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

Posts Tagged ‘1944


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 : 3885 Post No. : 14912

Today’s song is a rare song( difficult to get) from film Bhanwara-44, starring K L Saigal.

I have been writing on old films and its music since more than 6 years now, but I have never written on any song of a film featuring Saigal and his songs. I had never planned it that way. Actually, I am also a fan of Saigal. Probably it so happened that I found that there were “better’ people to write on Saigal and I coolly left it at that. Our Sudhir ji has done great justice to Saigal songs- film and Non film- with his detailed and emotional articles. These were lapped up by our readers and praise was heaped on every article of his on this topic. Comments on those songs are a testimony to this.

Now there are no Saigal songs left in any film uncovered nor are there any of his popular films without full coverage of all songs. However, few films have few other non K L Saigal songs still to be covered. Today’s song is one such song. This song is a rare song, opines Sadanand ji – the uploader of this song.

K L Saigal (11-4-1904 to 18-1-1947) started his film career with Muhabbat ke aansoo-32 and ended it with Parwana-1947. Most of his career was pursued in Calcutta, primarily with New Theatres and at the end of his life, he did 7 films in Bombay. 2 films each had music by Khemchand Prakash and Lal Mohammed, and 1 film each by Gyan Dutt, Naushad and Khursheed Anwar.

Film Bhanwara-44 was a quickie made by Ranjit within a span of just 9 days, using up the balance period days of Saigal’s contract with Ranjit. The film was directed by his old friend Kidar Sharma. The film had music by Khemchand Prakash. The songs were written by Kidar Sharma, Swami Ramanand and Pt. Indra. The cast of the film was Saigal, Arun Ahuja, Kamla Chatterjee, Monica Desai, lala Yaqub, Brijmala, Kesari etc etc.

Arun Ahuja was a favourite of Sagar, Mehboob and Ranjit. His real name was Gulshan Singh Ahuja-born on 26-1-1918. He was a science graduate from Lahore in 1937. Director Mehboob was interviewing candidates for his new film. From among the shortlisted 100 candidates, Mehboob was impressed with the personality of Arun Ahuja and he was selected to be one of the Heros in film Ek hi Rasta-1939, made by Mehboob for Sagar Movietone. In this film Arun even sang a duet with Maya Banerjee. The film was so successful that Arun became a Hit Hero overnight. Next came Civil marriage-40, Bhole Bhale-40 and his life’s best film Aurat-40

In 1942, while doing film Savera with a new comer Nirmala, he fell in her love and they got married. Arun went on doing roles in about 30 films in his career till his last film Aulad-54. He had produced a film, which was a total flop. He had heavy loss and had to sell off his Bungalow in Bombay and go to a chawl in far off suburb-Virar to live in a rented flat. Arun had 3 daughters and 2 sons- actor/producer Kirti kumar and superstar Govinda. To maintain family, his wife acted and sang in stage shows till her last. Arun Ahuja died on 4-7-1998.

Film Bhanwara had a one film old Heroine Monica Desai- who was called from Calcutta by Kidar Sharma. He knew her well earlier,from Calcutta.
Monica Desai was a famous Indian actress during 1930’s and 40’s. She was the daughter of Dr. Umedram Lalbhai Desai and Satyabhama Devi, a well-known musician of the early 20th Century. Her father was a Gujarati, and her mother hailed from Bihar. Her father who was a reputed Doctor of that period died in the year 1930.
Monica Desai first worked for Bangla movie ‘Nimai Sanyasi’ which released in the year 1940. She was an actress who represented the era of upcoming character actresses like Leela Mishra, Ram Dulari, who made debut along with her and later ruled the Indian screen.

Monica Desai acted under the direction of Phani Majumdar and Kidar Nath Sharma. She did not concentrate much on acting as she got married to Phani Majumdar, a pioneering Indian film director, who worked in Hindi cinema. Phani Majumdar is known for Meena Kumari’s classic film ‘Aarti’ (1962), and ‘Oonche Log’ (1965). Monica Desai had a sister named Leela Desai, who was a renowned actress in Hindi and Bengali cinema. Leela Desai has even acted in the film ‘Kapal Kundala’ (1939) directed by Phani Majumdar. After completion of the venture, Phani Majumdar married Monica Desai.

Monica acted with Prithviraj Kapoor in her career, in film Gauri. ‘Gauri’ was an Indian Bollywood film that was the seventh highest grossing Indian film of 1943 and this established Monica Desai as an actress. Later, she featured in a film ‘Devdasi’ as a heroine that was also top seven grossing film at the Indian box office in 1945. She appeared in the film ‘ Chitralekha’ which was the second-highest grossing Indian film of 1941, in this movie, she portrayed the character of Yasodhara.

This film also was a debut film for actor Bharat Bhushan, who later achieved fame with ‘Baiju Bawra’ (1952). Monica Desai had also acted with a legendary actor and singer K. L Saigal.

Monica worked in only 9 Hindi films- Qaidi-40, Chitralekha-41, Bhakta Surdas-42, Gauri-43, Bhanwara-44, Lakharani-45, Devdasi-45, Rangeen Zamana-48 and Vikram Shashikala-49.

The screenplay and direction of Bhanwara-44 was by Kidar Sharma. This was a social comedy film. Saigal was never known for comedy acts. In fact, it was a new experience for him, since this was only a comedy dominated love story without any sad songs-hallmark of Saigal’s popular songs,done by him so far.

Saigal shifted to Bombay in December-1941 for two reasons. One- Ranjit had offered him a very lucrative offer ( One lakh per movie, according to one source) and secondly most of his friends like Prithviraj kapoor, K N Singh, Kidar Sharma etc had shifted to Bombay. Further, the atmosphere in New Theatres was nowadays polluted and vitiated with Ego clashes, financial difficulties and new entrants to replace the vacancies. Saigal was uncomfortable with all this.

In Bombay, Saigal met all his old friends and he had a gala time with them. In 1944 itself he went back to Calcutta to complete film ‘My Sister’. Then again he went in 1945 to do film ‘Kurukshetra’. This was perhaps his last visit, as he became very busy in 45 and 46 in Bombay. In early 1947, in his visit to his hometown, Saigal breathed his last, luckily amidst his family members.

Bhanwara-44 was a story of two friends- Pancham (Saigal) and Rikhab (Arunkumar Ahuja), who come to Bombay in search of employment. The chawl where they stay,in single room tenements, has a pair of sisters, Indu(Monica) and Bindu(Kamla Chaterji). Indu happens to work as a teacher in the same place where Pancham is working as a Music and singing teacher. They fall in love. His friend Rikhab loves Bindu but is too shy to express his love. In this, he is assisted by his neighbour friend Pehelwan (Lala Yaqub). With his help, Rikhab develops a great body and finally wooes his ladylove. At the end, both the couples unite happily. The film was full of comic sequences, particularly with Arun Ahuja and Bindu. All in all, it was a hilarious movie.

The film had 11 songs. 7 songs are already discussed here. The remaining songs are difficult to get as they are not uploaded on the Net yet, Record collectors, of course, have them. Today’s song is also one such rare song. It is a duet of Amirbai and Arunkumar Mukherjee.

This song can be considered an example of an unusual coincidence. It is like Shyamkumar singing for Shyam in Dillagi. This song is an example of an even rare coincidence. This song finds one Arunkumar (Mukherjee) singing for another Arunkumar (Ahuja)…..and a third Arunkumar
(Deshmukh) writing about it !


Song- Mann ki baazi haar chuke to preet ki baazi jeet (Bhanwra)(1944) Singers- Amirbai Karnataki, Arun Kumar Mukherji, Lyrics- Kidar Sharma, MD- Khemchand Prakash
Both

Lyrics

Mann ki baazi haar chuke to
preet ki baazi jeet
Mann ki baazi haar chuke to
preet ki baazi jeet
jeet mein haar
haar mein jeet
jeet mein haar
haar mein jeet
ye preet ki ulti reet
preet ki ulti reet
saajan ki har baat niraali
ee ee
ee ee

saajan ki har baat niraali
ee ee
ee ee

chitwan ki
ee ee
chitwan ki har aas niraali
ee ee

ee ee
ee ee

chitwan ki
ee ee
chitwan ki har aas niraali
ee ee

ee ee
ee ee

khel raha hai aankh michauli
aankh michauli
michauli
michauli
aankh michauli
michauli
michauli
khel raha hai aankh michauli
man se man ka meet
jeet mein haar
haar mein jeet
jeet mein haar
haar mein jeet
ye preet ki ulti reet
preet ki ulti reet

phir aayin ghanghor ghataayen
aen aen
phir aayin ghanghor ghataayen
aen aen
mor papeehe shor machaayen
ae ae ae ae
mor papeehe
mor papeehe
mor papeehe
shor machaayen
phooli nahin samaati kaliyaan
sun bhanwron ke geet
phooli nahin samaati kaliyaan
sun bhanwron ke geet

jeet mein haar
haar mein jeet
jeet mein haar
haar mein jeet
ye preet ki ulti reet
preet ki ulti reet

man ki baaazi ee

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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 : 3855 Post No. : 14868

Today’s song is a surprise item. Just when we were ( atleast I was) feeling that all available film songs of Noorjehan are covered in the Blog, I came across this song. As a Bonus, even the complete video of this song was traced by me. For a long time, only a short clip of the song was available, but now you can enjoy the full video too.

The song is from film Lal Haveli-44. The film was made by Bombay Cinetone of K.B.Lal, the producer and director of the film. It seems the finance for this film was provided by one Rooplal Mehra, as per comment made by one of our readers. The film story was by R S Chaudhari, dialogues were written by Agha Jaan Kashmiri and Wajahat Mirza and the screenplay was done by the director K B Lal himself.

The cast of the film consisted of the then popular singing pair Surendra and Noorjehan, supported by Ulhas, Maya Banerjee, Badri prasad, Kanhiayalal, Baby Meena(Meena kumari), Alaknanda, Brijrani and few others. The veteran composer Meer Sahab composed the melodious songs written by Munshi Shams Lucknowi.

Noorjehan ( 21.9.1926 – 23.12.2000 ) had a very short span of career in India- 1942 to 1947, as far as Hindi films are concerned. Her first Hindi film was Khandaan-42 as an adult and the last film was Jugnu-47. She acted in only 15 films during this period. They were Khandan-42, Naukar-43, Naadaan-43, Duhai-43, Lal Haveli and Dost in 44, Zeenat, Gaon ki Gori, Bhaijaan and Badi Maa in 45, Hamjoli, Dil and Anmol Ghadi in 46 and Mirza Sahibaan and Jugnu in 47. In these films, as per one source, she sang just 68 songs. 66 songs of these are already discussed on the Blog. Today’s song will be the 67th song.

As long as Noorjehan was in India, people were mad about her singing. After she left India, people became Nostalgic about her. Many composers used to insist the female singers to sing like Noorjehan ( just like after Saigal, his copies were popular), for quite some time. Over a period of course this influence waned. Out of the many artistes-in different categories of film making- who migrated to Pakistan, no one became as successful as Noorjehan. Not because she was extraordinary, but because there was an aura of fame and awe about her singing.

During 1980,Zia Sarhadi, who too had migrated to Pakistan, visited India. While in Bombay, he was asked ” How is our Noorjehan ?” He replied,” the most successful artiste who came from India was Noorjehan in Pakistan.”
” How is her singing?”
” you call it singing because she is singing, otherwise there is no charm in her singing anymore. Shreiking is what she does now, instead of singing. People in India are nostalgic about her. And why not ? Her best songs finished in India only. What she is doing in Pakistan , I wont call that singing ! ”
These words from a poet who wrote songs for her, like ” Diya jalakar aap bujhaya ” and ” Aaa intezar hai tera “,speak a lot about Norjehan’s singing in Pakistan.( from the book ” From Noorjehan to Lata” by Isak Mujawar).

I am not a fan of Noorjehan. In fact, except Mohd. Rafi, I dont consider any singer ( that includes Lata too) versatile and heart touching singer. Of course this is my personal opinion. Every person has his own likes and dislikes. When the tune is lovely, music is appropriate and Lyrics are meaningful, any song by any singer-in general- can become popular, but when Lyrics are meaningless, music is average and the tune is ordinary, to render a song that will touch your heart makes a singer immortal-like Rafi.

Film Lal Haveli-44 had some less known artistes namely Alaknanda and Brij Rani. Let us know more about them.

Brij Rani was born in 1921 at Shikarpur, Sindh province, in a well to do business family. She studied up to Matriculation and also qualified as a Middle School Teacher. However, she opted to join films as an actress. Her first film was Jeewan Jyoti-37, doing an un credited small role to get the feel, followed by Calcutta after Midnight-37, Aurat-40, Wayda-40, Ulti Ganga-42, Daughters of the Jungle-43, Bhagta Bhoot-43, Circus Girl-43 etc . She was getting roles only in stunt films and C grade films. Being from a business community, she started her own company- Bharat productions and herself made stunt films.
Meanwhile she continued acting in films like Lal Haveli-44 and acted and directed film Circus King-46 and film Sajni-47. Then there was a gap. probably she looked after her family. In 1951, she directed film Daamaad-51.

You will find one more name in the cast-Alaknanda. In Hindi films, there were many sister-pairs who worked as actresses, but in the history of Hindi films-both Silent as well as Talkie- there have been only 3 sets of 3 sisters who worked as actresses in the same periods. The first set was of Zubeida, Sultana and Shehzadi in the early 30s. Then in the 40s came the second set of Alaknanda, Tara and Sitara Devi. In the 50s, the last Trio of Padmini, Ragini and Lalitha worked in same period. After this, to my knowledge, no such Trio of actresses came on the screen. If you count step-sister also, then Mehtab was the step sister of Zubeida, Sultana and Shehzadi trio. This made them the only Quartet of Sister Actresses in Hindi Film History ever ! Even their mother Fatima acted, directed and Produced films, to boot !! Alas ! Their father did not join films !!!

Alaknanda was born in or around 1910 in a Banares situated Mishra family. Her clan had a tradition of singing in temples for the last 5 centuries. The family had close relations with Nepal and its Royal family. Her Grandfather was a court singer. Her grandmother and mother were from Nepal, so Alaknanda called herself as ‘ half Nepalese ‘.

When her father wanted to train her and her younger sister Tara, in Dancing and music, there was opposition from their society. Therefore the family moved to another corner of Banares and he started a Music school and trained children of Royal families from Bengal. In one of their visits to Calcutta, Sitara Devi was born in Calcutta. Alaknanda’s first Talkie film was Suryakumari-33. She worked in 37 films till late 40s. All three sisters worked together in film Haiwaan-40. She had sung 15 songs in 7 films. She got Cancer and died sometime in or around 1947. Not much information is available about her or her sister Tara/Tara Devi/Tarabai. Vithal Pandya, in his book mentions that in her last days, Tara stayed in Bombay slums and worked as extra in films in her old age( Famous dancer Gopi krishna was her son). Sitara Devi, on the contrary,lived a famous,rich and majestic life, with several marriages. That’s life, anyway.

Film Lal Haveli-44 story was nothing new. It was spun around an old time Thakur- beautiful daughter- cruel creditor etc type story. The story was-

Thakur Ramchand lives in his ancestral Haveli, of which he is very proud. His sister has eloped with an ordinary soldier. He had objected to their love story as the boy was from a lower caste. The soldier dies in war and his sister commits suicide. Thakur is very sad. His daughter Mukta (Noorjehan) is in love with her childhood friend Anand (Surendra). Thakur’s haveli is already mortgaged with seth Laxman singh. When thakur knows about Mukta’s love, he bans Anand from coming to their house, but the lovers meet secretly. Mukta is sent to attend the marriage of the daughter (Maya Banerjee) of Laxman singh. There, Laxman Singh’s son Jawahar (Ulhas) sees Mukta and desires her. On Mukta’s return to Thakur, Laxman singh proposes her marriage with Jawahar in return of his Haveli.
Mukta, to save family pride, agrees to this marriage. Anand is upset and joins Army and goes to the war front. Anand is injured severely. In the meantime Thakur dies and the marriage gets cancelled. Enraged, Jawahar decides to burn the Haveli as a revenge. Anand returns to the village, comes to know this. There is a confrontation of Jawahar and Anand. Finally, Jawahar has a change of heart, seeing the true love of Mukta and Anand and he blesses their marriage with Lal haveli as a Marriage Gift. So, all is well, happy ending.

In today’s video, see Noorjehan, Ulhas, Maya Banerjee, dancing- singing girls and enjoy this melodious song.


Song-Bhaiyya hamaaro jee (Laal Haweli)(1944) Singers-Unknown female voice, Noorjahaan, Lyrics-Shams Lucknowi, MD-Meer Sahab
Chorus

Lyrics

bhaiyyaa humaaro ji ee
bhaiyaa humaaro ji
aayi hain bahne aas lagaaye
aayi hain bahne aas lagaaye
dekho khadi hain duaar
dekho khadi hain duaar
bhaiyaa humaaro ji ee
bhaiyaa humaaro ji

haathon mein pahnungi sone ke kangan
haathon mein pahnoongi sone ke kangan
heere kaa pahnoongi haar
haar

heere kaa pahnoongi haar
bhaiyaa humaaro ji
bhaiyaa humaaro ji
bhaiyaa humaaro ji

pahanoongi main to dhaake ki saadi
pahanoongi main to dhaake ki saadi
bambay kaa gotaa kinaar

bambay kaa gotaa kinaar
bhaiyaa humaaro ji
bhaiyaa humaaro ji
bhaiyaa humaaro ji

na mohe chaahiye kangan naa saadi
na mohe chaahiye kangan naa saadi
naa teraa gotaa kinaar
naa teraa gotaa kinaar
ik bol kehde ae mere bhaiyaa
ik bol kehde ae mere bhaiyaa
pyaar se behna pukaar
pyaar se behna pukaar
bhaiyaa humaaro ji ee
bhaiyaa humaaro ji
bhaiyaa humaaro ji
aayi hain behnen aas lagaaye
aayi hain bahnen aas lagaaye
dekho khadi hain duaar
dekho khadi hain duaar
bhaiyaa humaaro ji
bhaiyaa humaaro 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 :

3853 Post No. : 14865 Movie Count :

4065

Today’s song is from the film Maharathi Karna-44, a film produced by Prabhakar Films and directed by its owner Bhal G. Pendharkar. Lyricist was Pt. Shiv Kumar and the music was provided by K.Datta aka Datta Korgaonkar. This Mythological film had top class actors in its cast- Prithviraj Kapoor, Durga Khote, Leela Chandragiri, Shahu Modak, Swarnalata, K N Singh and many more in other roles.

During my journey of life, I have found that the common man ( of any religion) has very little knowledge of his own religion. Even most of the educated people have scant information about the basics in their religion. Probably Religion is considered as something one gets to know only in the old age, when nothing else is to do. Just to check this, ask anybody who was Vidur ( Uncle of Kauravas and Pandavas), who was Jayadrath ( Brother in law of Kauravas..Husband of Dushala) or even who was Mandavi ( wife of Bharata)and Shrutikirti ( wife of Shrutikirti). You can hardly find a person who can tell names of 4 Vedas ( Rigved, Saamved, Yajurved and Atharvaved).

This is not exclusive to Hindus alone. I asked some of my Muslim friends and they confided in me that they have never read the Quran. They only know Namaz. Christians too are in the same category. I do not say that everyone should be an expert in Religion. That would be too much to ask for, but I feel atleast a basic knowledge is a must. This is our Heritage and it is applicable to all religions equally.

While watching or reading about a Mythological film. the references and the contexts become easier to understand the story, if one has the basic knowledge. Today’s film Maharathi Karna is obviously about the character Karna. Instead of checking if one knows about him, let us have some information about him- a character from one of our Epics-Mahabharat. Karna represents a right person who was at the wrong place or the Good amonst the Bad. I sympathise with Karna, because I feel that he was forced by the circumstances to join the Evil Kaurav camp.

Karna also known as Vasusena, Anga-Raja, Sutaputra and Radheya, is one of the major characters in the Hindu epic Mahabharata. He is the son of Surya (the Sun deity) and princess Kunti (later the Pandava queen). He was conceived and born to unmarried teenage Kunti, who hides the pregnancy, then out of shame abandons the new born Karna in a basket on a river. The basket is discovered floating on the Ganges River. He is adopted and raised by foster Suta parents named Radha and Adhiratha Nandana of the charioteer and poet profession working for king Dhritarashtra. Karna grows up to be an accomplished warrior of extraordinary abilities, a gifted speaker and becomes a loyal friend of Duryodhana. He is appointed the king of Anga (Bengal) by Duryodhana. Karna joins the losing Duryodhana side of the Mahabharata war. He is a key antagonist who aims to kill Arjuna but dies in a battle with him during the Kurushetra war.

He is a tragic hero in the Mahabharata, in a manner similar to Aristotle’s literary category of “flawed good man”. He meets his biological mother late in the epic then discovers that he is the older half-brother of those he is fighting against. Karna is a symbol of someone who is rejected by those who should love him but do not given the circumstances, yet becomes a man of exceptional abilities willing to give his love and life as a loyal friend. His character is developed in the epic to raise and discuss major emotional and dharma(duty, ethics, moral) dilemmas. His story has inspired many secondary works, poetry and dramatic plays in the Hindu arts tradition, both in India and in southeast Asia.

A regional tradition believes that Karna founded the city of Karnal, in contemporary Haryana.

One of the cast was actress Swarnalata, who married director Nazir, converted to Islam and migrated to Pakistan after Partition. She was heroine of Pakistans first ever Silver jubilee film Pherey (1949. As heroine she was seen in movies like Laarey (1950), Sherhri Babu (1953), Heer (1955), Golden jubilee film Noukar (1955), Noor-e-Islam (1957), Azmat-e-Islam (1965).

She was character actress in movies like Sawaal (1966) and Dunya Na Manay (1971).

Sawarn Lata was born on 20-12-1924 as a Sikh and converted to Islam after she married prominent actor, producer and director Nazir. The first film they produced in Pakistan was Heer Ranjha, but film print was destroyed due to poor negative of the film.

Her converted name was Saeeda Bano, she was born in 1924 in Rawalpindi and died on February 8, 2008 at Lahore.

Before partition she worked in Awaz (1942), Ishara and Tasveer (1943), Bari Baat, Rattan, Swarn bhomi and Us paar (1945), Chand Tara, Laila Majnu, Preetima, Preet (1945), Insaaf, Maa Baap ki laaj and Sham Savera (1946) and Abida (1947).

Contrary to the prevailing custom of having around 10+ songs in a film, the composer K.Datta had only 6 songs in this film and rightly so as Maharathi Karna was a Mythological film. When the story is strong, there is no need of musical support to the film.

K.Datta or Datta Korgaonkar alias Anna saheb, was born in Sawantwadi in konkan area on 4-6-1908. He grew up learning to sing. His mother was a Bhajan singer. He started singing on stage during Ganesh utsav melas. He was called to Kolhapur in 1937 to give music to a Marathi film, Chandrarao Morey’-38. His first break in Hindi came in 1939 with Mera Haq,followed by Alakh Niranjan-40, Geeta-40 ( in Hindi and Marathi) and Yaad-42.

He first came face to face with Noorjehan in Naadaan-43. He was simply mesmerised with her voice and singing style. he composed 7 songs for Noorjehan. After doing Zameen-43 and Maharathi Karna-44, he again composed 4 songs for Noorjehan in film Badi Maa-45. He also gave a break to Lata and Asha to sing in a chorus with Noorjehan. It is very sad that initially, K.Datta’s name was not mentioned on the 78 RPM records of Badi Maa. Only on the ‘re-issue’ records his name came up.

His other films were Yateem-45,Shaahkaar-47,Rangmahal-48,meri kahani-48,Daaman-51,Gumaasta-51,Rishta-54,Harihar Bhakti-56 and Ajanabi-66. In all K.Datta gave independently music to just 17 films,plus one film Badmash-44,with Khan Mastana. His Marathi films were 12 from 1938 to 1965. After retirement in 1965,he spent his time in Bhakti, Pooja and Asrology. He used to have special Pooja on every Thursday,when Bhajans were sung. Many composers and other film industry people used to be his visitors. Naushad, C.Ramchandra, Madan Mohan, Sajjad Hussain etc were the regular visitors to Annasaheb. He died on 23-12-1978.

He was a Noorjehan believer to the core. To date K Datta remains the only top composer from Maharashtra to whom Noorjehan came first, Lata later. No one regretted Partition more than K Datta. Indeed, his creativity seemed to come to an end once Noorjehan left him high and dry by moving, with a song on her lips, to Pakistan. He once said, “Noor Jehan left for Pakistan and took my creativity with her”. The four Noorjehan numbers, as fashioned by K. Datta, are historically most important. Because it was hearing and absorbing these four nuggets of Noorjehan, while acting with her in `Badi Maa’, that Lata Mangeshkar learnt to shape her vocal technique. If Lata came to sound a Noorjehan replica for so long, the tonal base for this was laid, just imagine, by a robustly tall Maharashtrian from the ghats called K Datta in `Badi Maa’.The last number of Noorjehan fetched him the ultimate tribute from no less a movie stalwart than Mehboob Khan, who said: “Bhai Datta, yeh gaana to aap ne Khuda ke darbar mein baithe hue banaya lag raha hai” (“It sounds as if you created this song sitting in Allah’s abode”). K Datta used to play Ek anokha gham ek anokhi musibat ho gayi on a harmonium presented to him by O.P. Nayyar. How grimly significant that the one music director, O.P. Nayyar, who never in his life commissioned Lata, should have gifted that harmonium to the one Maharashtrian composer who believed only in Noorjehan!

Today’s song is a lovely song, with an excellent tune, sung by Rajkumari. With this song film Maharathi Karna-44 makes its Debut on the Blog.


Song-Suno suno hum tumhen sunaayen(Maharathi Karna)(1944) Singer- Rajkumari, Lyrics-Pt. Shivkumar, MD-K Datta

Lyrics

Suno suno
Suno suno
hum tumhen sunaayen
ae preetam chitchor
kahaani
suno hriday ke chor
Suno suno
hum tumhen sunaayen
ae preetam chitchor
kahaani
suno hriday ke chor

ik naari thhi bholi bhaali
pagli preetam ki matwaali
ik naari thhi bholi bhaali
pagli preetam ki matwaali
sunte ho
sunte ho kuchh saaj(?) piya ke
naari bani chakor
ae preetam chitchor
kahaani
suno hriday ke chor
Suno suno
hum tumhen sunaayen
ae preetam chitchor
kahaani
suno hriday ke chor

?? kali kali ka lobhi
sunte ho
aji sunte bhi ho
?? bhanwra nirmohi
nikla
hmm
ae preetam chitchor
kahaani
suno hriday ke chor
Suno suno
hum tumhen sunayen
ae preetam chitchor
kahaani
suno hriday ke chor

preet ki aag se bhi na pighla
preetam ka man patthar nikla
preet ki aag se bhi na pighla
preetam ka man patthar nikla
naari laakh jatan kar haari
chala na kuchh bhi zor
ae preetam chitchor
kahaani
suno hriday ke chor
Suno suno
hum tumhen sunayen
ae preetam chitchor
kahaani
suno hriday ke chor


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

Blog Day : 3804 Post No. : 14797

When we talk of Partition and Migration of artistes from India to Pakistan and vice versa, only the famous and the well known names are considered. There were hundreds of small time less known artists, viz. actors, directors, lyricists, composers, instrument players, chorus singers, technicians etc who also had migrated for various reasons. The other day I was reading a book, ” Who’s who: Music in Pakistan ” written by A.Shaikh and M.Shaikh. In this book I found several names of singers,composers,lyricists and above all instrument players, who shifted to Pakistan.

It is a well known fact that in olden times,the instrument players,chorus singers and orchestra players had personal attachments and preferences,for particular composers and vice versa too. That is why, when Ghulam Haider went back to Lahore,he was extremely happy to meet some of his orchestra players in Lahore. In one of the interviews he had said that he felt like a family reunion. He arranged a get together for all those people.

In the Hindi film industry,many Partition immigrants came to dominate and transform the scene here.Film makers like Pancholi, Sippy,B R Chopra,Yash Chopra,Ramanand Sagar-all India’s most successful commercial producers were also Partition immigrants. Once heavily dominated by Muslim Film makers,writers,actors and composers,the Hindi film industry changed drastically after the Partition.

Many successful film personalities had gone to Pakistan between 1947 and 1950,including producers like Mehboob and Shaukat Hussain Rizvi-who went to Lahore,with capital to buy the Hindu-owned studios. Prominent producers of Lahore like Dalsukh Pancholi and Shorey were forced to sell their studios and properties for a song and flee for their life,to India,after riots in Pakistan post Partition. Some Muslim artistes returned to India,after a few years when they realised that Lahore film industry had largely collapsed due to exodus of prominent Hindu producers.

The crucial role played by films in Indian culture could be seen in the Refugee camps of Delhi,where ever evening,for 2 hours Hindi films were shown free to all. ‘ Film India’ commented that there were more than 15000 refugees from Sindh and Punjab in Bombay.It also suggested that good looking and educated women can be employed in films.Due to polarisation,there was much explosive writing published in this magazine,that time.

However,as before and always, Bombay film industry maintained its secular culture and a big rally,led by Durga Khote and Prithviraj Kapoor was taken out on 2-10-1947,in Bombay. The entire film industry had joined in it and slogans like ‘Hindu-Muslim bhai bhai’ etc were shouted in the rally. Similarly,to pacify over one lakh refugees from East Pakistan (now Bangaladesh) in Calcutta, Lata Mangeshkar had led a rally in Calcutta during 1971.

The famous Music Historian James Mc Connachie said, ” As India marched into an uncertain future-in 1947-Film songs offered something Unique: they helped creating a sense of belonging to One Nation,something that the divisive extremist right wingers in India,chanting” Hindustan for Hindus” could never achieve. When Hindi film singers sang,nobody cared that Mohd.Rafi was a Muslim or Lata was a Hindu Brahmin. Its great music bridged the gap between Hindus and Muslims,mush better than any Politician (including Gandhi and Nehru) ever could achieve.” -World Music-The rough guide,Vol II,pp 106,pub.1990 by Harper.

Like many top class composers who migrated to Pakistan, there were some small time or recently started composers who also left, like Inayat Hussain (only 1 Punjabi film Kamli),Fateh ali khan (2 films,Aaina-44 and Director-47),Tufail farooqi (2 films-Sona Chandi-46 and Dekhojee-47). Inayat Hussai of course became a Legend in Pakistan.

Today’s song is from film Aaina-1944. Its music directors were Gulshan Sufi and Fateh Ali Khan. Fateh ali khan migrated to Pakistan after Partition and Gulshan Sufi went after mid 50s.

Fateh Ali Khan was a classical singer and a Qawwali musician in the 1940s and 1950s. He was born in Jalandhar, Punjab, British India in 1901. Fateh Ali Khan was the father of Pakistani Qawwali musicians, Nusrat Fateh Ali Khan and Farrukh Fateh Ali Khan. Their family had an unbroken tradition of Qawwali, linked closely to the Sufi Chishti Order for over 600 years. Fateh Ali Khan was trained in classical music and Qawwali by his father, Maula Baksh Khan (Ali Khan), and he, soon after his training, distinguished himself as a skilled vocalist and instrumentalist. He learned to play traditional Indian instruments such as sitar, sarod and vichitra veena as well as Western instruments like the violin. He also mastered thousands of verses in Punjabi, Urdu, Arabic and Persian.

Fateh Ali Khan was the leader of his family’s Qawwali party but they were billed as Fateh Ali Khan, Mubarak Ali Khan & Party. Mubarak Ali Khan, his brother, shared both singing and harmonium-playing duties with him. They were regarded as among the foremost exponents of Qawwali in their time. They are credited with popularizing the poetry of Allama Iqbal through their singing. Iqbal’s poetry was regarded as difficult to set musical tunes to, and while he was highly admired in academic circles and by intellectuals, Allama Iqbal did not have much of a popular following yet among the common people mainly due to the radio broadcasting technology still under development back then in British India. Fateh Ali Khan and Mubarak Ali Khan, more than anyone else, helped Iqbal achieve popular success as well: Allama Iqbal paid the ultimate homage to the two brothers by saying: ‘I was restricted to schools and colleges only. You (Ustad Fateh Ali Khan) have spread my poetry through India’.

Like many other musicians,Fateh ali khan too wanted to try his hand at Film music. In India,he gave music only to 2 films, that too with other composers. One was film Aaina-1944, along with Gulshan Sufi and the other was film Director-1947, along with Lachhiram Tamar. After partition he migrated to Pakistan with all his family. In Pakistan, however, he had better luck in films. He gave music to Do kinare-50, Harjaai-52, Shola-52, Bedari-57 ( ditto copy of our film Jagriti-1954), Saathi-59 and Tum na maano-61. He also sang in film Waada-57 and Raagini-58. Ustad Fateh Ali Khan was the foremost sitar-player and film music composer of the 1950’s in Pakistan.His compositions in Bedari (1957)became run-away super-hits in Pakistan because they were a heart-felt tribute to the founder of Pakistan, Mohammad Ali Jinnah, and the public’s sentiments about patriotism.

In 1948, his son, Nusrat, was born in Faisalabad, Pakistan. Fateh Ali Khan wanted Nusrat to become a doctor or an engineer because he felt Qawwali artists had low social status. However, Nusrat showed such interest in and aptitude for Qawwali that his father soon relented, and began training him. However, Fateh Ali Khan died in 1964 at the age of sixty-three, when Nusrat was sixteen and still in school. Nusrat’s training was completed by Fateh Ali Khan’s brothers, Mubarak Ali Khan and Salamat Ali Khan. (information adapted from wiki, Harish Raghuwanshi ji, pakfilms.net and my notes).

The cast of the film Aaina-41 consisted of Husn Banu, Yakub, Trilok kapoor, Yashodhara katju, Rajkumari Shukla, Gope etc etc. The film had two Lyricists- Pt. Phani and Tanvir Naqvi. ( Naqvi had also migrated to Pakistan). The film was directed by S.M. Yusuf. Even he had migrated to Pakistan.

S.M.Yusuf – Shaikh Mohammed Yousuf, (20-6-1910 at Poona to 17-8-1994 at Lahore) was originally from U.P. and started his career by assisting directors in various studios. He was one cine artist who migrated to Pakistan and became a very successful director there too. Actress Nigar Sultana was his second wife for 5 years.

After Partition,several artistes-heroes,heroines,Directors,Comedians,lyricists,Composers, Singers and character artistes migrated to Pakistan. Almost 90% of them failed there miserably. Some of them like Meena Shorey shone for a while but ended up in penury and anonymity. Exceptions were like Malika -e-Tarannum Noorjahan. from the successful artistes,the major chunk was musicians-composers like Khurshid Anwar,Nissar Bazmi, Nashad etc. Among the directors. S M Yusuf was the exception who succeeded. The migration of Cine artistes continued till 1965,when President General Ayub Khan banned Indian actors. Shaikh Mukhtar-1963 and Kumar-64 were probably the last to migrate to Pakistan. Till then some artistes like Sheila Ramani,Nasir Khan,pran,Manorama,composer Timir Baran etc went and worked in Pakistani films.

S.M.Yusuf started directing films in India from Bharat ke Laal-36. He directed 20 films like,Darban, Aaina, grihasthi, Saheli, Mehendi,GuruGhantal, Bahurani, Maalik, Gujara, Hyderabad ki Nazneen, Bikhre Moti etc.

When he went to Pakistan,in late 50s,he made his first film there Saheli,which was a ditto remake of his own Hindi film- Mehendi-1950. This film Saheli became such a great hit that it virtually grabbed all major awards including a Nigar award for S M Yusuf himself. He made about 13 films in Pakistan,before he died on 17-8-1994,at Lahore,from where he had begun his career !

Film Aaina-44 was a social film. It depicted a family, in which the mother in law, due to her short temper, querulous and quarrelsome nature almost destroys her happy family. She has 2 existing daughters in law who are submissive. The third daughter in law is different. Initially she tolerates mother in law’s tantrums,but later on she teaches her a lesson and brings peace and happiness back to the family. This type of stories were abundant in the 70s and 80s in Bollywood. Title Aaina was used in 1944,1977, 1993 and 2014 also.

Film Aaina-44 had 8 songs. 7 songs were already covered. Today’s song is the 8th and the final song of the film. So, film Aaina-44 joins those films which have ALL songs covered.


Song-Bharat Mata ki Beti shakti ka avtaar (Aaina)(1944) Singer-Zohrabai Ambalewali, Lyrics-Pt. Phani
MD- Fateh Ali Khan
chorus

Lyrics

Bharat Mata ki Beti
shakti ka avtaar

ae Bharat Mata ki Beti
shakti ka avtaar
ae Bharat Mata ki Beti
shakti ka avtaar

aa samay samay par devi toone
samay samay par devi toone
badla hai sansaar
samay samay par devi toone
badla hai sansaar
ae Bharat Mata ki Beti
shakti ka avtaar
ae Bharat Mata ki Beti
shakti ka avtaar

jahaan pati pooja karwaaya
wahaan shaanti laayi
jahaan pati pooja karwaaya
wahaan shaanti laayi

deep bani andhere ghar ka
shobha ban muskaayi
deep bani andhere ghar ka
shobha ban muskaayi

pati ki kismat ka hai taara
bindiya teri naam
pati ?? hai taaraaaa
bindiya teri naam
ae bharat mata ki beti
shakti ka avtaar
ae bharat mata ki beti
shakti ka avtaar

dheeraj tera dharam hai naari
daya hai teri shaan
dheeraj tera dharam hai naari
daya hai teri shaan

prem pujaaran tu satwanti
pati tera bhagwaan
prem pujaaran tu satwanti
pati tera bhagwaan

sote bhaagya jagaaye
tere paayal ki jhankaar
sote bhaagya jagaaye
tere paayal ki jhankaar
ae Bharat mata ki beti
shakti ka avtaar
ae Bharat mata ki beti
shakti ka avtaar


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3764 Post No. : 14737

Today (7 november 2018) is Deewaali, the festival of lights. It is the biggest festival in India, and it has kept on becoming bigger and bigger with time.

For the blog, it happens to be our eleventh Deewaali. Unblievable but true that this blog has lasted this long and has in fact gone on to evolve and progress as well.

We have discussed all the well known Deewaali festival songs during the previous ten occasions. The aricles accompanying these songs may have covered the festival from several angles. Some articles have dscussed the history of the festival, while others may have touched its financial worth.

In my discussion the last year, I had opined that our worship of Goddess Laxmi can succeed only if we have worshipped Goddess Saraswarti and Lord Viswwakarma, whose festivals come earlier in the year. By worship, I meant not the symbolic worship but following the spirit behind the worship.

For instance, worshipping Goddess Saraswati means acquiring quality education and skills, and business knowhow, while worshipping Lord Vishwakarma means putting all that acquired education, skill and knowedge to use into providing quality goods and services that can be traded. These commercial activities bring you money, viz Laxmi, and that too without necessarily worshippng her symbolically during Deewaali festival. Look at the prosperous nations of the West and far east. They worship Goddess Saraswati the right way (stressing on high quality education) and worship Lord Vishwakarma (creating vast industrial infrastructure). Little wonder then that they are blessed by Goddess Laxmi throughout the year, and not just on the occasion of Deewaali.

A good number of Indians on the other hand are scarcely blessed by Goddess Laxmi, and I have already given the reasons above. Most Indians do not invest on acquiring useful skills because that is hard work. Indians somehow try to avoid working hard and hope to move ahead through short cut methods. When it comes to dealing with other humans, these short cut methods are bribes, sycophancy, sifaarish and other forms of corruption, which may bring “results” for the individuals but in the long run it proves counterproductive for society and the nation as a whole. No country in the world has ever progressed to become a prosperous nation by adopting short cup methods. I have been doing a lot of studies off late on the topic of economy where I have looked at the nations that were poor like India in the past but have now become prosperous. They have done so by adopting the right policies, which involved quality education, healthcare etc, adopting business friendly policies and enforcement of discipline and rule of law.

India is on the right track I feel, but the number of people blessed by Goddess Laxmi in India can increase only if we sincerely and seriously worship Goddess Laxmi and Lord Vishwakarma as the advanced Western and Far Eastern countries do. India does not have much time left to squander. India has another one decade or so to get its act together. If Indians can ensure quality education and have skilled employable manpawer and the right infrastructure and policies during the next one decade then Goddess Laxmi will begin to favour Indians like she favours the West and Far East nations. The vast manpower (then the biggest in the world, overtaking China), if educated and trained properly would be an asset for the nation. India cannot afford to fail here because failure means this vast population, if not employable, would then become a burden on the nation.

How to harness manpower for national development is a vast subject and I will cover it in some future date. Right now, people are in festival mood and most of them have more immediate pressing issues to worry about rather than long term issues like progress of the nation.:)

One important immediate issue that people worry about on the eve of Deewaali is- will I get leave to go home. 🙂 If somehow he/she manages to get leave, then the next worry is- trains are going crowded, how will I be able to reach home for festival. Indians, as is their wont, cannot help but look for short cuts here too. Ticket is wait listed. No problem. I will do something. So, a few days ago, I find an unsolicited whatsapp good morning message on my official mobile number. A few hours later, the person comes to the point. My son is employed in Mumbai. He has to come home to me for deewaali. He is wait listed. Here are the details. My take- I do not even know, who is this person, moreover, I am not based at Mumbai.Train is from A to B. I am based at C. This stranger wants me to go out of my way and help him. I am a soft hearted man by default, so I decide to help. I give the details to a staff of mine to be sent to concerned person in Mumbai, while telling him that I do not know who this person is. My staff is of the view that this person, going by his location must have obtained this number from the kid of my predecessor, who stays in this location B. OK, let us help him even if he is a stranger to me. So the requisition for emergency quota goes to Mumbai. On the date of journey, Mumbai office honours the request and allots a berth against emergency quota to the person. So this person is able to go to his parents during festival. Happy ending. Claps.

What about me and my family ? No such luck. I am based in eastern UP. My wife is a state government employee in MP. MP is going to assembly polls later in the month. Model code of conduct is in force in MP. So state government employees will not be given leave from now till the elections are over. So, unlike previous years, my wife and daughter will not join me for Deewaali at my place. First time ever for me to be away from my family during Deewaali. It happens. Elections are important. Country’s fate hinges on them. My wife often nags me to try and get myself posted in MP. Easier said than done, I tell myself sotto voce. Moreover, I feel that I am making a real contribution in the development of this place. It may look idealistic, but I feel that the nation will develop only if the backward areas of the nation, viz UP and Bihar develop. It is the duty of all people, including those from outside UP and Bihar, to help in the cause. I sincerely and seriously believe that I am adding my mite in this important work of nation building. I keep all these idealistic thoughts to myself of course. I do not think my wife will understand these sentiments. 🙂

Since all low hanging fruits, viz popular Deewaali songs, have already been plucked on past occasions, we are left with Deewaali songs that are obscure ones.

Here is an extremely obscure Deewaali song. It became available on YT when our own My Saradand Kamath uploaded it sometime back. The song is from “Badi Baat” (1944).

“Badi Baat” (1944) was produced and directed by Mazhar Khan for Mazhar Arts, Bombay. The movie had Swarnlata, Ulhas, Yakub, Mazhar Khan, Moti, Gulab, Khaleel, Madhusudan, Lalita, Mishra, Saguna, Ram Marathe, Baby Roshan, Chandra etc in it.

There were nine songs in this movie. Two songs from the movie has been discussed in the past.

Only The name of Kusum Mantri is mentioned in HFGK though the song seems to have at least another female voice, plus chorus. Swami Ramanand is the lyricist. Music is composed by Feroz Nizami.

Only the audio of this melancholic song is available. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song.

I may have been unable to get a few words right in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.

I take this opportunity wish everyone a very happy, prosperous and safe deewaali.


Song-Phir aayi hai deewaali (Badi Baat)(1944) Singer-Kusum Mantri, Lyrics-Swami Ramanand, MD-Feroz Nizami

Lyrics

Phir aayi
Phir aayi
Phir aayi hai deewaali
deewaali
deewaali
deewaali
deewaali
Phir aayi hai deewaali
khushi se naach rahe hain naina
deep jale har oar
khushi se naach rahe hain naina
deep jale har oar
kaisi sundar rain hai pyaari
kaisi sundar rain hai pyaari
ho na iski bhor
kabhi bhi
ho na iski bhor

laut ke waapas na jaayen
ye ?? bulaane waali
ye ?? bulaane waali
ye ?? bulaane waali
Phir aayi hai deewaali
deewaali
deewaali
deewaali
deewaali
phir aayi hai deewaali

dil ke sainyyaan ghar mein naahin
dil ka manwa dole
dil ke sainyyaan ghar mein naahin
dil ka manwa dole
jaise khewaiyya ke bin naiyya
jaise khewaiyya ke bin naiyya
khaati hai hichkole
jaise khewaiyya ke bin naiyya
jaise khewaiyya ke bin naiyya
khaati hai hichkole

jin ke sainyyan ghar mein hain
wo chaal chale matwaali
jin ke sainyyan ghar mein hain
wo chaal chale matwaali
wo chaal chale matwaali
wo chaal chale matwaali
phir aayi hai deewaali
deewaali
deewaali
deewaali
deewaali
phir aayi hai deewaali
khushi se naach rahe hain naina
deep jale har oar
jaise sundar rain hai pyaari
ho na iski bhor kabhi bhi
ho na iski bhor

laut ke waapas na jaaye ye
raat(?) bulaane waali
ye raat(?) bulaane waali
ye raat(?) bulaane waali
phir aayi hai deewaali
deewaali
deewaali
phir aayi hai deewaali


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3762 Post No. : 14735

“Jwaar Bhaata”(1944) was directed by Amiya Chakravarty for Bombay Talkies. The movie had Mridula, Shamim, Agha Jaan, Dilip Kumar, P F Pithawala, K N Singh, Mumtaz Ali, Arun Kumar, Vikram Kapoor, Jagannath Arora,Naseem Lodhi, C J Pandey, Khaleel etc in it. The movie is today remembered as the debut movie of Dilip Kumar.

The movie had ten songs in it. For some reason I thought that this movie was already YIPPEED. My be I confused it with some other movie. Only three songs from the movie have been discussed so far.

Here is the fourth song from “Jwaar Bhaata”(1944) to appear in the blog. This song is a calling the beloved song which is sung by Parul Ghosh. Pt Narendra Sharma is the lyricist. Music is composed by Anil Biswas.

Only the audio of this song is available. I request our knowledgeable readers to throw light on the picturisation of this song.

Some words in the lyrics are not clear. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.


Song-More aangan mein chhitki chaandni (Jwaar Bhaata)(1944) Singer-Parul Ghosh, Lyrics-Narendra Sharma, MD-Anil Biswas

Lyrics

More aangan mein chhitki chaandni
haan chaandni
ghar aaja sajan
More aangan mein chhitki chaandni
haan chaandni
ghar aaja sajan
chhedi koyal ne
chhedi koyal ne preet ki raagini
meethhi raagini
chhedi koyal ne preet ki raagini
meethhi raagini
ghar aaja sajan
More aangan mein chhitki chaandni
haan chaandni
ghar aaja sajan
More aangan mein chhitki chaandni

chanda more ang jalaaye ae
chanda more ang jalaaye
preet ki jwaala
preet ki jwaala
?? ??
chanda more ang jalaaye
kumhlaaye ho kumhlaaye ae
kumhlaaye piya bin shaalini(?)
haan shaalini(?)
ghar aaja sajan
More aangan mein chhitki chaandni
haan chaandni
ghar aaja sajan
More aangan mein chhitki chaandni

kheli sajan sang neend nigodi
kheli
haa haa
kheli sajan sang neend nigodi
tadpat nikle man ki ??
??
sajan sang neend nigodi
ho o o o o
main bani teri bairaagini
bairaagini ee
More aangan mein chhitki chaandni
haan chaandni
ghar aaja sajan
More aangan mein chhitki chaandni ee ee ee


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3743 Post No. : 14699

“Mumtaz Mahal” (1944) was produced under the banner of Ranjit Movietone. It was directed by Kidar Sharma. The movie had Khursheed , Chandramohan, Yakub, Sajjan, Sulochana Chatterjee etc in it.

The movie had eleven songs in it. Threee songs from this movie has been discussed in the past.

Here is another song from this movie. This song is sung by Khursheed. It is clear that the song is picturised on her as well.

Wali Sahab is the lyricist. Music is composed by Khemchand Prakash.

I am not quite sure about the accuracy of the lyrics that I have noted down.I request our readers with keener ears to suggest corrections as applicable.


Song-Udaas shaam ki aahen (Mumtaz Mahal)(1944) Singer-Khursheed Bano, Lyrics-Wali Sahab, MD-Khemchand Prakash

Lyrics

udaas shaam ki aahen
udaas shaam ki aahen
salaam kahti hain
salaam kahti hain
salaam kahti hain
salaam kahti hain

gareeb shab din gaahe
gareeb shab din gaahe
salaam kahti hain
salaam kahti hain
salaam kahti hain
salaam kahti hain

jahaan hamaari mohabbat ne aankh kholi thhi
jahaan hamaari mohabbat ne aankh kholi thhi
wo badnaseeb si raahen
wo badnaseeb si raahen
salaam kahti hain
salaam kahti hain
salaam kahti hain
salaam kahti hain


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3742 Post No. : 14696

Today’s song is from a film called ‘Parakh’ (1944). This is a special song. It is a song sung by singer Ira Nigam. The song was written by Pt.Sudarshan and the music was by Khursheed Anwar. The cast of the film was Mehtab, Balwant Singh, Yakub, Shahnawaz, kaushalya, Sadiq Ali and others.

Ever since film making progressed and was seen as a job-provider, it attracted people from all over India. Unemployed but ambitious youngsters ran away from their hometowns to Bombay, with dreams in their eyes. As the industry got organised, those who were already working here either called or brought their other kins. Some impatient parents came themselves with their daughters. Due to poverty, examples of the entire family coming to Bombay and all joining the film industry were also seen-like Alla Bux, Iqbal Bano, Meena Kumari and her two sisters. Also seen earlier was Fatima and her three daughters and a step daughter-Mehtab. Some mothers or Grandmothers(Suraiya and Vyjayantimala) chaperoned their star children, while some fathers (like Madhubala’s) squeezed the best out of their child’s earnings (hell with her happiness !). In general,however it was the male part of the family which took charge of the actor or actress in film line.

If one sees the world history, one will find that most nations have changed culture wise and they have adapted themselves to the modern times and needs. Thus,things which were taboo a century ago are not taboo anymore. U.K. accepts jokes and cartoons on its royalty now,whereas hundred years ago, person would have been hanged in public for doing the same. USA can today tolerate parody of Christ and Christianity whereas hundred years ago the person would have been dead.

But our country has not changed its basic culture in spite of hundreds of years. Barring few exceptions, that too, in hi-fi society, Indian women are still ruled by the whims and dictates of males. When women from educated families entered the film industry, it looked like our women are liberated, but alas ! even in the film industry women are ruled by males.

A seemingly rebellious star of yesteryear – Shanta Apte – had to accept her own brother as husband in a film because she was not allowed to be touched by other males, by him. Unfortunately, her brother not only managed her film affairs, but also gave her a daughter. All this is recorded and declared by her daughter herself. She too became an actress in Marathi drama and films.

The most daring and courageous star of the 1940s – Meenakshi Shirodkar – who stunned everybody by donning a swimsuit and bathing in the waters of a river openly, in ‘Bramhachari’ (1938), had to give up her acting career midway because her husband refused to allow her to do any roles other than heroine.

Who knows how many women had to forego opportunities in film line only because their men-folk would not allow.

Today we will talk about a singer who had to forego wonderful opportunities in playback singing in Hindi films, first because of her father and then because of her husband. These days she only recalls and weeps.

Ira Nigam (NOT Ira Nagrath – wife of Roshan. She was different person) was born in October 1930 in Seoni (M.P.) in her mother’s maayeka. She had a God given gift of singing. She was educated in Delhi and Shanti Niketan. Her father Hriday Narayan Nigam was a singer himself. With his help she started singing on AIR Delhi. She completed her graduation in music form DU.

Her voice was sweet and melodious. Roshan, who was also working in AIR Delhi, one day brought the famous composer Khurshid Anwar to her house. They convinced her father to allow her to sing in films. She was so lucky to sing her first song in ‘Parakh’, under the baton of Khurshid Anwar. She was only 14 years old then. Here her father put a condition that only he will sing duets with her and no other male. Due to this strange condition, she got only one more film ‘Asmat’ (1944) and they had to go back to Delhi.

Ira got married meantime and came back to Bombay again in 1948. This time with her husband P.N. Nigam.

Harmandir Hamraaz, who interviewed her in Kanpur in Aug 1984 says that she wept when she told him that as her husband did not like her work in Hindi films, she had to give up singing after doing just 5 films. She did not have her own song records also. It was Hamraaz ji, who met her again and gave her those records. She was very happy.

She sang in ‘Rakhi’ (1949), ‘Chaar Din’ (1949), ‘Ek Teri Nishani’ (1949), ‘Veer Ghatotkach’ (1949) and last film ‘Guru Dakshina’ (1950). There were hundreds of singing offers to her when she left Bombay second time. First it was due to father and next it was due to husband, who cut short a melodious singing career. However, while in Kanpur and Delhi, she sang on A.I.R. and Television.

If you take 100 actors/actresses who worked in films, 20% will be the hero/heroines. The rest 80 % comprise of character actors, comedians, villains etc. Even out of the 20 % lead players, very few – like Dilip, Dev Anand or Amitabh – last as heroes till the end of careers but most others end up as character actors. Some examples are Pran, K N Singh, Om Prakash, Sunder Singh etc etc. Some actors do character roles from start to finish of their careers- like Nazir Hussain, Kanhaiyalal, C S Dubey, Tiwari etc. Some actors, though endowed with good face and personality, could not get a hero’s role and did character roles throughout.

One such actor was Shahnawaz Khan, known only as Shah Nawaz. He was born on 18-9-1906 in Hyderabad Deccan. His father was a Major in Hyderabad’s Nizam Army. During education, he used to act in dramas. After matriculation, he joined a Govt. service in Hyderabad state. He was however keen on joining films and dramas. After 5 years, he left the job and started a motor car business. In that connection, he would visit Bombay and try his luck at different studios. Finally, his efforts bore fruit and he got a villain’s role in film ‘Bharat Ka Laal’ (1936), in which he was listed as S. Nawaz. It was a stunt film made by the Kadam brothers (Harischandra Rao and Chandra Rao Kadam), with Master Bhagwan as the hero.

After this, he did not go back to Hyderabad. Then came ‘Daulat’ (1937), ‘Toofani Khazana’ (1937), ‘Rangila Mazdoor’ (1938), ‘Jungle King’ (1939), ‘Sardar’ (1940) etc. In 1940, he joined Bombay Talkies and worked in films. He was apparently in Devika Rani’s camp. He was in ‘Punarmilan’ (1940),’Bandhan’ (1940), ‘Jhoola’ (1941), ‘Naya Sansar’ (1941), ‘Kismet’ (1943) and ‘Hamari Baat’ (1943). He also worked in ‘Master ji’ (1943), ‘Police’, ‘Parakh’ and’ Anban’ (1944), ‘Zeenat’ and ‘Humayun’ (1945) and some more. In all, he did about 35 films in India. In or around 1948, Shahnawaz migrated to Pakistan. He was welcomed there. He did 41 films in Pakistan (32 Urdu and 9 Punjabi). Some films were quite famous like ‘Aansoo’ (1950), ‘Sassi’ (1954), ‘Ayyaz’ (1960) etc.

Shahnawaz died in Karachi on 18-6-1971. His last released film was ‘Nek Parveen’ (1975).

Another actor was Sadiq Ali. He was born on 6-10-1911 at Jullundhar, Punjab. His 2 cousins- Wazir Ali and Nazir Ali were famous Indian cricketers. Sadiq Ali completed his engineering degree and worked in M.E.S. at Kanpur (Military Engg. Services). Due to strong desire to work in films and dramas, he resigned from his job after 5 years and joined Agha Hashr’s drama company. When the company was closed, he joined The Burma Imperial Film Company at Rangoon. After few small roles, he came down to Bombay.

After working in some smaller companies, he joined Minerva Movietone. Starting with ‘Khan Bahadur’ (1937), he worked in Minerva’s ‘Pukar’ (1939), ‘Sikandar’ (1941), ‘Phir Milenge’ (1942), ‘Prithviraj Sanyogita’ (1943), ‘Parakh’ (1944) (only directed by Modi) and ‘Ek Din Ka Sultan’ (1945). In all he acted in 23 films. His last film was ‘Ever Ready’ (1946). After partition, he migrated to Pakistan. Unfortunately, he got killed in a riot in Karachi in 1947 itself.

Let us now enjoy the song from this film.

(Credits- Listener’s Bulletin no.s 58 and 59, Prof. Yadav’s book, Film Directory, HFGK, and my notes)


Song-Saajan wo din kaun thhe (Parakh)(1944) Singer-Ira Nigam, Lyrics-Pt Sudarshan, MD-Khursheed Anwar

Lyrics

saajan. . .
wo din kaun the
jab tum veena hum ta..aar
kismat phooti veena tooti
taar hui bekaar

bin saajan ke kaise nikle
mann ka meetha geet
bin saajan ke kaise nikle
mann ka meetha geet
samay tu jaldi jaldi beet
jaldi jaldi beet
samay tu jaldi jaldi beet
samay tu jaldi jaldi beet

sukh mein tu pal bhar na thehre
laakh bithaaye tujh par pehre
dukh mein tu kaise dat jaave
dukh mein tu kaise dat jaave
kaisi teri reet
samay tu jaldi jaldi beet
samay tu jaldi jaldi beet

[kuchh kehne](?) ko dar dar bhatkun
piya ki nagri le chal mujhko
[kuchh kehne](?) ko dar dar bhatkun
piya ki nagri le chal mujhko
jis nagri mein jaa ke basaa hai
jis nagri mein jaa ke basaa hai
sunta(?) ho mann meet
samay tu jaldi jaldi beet
samay tu jaldi jaldi beet
jaise bhi tu beet
samay tu jaldi jaldi beet

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

साजन॰ ॰ ॰
वो दिन कौन थे
जब तुम वीणा हम ता॰॰आर
किस्मत फूटी वीणा टूटी
तार हुई बेकार

बिन साजन के कैसे निकले
मन का मीठा गीत
बिन साजन के कैसे निकले
मन का मीठा गीत
समय तू जल्दी जल्दी बीत
जल्दी जल्दी बीत
समय तू जल्दी जल्दी बीत
समय तू जल्दी जल्दी बीत

सुख में तू इक पल ना ठहरे
लाख बैठाएं तुझ पर पहरे
दुख में तू कैसे डट जावे
दुख में तू कैसे डट जावे
कैसी तेरी रीत
समय तू जल्दी जल्दी बीत
समय तू जल्दी जल्दी बीत

[कुछ कहने](?) को दर दर भटकूँ
पिया की नगरी ले चल मुझको
[कुछ कहने](?) को दर दर भटकूँ
पिया की नगरी ले चल मुझको
जिस नगरी में जा के बसा है
जिस नगरी में जा के बसा है
सुनता(?) हो मन मीत
समय तू जल्दी जल्दी बीत
समय तू जल्दी जल्दी बीत
जैसे भी तू बीत
समय तू जल्दी जल्दी बीत


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3714 Post No. : 14643

Today I present a really wonderful song of Jagmohan Sursagar, Anima Dasgupta and Munir Alam from film Subah Shaam-1944. The music of this film was by Subal Dasgupta, younger brother of the more famous composer kamal Dasgupta. The film was made and directed by P.C. Barua for Indrapuri Studios, Calcutta. The songs of this film were written by Faiyaz Hashmi and Munir Lucknowi ( different from the singer Munir Alam). The cast of the film was Pramathesh barua, jamuna, Purnima ( she was different from Purnima of
Bombay ), Indu Mukherji, Munir, Devbala, Tulsi Chakravarti etc etc.

Director P.C. aka Pramathesh Barua was born on 24-10-1903. A well educated and foreign trained prince from a Royal family came into the films only by chance. He established his own studio and made films. Impressed by his style and work, B.N.Sircar of New Theatres offered him a job in his company. Barua joined and made such films in New Theatres that the studio became famous all over India. His greatest contribution was his first film here, ” Devdas”-34 in Bangla. he did the main role and brought in a comparatively new actress jamuna for the role of Parvati aka Paro. With the fantastic success of Bangla version, Barua made its Hindi version in 1936, with K L Saigal as the Hero. This was mor successful than the Bangla version and became an iconic film for ever as a reference point. Then an Assamese version was also made in 1937.

With a very eventful, successful and satisfying stint in New Theatres, Barua developed serious differences with the owner-B.N.Sircar, who was known to be a disciplinarian who held the Institution ( of New Theatres) in place. New Theatres, in the 30s , was full of Titans having a larger than life images and it was inevitable that there would be clashes amongst the artistes and the owner. Like true Bengalis, they all had king size Egos and over estimated self respects.

The first crack came in 1933 when Nitin Bose and Debaki Bose clashed, resulting in Debaki Bose’s temporary exit. In the line was Barua, who had a grudge that he was not given as many films as his peers Nitin Bose and Hemchander Chunder got . The rift between Barua and Sircar was obviously born out of deep differences, because after Barua left, B N Sircar had said- “He was a remarkably innovative director who seemed to improve after every film. As an actor, he forged a style that was distinctively his own uniquely. But as a Man…..well,I would rather not discuss it”.

However, it was known to both of them and all others connected with NT, that both these Giants had tremendous love and respect for each others. In 1951, when Barua lay dying on his bed, he instructed that his body be taken past the house of B N Sircar, where he was lying sick on bed. When Barua’s funeral convoy reached Sircar’s house, the ailing Sircar hobbled painfully to the window of his elegant Elgin Road Residence, as the prince of Players paused beneath the window for a while and then proceeded. It was a poignant moment- an act symbolic of a reference point established a long time ago in a business which was notorious for callous and impermanent relationships !

After Barua Nitin Bose left, then kanan Bala and few more. Only pankaj Mullick, though hurt by New Theatre’s neglect, stuck till the end. P.C.Barua died on 29-11-1951. He acted in 8 Hindi films( Manzil-36, Mukti-37, Adhikar-38, Jawab-42, Ranee-43, Subah Shaam-44, Amiree-45 and Pehchan-46). He directed 14 frilms and sang 1 song in film Jawab-42.

Barua’s third wife Jamuna (10-10-1919 to 24-11-2005) was the fourth of the six daughters of Puran Gupta, a resident of a village near Agra, India. Each of the sisters was named after an Indian river like Ganga, Jamuna, Bhagirathi etc. As destiny would have it, Jamuna came to reside in Calcutta, a leading film producing city in India. Originally from Gauripur of Assam’s Goalp ara district (undivided), Jamuna was married to the legendary actor director Pramathesh Barua, or P.C. Barua, who died in 1950. She began her acting career in her husband’s famous production Devdas in 1936 and was the film’s lead character Parvati or Paro. She went on to make a number of memorable movies in Assamese, Bangla and Hindi, notably Amiri, Mukti, Adhikar and Sesh Uttar. She stopped acting after Barua died

In the thirties and played a small role in Mohabbat ki Kasauti(1934), Hindi version of Rooplekha (Bengali) directed by P.C. Barua. A romance started although Barua, hailing from the native Indian state of Gauripur, Assam, was already twice married. As the actress, who was to play Parbati in Barua’s next venture Devdas (1935) reported inability to attend the studio on the very first day of shooting, Jamuna was called from Barua’s residence (she was living with him by then) and was asked to get down to work straight away without any preparation whatsoever.

Thus she came to be the first Parbati of Indian talkies- Miss Light had played the role in the silent version of the enormously popular Sarat Chandra novel. Aishwarya Rai happens to the last so far and Devdas has been made and re-made a number of times. Jamuna played the same role in the Hindi version also and was accepted in this very first proper exposure as an actress in her own right. She continued to act in Barua’s films like Grihadaha (1936), Maya (1936), Adhikar (1939), Uttarayan (1941), Shesh Uttar (1942), Chander Kalanka (1944) and the respective Hindi versions of each film.

Barua had left the prestigious New Theatres in 1940 and was directing as well as producing his films. Thereafter she acted in a number of Barua directed Hindi movies like Amiree, Pehchan and Iran Ki Ek Raat. These films however did not add to the prestige of either to Barua or to Jamuna. Jamuna also acted outside Barua direction in three Bengali films Debar (1943) and Nilanguriya (1943) where she proved herself without Barua’s influence. Her last film Malancha (1953) was also outside Barua’s direction. She also starred in its Hindi version Phulwari (1953).

Barua’s death in 1951 when he was only 48 changed Jamuna’s life altogether. She had three sons by Barua, Deb Kumar, Rajat and Prasun. They were all minors at the time and the Gauripur estate refused to take any of their responsibilities. She had to wage a legal battle with the powerful and influential royal family to get her and her children’s dues and recognition. Time settled the matters and she was allowed ownership of the house with its vast adjoining land and also an allowance. Jamuna spent the rest of her life after Barua as a housewife, busy in bringing up her minor sons. She had to complete the unfinished film Malancha of course but said good bye to the world soon after. Later in her life she did attend a number of functions to celebrate the centennial year of husband P.C. Barua and received felicitations on behalf of the Government of India and the state Government of Assam as the first Parbati of Indian talkies.

Her last days were not very comfortable and she was bedridden for more than six months prior to her death. She is survived by her three sons and their families and a host of relatives.. According to her family members, she had been ill for some time, and the cause of death was illness related to old age. She died at her residence in south Kolkata.

In Hindi, we have seen few Brother composer pairs like Husnlal Bhagatram, kalyan ji -Anand ji, Anand- milind etc etc. I can not think of any such pair whose brothers individually very famous as composers, except perhaps Pt. Amarnath and Husnlal – Bhagatram, but here too no two brothers were famous individually. There were some other brothers like Timir Baran and Mihir kiran and Kamal Dasgupta and Subal Dasgupta. Neither Timir-Mihir nor Kamal-Subal worked as a pair and individually only one became famous in Hindi films. Mihir kiran gave music to only 1 film- Kaarvan e hayat-35 and Subal Dasgupta gave music to only 2 films Subah Shaam and Arzoo both in 1944.

Kamal Dasgupta ( 28-7-1912 to 20-7-1974) gave music to 17 Hindi films from Jawab-42 to Phulwari-51. Subal gave music to only 2 films as mentioned. He was, however, a prolific composer in Bangla films and NFS. The credit for composing music for Talat Mehmood’s First recorded NFS, ” sab din ek samaan nahi tha” goes to Subal Dasgupta. Some sites and You Tube erroneously mention kamal Dasgupta’s name as its composer , but it is wrong. I quote here an excerpt from the book ” Talat Mehmood-The Velvet touch” a biography by Manek Premchand,

“His first recording happened in September 1941, the song being Sab din ek samaan naheen tha, Ban jaoonga kya se kya main, iska to kuchh dhyaan naheen tha, written by Fayyaz Hashmi and composed by Subal Dasgupta. Present at this recording was the great singer-composer-actor Pankaj Mullick, who patted the young émigré for a job well done. In Calcutta, the young man started learning Bengali. After six recordings for HMV in Calcutta, Talat returned in 1942 to complete his studies at Marris and in the next couple of years, he heard a lot of Gangubai Hangal, Fayyaz Khan and Roshanara Begum. ” pp 13

Not much information is available on Subal in books or on the net. Even Dr. J.P.Guha has no information on him. Here is something from a Bangladeshi site.

Subal Dasgupta was born at Kalia (Narail) of the old Jessore district in Bangladesh. His parents shifted to Calcutta long before the partition of 1947. His eldest brother professor Bimal Dasgupta was a gifted musician, while his elder brother Kamal Dasgupta also emerged as one of the most successful music directors of his time. His sisters Sudhira, Indira, Basanti—–all were talented singers in their own rights. All of them had recorded songs under HMV banner. He belonged to an immensely accomplished musical family. At a very tender age Subal Dasgupta took lessons in classical music from Ustad Zamiruddin Khan, a renowned maestro of Kheyal and Thumri. It was here, that he met Kazi Nazrul Islam, the great poet , who also started taking classical vocal lessons from the same master. The meeting between the two, later turned out to be of historic significance.

When I first heard this song, I liked it very much. I am sure you too will love it. The singers are Jagmohan Sursagar, Anima Dasgupta and Munir Alam. These names are not mentioned in HFGK, but the stalwarts of RMIM, in their discussion have confirmed these names in the late 90s. Though the YT video mentions Hemant kumar, his voice is not there.

( Credits- RMIM forum, Talat Mehmood Biography, scroll.in, wiki, nazrul.com.bd, Sharmishtha Gooptu’s article ”The Glory that was” and my notes )


Song-Kuchh haseen hai subaho shaam (Subah Shaam)(1944) Singers-Anima Desgupta, Jagmohan Sursagar, Munir Alam, MD-Subal Dasgupta

Lyrics

Kuchh haseen hai subaho shaam
kuchh ghami hai subaho shaam
zindagi ke do hain naam
zindagi hai subaho shaam
Kuchh haseen hai subaho shaam
kuchh ghami hai subaho shaam
zindagi ke do hain naam
zindagi hai subaho shaam
Kuchh haseen hai subaho shaam

aish o raahaten bhi hain
dukh museebaten bhi hain
aish o raahaten bhi hain
dukh museebaten bhi hain
?? bhi hain
gham ki shaanaten bhi hain
gardish e jahaan mein
dillagi hai subaho shaam
Kuchh haseen hai subaho shaam
kuchh ghami hai subaho shaam
zindagi ke do hain naam
zindagi hai subaho shaam
Kuchh haseen hai subaho shaam

maut bhi hai yaas bhi
din ke baad raat bhi
maut bhi hai yaas bhi
din ke baad raat bhi
apni apni ?? hai
aadmi ke saath hai
apni apni ?? hai
aadmi ke saath hai
raushani ke saath saath
?? hai subaho shaam
Kuchh haseen hai subaho shaam
kuchh ghami hai subaho shaam
zindagi ke do hain naam
zindagi hai subaho shaam
Kuchh haseen hai subaho shaam

chaand mein chakor mein
jungalon ke mor mein
chaand mein chakor mein
jungalon ke mor mein
papeehe ke shor mein
papeehe ke shor mein
gulshanon ki ?? mein
bulbulon ki bekhudi(?)
keh rahi hai subaho shaam
Kuchh haseen hai subaho shaam
kuchh ghami hai subaho shaam
zindagi ke do hain naam
zindagi hai subaho shaam
Kuchh haseen hai subaho shaam


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3711 Post No. : 14638

Today’s song is from a film Manorama-1944. HFGK does not mention singers’ names, but the voices are that of Chitalkar and Hamida Banu with chorus. The film Lyricist was Anjum Pilibhiti and the MD was C Ramchandra.

Last week we had discussed a New pair of names fitting under ” The Same Name Confusion” series, which came first time, only on this Blog. The names were similar sounding Ramola and Romilla. Our Sadanand ji had also added some new information about Romilla, in his comments. This is how informations get updated. Thank you, Sadanand ji.

Today we have yet another New pair-again first time on this Blog- which are not similar sounding names, but have exactly the same spellings. The name is Naseem, who was a part of the film’s cast along with Leela Chitnis, Ishwarlal, N M Charlie, Kantilal, Mubarak, Alaknanda and others.

NASEEM is the name which caused confusion in the 40s, because two actresses with the same name were working in the films at the same time. Generally, the younger one was mentioned as (Junior), but in some films she is just mentioned as Naseem. These are the films which are coolly added to the Senior Naseem’s Filmography, because she was more famous. This is exactly what happens in such cases of SNC. One has to take extra efforts to credit the right films to the right artiste. Most of the times, this is a very tedious job and may take months to get the right answer which can be defended with corroborative evidence. All these old artistes are no more and not every artiste’s information is available. particularly those artists who created confusion and either left the films or the country or the world, are the toughest cases as no information is available on them in India and Pak sites do not give full information on pre-independence films or artists.

Interestingly, the problem of Same Name Confusion is non existent in Hollywood. Not because there are no such names, but because they are very alert and take preventive measures. No one can act in films or on TV, unless he is registered with the ‘ Screen Actors Guild ‘ (estd 1933). They have a strict rule that no two actors will have same names. If a New actor comes with a same name that is already existing on the rolls, he is required to change his name before registration, or add a prefix or a suffix. That is why this problem is not there in Hollywood, in spite of more than 130,000 active members.

Though in India, no such system operates, this problem has almost become extinct in recent times, because of a variety of names ( unlike the western world) available now. Now, let us see more about these two Naseems. First, the senior one.

Born on 2-9-1920,at Delhi -ROSHAN ARA aka Naseem Bano was the daughter of a famous classical singer Shamshad Begum. She too was very good looking . She was called ” Chhamiya” due to her adakari while singing. Naseem was so beautiful that even is school days her beauty was discussed by people. When sh was in school,once she came to Bombay and happened to see the shooting of ” Silver King-35″. She was so impressed with it that she decided to become an actress.

When Sohrab modi proposed to cast her as a Heroin in his “Hamlet”,her family flatly refused but gave in after Naseem sat on a Hunger Strike !. For her second film,’ Khan Bahadur’ she was advertised as a ‘ Beauty Queen’. (Later her daughter Saira bano also got this title). After some films like Divorce,Meetha Zahar and Vasanti,the most important film of her life and also for Minerva Movietone, PUKAR-39 was launched. In this film she enacted the role of Empress Noorjahan,opposite equally handsome actor Chandramohan as Jehangir. She looked cute and beautiful as Queen in the get up. She became an All India star overnight and got the Title ” Pari-Chehra ” from the critics. Her song ‘ Zindagi ka saaz” became so famous that thousands of records were sold in no time.

She married producer Director Mohammed Ehsaan, in 1942. They started their own company- Tajmahal Films and produced Ujala, Begum, Mulaqat and Ajeeb Ladki. The couple had two children- Sultan Ahmed and Saira Banu. After 1947,she stopped singing and did only acting.

Naseem acted in limited films,like Hamlet, Divorce, khan bahadur, Vasanti, Meetha Zahar, Pukar, Ujala, Chal chal re Naujawan, Chandni Raat, Main Haari, begum, Mulakat, Sheesh mahal, Anokhi Ada, Baghi, Shabistan, Sindbad the Sailor, Betaab, Ajeeb Ladki, and Nausherwan E Adil. She did only 20 films. She sang 42 songs in 14 films.

When her mother Shamshad Begum “Chhamiya” died in 1983,many newspapers,magazines and Internet sites published erroneous news that the famous singer Shamshad Begum had died.

In 1953, her husband deserted her and went to Pakistan with the negatives of her films. He made money and Naseem became famous and Popular in Pakistan, without going there. She took her children and went to England for few years, but came back to India to make her daughter an actress.

Naseem Bano died on 20-6-2002.

Naseem bano was never a singer, but she sincerely tried to improve her singing. Her voice was thin and there was a tremor in it,so it sounded sweet( just like Talat).

Naseem Jr. or Miss Naseem Jr. was younger sister of actress Shameem. She was born in Lahore on 8-2-1930. Her father had a shop and he was a General merchant. She was educated in Islamia Girls school, Bombay where she was staying with her actress sister Shameem. After Matriculation, she too wanted to become an actress. While in school she did many dramas. At the age of 13, she did an uncredited small role in film Salma-43.

Her first major film was Jwar Bhata-44- also the first film of Dilip kumar and Mrudula. Her second film was Manorama-44. She acted in few more films Sanyasi-45, Zeenat-45, Door Chalen-46, Amar Raj-46, Jeewan Sapna-46 and Mera Geet-46.

She had a hot temperament and could not get along with co stars and the Directors. Soon the offers diminished. She got married and returned to her hometown-Lahore along with her husband. She did only few films, but it was enough to cause confusion. Her films Jeewan Swapna-46 and Door chalen-46 are generally credited to Naseem Sr.’s filmography.

You will find one more name in the cast-Alaknanda. In Hindi films, there were many sister-pairs who worked as actresses, but in the history of Hindinfilms-both Silent as well as Talkie- there have been only 3 sets of 3 sisters who worked as actresses in the same periods. The first set was of Zubeida, Sultana and Shehzadi in the early 30s. Then in the 40s came the second set of Alaknanda, Tara and Sitara Devi. In the 50s, the last Trio of Padmini, Ragini and Lalitha worked in same period. After this, to my knowledge, no such Trio of actresses came on the screen. If you count step-sister also, then Mehtab was the step sister of Zubeida, Sultana and Shehzadi trio. This made the only Quartet of Sister Actresses in Hindi Film History ever ! Even their mother Fatima acted, directed and Produced films, to boot !! Only their father did not join films !!!

Alaknanda was born in or around 1910 in a Banares situated Mishra family. her clan had a tradition of singing in temples for the last 5 centuries. The family had close relations with Nepal and its Royal family. Her Grandfather was a court singer. Her grandmother and mother were from Nepal, so Alaknanda called herself as ‘ half Nepalese ‘.

When her father wanted to train her and her younger sister Tara, in Dancing and music, there was opposition from their society. Therefore the family moved to another corner of Banares and he started a Music school and trained children of Royal families from Bengal. In one of their visits to Calcutta, Sitara Devi was born in Calcutta. Alaknanda’s first Talkie film was Suryakumari-33. She worked in 38 films till late 40s. She had sung 15 songs in 7 films. She got Cancer and died sometime in or around 1947. Not much information is available about her or her sister Tara/Tara Devi/Tarabai. Vithal Pandya, in his book mentions that in her last days, Tara stayed in Bombay slums and worked as extra in films in her old age.( Famous dancer Gopi krishna was her son) Sitara Devi, on the contrary,lived a famous,rich and majestic life, with several marriages. That’s life, anyway.

The Hero of the film was Ishwarlal, who was a fixture in Ranjit for 13 years. ISHWARLAL was born on 9-10-1911 at Ghanghaniya,Kathewar,Gujrat, as Ishwarlal Hariprasad Doshi.

He belonged to a Jain family. His father was in Police department at Kathiawar Agency. His father died when Ishwarlal was just 3 year old and mother raised him.

After Matriculation, he completed Teaching Diploma at the age of 16, but did not a job as he was underage.He came to Bombay, where his brother had some business, in 1927 to act in films. Ishwarlal was very handsome.

He got a job in Ranjit Studios. He started with silent films at a salary of Rs. 35 pm.His first Talkie film was Bhutiya Mahal-1932.Then came Char Chakram-32.He started acting and singing in films.Initially he sang only duets.Meanwhile,with Jwalamukhi-36,he became Hero.He sang many songs in Ranjit films,but the records are not available.Those days,not all songs of the film were recorded for commercial purpose.

In Billi-38,he sang a duet with Sunita devi and also in Aaj ka Hindustan.In Ummeed-41,he had a duet with Nurjahan.In Pyaas-41,he sang with S.Pradhan.

He got to sing a solo song for the first time in 1942 in Fariyaad. In Jabaan, under C.Ramchandra,he sang 7 songs.

Some of his films were-
Diwali, Dheeraj, Chandni, Bhola shikar, Nadira, Sitamgar, Veer babruwahan, Barrister’s wife, College kanya, Desh dasi, Keemti aansoo, Dil ka daku, Jwalamukhi, Sajni, Dil farosh, Adhuri kahani, Thokar, Holi, Pyar, Bansari Lalkar, Chirag, Us paar etc.

He worked in Ranjit for 13 years. Then he worked with Prafull pictures, Sun art, Wadia, Hind pictures and Atre Pictures also.

In 1945,he was the hero of Noorjehan in Badi Maa,but he had no songs, in fact his last songs were in Us Paar-1944. His singing stopped completely when Rafi gave him playback in film Sharbati Aankhen-45.

Then he did character roles in Subhadra,Mahasati tulsi vrinda,Sanskar,Naulakha haar,Khuda ka banda etc.

He acted in 86 films. He also directed 11 films. He sang36 songs in 14 films. His last film released was was kahani kismet ki-73
He was married in 1931 to a loyal wife kamalabai. They had no issues. Due to excessive smoking he contracted lung diseases and died on 22-1-1969 in Bombay.

With today’s song, film Manorama-44 makes its Debut on this Blog.

(Credits- Vithal Pandya’s books, Film Directory, Beetehuedin blog, Harish Raghuwanshi ji, HFGK and my notes )


Song-Taaron ki chhainyyaan mein jamuna kinaare(Manorama)(1944) Singers-C Ramchandra, Hamida Bano, Unknown male voice, Lyrics-Anjum Pilibhiti, MD-C Ramchandra
Chorus
C Ramchandra + Chorus

Lyrics

Taaron ki chhainyyaan mein jamuna kinaare
Taaron ki chhainyyaan mein jamuna kinaare
gaawe khushi ke geet gin gin
gaawe khushi ke geet
ho
jiyo raam jiyo
dhobi ke laal jiyo
ho jiyo raam jiyo
dhobi ke laal jiyo

ho ho ho ho

ho o o
dhobiyaa ko chahai
haan
dui dui mehariya
haan
dhobiyaa ko chaihai
dui dui mehariya
ek ghar aur ek ghaat
ek se mangaawen chiilam tambaaku
ek se mangaawen chilam tambaaku
ek se karihen preet
hilmil
gaawen khusi ke geet
ho
ho jiyo raam jiyo
dhobi ke laal jiyo
ho
jiyo raam jiyo
dhobi ke laal jiyo

ho ho ho ho

zulfon mein daal phoolinwa dhobiyaa
moonchhon pe daike taav
zulfon mein daal phoolinwa dhobiyaa
moonchhon pe daike taav
bainyya pakad mohe chhatiyaa lagaike
bainyya pakad mohe chhatiyaa lagaike
jobna liyo hai jeet
hamra jobna liyo hai jeet

ho jiyo jiyo raam jiyo
dhobi ke laal jiyo
ho jiyo raam jiyo
dhobi ke laal jiyo

ho ho ho ho

taas mein jeete nahile ko dahila
dahile ko jeete ghulaam
haan
taas mein jeete nahile ko dahila
dahile ko jeete ghulaam
hamri ?? bitiya re tori
hamri ?? bitiya re tori
?? ne li hai jeet
haay raam
?? ne li hai jeet
ho

jiyo
ho jiyo raam jiyo
dhobi ke laal jiyo
ho jiyo raam jiyo
dhobi ke laal jiyo

ho ho ho ho

na main maangoon kotha atariya
na kuchh maangoon aur
na main maangoon kotha atariya
na kuchh maangoon aur
godi mein dhobiya ke hamre gosainyya
godi mein dhobiya ke hamre gosainyya
jaaye umariya beet
hamri jaaye umariya beet

ho
jiyo jiyo raam jiyo
dhobi ke laal jiyo
ho jiyo raam jiyo
dhobi ke laal jiyo

ho ho ho ho


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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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