun
aao sajan tohe jhoola jhulaaun

saawan saawan manaaun
saawan saawan manaaun
tohe jhoola jhulaaun
tohe jhoola jhulaaun
tohe jhoola jhulaaun
tohe jhoola jhulaaun
tohe jhoola jhulaaun
tohe jhoola jhulaaun
aao sajan tohe jhoola jhulaaun
aao sajan tohe jhoola jhulaaun


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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4887 Post No. : 16683

Songs from Artiste Name Films….Second Season….No. 6

Today’s song is from the film Shakuntala-1943.

After leaving Prabhat Film Co. in 1942, V.Shantaram came to Bombay. He had definite plans for his future. But till the right time ( read-arrangement for finance) was ripe, he joined the Films Division of the Government. Later, when the arrangements were in place, he bought a studio with extra land to start his own Rajkamal Kala Mandir. He selected this name to keep his parents’ names with him. Father was RAJaram and Mother was KAMALabai. The first film he made here was “Shakuntala” The film was based on ” अभिज्ञान शाकुन्तलम ” written by Kavi Kalidas in the 3rd century. It depicts the story of Shakuntala- daughter of sage Vishwamitra and apsara Menaka. It is about her love with king Dushyant.

Dewan Sharar had adapted the story from the original ” अभिज्ञान शाकुंतलम ” by Mahakavi Kalidas written in the 3rd century. He wrote the story, dialogues and Lyrics ( some lyrics were by Ratan Piya ) also. This was Sharar’s first film with Shantaram . Their association continued for some more films like, Parbat pe apna dera-44, Dr. Kotnis ki amar kahani-46, Apna Desh-49, Teen batti char Raasta-53 and J.J. Payal baje-55.

The cast of the film was Jayashree ( for whom Shantaram had to leave Prabhat), Chandramohan, Zohra, Ameena, Nimbalkar, Nana Palshikar etc etc. For actress Zohra Jaan, this was her last film in India, before Partition. Actually, she was already selected as the Heroine of Shantaram’s next film ‘ Parbat pe apna dera”, but when some communal riots erupted in Bombay for Partition, she got scared and left immediately for Lahore, Pakistan.

One interesting actor in the cast was Madan Mohan (not the Music Director). He had come from Punjab and he stuck with Shantaram’s films He was in Parbat pe apna dera-44 and he became a regular in most films of Shantaram, after that. Likewise another interesting actor was Indurao T. Nimbalkar, a veteran actor from marathi films. He too became almost a regular with Shantaram. In film Shakuntala-43 he played the role of sage Kanva Muni, the foster father of Shakuntala.

Film Shakuntala was a successful film. It not only ran for 104 weeks in Bombay, but it became the first ever Hindi film to be shown in the USA. The New York Times had given a favourable review of the film in its editions. The film was also nominated for the Grand International Award at the 1947 Venice Film Festival.

This was Vasant Desai’s first independent assignment with his mentor-V.Shantaram. he had a long associationwith Rajkamal filmsn subsequently. So, one can see major landmarks were associated with this film.

Now, coming to our point. There were two actresses in Hindi films, named Shakuntala. One was Baby Shakuntala to start with , but later on she became Heroine in many Hit films. She paired with well known heroes, like Kishore Kumar,Bharat Bhooshan,Karan Dewan, Amarnath, Anant marathe, master Bhagwan, Abhi Bhattacharya etc etc. She was a well known actress.

The other Shakuntala was not so well known, because she acted only in the 30’s and 40’s films. Her last film was Paisa-1941 after which she went out of Hindi films.

None of these two Shakunatalas had acted in this film. However, we will see the information on the less known Shakuntala. Her full name was Shakuntala Paranjpye (शकुंतला परांजपे ) She had a very bright career before and after her sojourn into the film world of Hindi and Marathi cinemas. Very few people can match her achievements in films, social work, politics and education. She was the mother of Sai Paranjpye, famous director of offbeat films like Katha, Chashme Baddur, Sparsh etc.

Shakuntalā Parānjpye (17 January 1906 – 3 May 2000) was a writer and a prominent social worker. She was a member of Maharashtra Legislative Council during 1958–64, and was a nominated member of Indian Rajya Sabha (Upper House of Parliament) during 1964–70. In 1991, the Government of India awarded her the Padma Bhushan title in recognition of her pioneering work in the field of family planning since 1938.

Shakuntala Paranjpye was the daughter of Sir R.P.Paranjpye the first Indian to be Senior Wrangler at the University of Cambridge, an educationist, and India’s High Commissioner to Australia during 1944–1947Shakuntala studied for the Mathematical Tripos at Newnham College, Cambridge. She graduated there in 1929. She received a Diploma in Education from London University the next year.
Shakuntala worked in the 1930s with the International Labour Organization in Geneva, Switzerland. In the same decade and in the 1940s,, she also acted in some Marathi and Hindi movies. Shakuntala wrote many plays, sketches, and novels in Marathi. Some of her work was in English.

A Hindi children’s movie, Yeh Hai Chakkad Bakkad Bumbe Bo, which was based on a Marathi story by Shakuntala was released in 2003.

Shakuntala was married for a short time to a Russian painter, Youra Sleptzoff. She had a daughter, Sai Paranjpye, by him in 1938. Soon after Sai’s birth, she divorced Youra, and brought up Sai in her own father’s household. Sai Paranjpye is a noted Hindi movie director and screenwriter. She is known for her comedies and children’s movies. In 1991, the Government of India awarded her the Padma Bhushan title in recognition of her artistic talents.
Shakuntala wrote many books. Some of them are….

1.Three years in Australia
2. Sense and Non sense
3. Kahi ambat kahi goad (Marathi)
4.Desh Videshichya Lok katha (Marathi)

She acted in 13 films- Sairandhri-33, Parth Kumar-34, Bhedi Rajkumar-34,Bhakta Prahlad-34, Typist Girl-35, Sone ka Shahar-35, Kali Waghan-35, Bahadur Beti-35, Duniya na maane-37, Sultana Chand Bibi-38, Jeevan Jyoti-38, Stree-38 and Paisa-41. She sang 9 songs in 4 films-Typist Girl,Sone ka shahar, Stree and Paisa.
Though she ended her Hindi film career in 1941 itself, she is often credited with the films till 1955- films which were actually done by the other (Baby) Shakuntala. This is what I call as “Same Name Confusion”. In fact, (Baby) Shakuntala started her career with film Dus Baje in 1942, so there was no scope for mixing up their filmographies. But wiki as well as most of the film related sites do this mistake.

Today’s song is a short one, with video showing the final departure of Shakuntala, Dushyant and their son-Bharat. It is sung by Amirbai and a chorus with a male voice. The story of film Shakuntala -1943 was –

Shakuntala (Jayshree) is the daughter of sage Vishwamitra and Menaka, but is brought up by the sage Kanva, and stays with him in a forest dwelling. She meets King Dushyanta (Chandra Mohan), when he comes there for a hunt. The two fall in love and get married, with Dushyanta staying with her. Soon he has to leave and he promises to come back for her. Before leaving he gives her a ring as a token of their marriage. Shakuntala passes her days waiting for Dushyanta. She is so lost in his thoughts that she doesn’t hear a sage asking for water. He then leaves her with a curse that the one she is thinking about will forget her. She gives birth to a son, Bharata and several years pass without the return of Dushyanta who has lost his memory and has no recollection of Shakuntala. The ring he has given her is lost in the river and swallowed by a fish. Dushyanta turns her away when Shakuntala goes to the court. Later when Dushyanta recovers his memory Shakuntala refuses to go with him but both are finally united.


Song- Sukh bhara, sukh bhara (Shakuntala)(1943) Singers- Amirbai Karnataki, Unknown male voice, Lyricist- Ratan Piya, MD- Vasant Desai

Lyrics

Sukh bhara
sukh bhara
Sukh bhara
sukh bhara
kare jeevan bharat ye tumhaara

?? varshon ke viyogi
nikla sukh ka taara
Sukh bhara
sukh bhara
kare jeevan bharat ye tumhaara
?? apne praan badhaaye
jai jai kaare
jag mein paaye
rajyawansh(?) ho Bharat naam se
Bhaarat ye pyaara hamaara
bhaarat ye pyaara hamaara
Sukh bhara
sukh bhara
bhaarat ye pyaara hamaara


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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4848 Post No. : 16637 Movie Count :

4531

Today’s song is from an absolutely obscure film called Vijay Laxmi-1943. The film’s song are not available on social media like YT etc, but I had 4 songs of this film and I found that this film is yet to make a Debut on our Blog.

If 100 films are made in one year, only about 10% of films are Hits or popular. About 10 to 20 % of films do an average business on Box office, but the rest number of films either flop or disappear from the theatres quickly. That means the majority of the films are not worth remembering. Why does this happen when so much money is poured into the films ? No one wants to waste his money on making a film.

Filmmaking is like playing on a Race Course. 100 people buy tickets and put their money on different horses. Only a few win. The rest lose their money, but then everybody can’t win. It is a matter of Luck, because there is no fixed formula for success. When a producer puts his money into making a film, he has all the hopes to earn profit by making the film a Hit. However, not every film can become a Hit. In Spite of this uncertainty in races, films and other such matters, people take chances again and again by changing their strategies.

Let us now take a look at what the Film scenario was in the year 1943….

1943 was a year in which the II world war was in full swing. Both sides were almost equal. The effects of the war on India were… it faced the infamous Bengal Famine, caused by the war profiteering. Controls on film production were tightened by the Government. I.P.T.A. became operative with its first staged p0lay ‘ Nibanna’. Film Kismet became one of the biggests Hits ever. V.Shantaram’s Rajkamal Kalamandir debuted with Shakuntala, as did Mehboob with his film Najma. Government made showing of Newsreel before any film mandatory. Film Raj Nartaki’s english version The Court Dancer was exhibited in the USA, first time for an Indian film.

1943 produced 105 Hindi films, the highest number during the war years, 1939 to 1945. Many landmark and musical films appeared in this year giving a respite to the war torn audience of Indian Cinema. Let us take a look at some of these films.

Film Bhaichara had music by the only other ” Sursagar” musician – Himangshu Dutt ( the more well known being the singer Jagmohan Sursagar).

C.Ramchandra had his first musical hit with the film Bhakta Raj, made by Jayant Desai productions.

Film Gauri from Ranjit became Monica Desai’s first Hindi film in Bombay. It was a very successful film with songs by Khemchand Prakash, based on Bangla Folk tunes.

Kanan Devi gave some sweet songs in the film Hospital, under Kamal Dasgupta’s baton.

Bombay Talkies film Hamari Baat was the last film in which Devika Rani acted. Anil Biswas was the composer.

Music Director Khurshid Anwar brought Gauhar Sultana from Lucknow to sing some songs in the film Ishara. Naushad'[s musical film Kanoon had some good Suraiya and Shyam duets.

Film Kashinath was Nitin Bose’s last film in New Theatres, after he developed differences with B.N.Sircar.

Anil Biswas gave his career best musical Hit film ” Kismet”- the longest running film from Bombay Talkies.

Nurjehan’s musical film Nadaan was popular with songs from composer K.Datta. Director Mehboob made his first film Najma, under his own banner Mehboob productions.

Yet one more musical from Naushad- film Namaste.

At last a musical hit for composer S.N.Tripathi- Panghat from prakash Pictures. Rajkumari Shukla sang her only Hindi song in this film;. (the film was remade as Chitchor-1976).

Film Paraya Dhan had music by Bengal’s famous musician Gyan Prakash Ghosh. Deena Pathak sang her only 2 songs in this film as Deena Sanghavi.

Ghulam Haider makes merry again with Shamshad hit songs in the film Poonji from Pancholi, Lahore.

One more superhit film – Ram Rajya from Prakash Pictures had very good songs from composer Shankar Rao Vyas. Saraswati Rane gave 2 melodious songs. Yashwant joshi and Yashwant Nikam sang the famous song ” Bharat ki ek Sannari ki katha”. Ram Rajya had also a distinction as the only Hindi film that was seen by Mahatma Gandhi, on 2-6-1944.
( before this Gandhi had seen ” Mission to Moscow-43′ an English film, in Wardha, according to The Hindu (Kathmandu Ed.) dt.8-2-2010). The film had early songs by Manna Dey also.

Naushad in full swing with his 3rd Musical Sanjog, where Suraiya gave playback to Mehtab, the Heroine.

Vasant Desai gave excellent songs in the hit film Shakuntala by V.Shantaram.

Hospital- excellent songs by kanan Devi.

Kanoon- another hit from Naushad.

Mera Khwab- MD Ghulam Mohammed’s Debut film

Najma- Mehboob khan’s first film, on Muslim society.

Nurse- Gyan Dutt gave an excellent song of Rajkumari-‘ Vo gaye nahin’

Prithvi Vallabh- A big budget costume drama made by Minerva, based on story of K.M.Munshi. It had songs by Minakshi Shirodkar.

Tansen- Saigal’s first film in Bombay. Khurshid matches him song by song.

Taqdeer- Nargis aka Baby Fatima debuted as an adult. However her name comes third in the credits, after Motilal and Chandramohan.

Besides these films, the following films were also made but their names are not even known to most people. These films just came and went into oblivion !
Andhera, Angoothi, Ashirwad, Bhalai, Chhed Chhad, Daawat, Duniya Deewani, Jangi jawan, Kurbani,Mohabbat, mauj, Pati pooja, prem sangeet, Rekha, Sahara, Salma, Sawaal, Tasweer, Vijay laxmi and Zameen etc etc. These are only sample names. I have not counted C grade and stunt or costume films, which were plenty in numbers.

Today’s film Vijay Laxmi was made by Indian Art Pictures and was directed by one G.S.Kashyap. I find that his name appears as a Director only for this film in the HFGK. Possibly he was a one film director like many in the war period ( who would provide finance also for the film to become a director ). The music was composed by G.M.Durrani, who was basically a singer but had a strong desire to also be a composer. While he sang 305 songs in 168 films, he also composed music in 8 films and acted in 16 films. He even wrote 1 song in film Nazare-1949.

The cast of the film was Shobhana Samarth, Motilal, Yashodhara katju, Gope, David, Meher Bano (actress Purnima, in adult life),Bhudo Advani, Leela Mishra and many others. In this film even Leela Mishra’s husband Ram Prasad Mishra had also done a small role and his name appears in the credits too.

Leela Mishra (1 January 1908 – 17 January 1988) was a Hindi film actress. She worked as a character actor in over 300 Hindi films for five decades, and is best remembered for playing stock characters such as aunts (Chachi or Mausi). She is best known for her role of “mausi” in the blockbuster Sholay (1975), Dil Se Mile Dil (1978), Baton Baton Mein (1979), Rajesh Khanna films such as Palkon Ki Chhaon Mein, Aanchal, Mehbooba, Amar Prem and Rajshri Productions hits such as Geet Gaata Chal (1975), Nadiya Ke Paar (1982) and Abodh (1984). Her career’s best performance was in Naani Maa in 1981, for which she received the Best Actress award at the age of 73.

Leela Mishra was married to Ram Prasad Mishra, who was a character artist, then working in silent films. She got married at the very young age of 12. By the time she was 17, she had two daughters. She hailed from Jais, Raebareli, and she and her husband were from zamindar (landowners) families.

Leela Mishra was discovered by a man called Mama Shinde, who was working for Dadasaheb Phalke’s Nasik Cinetone. He persuaded her husband to make her work in films. During those days there was a severe scarcity of women actors in films; this was evident in the paychecks that the Mishras received when they went to Nasik for the shooting. While Ram Prasad Mishra was hired on a salary of Rs. 150 per month, Leela Mishra was offered Rs. 500 per month. However, as they fared poorly in front of the camera, their contracts were cancelled.

The next opportunity that came their way was an offer to work in the movie Bhikarin, which was being produced by a company owned by the Maharaja of Kolhapur. However, Leela Mishra lost out on this opportunity too, as the role required her to put her arms round the actor (who was not her husband) while delivering a dialogue, which she point-blank refused to do.

Their next film was Gangavataran-37, directed by Dadasaheb Phalke. This was his only and the last Talkie film. In this film Leela did the role of Parvati. This became her first film.

She faced a similar problem while working in another film titled Honhaar. She was cast opposite Shahu Modak as a heroine, and was supposed to hug and embrace him, which she again refused steadfastly. Since the company was legally in a weak position, they couldn’t turn her out of the film, which proved to be a blessing in disguise for her. She was offered Modak’s mother’s role in the film and it clicked instantly. This opened the doors for her to play mother roles at the young age of 18.

Early on in her career she acted in notable films such as the musical hit Anmol Ghadi (1946), Raj Kapoor’s Awaara (1951) and Nargis-Balraj Sahni starrer Lajwanti (1958), which was nominated for the Palme d’Or for Best Film at 1959 Cannes Film Festival.

She acted in the first Bhojpuri film, Ganga Maiya Tohe Piyari Chadhaibo (1962), which also starred Kumkum, Helen and Nasir Hussain.

Her roles varied from mothers, benign or evil aunts, to comic roles.

She acted in 344 films. Her last released film was Aatank-96. 8 films were released after her death. ( Thanks to wiki, Ateet ke sitare, muVyz, HFGK and my notes).

I have no idea about the film’s story or other details. The song was given to me by friend Abhay Jain (USA) and was uploaded by our Sadanand Kamath ji. Thanks to both.

Editor’s note:_Readers are request to suggest correction to the lyrics wherever applicable.


Song- Bano sudeshi bano Sudeshi (Vijay Laxmi)(1943) Singers- G M Durrani, Lyricist- Not known, MD- G M Durrani

Lyrics

Bano sudeshi
Bano sudeshi
Bano sudeshi
Bano sudeshi
?? bhayo ??
?? bhayo ??
?? bhayo ??

tan sudeshi man sudeshi
maal ?? deshwaalon
kyun nahin lete sudeshi
desh hai kangaal
desh hai kangaal

?? bhayo ??
?? bhayo ??
?? bhayo ??
??
bano sudeshi
bano sudeshi
bano sudeshi
bano sudeshi

laakhon hamaare bhai
zinda hi mar rahe hain
roti ka nahin tukda
faakon se mar rahe hain
aanten hain unki bhookhi
aanten hain unki bhookhin
bachche hain unke bhookhe
maayen hain unki bhookhi

kapdon ko mohtaaj
dhaanp nahin saktin
maa behnen
apne tan ki laaj
apne tan ki laaj
unki roti aatma ka
unse hai sawaal
unse hai sawaal
unki roti aatma ka
unse hai sawaal
unse hai sawaal
?? bhayo ??
?? bhayo ??
bano sudeshi
bano sudeshi
bano sudeshi
bano sudeshi

jo desh pe urbaan
achche wahi insaan
desh laakhon mit gaye
zinda hai Hindustan
zinda hai Hindustan

Desh apna bemisaal
uska tum se hai sawaal
Desh apna bemisaal
uska tum se hai sawaal
?? bhayo ??
?? bhayo ??
marte dam Bhagwaan
de yahi vardaan
har har janam humko miley
ye pyaara Hindustaan
har har janam humko miley
ye pyaara Hindustaan
pyaara Hindustaan
pyaara Hindustaan
pyaara Hindustaaaan


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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.

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