Posts Tagged ‘1944’
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 : |
5699 | Post No. : | 18217 |
“Raunaq”(1944) was directed by Dwarka Khosla for Saubhagya Pictures, Bombay. The movie had Motilal, Charlie, Chandramohan, Swarnlata, Chandraprabha etc in it.
“Raunaq”(1944) had ten songs in it. Three songs have been covered in the past.
Here is the fourth song from the movie to appear in the blog. This obscure song from this obscure movie is sung by a female voice with female chorus. HFGK is not very helpful because HFGK considers it a samooh geet (chorus song).
I request our knowledgeable readers to throw light on the lead female singer of this song. Going by the list of singers listed for other songs, this voice could well be that of Parul Ghosh (listed as Shrimati Ghosh in other songs). I request our knowledgeable readers to help identify the voice.
Only audio of the song is available. It appears to be a wedding ritual song being sung by sahelis of a would be bride. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of the song.
Audio is not very clear. I am not fully satisfied with the lyrics that I have noted down and there may be errors in it. I request our knowledgeable readers to point out the eoors if any and suggest corrections.
Ishwar Chand Kapoor is the lyricist. Music is composed by C Ramchandra.
Song-Ghoonghat mein haule haule bole dulhan (Raunaq)(1944) Singer-Unknown female voice, Lyrics-I C Kapoor, MD-C Ramchandra
Female chorus
Lyrics
ghoonghat mein haule haule boley dulhan
ghoonghat mein haule haule boley dulhan
aaj aa miley to tohe meri kasam
aaj aa miley to tohe meri kasam
meri kasam tohe meri kasam
haan meri kasam tohe meri kasam
baabul se boley meri shaadi rachaao
shaadi rachaao
baabul se boley meri shaadi rachaao
shaadi rachaao
deputy collector mera dulha banaao
dulha banaao
deputy collector mera dulha banaao
dulha banaao
o o o o
chhote se ghar mein mera ghutata hai dam
chhote se ghar mein mera ghutata hai dam
aaj aa miley to tohe meri kasam
aaj aa miley to tohe meri kasam
meri kasam tohe meri kasam
haan meri kasam tohe meri kasam
mehandi waale haathon se karti ishaare
karti ishaare
mehandi waale haathon se karti ishaare
karti ishaare
apne joban ki kasmein wo daare
kasmein wo daare
apne joban ki kasmein wo daare
kasmein vo daare
o o o
bagiya mein genda khila aao balam
bagiya mein genda khila aao balam
aaj aa miley to tohe meri kasam
aaj aa miley to tohe meri kasam
meri kasam tohe meri kasam
haan meri kasam tohe meri kasam
din hon dashahra tere raaten deewaali
din hon dashahra tere raaten deewaali
ghar ki tu raani bane
sainya ki pyaari
ghar ki tu raani bane
sainya ki pyaari
o o o
yahi duaayen dete jaate hain hum
yahi duaayen dete jaate hain hum
aaj aa miley to tohe meri kasam
aaj aa miley to tohe meri kasam
meri kasam tohe meri kasam
haan meri kasam tohe meri kasam
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 : |
5624 | Post No. : | 18109 |
Today (11 December 2023) is the 101st birth anniversary of Dilip Kumar (11 December 1922 – 7 July 2021). He was the first superstar of Hindi movies, even though this term was not coined during his time. Those who later became known as superstars were often influenced by the acting style of Dilip Kumar.
Dilip Kumar made his debut in Hindi movies with “Jwaar Bhaata”(1944).
“Jwaar Bhaata”(1944) was directed by Amiya Chakravarty for Bombay Talkies, Bombay. The movie had Dilip Kumar, Agha, Shamim, Dilip Kumar, Mridula Rani, K N Singh, Mumtaz Ali, Arun Kumar Ahuja etc in it.
“Jwaar Bhaata”(1944) had ten songs in it. Six songs have been covered in the past.
Here is the seventh song from “Jwaar Bhaata”(1944) to be covered in the blog. This song is sung by Parul Ghosh, Arun Kumar Mukherjee and female chorus. Pt Narendra Sharma is the lyricist. Music is composed by Anil Biswas.
I have not been able to get several words in the lyrics. I request our readers with keener ears to help decipher them.
Only audio of the song is available. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song.
Song-Man mein piya aur van van dhoondhe (Jwaar Bhaata)(1944) Singers-Parul Ghosh, Arun Kumar Mukherjee, Lyrics-Pt Narendra Sharma, MD-Anil Biswas
Chorus
Lyrics
hey ae ae
sarson peeli dhaan sunahle
sarso peeli dhaan sunahle
sajan mora saanwariya ho
sajan mora saanwariya
sajan mora saanwariya ho
sajan mora saanwariya
man mein piya aur van van dhoondhe
man mein piya aur van van dhoondhe
nain bhaye baawariya ho
nain bhaye baawariya
nain bhaye baawariya ho
nain bhaye baawariya
ho o o
?? aayee
hey ae ae
ho o o
nirmohini prabhaat bhi aayee
hey ae
ankhiyan to ban gayi re badariya aa aa aa aa aa
ankhiyan to ban gayi re badariya aa aa aa aa
saajan tor dagariya ho
saajan tor dagariya
saajan tor dagariya ho
saajan tor dagariya
man mein piya aur van van dhoondhe
man mein piya aur van van dhoondhe
nain bhaye baawariya ho
nain bhaye baawariya
nain bhaye baawariya ho
nain bhaye baawariya
ho o
palchhin gin gin beet gaya din
beet gaya din
kaaj milan ke kar le ae
hey kaaj milan ke tu kar le suhaagin
o o
jeewan ban ke kunj kunj mein
ho ho o o
baajegi baansuriya
bajegi bansuriya gori
baajegi bansuriya
baajegi bansuriya ho baajegi baansuriya
man mein piya aur van van dhoondhe
man mein piya aur van van dhoondhe
nain bhaye baawariya ho
nain bhaye baawariya
nain bhaye baawariya ho
nain bhaye baawariya
ae hey ae hey ae
sarson peeli dhaan sunahle
sarson peeli dhaan sunahle
aa ha ha
sajan mora saanwariya ho
sajan mora saanwariya
ae hey ae hey ae
sajan mora saanwariya ho
sajan mora saanwariya
hey ae
Pal chhin chain na aaye
Posted on: July 13, 2023
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : |
5473 | Post No. : | 17893 | Movie Count : |
4781 |
In this article, I am taking up a rare song from ‘Sharaarat’ (1944) which I had uploaded on one of the video sharing platforms about 6 years back for covering on the Blog. However, it got delayed because I was not sure of the playback singer of the song. In the milieu, I completely forgot to follow it up. A few days back, I heard this song on the website which reminded me of a long pending post which I am taking up.
‘Sharaarat’ (1944) was produced and directed by Kishore Sahu under his own banner, Hindustan Chitra. He was also the lead actor in the movie along with Protima Dasgupta. The other actors included Maya Banerji, Moni Chatterjee, Gulab. Ranibala, Sushil Sahu, Ramesh Gupta, Anant Prabhu, Anwari etc. The film got censor certificate on February 8, 1944, and was released on February 18, 1944. This film can be called as a part of Kishore Sahu’s trilogy of films on social comedy, the other two beings ‘Kunwaara Baap’ (1942) and ‘Raja’ (1943). Incidentally, Kishore Sahu and Protima Dasgupta were in lead roles in all these three films.
I came to know about Producer-director-actor-writer, Kishore Sahu (22/11/1915 – 22/08/1980) for the first time when I had watched ‘Dil Apna Aur Preet Paraayi’ (1960) directed by him, in the theatre after its release. The first time I saw him as an actor was in ‘Poonam Ki Raat’ (1965) which he was the producer-director. In the same year, I watched him in ‘Guide’ (1965) in which he acted in the role of Waheeda Rahman’s husband and in ‘Gumnaam’ (1965). While his direction in ‘Dil Apna Aur Preet Paraayee’ (1960) was good, Kishore Sahu did not impressed me as an actor in his both the films of 1965. After ‘Hare Rama Hare Krishna’ (1971), I do not remember to have seen any of his subsequent films. Being in almost the fag end of his career in Hindi films, Kishore Sahu was not a much-discussed personality in film magazines during my younger days.
It was much later when I started going through the pages of ‘Filmindia’ magazines of 1937-49 period that I became aware of Kishore Sahu as a prominent name to be reckoned in the 1940s and early 1950s in the Hindi film industry. I think Kishore Sahu may be one of very few Hindi film personalities of his time whose film career progression was fastest and that too at a young age. He joined Bombay Talkies in 1937 and was the lead actor in his very first film, ‘Jeewan Prabhat’ (1937). At the age of 23, he set up a film production company, India Artists Ltd of which he was the managing director. Under this banner, he produced ‘Bahurani’ (1940) in which he was also the lead actor with Rose. However, after the release of the film, he resigned from the India Artists Ltd and went back to Bombay Talkies to act in a lead role with Snehaprabha Pradhan in ‘Punar Milan’ (1940). The film was super hit at the box office.
Despite the grand box office success of ‘Punar Milan’ (1940), Kishore Sahu left film industry and went back to his native place and later to Nagpur. He remained there for nearly one year. The background to this sudden departure from the film industry was that during the making of ‘Punar Milan’ (1940), Kishore Sahu fell in love with Snehprabha Pradhan. They got married on September 13, 1940. However, in less than six months of their marriage, they separated eventually leading to the divorce sometime in 1942. The separation in less than six months of the marriage with court proceedings affected Kishore Sahu to such an extent that probably he felt to take a temporary break from the film industry.
After recovering from the shock of separation, Kishore Sahu returned to Bombay with a story of ‘Kunwaara Baap’ (1942) which N R Acharya, his erstwhile colleague in Bombay talkies agreed to produce under his newly set up banner, Acharya Arts Production. This was Kishore Sahu’s debut film as a director. He was also the lead actor opposite Protima Dasgupta. The box office success of this film encouraged him to direct another social comedy films – ‘Raja’ (1943) which was also was a commercial success.
With two box successive box office hit films, Kishore Sahu set up his own film production banner, Hindustan Chitra under which he produced and directed ‘Sharaarat’ (1944) and many more successful films thereafter like ‘Sindoor’ (1947), ‘Saawan Aaya Re’ (1947), ‘Rimjhim’ (1949), ‘Kali Ghata’ (1951) and “Mayur Pankh’ (1954). As a director, he saw success in ‘Saajan’ (1947), ‘Nadiya Ke Paar’ (1948). ‘Dil Apna Aur Preet Paraayi’ (1960) and ‘Grihasti’ (1963).
Kishore Sahu set up his new film production company, Kishore Sahu Productions under which he produced and directed ‘Poonam Ki Raat’ (1965), ‘Hare Kaanch Ki Choodiyaan’ (1967) and ‘Pushpaanjali’ (1970), the last two films for launching his daughter, Naina Sahu. However, none of these films could create ripples at the box office. His last film as a director was ‘Dhuen Ki Lakeer’ (1974) which also did not fare well at the box office.
Kishore Sahu died of heart-attack on August 22, 1980, at Bangkok while he was on a family trip.
The detailed story and review of ‘Sharaarat’ (1944) is not available anywhere on the website to the best of my efforts. However, ‘Wikipedia’ has given some indication of the story line which I reproduce below:
Rai Bahadur Hiralal Mathur (Moni Chatterjee) is a wealthy man who lives with his wife and a stubborn, spoilt daughter Sudha (Protima Dasgupta). Her reckless driving of a new car nearly gets her into trouble when she bangs the car into Dr. Sharma (Kishore Sahu). The Doctor suffers no serious injuries, instead he and Sudha fall in love. However, Sudha’s mother has already arranged her marriage into a family of her interest. Sudha pretends to be insane, and the family call for the services of Dr. Sharma to help treat her. [Words in italics, my guess].
‘Sharaarat’ (1944) had 9 songs written by Rammurti Chaturvedi (5), Ambikesh Kuntal (2), Girish (1) and Karim (1). The songs were set to music by S N Tripathi and Khan Mastana. However, allocation of individual songs between the two music directors are not available. HFGK does not mention the name of the playback singers for any song. It appears that the labels on the gramophone records of the songs mention the names of the actors on whom the songs were picturised.
I am presenting the first song from the film ‘pal chin chain naa aaye’ to appear on the Blog. The song is written by Rammurti Chaturvedi. I remember, about six years back when this song was a part of Radio Ceylon’s ‘Kamsune Unsune Gaane’ programme, the name of the singer was indicated as Maya Banerji. Now, I am pretty sure that the voice of the singer in the song under discussion is that of Kalyani Bai. This was already confirmed by Shalin Bhatt in his comments on the video of the song uploaded by me.
With this song, ‘Sharaarat’ (1944) makes its debut on the Blog.
Audio Clip:
Song-Pal chhin chain na aaye (Sharaarat)(1944) Singer-Kalyani Bai, Lyrics-Rammurty Chaturvedi, MD-S N Tripathi/Khan Mastana
Lyrics
pal chhin chain naa aaaye
un bin bhayi baawri ankhiyaan
un bin bhayi baawri ankhiyaan
pal chhin chain naa aaye
aayi yaad milan ki raaten
pyaar bhari wo manhar baaten
aayi yaad milan ki raaten
pyaar bhari wo manhar baaten
mann mann hi mann aaj ro raha
mann mann hi mann aaj ro raha
naahak neh lagaa
aa aa aa
naahak neh lagaa
haaye
un bin bhayi baawri ankhiyaan
pal chhin chain naa aaye
dekh mujhe chanda muskaaye
dekh mujhe chanda muskaaye
papeeha pihoo kahe ae
jiya jaraaye
jiya jaraaye
aisi jali birha ki agni
aisi jali birha ki agni
bujhe naa haaye bujhaaye ae ae ae
bujhe naa haaye bujhaaye
jale pe jalaaye
jale pe jalaaye
pal chhin chain naa aaye
un bin bhayi baawri ankhiyaan
pal chhin chain naa aaye
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 : |
5463 | Post No. : | 17880 | Movie Count : |
4778 |
Today’s song is a bhajan from an obscure film ‘Mali’ (1944), which makes its Debut here.
The film is about a Marathi Sant SAVTA MALI, who is not known much outside Maharashtra. He was one of the saints during the Bhakti Movement in India. The film was made by Rajkamal Chitra, as a bilingual film. In Marathi it was titled ‘Bhakticha Mala’ (‘भक्तीचा मळा’) and in Hindi it was ‘Mali’ (‘माली’). It was directed by V Shantaram.
India is a multi racial, multilingual and multi religions country. It is not only one of the largest democracies in the world, but also the largest secular state in the world, where people from different faiths have been living together since centuries.
Many saints and religious leaders have played a significant role in keeping the mixed population of India as one unit, when it was needed the most. A majority of Hindus, ruled by Muslim Mughals was a natural cause for social divisions, but Saints like Kabir, Surdas, Tulsidas, Ramdas, Tukaram, Ramanand, Narsi Mehta, Purandar das,Namdev, Guru Nanak Dev, Eknath, Bhakta Pundalika, Rohidas, Mrutyunjaya and many such noble souls, did an excellent job of maintaining harmony amongst peoples of different faiths.
Maharashtra has been known to be a well developed modern state, boasting of an education center (Pune) as well as a commercial hub center (Mumbai). It is also a lucky state because it had many saints and social reformers from every strata of society.
While Ramdas and Gyaneshwar were Bramhins, other saints belonging to the different castes were Tukaram (Bania), Namdev (Tailor), Savta Mali (Gardener), Narhari (Goldsmith), Gora Kumbhar (Potter), Sant Sena (Barber), Rohidas (Cobbler), Chokha Mela (Maali), and Harijan and Mahar community saints like Janabai, Kanhopatra, Sakhubai, Soyerabai, etc. (Lists are only indicative, not exhaustive).
These saints contributed immensely to the efforts of reforming the polluted social structures in Maharashtra and taking the state ahead of others on development in women’s education, literacy, education, communal harmony etc.
While a saint like Ramdas Swami (Guru of Shivaji Maharaj) taught common people how to live life wisely and yet cultivate Bhakti Marg, some saints like Gyaneshwar brought in the teachings of important religious books like Bhagwad Geeta from Sanskrit to Marathi, all the other saints from different classes of society used their own day to day languages to praise the God and the common masses identified themselves with these works.
The Bhakti Movement period of 1300 to 1600 AD, a time frame of 300 years or thereabouts, was when most saints were active in India. This was the period when several outside rulers invaded India and established their rules. This was the time when the culture and religion of India had to be saved from annihilation. The saints of India played an important role in this and maintained unity and oneness of Indian culture from getting destroyed. But for them, there was a danger of the whole nation getting converted to Islam or Christianity. India will forever be grateful to the saints for this.
Out of the many saints and reformers of Maharashtra, few stand out for their additional contribution towards literary works. For example, Gyaneshwar wrote ‘Gyaneshwari‘ (translation of Geeta), Tukaram wrote Abhangs, Namdeo contributed to Punjabi language, Sikh culture and Guru Granth Sahib, and Ramdas wrote ‘Dasbodh’ to teach people how to balance between bhakti and bhog (family life).
Most saints had very short life spans (Sant Gyaneshwar died when he was just 21), as if they came here only to achieve something and disappear. Their works, however, remained as their marks and contribution to society.
The Bhakti Movement was India’s own way to combat foreign attackers, cruel rulers and the sleeping people of India. The movement from 1300 to 1600 AD produced many religious Saints and social reformers from Kanyakumari to Kashmir and from Assam to Gujarat. Indian culture is such that the advice given by a religious saint is more acceptable than that given by a social reformer. Thus, in this hour of need, India’s Saints tried to teach message of reforms such as removal of untouchability, freedom from varnashram lifestyles, importance of education, women’s emancipation and other such matters,through their poems, dohas, Abhangs and writings as well as kirtans. They tried to make the masses wake up against the ill effects of social practices that were being observed those days.
Saints appeared in ALL areas of India, during this period. However, due to language problems, knowledge and information about Saints in other regions trickled down very slowly. States which shared the use of Devanagari script were aware about them in a better way. Thus, Maharashtra, Gujarat, Rajasthan and the Northern Hindi belt states exchanged their knowledge about their saints more frequently than other regions such as Bengal, the Eastern states or the Southern states where the scripts were different. Andhra and Karnataka were closer as their scripts are similar, except perhaps the alphabet ‘K’. Tamil and Malayalam scripts have Dravidian origins and were not easily accessible for the rest of India.
Truly speaking, Great Souls do not belong to any specific area, state, region or a language. They belong to India and their language is Love for God and compassion for the downtrodden. Without exception, the Saints never limited their teachings only to religious matters but they also advocated social reforms. Indian sentiments accept more easily, anything given through religion. This, precisely, was what the selfish upper caste priestly classes had done earlier – to subjugate the unsuspecting masses, by falsely pushing their private agendas, in the garb of religious scriptural tenets.
Understanding this, the Saints tried to bring the Holy books and the religious tenets into vernacular languages,to make the masses realize what the Truth was. They also propagated the reformative information from the Holy books through their Kirtans, Akhyans, Dohas, Abhanga, Owees and Chaupais.
One such great Soul was Saint Savta Mali – an ordinary gardener.
Savata Mali was a 12th-century Hindu saint. He was a contemporary of Namdev, and a devotee of Vithoba.
For financial reasons, his grandfather, Devu Mali, moved to the Arangaon/Aran-behndi, which is near the Modnimb, Solapur district. Devu Mali had two sons, namely, Parasu (Savata’s father) and Dongre. Parasu married Nangitabai; they lived in poverty, but remained devoted Bhagwat followers. Dongre died at a young age. In 1250, Parasu and Nangitabai had a son, whom they named Savata Mali.
Having grown up in a religious family, Savata married a very religious and devoted Hindu girl from a nearby village, named Janabai. While working in his fields in the village of Aran, Savata Mali used to sing about the glory of Vithoba. He angered his wife once when he ignored his visiting in-laws because he was so busy in his bhakti, but Janabai’s anger was swiftly cooled down because of Savata’s kind and peaceful words.
He had 2 children – a son and a daughter. Like other saints, who were from different professions, Savta also used words and phrases from his gardening profession in his Abhangs. The meaning of ‘Sav’ is honest, good character. Savata means one who has these qualities. While following his profession of growing vegetables, he also made Abhangs and thus combined these two things. Savta Mali lived for only 45 years and died on 12-7-1295. He believed that Duty and Karma is the true Bhakti of Vithal.
He was very poor and could never visit Pandharpur to meet his God Vithal. But he is so revered in Maharashtra as a great saint that Pandharpur’s Vithal idol is brought to his samadhi once in an year to meet him ! Sadly, only 37 of his Abhangs survived for us. A temple dedicated to him exists in Aran.
The film’s Music Director was Master Krishnarao Phulambrikar. There were 11 songs in the film and the lyricists were Dewan Sharar, Bekal, Palshikar, Mahipal (yes, the same one who became famous later as an actor) and Ratan Piya. The cast of the film was Master Krishnarao Phulambrikar, Baby Nalini, Amirbai Karnataki, Raja Pandit, Nana Palshikar, Mahipal, Vidya Devi etc. This was the only film in which Phulambrikar ever acted.
Krishnaji Ganesh Phulambrikar (1898–1974), popularly known as Master Krishnarao, was a musical genius – an Indian vocalist, classical musician and composer of Hindustani music. He is credited with the creation of three Hindustani ragas and several bandishes. Phulambrikar was a recipient of the Sangeet Natak Akademi Fellowship.
Krishnarao Phulambrikar was born on 20-1- 1898 at Devachi Alandi, a town in the periphery of Pune, in Maharashtra to the Deshastha Brahmin couple Ganesh Phulambrikar (who was Vedmurti) and Mathura Bai. He also ventured into Marathi theater as a child artist by performing as an actor-singer in Sant Sakhu, a musical drama produced by Natyakalapravartak Mandali. He acted in other musical dramas produced by this drama company. And at this drama company, he first got a chance to learn Indian classical music from Sawai Gandharva who used to act in the musical dramas of this company. Later, he approached the renowned singer, Bhaskarbuwa Bakhale in 1911 who trained the young boy in Gwalior, Agra and Jaipur gharanas of Hindustani music and their Guru-Shishya relationship lasted till Bakhale’s death in 1922. The tutelage under Bakhale also gave him the opportunity to meet and get associated with Bal Gandharva, who would later go on to become a noted Marathi singer. His first solo concert was when he was 13 years of age (he was awarded the title of Sangeet Kalanidhi in 1930 by Jagadguru Shankaracharya Dr. Kurtkoti), which preceded several concerts in India and abroad, including a trip to China as a Government of India delegate in 1953.
Phulambrikar served as the director of Pune Bharat Gayan Samaj, a music academy founded by his mentor Bhaskarbuwa Bakhale in Pune. Besides his career as a classical vocalist and as a film music composer, he scored music for several plays which included ‘Menaka’, ‘Savitri’, ‘Asha-Nirasha’, ‘Amritasidhhi’, ‘Kanhopatra’, ‘Nand Kumar’ and ‘Vidhi Likhit’ for Gandharva Sangeet Natak Mandali, a drama company founded by Bal Gandharva, during the period 1915–1933 and acted in a few of them. Later, he also composed music for a few plays such as ‘Kulavadhu’, ‘Ek Hota Mhatara’, ‘Kone Eke Kali’ and ‘Bhagyoday’ for Natyaniketan where the lead singer and actress was Jyotsna Bhole. On the academic front, he compiled the compositions taught to him by Bakhale as well as his own compositions and published them as a 7-volume book – ‘Raag Samgraha’. Besides his notations are available in print under the titles, ‘Rashtra Sangeet’, ‘Shishu Sangeet’, ‘Amar Sangeet’, ‘Mohan Maal’, ‘Natya Geet Notations’ and ‘Chitra Geet Notations’. He also tutored several musicians, film and drama artists. Ram Marathe, Yogini Joglekar, Saraswati Rane, Haribhau Deshpande, Anjanibai Kalgutkar, Madhusudan Kanetkar, Jaymala Shiledar, Dr. Pabalkar, Bapurao Ashtekar, Dattopant Bhope, Pitre Buwa, Suhas Datar, Sudhakar Joshi, Ravindra Joshi, Mohan Karve, Rangnath Karkare, Shivram Gadgil, Balwant Dixit and his daughter, Veena Chitko are some of his notable disciples.
Soon after he received the Sangeet Kalanidhi title from Dr. Kurtkoti, the Shankaracharya of Karvir Peeth, he was contracted by Prabhat Film Company owned by V Shantaram and other partners, to compose music for its forthcoming film, ‘Dharmatma’, where he was reunited with his old associate, Bal Gandharva, who played the role of Sant Eknath, the protagonist of the movie. The film which was released in 1935 had sixteen songs, many of them sung by Bal Gandharva. A year later, his next Hindi film was released under the name, ‘Amar Jyoti’, again a Prabhat Film Company production. The film was reported to have been critically acclaimed and was the first Indian film to be screened at the Venice Film Festival. ‘Wahan’, another Prabhat production released in 1937, this time with a new director, K Narayan Kale, was his next film, followed by the musical ‘Gopal Krishna’ in 1938 directed by Damle and S Fattelal. He composed music for 15 films ( Hindi and Marathi) which included ‘Padosi’, another Shantaram film and the film featured a ten-minute song, “Lakh Lakh Chanderi”, reportedly with complex choreography. He played the lead role of Sant Savata Mali in the movie ‘Bhakticha Mala’ released by Rajkamal Kalamandir. He composed the music for this movie and also sang his own songs in this movie. Many aspiring composers of that period – Vasant Desai, C Ramchandra, Sudhir Phadke, Purushottam Laxman Deshpande, Snehal Bhatkar, Dinkarrao Amembal (alias D Amel) and Gajananrao Watve got inspired by his school of musical thought.
In the Hindi film arena, he gave music to 10 Hindi films (‘Dharmatma’ (1935), ‘Amar jyoti’ (1936), ‘Wahan’ (1937), ‘Gopal krishna’ (1938), ‘Aadmi’ (1939), ‘Padosi’ (1941), ‘Vasantsena’ (1942), ‘Mali’ (1944), ‘Lakharani’ (1945) and ‘Keechak Vadh’ (1959). In these 10 films he composed 104 Hindi songs. He sang 11 songs in 3 Hindi films – ‘Mali’ (1944), ‘Meri Amanat’ (1947) and ‘Pooja’ (1954). He acted as the main lead in Hindi film ‘Mali’.
Master Krishnarao Phulambrikar received the Vishnudas Bhave Gold Medal of the Government of Maharashtra in 1969 and the Government of India awarded him the civilian honor of the Padma Bhushan in 1971. He was the first recipient of the Balgandharva Gold Medal. The Sangeet Natak Akademi honored him with the Sangeet Natak Akademi Ratna Puraskar in 1972. In 1961, he suffered a facial paralysis which forced him to abandon his career as a singer in 1969. On his 60th birth anniversary, a 9-day long music conference was staged in Pune in which many notable musicians from all over India took part. He did not survive much longer and the death came on 20 October 1974, when he was 76 years of age. The story of his life has been documented in his biography, ‘Bola Amrit Bola’ (‘बोला अमृत बोला’) which was published posthumously in 1985. Every two years an award in his memory is presented to a music critic or author of a music book by Maharashtra Sahitya Parishad, Pune. Since his family originated from Phulambri in Marathwada, a drama theatre has been named ‘Master Krishnarao Phulambrikar Natyagruha’ in Jalna, Marathwada in his honor. Every year Pune Bharat Gayan Samaj celebrates his birth anniversary and death anniversary. His daughter, Veena Chitko, who died in September 2015, was a notable light classical musician.
There was another Master Krishnarao Chonkar, actor and singer, who worked almost the same time in Marathi and Hindi dramas and films. Sometimes there is a ‘Same Name Confusion’ as both were mentioned as Master Krishnarao. Of course the contribution of Phulambrikar was much more successful. ( Based on wiki, Marathi book ‘पूर्वसुरींचे सूर’ by Dr. Suresh Chandvankar and my notes).
This rare song was kindly provided to me and uploaded by Syed Zafar Shah, on my request. Thanks to Zafar ji.
Song- Chinta nahin humko chinta nahin hai (Maali)(1944) Singer- Master Krishnarao Phulambrikar, Lyricist- Dewan Sharar, MD- Master Krishnarao Phulambrikar
Lyrics
nahin hai jo ghar mein sahi
humko kya hai
prem hone se bhi ho
kuchh kamee
humko kya hai
chinta nahin hamko
chinta nahin hai
ae ae ae prabhu jinke hain
unko chinta nahin hai
jo gar tharti chhat aaspaas(?) bujhe deepak
jo gar tharti chhat aaspaas(?) bujhe deepak
o o o aane do kaali ghataaon ko beshaq
o o o aane do kaali ghataaon ko beshaq
chinta nahin hamko
chinta nahin hai
ae ae ae prabhu jinke hain
unko chinta nahin hai
nahin hai jo ghar mein sahi
hum ko kya hai
prem hone se bhi ho
kuchh kamee
humko kya hai
chinta nahin hum ko
chinta nahin hai
ae ae ae prabhu jinke hain
unko chinta nahin hai
bhari prem dhaara ki
nadiya ho apni
phalee phoolee bhakti ki
bagiya ho apni
o o o dukh laakhon ho
koi ginta nahin hai
o o o dukh laakhon ho
koi ginta nahin hai
chinta nahin hum ko
chinta nahin hai
ae ae ae prabhu jinke hain
unko chinta nahin hai
————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————
नहीं है जो घर में सही
हमको क्या है
प्रेम होने से भी हो कुछ कमी
हमको क्या है
चिन्ता नहीं हमको चिन्ता नहीं है
ए ए प्रभु जिनके हैं
उनको चिन्ता नहीं है
जो गर थर्रती छत आसपास(?) बुझे दीपक
जो गर थर्रती छत आसपास(?) बुझे दीपक
ओ ओ आने दो काली घटाओं को बेशक़
ओ ओ आने दो काली घटाओं को बेशक़
चिन्ता नहीं हमको चिन्ता नहीं है
ए ए प्रभु जिनके हैं
उनको चिन्ता नहीं है
नहीं है जो घर में सही
हमको क्या है
प्रेम होने से भी हो कुछ कमी
हमको क्या है
चिन्ता नहीं हमको चिन्ता नहीं है
ए ए प्रभु जिनके हैं
उनको चिन्ता नहीं है
भरी प्रेम धारा की नदिया हो अपनी
फले फूले भक्ति की बगिया हो अपनी
ओ ओ दुख लाखों हों कोई गिनता नहीं है
ओ ओ दुख लाखों हों कोई गिनता नहीं है
चिन्ता नहीं हमको चिन्ता नहीं है
ए ए प्रभु जिनके हैं
उनको चिन्ता नहीं है
Kuchh apna bana ke chhod diyaa
Posted on: June 4, 2023
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 : |
5434 | Post No. : | 17821 |
During 1930s and 1940s, when India was a desperately poor country, literacy level was very low. Even males were largely unlettered. The less said about the literacy of women, the better. So under those circumstances, an educated woman, who was also a workng woman, was a source of great curiousity among common folk. One can imagine how it must be like in 1940s. Basic literacy is one thing. To become educated in the medical field was obviously way tougher.
In 1940s, we had quite a few titles about medical profession. Not just male professionals, but even females.
“Doctor”(1941) was a well known movie of those days Pankaj Mullick played the title role there. How can women be behind. Soon we found titles like “Nurse”(1943) and “Lady Doctor” (1944). “Lady Doctor”(1944, as the name suggests, was supposedly about a Lady who pursues medical profession.
When we look at the songs of these movies, we cannot find any songs dealing with the profession. The lead actor playing the title role would hardly be shown practicing as a medical professional. Most of the time he would be romancing and singing relevant songs dealing with various feelings associated with the process. We would have songs dealing with separation, sadness, looking forward to the arrival of beloved, sense of betrayal etc.
In other words, No matter what the genre, be it religious, stunt, social, fantasy, war, mystery, the movie would get reduced to a love story. 🙂
“Lady Doctor”(1944) was directed by Wali Sahab for Venus Pictures, Bombay. The movie had Mumtaz Shanti, Maya Banerji, Nandrekar, David, Premi, Rafiq, Master Anil, Ulhas, Mubarak, Kesari, Jamshed Ji, Sajjan, Anwari Bai, Sulochana Chatterji etc in it.
There were ten songs in this movie according to HFGK, but the name of the singers are not available for any of these songs. For that matter, even the name of the music director is not known.
Matters changed after the first song from this movie was covered in the blog in 2016.
Initially I had discussed a song that had the same first line as the song contained in HFGK entry for this movie viz:- Aankh milne ka bahaana ho gaya. It turned out that the uploader had mistaken a song with the same first line to be a song from “Lady Doctor”(1944). In reality, that song, sung by Naseem Akhtar was from some other movie. The actual song from “Lady Doctor”(1944), with same mukhda was then incorporated in the writeup. Lots of research was carried out by stalwards like our own inhouse researchers like M/s Arunkumar Deshmukh, Sadanand Kamath and Harish Raghuwanshi. Their research threw up informations that were not there in HFGK. It turned out that “Lady Doctor”(1943) actually had music by Anil Biswas, even though this movie was missing from Anil Biswas filmography prepared by many music lovers. Also, the voices contained in the actual song that was discussed were that of Hamida Bano and Snehal Bhatkar.
Likewise, names of singers for other songs that had become available were also identified. The amount of research that got triggered after that one post was quite staggering, to put it mildly. I thank all our musical stalwarts for their yeoman service rendered in the cause of HFM.
Here is the second song from “Lady Doctor”(1944). This song, like the first song, is more like a love song than a song about the medical profession. 🙂 The song is sung by Parul Ghosh. Wali Sahab is the lyricist. Music is composed by Anil Biswas.
Only audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song.
Song-Kuchh apna bana ke chhod diya (Lady Doctor)(1944) Singer-Parul Ghosh, Lyrics-Wali Sahab, MD-Anil Biswas
Lyrics
kuchh apna bana ke chhod diya
kuch aag laga ke chhod diya
ye kis zaaalim ki mahobbat ne
ye kis zaalim ki mahobbat ne
toofaan mein laa ke chhod diya
kuchh apna bana ke
pahle to nazar ke saaghar mein
halki si gulaabi mai bhar di
pahle to nazar ke saaghar mein
halki si gulaabi mai bhar di
aur honthon se ungli ko rakh kar
aur honthon se ungali ko rakh kar
peene ke liye phir na karti
bedard ne kis bedardi se
bedard ne kis bedardi se
saaghar ko dikha kre chhod diya
kuchh apna bana ke chhod diya
kuchh aag laga ke
deepak ne sikhaaya thha mujhko
main haule haule jalti thi
deepak ne sikhaaya thha mujhko
main haule haule jalti thi
ik aag daba kar seene mein
ik aag daba kar seene mein
main karwat tak na badalti thhi
par ik aansu ne aankh se gir kar
ik aansn ne aankh se gir kar
dil ka chhaala phod diya
kuchh apna bana ke chhod diya
kuchh aag laga ke
Ek jaam piye jaa
Posted on: March 12, 2023
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 : |
5350 | Post No. : | 17545 |
———————————————–—————————————
Blog 10-Year Challenge (2013-2023) – Song No. 40
————————————————————————————–
On this date ten years back viz on 12 March 2013, eight songs from eight different movies were covered in the blog. Here are the details:-
| Blog post number | Song | Movie (Year) | Remarks |
|---|---|---|---|
| 7658 | Kyun tumne hamko daraaya | Prem Sangeet (1943) | 4 songs covered out of 10 by now |
| 7659 | Raat ki malka ban thhan ke | Ismat(1944) | 3 songs covered out of 7 by now |
| 7660 | Preet ki jyot jalaakar chup hai | Vishkanya(1943) | 7 songs covered out of 12 by now |
| 7661 | Chaand mera baadalon mein kho gaya | Pathan (1962) | 4 songs covered out of 7 by now |
| 7662 | Raja haweli ki khidki zara kholna re | Veer Rajputaani(1955) | 5 songs covered out of 9 by now |
| 7663 | Assalaam aalekum baabu | Kalpana(1960) | 6 songs covered out of 10 by now |
| 7664 | Aayegaa kaun yahaan | Gumnaam (1965) | Movie YIPPEED by now |
| 7665 | Meri patni mujhe sataati hai | Pati Patni(1966) | movie YIPPEED by now |
It can be noticed that two movies (out of eight movies) whose songs were covered on this date ten years ago (on 12 March 2013) have since been YIPPEED on the blog. That leaves us with six movies that are still unYIPPEED and therefore eligible for Blog Ten Year Challenge today (12 March 2023).
“Ismat”(1944) is one of the six UNYIPPEED movies.
“Ismat”(1944) was directed by S Fazli for Fazli Brothers Limited, Bombay. This movie had Mehtab, Nargis, Nandrekar, Bhudo Advani, Prathima Devi, Jaani Babu, Irshad, Ghori etc in it.
This movie had seven songs in it. Three songs have been covered in the past.
As BTYC challenge, here is the fourth song from “Ismat”(1944). This song is sung by Amirbai Karnataki. Shams Lucknowi is the lyricist. Music is composed by Pt Govardhan Prasad.
Only audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song.
Lyrics of the song were sent to me by Prakashchandra.
audio link:
Song-Ek jaam piye jaa (Ismat)(1944) Singer-Amirbai Karnataki, MD-Shams Lucknowi, MD-Pt Goverdhan Prasad
Lyrics(Provided by Prakashchandra)
ek jaam piye jaa
najariyaa hamse milaa ke
tujhe meri qasam
raajaa meri qasam
baabu meri qasam
haan
ek jaam piye jaa
najariyaa hamse milaa ke
tujhe meri qasam
raajaa meri qasam
baabu meri qasam
haan
tu bhi piye jaa
hamko pilaaye jaa
tu bhi piye jaa
hamko pilaaye jaa
mast ho kar mast banaaye jaa
mast ho kar mast banaaye jaa
laakhon saal jiye jaa
najariyaa hamse milaa ke
tujhe meri qasam
raajaa meri qasam
baabu meri qasam
haan
ye jawaanee aur aankh mein paanee
ye jawaanee aur aankh mein paanee
pee ley pee ley ae
pee ley pee ley ae
pee ley pee ley ae
duniyaa hai faanee
zakhmi dil ko siyaa jaa
najariyaa hamse milaa ke
tujhe meri qasam
raajaa meri qasam
baabu meri qasam
haan
nainon se nainaa
miley ?naa
nainon se nainaa
miley ??naa
hamse milaa ke raajaa tu peenaa
raajaa tu peenaa
hamse milaa ke raajaa tu peenaa
raajaa tu peenaa
jaam se jaam liye jaa
najariyaa hamse milaa ke
tujhe meri qasam
raajaa meri qasam
baabu meri qasam
haan
ek jaam piye jaa
najariyaa hamse milaa ke
tujhe meri qasam
raajaa meri qasam
baabu meri qasam
haan aaan
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 : |
5321 | Post No. : | 17447 |
Today’s song is from a stunt film – Bahadur-1944. This was one of those ordinary films made by Jagriti Pictures, Bombay, owned by Master Bhagwan. The film was also directed by Bhagwan and the film’s music was provided by his friend C.Ramchandra with an alias Ram Chitalkar. The Lyricist was Ehsan Rizvi and the cast of the films was Baburao Pehelwan, Bhagwan, Shanta Patel, Samson, Bhagwandas, yeshwant, Bibi, Surekha and Nirasha (what a name ! Her parents must have expected a Boy baby and she was born, hence she must have been named as Nirasha. My intelligent guess !).
Music Director C.Ramchandra was one of a kind composer. Though he had learnt music, to start with, he began his film career with acting and that too as a Hero ! His first film Naganand-1935, was made and directed by Y.V.Rao at Kolhapur. I wonder what he saw in this lanky, thin boy and made him a Hero. His heroine was a professional Tawaif singer from Kolhapur, named Azam bai. When I first saw this name, I was confused, because generally Azam is a male name. Later when I found out about her, I came to know that her real name was ” Vidya Pisal’- a typical female Marathi name. She was trained in Jaipur-Atrauli gharana by Alladiya khan and due to her expertise in singing, the station director of A.I.R. Bukhari gave her the name Azam Bai (meaning the Great singer).
Tragically, CR’s first film Naganand-1935 was a Super Grand Flop, getting only 5 people in the audience in the first show, as per his own account in his auto-biography. Obviously, there was no second show of this film as it was urgently withdrawn from the theatre. With this history of acting behind him, he changed the track and concentrated on music. Initially he was employed by Sohrab Modi’s Minerva Movietone and worked as an assistant to MDs Bundu khan, Habeeb khan, B.S.Hoogan and lastly Meer Sahib. During this period he learned a lot from Hoogan and Meer Sahib. Later he became an independent composer -starting with 2 Tamil films and then with his first Hindi film- “Sukhi Jeevan”-1942.
His career started with the help of his good friend master Bhagwan. As a gesture of gratitude, he gave music to Bhagwan’s stunt films whenever he was called. CR concentrated on social and musical films and used his newly acquired filmy name “C.Ramchandra”, while working for Jayant Desai. However, when he gave music to Bhagwan’s stunt films, he never used his C.Ramchandra name but used aliases like Ram Chitalkar for films Jayakodi and Van Mohini (both in Tamil), Sukhi jeevan, Badla, Mr. Jhatpat,Bahadur and Dosti. He also used the name “Anna saheb” for films like Bahadur Pratap, Matwale and Madadgaar. For the first time he used his popular name for Bhagwan’s film was for his first social film ” Albela-1951″.
Using aliases or Pen names was prevalent in the film industry. Some examples are Snehal Bhatkar using different names like V.G.Bhatkar, B.Vasudev and Snehal. Even Snehal Bhatkar was not his own name which he used for all his films after the film ‘Hamari beti’-1950 onwards. Snehal (Snehalata) was his daughter’s name. Similarly Mohd. Shafi used the name Shafi M.Nagari for 8 films. Composer Nashaad used names like Shaukat Dehalavi, Shaukat Hussain Dehlavi, Shaukat Ali and Shaukat Haidari. Actually, Nashaad was also not his own name, which was Shaukat Haidari. ‘ Nashaad’ name was given to him by Lyricist/Producer/Director Nakshab Jarachavi.
G.M.Durrani gave music as Gunjan, S.D.Batish used the name Nirmal kumar. Aziz khan and Aziz Hindi were the same person. His brother Hafiz Khan was later known as Khan Mastana. There may be some more examples. I have described only the well known aliases. In this matter, here is an absolutely unknown case which hardly anyone knows and I too have never read about it in any book, magazine or on any site etc. The case is of Anil Biswas. He gave music to the film ” Begunah”-1949 in the name of ‘ Haribhai’. His co-MD for this film was Shyamoo, who was none other than C.Ramchandra. CR also gave music to the film ‘ Yeh hai zindagi’ as Shyamoo. This information is given in Ashish Rajadhyaksha’s book Encyclopedia of Indian Cinema, on pp 67 and 190.
One of the names in the cast of today’s film is Yeshwant. Normally hardly anything is ever known about artistes working in Stunt films. Today, however, let us know more about this yeshwant (Dave). There was yet another yeshwant (Bhatt), who was a singer. More about him sometime later.
It was not uncommon during the days of early cinema for people to hang around studios and filming locations in the hopes of being discovered. One such intrepid soul was Yeshwant Dave (or Yashwant Dave), who was at Kohinoor Studios observing a picture being made by producer J.B.H. Wadia. The handsome and athletic Yeshwant cornered Wadia, insisting that he would make a fine hero for an action film.
Wadia agreed to test Yeshwant by having him jump from the roof of one set piece to another. He did so successfully, and J.B.H. decided to cast him in a film that he was to direct for Young United Players, the 1931 silent THUNDERBOLT (aka DILER DAKU) featuring Mumtaz as the heroine.
Yashwant was again directed by Wadia in TOOFAN MAIL (1932) and there after became a sought after action star appearing in the stunt films of other directors like Aspi, Dhirubhai Desai, Nari Ghadiali, Chunilal Parekh, and Harshadrai Mehta. Some of his films include BHARAT VEER (1932), JADUI JUNG (1934), BOMBSHELL (1935), VASANTBENGALI (1937), FLYING RANEE (1939), MAGIC CITY (1940), TORPEDO (1941), BAHADUR (1944), ROYAL MAIL (1946), and KAUN PARDESI (1947).
Growing out of the stunt hero persona, he turned to character parts and made infrequent onscreen appearances throughout the 1950s, including in SHEIKH CHILLI and MAKKHEE CHOOS both released in 1956 and starring comedian Bhagwan. What became of Yeshwant Dave afterwards is anybody’s guess, as the once popular action star faded into obscurity and, sadly, is barely remembered today.
Today’s song is a duet, sung by Chitalkar and Hameeda Banu.
Song- Aankh mein Laaliyaan mad ki pyaaliyaan(Bahaadur)(1944) Singers- Chitalkar, Hamida Bano, Lyrics-Ehsan Rizvi, MD-C Ramchandra
Both
Lyrics
Aankh mein Laaliyaan
mad ki pyaaliyaan
Aankh mein Laaliyaan
mad ki pyaaliyaan
baal jo jhoome
baal jo jhoome
jhoome ree gaal choome gori
lat uljhee mori
jiya doley gori
o bainyya chhodo mori
o painyya padoon tori
Aankh mein Laaliyaan
mad ki pyaaliyaan
Aankh mein Laaliyaan
mad ki pyaaliyaan
ho o o
ho o o
baali hai umariya
sataaye koi haaye kyun
baali hai umariya
baali hai umariya
sataaye koi haaye kyun
nainwa sharaabi
ae ae ae ae
nainwa sharaabi
man bhaaye kyun
man bhaaye kyun
chhodo chhodo
lat mein ulajh gayin baaliyaan
chhodo chhodo
lat mein ulajh gayin baaliyaan
Aankh mein Laaliyaan
mad ki pyaaliyaan
Aankh mein Laaliyaan
mad ki pyaaliyaan
baal jo jhoome
baal jo jhoome
jhoome ree gaal choomen gori
lat uljhee mori
jiya doley gori
o bainyya chhodo mori
o painyya padoon tori
Aankh mein Laaliyaan
mad ki pyaaliyaan
Aankh mein Laaliyaan
mad ki pyaaliyaan
ho o o
ho o o
raat bhaye rasiya
jagaaye mujhe haaye kyun
raat bhaye rasiya
raat bhaye rasiya
jagaaye mujhe haaye kyun
mast hai jawaani
ae ae ae ae
mast hai jawaani
tarsaaye kyun
tarsaaye kyun
dekh lega koi
dekh lega koi
to doongi tumhen gaaliyaan
dekh lega koi
to doongi tumhen gaaliyaan
Aankh mein Laaliyaan
mad ki pyaaliyaan
Aankh mein Laaliyaan
mad ki pyaaliyaan
baal jo jhoome
baal jo jhoome
jhoome ree gaal choome gori
lat uljhee mori
jiya doley gori
o bainyya chhodo mori
o painyya padoon tori
Aankh mein Laaliyaan
mad ki pyaaliyaan
Aankh mein Laaliyaan
mad ki pyaaliyaan
Samay tu dheere dheere beet
Posted on: December 29, 2022
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 : |
5277 | Post No. : | 17288 |
Today’s song is an ‘Unique and a Special’ duet from the film Parakh-1944.
Why and how this song is ‘Unique and Special’ will come later, but first let me point out another important matter. In recent times, in India, the women are better treated, respected and also honoured for their contribution to running the household as well as earning equally to manage the married life on level fields. Women can be seen practically in every field of activity and have reached the top of the work places in almost every sphere. We have seen them as President, Prime Minister of the country, In Judiciary, Banks and even in Armed forces-be it Army, Navy or Air Force, the police, sports etc. There is hardly any field where women have not put their stamp.
But if you go back in the last 100 years, the conditions were different. Women were not so much independent and in an industry like Film Line, women who joined it would be seen in a very bad light. First of all, getting women to work in films was a Herculean task. The actual, real women who worked in a film was in 1913, when Durgabai kaqmat and her daughter worked in a silent film ” Bhasmasur Mohini”. Till then and even after that for some more time, women’s role were done by good looking young actors in stage dramas and films. As the years passed by, slowly girls started joining films – first the Jews, European and Anglo-Indians and then came girls from singing families (read Tawaifs), before girls from educated and respected families joined films.
By the 30’s and the 40’s there were enough women in films.However, most of them were controlled by their nearest kins like parents (Madhubala’s father and Suraiya’s grandmother) or brothers/sisters (Baburao Apte for Shanta Apte and Sardar Akhtar for Bahar). Many actresses, after their marriage, were prohibited from acting in films by their husbands or in-laws, so they quit films. Some examples are – the first heroine of Talkie films, Zubeida Sr. and also Zubeida Jr. in later times, Monika desai, Latika, Mohana, Shahzadi-both Sr. and jr. etc. Those who continued after marriage followed restrictions put by the Husbands. For example, Mumtaz Shanti had to always remain in a Burkha, except actual shooting. She was not allowed to talk to anyone on the set and had to immediately return home after shootings. Her husband, Lyricist, producer and Director Wali Saheb was a very orthodox Muslim. As long as Shamshad Begum’s father was alive she was not allowed to take her Photo anywhere.
Another example was Shanta Apte. When she joined films, her brother Baburao Apte used to hover around constantly during her shoots to prevent her mixing with others. What’s more, she was not allowed to work with anyone as her husband in the films, except only her brother Baburao- who would do the role of her husband.(only after Baburao’s marriage, Shanta Apte became ‘Free’). Yet another example was Meera Mishra. She was forced to retire after her first film “Milan”-1946, because her husband did not like it. (By coincidence, he died suddenly in a Riot and she did act in some more films, before getting married again).
I have quoted only a few examples, but these things were common and could be seen till almost 1970 or so. On the other hand, in the case of some actresses, their husbands encouraged them to join films ( and earn money for them). Some examples are Meenakshi Shirodkar (Bramhachari-1938), Renuka Devi, Nirupa Roy etc . Now we come to today’s song and why it is a special song.
Today’s song is a duet, sung by Ira Nigam and Hriday Narayan Nigam. Ira Nigam was discovered by Music Director Roshan when he was working for Delhi A.I.R. Ira was only 14 year old when Roshan brought Khurshid Anwar, M.D. to her house. They convinced her father to allow her to sing in films. He agreed but with a condition that she will not sing a duet with any other male singer except himself (he was a Singer in A.I.R.). Thus the first and the only Male-female duet of Ira Nigam in the film Parakh-1944 was sung with her own father ! This makes this song an ‘Unique and special’ song in Hindi film history. Because of this unusual condition of her father, Ira could not get many songs. What’s more, after her marriage with Mr. P.N.Nigam,, she was forbidden to sing in films. Thus her flowering career was nipped in the bud after songs in only 5 more films. The other films were Rakhi-49,Chaar Din-49, Ek Teri Nishani-49, Veer Ghatotkach-49 and Guru Dakshina-50.
The film was directed by Sohrab Modi. Music was by Khurshid Anwar (7 songs) and Saraswati Devi (2 songs). The cast was Mehtab, Balwant Singh, Kaushalya, Shah Nawaz, Latika, Sadiq Ali, Tarapore, Balraj Mehta and others.
A very odd name in the cast can be seen- Balraj Mehta. I am sure, hardly anyone has ever heard his name, but he was a very active person in his life. Born on 22-4-1918 at Lahore, he was the son of Sukh Dayal Mehta – Superintendent in the Commissioner’s office at Lahore. He completed Matriculation from Central Model High School and B.A. from Dayal Singh College of Lahore in 1939.
He was active in the Students’ union and held the General Secretary’s post of Punjab University Students’ Union, in 35-37. He organised the All India Student Federation conference in 36/37. He was a born Leader. He was interested in acting on stage. In 1944, he founded Indian National Theatre (I.N.T.), which is a very famous institution in India now also. He wrote, directed and produced its first stage drama ” Aawaaz’ in 1945.
By now he was married and needed to earn money. He joined the film line. He acted first in ‘Dulla Bhatti’ in 1939-40. Then came Sajjan-41,Panna-44, Parakh-44, Patharon ka Saudagar-44, Gulami-45 and lastly Pul-47.In the period 1944-45, he also became Secretary of Film Artistes’ Association and served it for a long time. In 1947, he entered Politics. After Independence, he became a journalist. After this I found his name in the cast of the film Ayodhyapati-56 and then as a Director of the film Trunk Call-1960. However, there is no information about him after this.
So, here is the love duet song, sung by a Father and a Daughter for the film Parakh-1944. Truly an ‘Unique and special’ song ! Enjoy….
Song- Samay tu dheere dheere beet (Parakh)(1944) Singers- Ira Nigam, Hriday Narayan Nigam, Lyricist- Pt. Sudarshan, MD- Saraswati Devi
Lyrics
Dheere dheere beet
Samay tu dheere dheere beet
Samay tu dheere dheere beet
dheere dheere beet
Samay tu dheere dheere beet
Samay tu dheere dheere beet
duniya ho ik raat chaandni
jeewan ho ik geet
duniya ho ik raat chaandni
jeewan ho ik geet
Samay tu dheere dheere beet
dheere dheere kyun kar ???
baat main teri kaise maanoon
dheere dheere kyun kar ???
baat main teri kaise maanoon
udte jaana
haath na aana
ye hai meri reet
udte jaana
haath na aana
ye hai meri reet
Samay tu dheere dheere beet
Samay tu dheere dheere beet
main pagli tu pagla ban jaana
??? ruk jaa ??
man ka meet rahe nit man mein
???
man ka meet rahe nit man mein
???
Samay tu dheere dheere beet
Dheere dheere beet
Samay tu dheere dheere beet
Samay tu dheere dheere beet
Kuchh main bhi chupaati hoon
Posted on: October 25, 2022
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 : |
5212 | Post No. : | 17198 |
———————————————–—————————————
Blog 10-Year Challenge (2012-2022) – Song No. 118
————————————————————————————–
Ten years back on this date viz on 25th October 2012, eight songs from eight different movies were covered on the blog. Here are the details:-
| Blog post number | Song | Movie (Year) | Remarks |
|---|---|---|---|
| 6893 | Zara bolo kya logi is dil ka kiraaya | Us Paar(1944) | One song covered out of 8 by now |
| 6894 | Tu jiye hazaaron saal gori | Ek Saal (1957) | Movie YIPPEED by now |
| 6895 | Khuda e bartar teri zameen par | Tajmahal (1963) | Movie YIPPEED by now |
| 6896 | Ye kiska lahu hai kaun mara | Dharmputra (1961) | Movie YIPPEED by now |
| 6897 | Kaam krodh aur lobh ka maara | Bahuraani (1963) | Movie YIPPEED by now |
| 6898 | Pade barkha phuhaar kare jiyaraa pukaar | Dooj Ka Chaand(1964) | Movie YIPPEED by now |
| 6899 | Aaj ki raat sajan mann chaahe | Vishwas(1969) | Movie YIPPEED by now |
| 6900 | Aaj dil pe koi zor chalta nahin | Milan (1967) | Movie YIPPEED by now |
We can observe that as many as seven movies (out of 8 movies) whose songs were covered on this date ten years ago have since been YIPPEED in the blog. That leaves us with only one movie that is still eligible for Blog Ten Year Challenge today (25 october 2022).
That movie is “Us Paar”(1944).
“Us Paar”(1944) was directed by Chiman Lal Luhaar for Sun Art Pictures, Bombay. The movie had Swarnlata, Ishwar Lal, Chandra Mohan, Sulochana Chatterjee, Kanhaiyalal, Charlie, Chhota Kabir etc in it.
“Us Paar”(1944) had eight songs in it. only one song from the movie has been covered so far and that was exactly ten years ago.
Here is the second song from “Us Paar”(1944) to appear in the blog. The song is sung by Amirbai Karnataki. Pandit Madhur is the lyricist. Music is composed by Feroz Nizami, BA.
Only audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song.
Lyrics and other details were sent to me by Prakashchandra.
Audio link:
Song-Kuchh main bhi chhupaati hoon(Us Paar)(1944) Singer-Amirbai Karnataki, Lyrics-Pt Madhur, MD-Feroz Nizami BA
Lyrics(Provided by Prakashchandra)
Main aapkee hoon oon
bee ee eenaa aa aa
tum geet ho o o
Kanhaiyya aa aa aa aa
hans hans ke
paar kar de ae ae ae ae
Raadha ke man ki naiyyaa aa aa aa
main murli churaati hoon
main murli churaati hoon
tum man ko churaatey ho
tum man ko churaatey ho
kuchch main bhi chhupaati hoon
kuchch main bhi chhupaati hoon
kuchch tum bhi chhupaati ho
kuchch tum bhi chhupaati ho
jab jab main jhoolti hoon
apney ko bhoolti hoon
dil mujhko sulaataa hai
tum dil ko sulaathi ho
dil mujhko sulaataa hai
tum dil ko sulaati hoon
kuchch main bhi chhupaati hoon
kuchch main bhi chhupaati hoon
kuchch tum bhi chhupaati ho
duniyaa ye dolti/dholki hai
kuchch mujhse bolti hai
kyaa
duniyaa ye dolti hai
kuchch mujhse bolti hai
koyal ke madhur gaaney
papeehaa ke pee taraaney
koyal ke madhur gaaney
papeehaa ke pee taraaney
bulbul ke chahchaaney
bulbul ke chahchehaaney
in sab mein tu hi tu bas
gaatey nazar aati hoon
gaatey nazar aati hoon
kuchch main bhi chhupaati hoon
kuchch main bhi chhupaati hoon
kuchch tum bhi chhupaathi ho
kuchch tum bhi chhupaati ho o o o
Holi main kheloongi un sang dat ke
Posted on: June 12, 2022
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 : |
5077 | Post No. : | 16999 |
Today’s song is from the film Gaali-1944.
When I saw the title of this film, I was stunned. I could not ever imagine that such a movie title could be given. I was wondering as to what must be there in the movie- a Gaali competition between 2 groups or is it about a person who can not speak a single sentence without including a gaali in it ? I could not fathom a reason for titling a film like this. Later in the early 50’s, I got a chance to see this film and I was totally and completely disappointed. Even after seeing the film I did not get answers to my original question. The story of the film was meaningless indeed.
After about 25 to 30 years, I was shocked to see the trend of titling the films with sophisticated gaalis like Besharam, Bundalbaz, Beimaan, Bewafa, Bewaqoof etc etc. Such changes are not new to the film industry.
The film Gaali was produced by Chiman bhai Desai under the banner of N.R.Desai Productions, Bombay, and the film was directed by R.S.Chaudhari – a veteran spill over from Silent film era. The name of R S Chaudhari may not be known to the newer generation, but he was considered ” Guru” by stalwarts like Mehboob Khan and Kardar. Like many oldies, Chaudhari was also a multifaceted person and used to write stories for films. You will be surprised to know about his contribution in writing stories of successful films like Roti, Rattan, Baiju Bawra etc.
R S aka Rama Shankar Chaudhari was a great name in the silent era and early Talkie period. Veterans like Mehboob and Kardar treated him like their teacher.
He was born on 8-6-1903 in Banares-U.P. in a middle class family which gave importance to education.After his graduation , he came to Bombay and did another graduation in Arts from J.J. school of Arts, in 1922. He then entered the film line as Art Director and Designer of publicity Pamphlets. he did remarkable covers for the Gujarati Film Journal ” Mauj majah”. He assisted director Manilal Joshi at Laxmi Film co. He started directing silent films with his first film at Laxmi – “Neera “-1926. It was the famous actor Raja Sandow’s spectacular costume film. The film became a Hit wherever it was shown.
He directed 15 silent films at Imperial film co. and Sagar Films. He made several Classics in Historical genres like Anarkali-1928, starring Sulochana (Ruby Meyers). This popular Hit silent film was remade as Talkie in 1935 again with the same cast and chaudhari as a director. Sulochana also acted in Anarkali-1953, thus creating a record of the same actress acting in 3 films of same title and story.
His other historical films were Shirin Khushru and Shaan e Hind, often using the legendary epics as a Nationalist allegory. His films usually featured Sulochana and Zubeida, the two popular and costly Heroines of that era.
His first talkie film was Madhuri-1932, featuring Sulochana. In all, he directed 14 Talkie films – madhuri-32, Sulochana-33, Piya Pyare-34, Aaj kal-34, Anarkali-35, Shaan e Hind-36, Hamari betiyan-36, kal ki Baat-37, Rifle Girl-38, Such hai-39, Aankh Micholi-42, Gaali-44, Magadh Raj-46 and Jaaliyanwala Bagh ki jyoti-53.
he was a very good story and screenplay writer.many of his film had his stories. he wrote stories for films like Neera-26 and Khud ki shaan-31 in silent film era and for Talkie films Hamari betiyan-36, Such hai-39, Roti-42, Adab Arz-43, Gaali-44, Laal haveli-44, Rattan-44, Aan-52, Baiju Bawra-52, Insan aur shaitan-70 and international crook-74. he also scripted Kardar’s pehle aap-44 and mehboob’s Son of india-62 and many films of Ravindra Dave.
In the last phase of life, Chaudhari lived a lonely life in penury. He travelled only by bus. He breathed his last on 22-8-1972 in Bombay.
for 12 songs of the film there were 5 lyricists and 2 Music directors- Pt. Hanuman Prasad and Sajjad Hussain. Sajjad was actually his assistant, but he composed 2 songs and was given equal status as joint MD. The cast of the film was Karan Dewan, Nirmala, Manju, Yakub, Kanhaiyalal, Sunalini Devi, Zillo bai, Gulab and many others. Today’s song is sung by Manju. She was one of those unfortunate actresses/singers, whose careers were curtailed by workless contracts with the studios and then due to marriages.
Manju’s father Gangaram Jadhav was a famous Marathi drama actor in his times in ‘Anand Vilas natak mandali’ at nagpur. He had 4 children, 2 sons and 2 daughters- Vijaylaxmi, Manjula, Trimbak and Balakram. They never went to school but were taught at home only.When Gangaram got a job in prabhat film co. they shifted to poona. Manjula started learning classical music from keshavrao bhole of Prabhat.
When Manjula got a singing role in film Aadmi-1939 as a child artiste, her name was changed to Manju. She sang songs in both versions-Hindi and Marathi. Next she acted in the film Sant Gyaneshwar-40. She acted and sang in Nai kahani-43. She sang songs in films Chaand and Ramshastri-44.
Due to a legal contract with Prabhat, she was not able to work in other films though she was in good demand outside, but Prabhat refused to allow her. However, producer Chimanbhai Desai got permission and she worked and sang in the film Gaali-44 She got an acting and singing role in the film Rattan-44. The film and the songs became hits. offers started pouring in but meanwhile she got married to karan Dewan. Her in-laws did not allow her to act in films. She had to bid goodbye to films.
After Karan Dewan’s death her connection with films ended finally. She has 2 sons and 5 daughters. She stayed with her sons in Bombay and Sharjah. (Thanks to blog beetehuedin for information.)
The film GAALI-1944 was available till at least 1950,around which time I must have seen it. The film story was….
Gaali was a film with a strange story of a young blind widow,who thinks that her husband comes and talks to her.
Mangala (Nirmala) loses her husband soon after marriage and she also becomes blind,without any medical reason. She stays with her Father in law Jagat narayan Chakravarti who also has an unmarried daughter lali (Manju Dewan). One day he meets Tilak,son of a zamindar from a nearby village. He wants Tilak(Karan Dewan) to marry his daughter Lali,but surprisingly,Tilak starts getting attracted to Mangala. She also talks to him and imagines it as if her husband is talking to her.
This is made use of by a village ruffian and people attack Jagat’s house demanding that the friendship of Tilak and Mangla be stopped. In the melee,jagat gets killed. At the same time Mangala and Tilak are in a Temple getting intimate. Suddenly her eyesight comes back and she realises the truth that it is not her husband.Finally,Tilak marries Lali and Mangala becomes a Sadhwi in a temple for the rest of her life.
I do not remember the songs of this film, but most songs were shot on Lali(Manju).
This was ,according to me, a hopeless film.
Song- Holi main kheloongi un sang dat ke (Gaali)(1944) Singer- Manju, Lyricist- Sugun Piya, MD- Pt. Hanuman Prasad
Lyrics
Holi main kheloongi un sang dat ke
Holi main kheloongi un sang dat ke
ratiyaa jo aaye
ratiyaa jo aaye
ab ke palat ke
ab ke palat ke
Holi main kheloongi un sang dat ke
Holi main kheloongi un sang dat ke
dekho ?? aisa ??
dekho ?? aisa ??
?? ke ?? ke nainan phatke (?)
?? ke ?? ke nainan phatke(?)
Holi main kheloongi un sang dat ke
babu jo mohse ra ra karenge
to gaali main doongi ghoonghatwa palat ke
to gaali main doongi ghoonghatwa palat ke
Holi main kheloongi un sang dat ke
Holi main kheloongi un sang dat ke
Holi main kheloongi
un sang
dat ke
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
Recent comments