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

Posts Tagged ‘1946


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 :

4396 Post No. : 15771

Today is 31 july 2020. It is the 40th anniversary of the passing away of Mohammad Rafi ( 24 december 1924-31 july 1980) as all HFM lovers are only too aware. 31 july 1980 is a day which is still fresh in the minds of music lovers who were around at that time.

31 july 1880, a date exactly 100 years prior to 31 july 1980 was also an important day. It was on this day that Dhanpat Rai was born, who would later be known as Munshi Premchand (31 july 1880-8 october 1936), one of the most influential Urdu-Hindi author in modern Indian literature.

I have covered Munshi Premchand a few times in this blog. When one reads his creations, one is astonished at his vision, and his progressiveness. He was far ahead of the times in which he lived. He championed the cause of women empowerment, human rights and even animal rights at a time when these causes had not even become fashionable.

Munshi Premchand is considered an Urdu-Hindi literateur, but he was much more than just that. He was conversant in English as well. He was very well read in foreign literature. Translating foreign classics into Urdu and Hindi was one of his passions that has not received much attention from those who have studied him.

Munshi Premchand not only championed noble causes, he also practiced what he preached. After he separated from his first wife (with whom he was married as a child, in accordance with the then prevailing social practice), he married a widow, which was quite a revolutionary act those days.

Premchand began his career as a writer in Gorakhpur. Gorakhpur turned out to be the place where he was at his most creative. Gorakhpur was also the place where he spent the happiest days of his life (1916-1921). He was leading a contented life in Gorakhpur as a government school teacher (Assistant Master at Norman High School, Gorakhpur) when he listened to the speech of Mahatma Gandhi on 8 february 1921, where Gandhi Ji exhorted Indians to give up government jobs as part of non-cooperation movement. Munshi Premchand acted on this call and resigned from his job (he has received a promotion while at Gorakhpur and had become Deputy Inspector of Schools). With the consent of his wife, he resigned from his government job. Rest of his life was largely a struggle to make both ends meet. All that did not affect the quality of his penmanship.

Premchand briefly dabbled in the then new art form of Talkies. But he failed to adjust to the ways of the movies and went back to his first love, viz writing.

Many of his writings later went on to be made into films (Hindi as well as other languages). I have discussed ‘Do Bailon Ki Katha’ (which was made into ‘Heera Moti’ (1958) in the past. I have also discussed ‘Idgaah’. ‘Gaban’ is another of his novel that has been made into a movie.

It was in 1924 that Munshi Premchand wrote ‘Rangbhoomi’. It is the story of a blind beggar called Surdas. This story was made into a Hindi movie in 1946. This movie ‘Rangbhoomi’ (1946) was produced and directed by Mohan Bhavnani for Bhavnani Productions, Bombay. The movie had KN Singh, Nigar Sultana, Jagdish Sethi, Sulochana Chatterjee, Maqbul, Navin Yagnik, Gope etc.

To pay tribute to both Munshi Premhand and Md Rafi, here is a song from ‘Rangbhoomi’ (1946). This song is a multiple part song. Part I is sung by Rafi and chorus, while part II is sung by Rafi, Sahmshad Begam and chorus. Pt Phaani is the lyricist. Music is composed by Premnath (music director).

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


Song-Kadam suye manzil badhaaye chala chal (Rangbhoomi)(1946) Singers-Rafi, Shamshad Begam, Lyrics-Pt Phaani, MD-Premnath (MD)
Male chorus
Female chorus
All chorus

Lyrics

———————–
Part I
———————–

kadam suye manzil badhaaye chala chal
kadam suye manzil badhaaye chala chal
koi saath aaye na aaye chala chal
koi saath aaye na aaye chala chal
kadam suye manzil badhaaye chala chal
kadam suye manzil badhaaye chala chal
koi saath aaye na aaye chala chal
koi saath aaye na aaye chala chal

teri raah tedhi
teri door manzil
teri raah tedhi
teri door manzil
museebat nayi
har kadam se mukaabil
museebat nayi
har kadam se mukaabil
pahaadon ko dhhaa dega himmat bhara dil
himmat bhara dil
pahaadon ko dhhaa dega himmat bhara dil
himmat bhara dil
tu har khauf isse mitaaye chala chal
tu har khauf isse mitaaye chala chal
koi saath aaye na aaye chala chal
koi saath aaye na aaye chala chal
Kadam suye manzil badhaaye chala chal
Kadam suye manzil badhaaye chala chal
koi saath aaye na aaye chala chal
koi saath aaye na aaye chala chal

chale na chale saath tere zamaana
chale na chale saath tere zamaana
sune na sune koi tera taraana
chale na chale saath tere zamaana
sune na sune koi tera taraana
rahe kaafilaa tera hardam rawaana
hardam rawaana
rahe kaafilaa tera hardam rawaana
tu duniya ko rasta dikhaaye chala chal
tu duniya ko rasta dikhaaye chala chal
koi saath aaye na aaye chala chal
koi saath aaye na aaye chala chal
Kadam suye manzil badhaaye chala chal
Kadam suye manzil badhaaye chala chal
koi saath aaye na aaye chala chal
koi saath aaye na aaye chala chal

—————————
Part II
—————————

chale na chale saath tere zamaana
chale na chale saath tere zamaana
sune na sune koi tera taraana
chale na chale saath tere zamaana
sune na sune koi tera taraana
rahe kaafilaa tera lekin rawaana
rahe kaafilaa tera lekin rawaana

tu duniya ko rasta dikhaaye chala chal
tu duniya ko rasta dikhaaye chala chal
koi saath aaye na aaye chala chal
koi saath aaye na aaye chala chal
Kadam suye manzil badhaaye chala chal
Kadam suye manzil badhaaye chala chal
koi saath aaye na aaye chala chal
koi saath aaye na aaye chala chal

sun ae naujawaan
sun ae naujawaan
tujhko jhukna nahin hai
sun ae naujawaan
tujhko jhukna nahin hai
unhen chhod de jinke ghutna nahin hai
unhen chhod de jinke ghutna nahin hai
tujhe raaste bhar mein rukna nahin hai
tujhe raaste bhar mein rukna nahin hai

tu kaandhe se kaandha milaaye chala chal
tu kaandhe se kaandha milaaye chala chal
koi saath aaye na aaye chala chal
koi saath aaye na aaye chala chal
Kadam suye manzil badhaaye chala chal
Kadam suye manzil badhaaye chala chal
koi saath aaye na aaye chala chal
koi saath aaye na aaye chala chal

tu aage badhe usko peechhe hataa de
peechhe hataa de
jo roke use thokaron se uda de
thokaron se uda de
khuda se jo kehta hai use tu kar ke dikha de
tu kar ke dikha de
tu har waar seene pe khaaye chala chal
tu har waar seene pe khaaye chala chal
tu har waar seene pe khaaye chala chal
koi saath aaye na aaye chala chal
koi saath aaye na aaye chala chal
Kadam suye manzil badhaaye chala chal
Kadam suye manzil badhaaye chala chal
koi saath aaye na aaye chala chal
koi saath aaye na aaye chala chal


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 :

4394 Post No. : 15762

Today’s song is from the film Jeewan yatra-46. This film was made by Rajkamal. The film was a social film, directed by Master Vinayak and its music was composed by Vasant Desai.

V Shantaram left Prabhat films or rather was compelled to leave it, because he broke a rule of Prabhat Films. Soon after When the company was founded, one of its directors S Fattelal had married one of its lead actresses Gulab Bai aka Kamla Devi (one who is seen bending in the Prabhat Logo). After this, the team of partners/directors made a rule that if, in future, any of them falls in love with an artiste of the company or gets married to her, he will have to leave the company. After a few years, Keshav Rao Dhaiber, one partner, married Prabhat’s Heroine Nalini Tarkhad. He had to leave the company,in 1938.

V Shantaram also loved and married Prabhat’s lead actress Jayashree (Kamulkar) and had to leave the company. As such, all was also not well between Shantaram and other directors,because they felt that somehow, Shantaram kept all the focus on him for publicity, though they too were capable. Due to all this he left Prabhat. For some time he worked in the Films Division and then started his own studio “RAJ KAMAL Kalamandir”, on the premises of Wadia studios. The name of his company was made up by taking the first syllable of his parents’ names – RAJ(aram) and KAMAL(abai) making RAJKAMAL.

The first film of Rajkamal was Shakuntala with Jayashree playing the role of Shakuntala and Chandra Mohan being King Dushyant. Next films were, Parbat pe apna Dera-44 and Jeevan Yatra-46. Then came the iconic film “Dr. Kotnis ki amar kahani”-46. Rajkamal produced many well known films, mostly in Prabhat tradition. I personally consider the film “Do aankhen barah haath”-58, as its best film in terms of the content, acting and the Music. It’s a matter of pride that one of the songs of this film-“Aye Maalik tere bande hum”, became the school prayer song in Pakistan, till 1965.(Ref:Ruperi Smaranyatra by Prof. Subhash Savarkar).

Film Jeevan Yatra-46 was directed by Master Vinayak. This was his last film as a director for Shantaram. Rajkamal films were directed by Shantaram, Vinayak, Keshavrao Datey, V Awadhoot or Kiran Shantaram only. Initially the studio system was very strong in the film industry, but during and after the II WW, Freelancing and crumbling of the studios, one after the other saw the virtual extinction of the studio system. Companies affected were Sagar, Ranjit, National, Wadia, Prabhat, Bombay Talkies, New Theatres, Madon Theatres, East India, Shalimar, Paramount, Imperial etc. It sadly heralded individualistic operations. Most studios became available for hiring for shootings. Only Rajkamal, Mehboob and RK studios etc continued some more years with almost the same force. Now, RK studio is demolished and Rajkamal and Mehboob studios are used for TV serial shooting and audio recording facilities.

Talking of Master Vinayak, it was Shantaram who helped shape his career. In Kolhapur, the 3 families- Bhal G. Pendharkar, V Shantaram and Master Vinayak were closely related. Bhal ji Pendharkar (Bhalchandra Gopal Pendharkar) was the son of Dr.Gopal Pendharkar, the Royal Physician of Shahu Maharaj of Kolhapur state and his partner Radhabai. Dr. Gopal was already married to another lady. This couple gave birth to Bhalji and Baburao Pendharkar. Their mother Radhabai left Dr. Gopal Pendharkar and married Damodar Karnataki. They had two sons- Master Vinayak (father of Baby Nanda), famous actor, director, producer and a studio owner and his brother Vasudev- who became a Cameraman. Kamalabai, the younger sister of Radhabai married Rajaram Vankudre and they had 2 sons- V.Shantaram, famous actor, director,producer and a studio owner and his brother V. Awadhoot- equally famous Cinematographer.

Master Vinayak Karnataki ( 19-1-1906 to 19-8-1947) was born in Kolhapur. Many of his cousins and family members were already in the Film line.His half brothers Bhal ji and Baburao Pendharkar, maternal cousin V. Shantaram and his brother V.Avadhoot ( cinematographer) were in films. His own brother Vasudev also became a cameraman. Master Vinayak was working as a Teacher in a school, but Bhalji brought him in films. Initially Vinayak was with Prabhat, working under Shantaram and learning many things. He started his own company ” Hans Pictures” in partnership with Baburao Pendharkar and cameraman Pandurang Naik. Their first film was Chhaya-36. (almost all films made by Vinayak till 47 were bilingual in Marathi and Hindi-sometimes with different Titles ( like Ardhangi in Marathi became Ghar ki rani-40 in Hindi etc.)

While Shantaram stressed on technical aspects of film making successfully, Vinayak was keen on a strong story. Therefore he used the works of Top class writers in Marathi like V.S.Khandekar, P.K.Atre, Mama Varerkar etc. ( V.S.Khandekar, later won Sahitya Akademi award, Jnanpith award, Padma Bhushan award and many honours like D.Litt etc. The Government issued a Postage stamp after his death also). Film Chhaya won many awards and was commercially successful. Next Dhrmaveer-37 and Premveer-37 ( The Heroine in this film was Ashalata-wife of Anil Biswas). Then came film Jwala-38, with Chandramohan in both versions-Marathi and Hindi. He learnt to speak excellent Marathi for this film. Later he did 3 more Marathi films also. unfortunately, film Jwala was a resounding flop-not because of anything else. According to V.S.Khandekar, Vinayak had meddled with the story too much. ( this looks to be a chronic ailment of the film line !)

Vinayak fell back on comedy and made Brahmachari-38 and Brandi ki botal-39. Both were successful, but the loss due to Jwala was too big. Even one more comedy- Ghar ki rani-40 could not salvage the damage and Hans pictures was dissolved to form another company Navyug Chitrapat, with added P.K.Atre as a partner. Navyug was the first film company to offer 100 rs. shares directly to the public. ( Bombay Talkies had shares with only the directors, initially). The first film was Lapandav-40. Though successful, P.K.Atre left the company- (along with its Heroine Vanmala- his consort) and established his own company Atre Pictures.

After another comedy, Navyug made Amrit-41. In the year 1942, Navyug made the film ‘ Pahili Mangalagaur”-42, in which Lata Mangeshkar made her debut as an actress and singer. She sang her first ever film song with Snehprabha Pradhan- under the baton of Dada Chandekar. There was a kissing scene of Snehprabha and Shahu Modak in this film. During the making of this film, Vinayak left Navyug and started his own ” Prafull Pictures”. Vinayak made several Hindi and Marathi films including Badi Maa-45. Vinayak died on 19-8-1947, just 4 days after Independence.

Vinayak acted in 18 Hindi films, from Jalti Nishani-32 to film Mandir-48. He also directed 13 Hindi films, from film Nigah E Nafrat-35 (debut film of Shobhana Samarth) to film Mandir-48. He sang 22 songs in 10 films. But from film premveer-37 onwards he could not sing properly due to his tooth problems, hence Master Vasant Eric used to sing his songs for the balance 6 films, though mostly Vinayak is credited for these songs.

Now, who was this Master Eric ? His real name was Vasant Jadhav. He was born in 1907 into a Marathi Christian family of Kolhapur. Bhalji Pendharkar selected him for acting and singing in Shyam Cinetone’s film Parth kumar-1934 (Hindi/Marathi) His pet name was Eric, so he became Vasant Eric and later on due to his singing, he was called Master Vasant Eric. He joined Kolhapur Shalini Cinetone and worked with master Vinayak. He also worked in films like Aakashwani-34 and Honhaar-36. He sang songs in films from 1937 onwards. In all the Marathi/Hindi films of Vinayak he sang for him.

Vasant Eric knew Ratanbai. She introduced him to Ardeshir Irani and he employed Eric in his Music Department, playing various instruments and singing whenever needed. He acted and sang in films made by Huns, Navyug and Prafull films. In 1948, he gave music to a Marathi film. He was called by many MDs to play Chord Piano for their songs.The male voice in Lata’s First Hindi Playback song ” Paa laagu kar jori re” is that of master Vasant Eric only.

His son Ravindra was an actor and daughter Hemlata Shankar (Jadhav) was a film dancer. His grandson Nitin Shanker is an arranger in Bollywood today. Master Vasant Eric died in 1982.(Ack: Marathi Chitrapat Sangeetkar Kosh by Madhukar Potdar).

As per The Encyclopedia of Indian Cinema, film Jeewan Yatra-46 features a large number of characters travelling on a bus to Benares. A storm forces the passengers to take shelter in an abandoned temple where a prostitute tries to seduce Raja (Yakub) and he is left behind. The bus later breaks down and when Raja rejoins the group a local bandit, Vishwas (Pendharkar), attacks it. Eventually the bandit turns out to be Raja’s father and the husband of an old woman, Kalindi (Protima Devi), another passenger on the bus. Vinayak’s only film in the mainstream Hindi cinema, it included the collective number Ao azadi ke geet gate chalein and Lata Mangeshkar’s Chidiya bole choo choo. Lata Mangeshkar plays a village girl.

There were 10 songs in this film. Twqo songs are already on the Blog. This is the third one. It is a song sung by Khan Mastana, Zeenat Begum and other uncredited voices.


Song-Motor maze se chala re musaafir (Jeewan Yaatra)(1946) Singers- Khan Mastana, Zeenat Begum, Lyricist- Dewan Sharar, MD- Vasant Desai
Unknown male voice 1
Unknown male voice 2
Unknown male voice 3
chorus

Lyrics

Motor maze se chala re musaafir
Motor maze se chala re musaafir
Motor maze se chala dheere dheere
Motor maze se chala dheere dheere
ho o o
o o o
motor waale
re motor waale

Motor maze se chala re musaafir
Motor maze se chala
dheere dheere
hai naazuk zamaaana
dheere dheere
hai naazuk zamaana
haule haule hata chalaana
haule haule hata chalaana

kahin lachke na patli kamariya
kahin lachke na
kahin jhapke na teekhi majariya
ho kahin jhapke na teekhi majariya
kahin sarke na sar ki chunariya
kahin sarke na sar ki chunariya

dheeme dheeme chala
haule haule chala
dheeme dheeme chala
haule haule chala
motor maze se chala dheere dheere

haan maze se chala halke halke
o motorwaale
haan maze se chala halke halke
jaise ?? ke dhhalke
jaise mad ka bhara pyaala chhalke
jaise dulhan
jaise dulhan koi aaye chal ke
jiska joban ho jaadoo bhara aa
Motor maze se chala dheere dheere

?? ki motor ke purze hain ??
naaarayan
inko bachaayega paapon ki aanch se

haan shashtri
jeewan ki yaatra pe jaana hai door door
jeewan ki yaatra pe jaana hai door door

laagi jo thhes kahin to motor hai choor choor
bach bach ke bach bach ke jaa aa gaadi
bach bach ke bach bach ke jaa
haan
Motor maze se chala dheere dheere
ho o o
o o o
motor waale
re motor waale

haaye
motor maze se chala re musaafir
Motor maze se chala dheere dheere
Motor maze se chala aa aa aa


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 :

4375 Post No. : 15717

“Raseeli”(1946) was directed by Hanuman Prasad Sharma for Jai Bharat Pictures, Bombay. The movie had Radharani, Sushil Kumar, Kanhaiyyalal, Ramesh Gupta, Anant Prabhu, Ranibala, Meghmala, Shanti Devi, Ramlal, Shamlal etc in it.

“Raseeli”(1946) had ten songs in it. Three rare (and special) songs from the movie have been covered in it.

Here is the fourth song from “Raseeli”(1946) to appear in the blog. The song is sung by Sharma and Geeta Dutt. One commentator in the YT lin identified the male singer as Prem Narayan Sharma.

Gaafil Harnalvi is the lyricist. Music is composed by Hanuman Prasad Sharma.

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

The song ends up abruptly with a few lines yet to be sung. I request our knowledgeable readers to alert us if a longer and more complee link to the song becomes available.


Song-Neh laga mukh mod gaya (Raseeli)(1946) Singers-Prem Narayan Sharma, Geeta Dutt, Lyrics-Gafil Harnalwi, MD-Hanuman Prasad Sharma
Both

Lyrics

neha laga mukh mod gaya aa aa aa aa
dukhiya ko tadapte chhod gaya
dukhiya ko tadapte chhod gaya aa aa

preet laga ker nanhe se ae ae
ek chanchal man ko tod gaya
ek chanchal man ko tod gaya aa aa
albeli ke to tiraani(?)
wo deewaani hai deewaani

har kadam pe thokar khaate hai ae ae
jab se preetam mukh mod gaya
jab se preetam mukh mod gaya aa aa

deepak ki jyoti door huyi
door huyi

ab kahe ae
ab kahe patanga ro ro kar
ro ro kar
ro ro kar r

is armaanon ki duniya mein ae ae ae
ghanghor andhera chhod gaya
ghanghor andhera chhod gaya aa aa
ab aan padi hai dukhiyaaran
is jeewan ke chauraahe par
is jeewan ke chauraahe par

wo baanh pakad kar beech dagar r r r…


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: 4332 Post No.: 15627

Today’s song is from a film ‘Dharti ke Lal’-46, made by Indian People Theatre Association – formed on 25th May 1943. The film was directed by K.A.Abbas. The music was by Ravishankar. For 10 songs, written by a team of 4 Lyricists, music was composed by Ravi Shankar. Ravi Shankar (7-4-1920 to 11-12-2012) gave music only to 5 Hindi films, composing 48 songs – Neecha Nagar-46, Dharati ke lal-46, Anuradha-60, Godan-63 and Meera-79. Few songs from films Anuradha and Godan were good and popular, otherwise, in my opinion, his music was absolutely average. It never impressed me.

The film’s cast was Shombhu Mitra, Usha Dutt, Balraj Sahni, Damayanti Sahni, Anwar Mirza, Tripti Bhaduri Mitra, David, K N Singh etc etc. This was the first and the only directly produced film by IPTA. Later on, it supported many films in Hindi, Bangla and other languages. IPTA was an association of like minded people of socialistic thinking, influenced by and tilting towards Communism.

After the Great Russian Revolution in 1917, the Communist Cult philosophy started attracting people in the world, but within next 75 years,i.e. by 1992, the Russian Communism came to a close with President Gorbachev’s Peristroika and Glassnost. In India, in the early years after the Independence, Communists had some states under their control and with Nehru’s blessings, they prospered too. However, as on today, Communism in not only the world, but even in India is thriving only in remote pockets and Naxalite activities. IPTA has been the Cultural wing of CPI in India.

It had become an established way to project India’s poverty, illiteracy, poor people and the miseries of the ‘Have Nots’, through films and such ‘realistic’ films were decorated with medals. Films made on the famous Bengal Famine of 1943 and Appu Triology did this job faithfully and received accolades.

In Indian film industry there were stalwarts, who swore by Nehru’s Socialism. Big guns like Mehboob Khan, A R Kardar and B R Chopra were few examples. Socialism dripped from the films they made- Roti, Mother India, Son of India, Naya Daur etc. can be quoted in this context.

Amongst the actors, Balraj Sahni was one actor who tilted to this philosophy. Most writers, directors actors etc from Bangla film industry were sympathetic towards this philosophy, if not actively participating openly into it. Out of the important and active members of Bombay from IPTA was K A Abbas. It was his idea to make a film on 1943 Bengal famine. Abbas not only made Dharti ke lal in 1946, but also made its sequel Munna in 1954. This is what Encyclopedia of indian Cinema says about film Dharti ke lal-46….Based on Bijon Bhattacharya’s plays Nabanna and Jabanbandi; Krishen Chander’s short story Annadata. Abbas’s directorial debut launched a major trend of ‘realist’ cinema. The film is set during WW2 and the 1943 Bengal famine (a traumatic event often used as source material by left cultural movements) and a growing ‘nation-building’ ideology. Made during the war, the novice cast and crew were accorded a special licence for a war-effort contribution.
The only film actually produced by the IPTA (although it later informally supported several other films), the film is based partly on Sombhu Mitra’s landmark production of Bhattacharya’s play Nabanna for the IPTA. It narrates the story of a family of sharecroppers in Bengal: the patriarch Samaddar, his elder son Niranjan and his wife Binodini, and the younger son Ramu with his wife Radhika. Despite a good harvest and rising grain prices during the war, Samaddar loses his property to a crooked graindealing zamindar. Ramu, his wife and their newborn baby go to Calcutta followed soon after by the rest of the family along with thousands of similarly dispossessed peasants. The film intercuts Ramu’s frantic search for work with his wife’s descent into prostitution. Before dying, the patriarch enjoins his family to return to their native soil where the farmers get together and, in a stridently celebratory socialist-realist ending, opt for Soviet-style collective farming. Ramu is excluded from their world.

The film’s highly stylised and symbol-laden realism proved extremely influential. It appears to have found a way of narrativising the 1943 famine which set the pattern for many films moving from depictions of deprivation in the country to suffering in the city, e.g. Nemai Ghosh’s Chinnamul (1950) and Bimal Roy’s Do Bigha Zameen (1953). It also initiated a new type of melodrama able to marry actuality to psychoanalytic and political anxieties and desires, as in Abbas’s scripts for Raj Kapoor.

Presented By: Indian Peoples Theatre Association (IPTA); Associate Producer: V.P. Sathe; Associate Director: Sambhu Mitra, Balraj Sahni, P.A. Gupte; Assistant Director: Srinivas Sastri, Narendra Trivedi; Story: Bijon Bhattacharya, Krishen Chander; Screenplay: K.A. Abbas; Dialogue: K.A. Abbas; Adaptation: Bijon Bhattacharya’s “Navana” and “Jiban Maran”, Krishen Chander’s “I cannot die”. Music Director: Ravi Shankar.
K A Abbas was an important name in Hindi film industry. He was close to many heavyweight actors, producers and other directors. He belonged to a highly cultured and educaqted family from Panipat (present Haryana). Khwaja Ahmad Abbas was born in Panipat, Haryana, on 7-6-1916. He was born in the home of celebrated Urdu poet, ‘Khwaja Altaf Husain Hali’, a student of Mirza Ghalib. His grandfather Khwaja Gulam Abbas was one of the chief rebels of the 1857 Rebellion movement, and the first martyr of Panipat to be blown from the mouth of a cannon. Abbas’s father Ghulam-Us-Sibtain graduated from Aligarh Muslim University, was a tutor of a prince and a prosperous businessman, who modernised the preparation of Unani medicines. Abbas’s mother, ‘Masroor Khatoon’, was the daughter of Sajjad Husain, an enlightened educationist.

Abbas took his early education in ‘Hali Muslim High School’, which was established by his great grand father Hali. He had his early education till 7th in Panipat. He was instructed to read the Arabic text of the Quran and his childhood dreams swung at the compulsive behest of his father. Abbas completed his matriculation at the age of fifteen. He did his B.A. with English literature in 1933 and LL.B. in 1935 from Aligarh Muslim University

Worked on National Call, a New Delhi paper (1933); started Aligarh Opinion when studying law (1934); obtained law degree in 1935; political correspondent and later film critic for nationalist Bombay Chronicle, Bombay (1935- 47) praising Dieterle, Capra and esp. Shantaram. Wrote Indian journalism’s longest- running weekly political column, Last Page (1941-86), in Chronicle and Blitz. Best-known fiction (Zafran Ke Phool situated in Kashmir, Inquilab on communal violence) places him in younger generation of Urdu and Hindi writers with Ali Sardar Jafri and Ismat Chughtai, whose work followed the PWA? and drew sustenance from Nehruite socialism’s pre- Independence, anti-Fascist and anti-communal commitments.

Founder member of IPTA’s all- India front (1943), to which he contributed two seminal plays: Yeh Amrit Hai and Zubeida. Entered film as publicist for Bombay Talkies (1936) to whom he sold his first screenplay, Naya Sansar (1941). First film, Dharti Ke Lal, made under IPTA’s banner and drew on Bijon Bhattacharya’s classic play Nabanna (1944), dealing with the Bengal famine of 1943.

Set up production company Naya Sansar (1951), providing India’s most consistent representation of socialist-realist film (cf. Thoppil Bhasi and Utpal Dutt). Best work is in the scripts for his own films and for those of Raj Kapoor (Awara 1951); Shri 420 (1955), 1955, both co-written with V.P. Sathe; Jagte Raho, 1956; Bobby, 1973) and Shantaram’s Dr. Kotnis Ki Amar Kahani (1946; adapted from his own book, And One Did Not Come Back), which combined aspects of Soviet cinema (Pudovkin) and of Hollywood (e.g. Capra and Upton Sinclair), influencing a new generation of Hindi cineastes (Kapoor, Chetan Anand) and sparking new realist performance idioms (BALRAJ SAHNI). His Munna, without songs or dances, and Shaher Aur Sapna, cheaply made on location in slums, were described as being influenced by neo-realism.

Pardesi is the first Indian-Soviet co-production, co- directed by Vassili M. Pronin. The landmark Supreme Court censorship judgement about his Char Shaher Ek Kahani (aka A Tale of Four Cities) curtailed ‘arbitrary’ governmental pre- censorship powers on the grounds that the Indian Constitution guarantees the right to free speech. His constitutional challenge of the Cinematograph Act led to the famous Supreme Court decision upholding the validity of precensorship of cinema. Interestingly in Interestingly in 1939, K A Abbas had written a letter to Gandhi urging him to reconsider his opinion on the idea of the evil of cinema. He writes
“Today I bring for your scrutiny – and approval -a new toy my generation has learned to play with, the CINEMA! – You include cinema among evils like gambling, sutta, horse racing etc… Now if these statements had come from any other person, it was not necessary to be worried about them… But your case is different. In view of the great position you hold in this country, and I may say in the world, even the slightest expression of your opinion carries much weight with millions of people. And one of the world’s most useful inventions would be allowed to be discarded or what is worse, left alone to be abused by unscrupulous people. You are a great soul, Bapu. In your heart there is no room for prejudice. Give this little toy of ours, the cinema, which is not so useless as it looks, a little of your attention and bless it with a smile of toleration”.

Published many books including I Am Not An Island and Mad Mad World of Indian Films (both 1977). Other important scripts: Neecha Nagar (1946); Mera Naam Joker (1970); Zindagi Zindagi (1972); Henna (1991). Abbas also brought a number of new talents into the film industry, such as Amitabh Bachchan in Saat Hindustani . K.A.Abbas died on 1-6-1987 at Bombay. ( adapted, with thanks, from The Encyclopedia of Indian Cinema).

One of the main female leads in the film was Tripti Mitra, who was not at all a known face in Hindi films that time. Her name first became known to Hindi audience when, as the main Heroine, Tripti Mitra gave a remarkable performance in film Gopinath-1948.
Tripti Mitra was a big name in Bangla films and stage movement. She acted in only 3 Hindi movies. Gopinath-48, Dharati ke Lal-46 and Munna-54. Munna was a sequel to Dharati Ke Lal- both films directed by K.A.Abbas.

Smt. TRIPTI MITRA, née Tripti Bhaduri (Born 25 October 1925 – Died 24 May 1989), popular Indian Actress of Bengali Theatre and Films. She was the wife of Sombhu Mitra, noted Theatre & Film Director, with whom she co-founded pioneering theatre group Bohurupee in 1948. She has acted in films like Jukti Takko Aar Gappo and Dharti Ke Lal.

She was awarded Padma Shri and the Sangeet Natak Akademi Award, the highest Indian recognition given to practicing artists, given by Sangeet Natak Akademi, India’s National Academy for Music, Dance and Drama.

Tripti Mitra was born in Dinajpur (British India) on 25 October 1925. Her father was Ashutosh Bhaduri and mother was Shailabala Debi. In Dinajpur Minor School she studied up to class six, then she came to Kolkata and got admission in Pyaricharan School. After passing Higher Secondary Examination from that school, she got admission in Ashutosh College. But she could not complete her studies since she got a job. She married Sombhu Mitra in December, 1945. She has a daughter Shaoli Mitra, who is also an actress and director.

Tripti Mitra had been acting in theatre since her teens. She first acted in her cousin Bijon Bhattacharya’s play Agun (Fire) in 1943. After watching her stage performance in noted IPTA play, Nabanna (Harvest) based on Bengal famine of 1943, director Khwaja Ahmad Abbas took her to Bombay to act in Gana Natya Sangha’s film Dharti Ke Lal in 1943, partly based on the play. Her first Bengali film was Pathik in 1953, the film was directed by Debaki Kumar Basu. She also acted in Ritwik Ghatak’s last film, Jukti Takko Aar Gappo (1974).

In 1948, Shombhu and Tripti Mitra founded their own theatre group named Bohurupee. She acted in innumerable plays mostly along with her husband Sombhu Mitra,a colossus in the field of theatre, to become one of the most legendary beings of Bengali theatre, most famous for her role as Nandini, the protagonist of Rabindranath Tagore’s Rakta Karabi. She also acted in Jago Hua Savera, a 1959 Urdu movie produced in Dhaka, East Pakistan (now Bangladesh), based on a Manik Bandopadhya’s classic novel Padma Nadir Majhi.

Tripti Mitra died on 24 May 1989.

Out of the 10 songs of the film, today’s song is the 3rd song to be presented here. The song is slightly short of 3 minutes. In the film , even a much shorter version is used. Thanks to Sadanand Kamath ji for uploading this rare song which was not available so far on You Tube.


Song- Beete ho sukh ke din aayee dukh ki ratiya (Dharti Ke Laal)(1946) Singer- Lakshmi Shankar, Lyricist- Unknown, MD- Pt. Ravi Shankar

Lyrics

Beete ho sukh ke din
aayee dukh ki ratiyaa
ho raama
Beete ho o sukh ke din
aayeen dukh ki ratiyaa
ho raama
ho raama aa
tadpat hai mora jiyara
tadpat hai mora jiyara
piya bina beete ??
ho raama
piya bina beete ??
ho raama
piya gailo bideswa ho raama
piya gailo bideswa ho raama
piya gailo bideswa ho raama

kaa se kahoon oon ab main aen aen
dukhi man ki batiyaan aan aan
ho raama aa
taras rahin mori ankhiyaan aan
kahaan gailo balamwa ho
kahaan gailo balamwa ho
ho raama
ho raama
kaa se kahoon ab main
dukhi man ki batiyaan
ho ho
ho ho
raama
beete ho ho
sukh ke din
aayeen dukh ki ratiyaan aan
ho o raama


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: 4332 Post No.: 15626

“Raseeli”(1946) was a “social” movie which was directed by Hanuman Prasad for Jaibharat Pictures, Bombay. The movie had Radharani, Sushil Kumar, Kanhaiyalal, Ramesh Gupta, Anant Prabhu, Ranibala, Meghmala, Shanti devi, Ramlal, Shamlal etc in it.

The movie had ten songs in it. Two of these songs have been covered in the past.

Here is the third song from “Raseeli”(1946) to appear in the blog. This song is sung by Rafi and Shamshad Begam. Hanuman Prasad, the director of the movie, was the lyricist as well as the music director.

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


Song-Dil mujhko jalaata hai (Raseeli)(1946) Singer-Rafi, Shamshad Begam, Lyrics-Hamuman Prasad, MD-Hanuman Prasad

Lyrics

dil
dil mujhko jalaata hai
dil mujhko jalaata hai
main dil ko jalaati hoon
main aen dil ko jalaati hoon

main tumko bhulaata hoon
main tumko bhulaata hoon
main tujhko bhulaati hoon
main aen tujhko bhulaati hoon

ik dard mere dil mein aen aen
ik tees hai jigar mein
ik dard mere dil mein aen aen
ik tees hai jigar mein
haaye tees hai jigar mein

ye mujhko rulaata hai
ye mujhko rulaata hai
main isko rulaati hoon
main aen isko rulaati hoon

tum dil se nikal jaao
tum seene mein aa jaao
tum dil se nikal jaao
tum seene mein aa jaao
tum seene mein aa jaao

gham mujhko mitaata hai
gham mujhko mitaata hai
main gham ko mitaati hoon
main aen gham ko mitaati hoon


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

Blog Day :

4279 Post No. : 15519

Saga Of Sleepless Nights – 6
– – – – – – – – – – – – – – –

un aankhon mein neend kahaan
jin aankhon se preetam door base

The contest between a heart in love and the nights of loneliness is as ancient as the written word itself. Poets of yore, across the ages, and to the present times, have all written about the tribulations of the nights of loneliness. Time does pass at its own pace, but for a lonely heart pining for love, it is as if the time has come to a standstill.

The acute anxiety of the empty moments wherein apparently nothing is happening, is something that cannot be explained in words. It is a sensation that has to be experienced, to get the true flavor of the feelings that are ensconced in the words ‘hijr’ (“हिज्र”) and ‘firaaq’ (“फ़िराक़”) – the feelings of separation, the feelings of being incomplete, the feelings of anticipation, waiting, the feelings of incessant yearning that seems to rend the heart asunder.

Philosophers and poets have ruminated over this experience, and have recommended certain pursuits. There is that famous rhyme that talks about counting green bottles standing on a wall. It is based on the children’s counting nursery rhyme – “Ten Bottles on the Wall”. Folks who cannot sleep are recommended to start from, well, maybe a thousand bottles, keep knocking them down one at a time, and keep a count of the bottles left on the wall. Starting from thousand, this process is bound to get drowsy some way through getting to the target of downing all the thousand bottles from the wall.

The other, of course is counting sheep, jumping over a fence. So just keep a count of the imaginary sheep that are jumping over the make believe fence, and continue counting till the senses give way.

The more esoteric recommendation from the poets, especially for forlorn lovers longing for their mate, is to count the stars. Now this remedy may not work in urban habitats in current times – in best of times with normal pollution levels, about a score stars maybe visible. So this poetic bulwark of heartening proportions does not work in a city like Delhi. Ah yes, but in locales where the skies are clear, this assignment can be undertaken in real earnest. On a clear moonless night, the sky looks so crowded with stars, that the mission of counting stars can be a humbling task. And very well suited for the lonely hearts stricken with the malady of separation and longing.

The beauty of the poet’s mind is simply fantastic and out of this world. It goes even beyond this imagination of being assigned the task of counting the stars. Let me borrow some lines from my own article that I wrote for the song “Aaj Unke Paay e Naaz Pe Sajdaa Karenge Hum”. The lyrics of this song dwells on this task of ‘अख्तर शुमारी’ – the act of counting stars (‘अख्तर’) in the sky. The relevant portion of the lyrics goes like this,

maana shab e firaaq bhi
hoti hai is liye
har nabz e gham isi ke
sahaare guzar sakey
naqaam e ishq hijr mein
taare gina karey
hum intehaa e shauq ki
hadd se guzar gaye
lo aaj hum ne saare
sitaare bhi gin liye
ab ae shab e firaaq bataa
kya karenge hum

And I quote from my write up,

The poet has surpassed many superlatives to weave the fabric of words that makes up this song. Let me give you an example. It is quite a traditional concept in poetry, that a lonely lover in the long nights of wait and anticipation, is advised to count the stars in the sky – a metaphor that implies that neither the stars in the sky will ever be counted, and nor the wait for the beloved ever end. This refrain is encountered often in romantic poetry. But the poet of this song does one better, and goes a step beyond. He says that all the stars are now counted, and so tell me o night of long wait what should I do.

lo aaj hum ne saare sitaare bhi gin liye
ab ae shab-e-firaaq bataa kya karenge hum

A superlative expression that rises to defeat even the task of counting the stars. And poses the question, that in my crazed passion, I have even gone ahead and actually counted all the stars, so tell me what should I do now.

The poet’s imagination is endless, and so this discussion can, and will be continued elsewhere. For now, I present this oh so wonderful song rendered so lovingly by Shamshad Begum, that tells about the nights of loneliness and longing. The film is ‘Sona Chaandi’ from 1946. The lyrics are written by Wali Sahab and the music is composed by Tufail Farooqui.

The film is produced under the banner of New Bombay Theatre, Bombay and is directed by RD Pareenja. The star cast is listed as Chandni, Suresh, Kishori, Saroj Borkar, Kamla, Ghulam Rasool, Amrit Lal, Radha Kishan amongst others. There is a total of 12 songs in this film penned by three songwriters – Wali Sahab, Shamim and Khawar Zamaan. This song is written by Wali Sahab.

So let’s listen to this heartwarming winner in the ‘खनकती हुई’ voice of Shamshad Begum. The protagonist is blaming her beau for her sleeplessness – “तेरे बिना नींद ना आई रे”.

Song – Baalam Harjaai Re, Tere Bina Neend Na Aayi Re  (Sona Chaandi) (1946) Singers – Shamshad Begum, Lyrics – Wali Sahab, MD – Tufail Farooqui

Lyrics

baalam harjaai re

baalam harjaai re
tere bina neend na aayi re
neend na aayi re
o neend na aayi re
baalam harjaai re
tere bina neend na aayi re
neend na aayi re
o neend na aayi re
baalam harjaai re

bhool gaye baalam nibhaane ki rasmen
bhool gaye baalam nibhaane ki rasmen
nindiya ne kha leen na aane ki kasmen
nindiya ne kha leen na aane ki kasmen
nainon mein ratiyaan
nainon mein ratiyaan ganvaai re
tere bina neend na aayi re
neend na aayi re
ho neend na aayi re
baalam harjaai re
baalam harjaai re

mukh se na bolun
pyaare mukh se na bolun
pyaare
roye roye jaaun main
dil ki kahaani
dil ki kahaani najar se sunaaun main
dil ki kahaani najar se sunaaun main
nainon mein
nainon mein ghat ghir ke aai re. . .
nainon mein ghat ghir ke aai re
tere bina neend na aayi re
neend na aayi re
ho neend na aayi re. . .
baalam harjaai re

baalam harjaai re. . .

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

बालम हरजाई रे

बालम हरजाई रे
तेरे बिना नींद ना आई रे
नींद ना आई रे
ओ नींद ना आई रे
बालम हरजाई रे
तेरे बिना नींद ना आई रे
नींद ना आई रे
ओ नींद ना आई रे
बालम हरजाई रे

भूल गए बालम निभाने की रस्में
भूल गए बालम निभाने की रस्में
नींदिया ने खा लीं ना आने की कसमें
नींदिया ने खा लीं ना आने की कसमें
नैनों में रतियाँ
नैनों में रतियाँ गँवाई रे
तेरे बिना नींद ना आई रे
नींद ना आई रे
हो नींद ना आई रे
बालम हरजाई रे
बालम हरजाई रे

मुख से ना बोलूँ
प्यारे मुख से ना बोलूँ
प्यारे
रोये रोये जाऊँ मैं
दिल की कहानी
दिल की कहानी नजर से सुनाऊँ मैं
दिल की कहानी नजर से सुनाऊँ मैं
नैनों में
नैनों में घट घिर के आई रे
नैनों में घट घिर के आई रे
तेरे बिना नींद ना आई रे
नींद ना आई रे
हो नींद ना आई रे॰ ॰ ॰
बालम हरजाई रे

बालम हरजाई रे॰ ॰ ॰


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

Blog Day : 4176 Post No. : 15352

Mohammed Rafi : The Incomparable (II) – Song No. 14
———————————————————

Remembering Mohammed Rafi Sahab on his 95th birth anniversary :

Someone once told me that to become cynical you first had to be an idealist and it was the loss of those ideals that created the disillusionment. But than what is an idealist if not an individual with independent thinking and with the added ability to incorporate diverse ideas. And cynicism is bound to be an integral part of any ideological theory if it seeks to negate the perceived or real concepts of injustice against humanity. Critical analysis of any ideological concepts will possibly make the ideologist a cynic if the said ideology is not perfect enough or as perfect as the ideologist wanted it to be. Cynical person is often very critical of things and situations and their repercussions. While as an idealist, will find a lot to express about the idea rather than focusing on criticism of anything else. That makes cynicism the anti-thesis of idealism. On the other hand, idealism if it seeks to unilaterally implement a social order in a given society is regressive to its intellectual and overall progress as a civilization, since it seeks no introspection and encourages narrow thoughts. Whereas a cynic will look at all things surrounding it and might even be able to look beyond it.

It looks like I want to have my cake and eat it too. Isn’t it ?

Of course, in the complex scheme of nature, nothing is as simple as the above monologue. Things are almost always multi-layered and multi-hued. There is also the matter of view-points, one can put in a blob of prejudices and rigidity. But overall there is also a certain accounting for taste.

I am remembering a word of Urdu which is “zarf”. This word is almost always pre-fixed with “aa’laa” and it becomes “Aa’la Zarf”. Urdu is the language of ‘adab’ i.e. respectfulness and ‘adaab’ i.e. principles. Any student or seeker of these two qualities will end up with the ‘zarf’, which is better taste, with or without the prefix.

It can be as domestic as the idealism of my brother against the cynicism/pragmatism/practicality of my own.

And what does one call people who do not expect anything from anyone? Not loyalty, not goodness of heart, nothing. And these are often the neediest, in terms of attention and togetherness.

This was certainly Rafi sahab. This type of personalities which who have refused to claim any material benefits, were without ambitions or nor made demands on anyone. It must have been so easy to convince him that he has sung so many songs that he can approach the “Guinness book of world record” for singing highest number of songs.

The other day I saw a video on youtube, where the presenter is trying to analyse, what made Mohammed Rafi such an exceptional person. He says this about Rafi Sahab : “ Unhen pata hi nahi thha ke duniya mein sharafat ke ilaawa bhi koyi cheez hai ”. “Sharafat” is too simple a word in my understanding which just is a way of life that includes simplicity, honesty and integrity. But when I googled it, I found nobility, civility, good manners. So my own definition is more integral and personal than google’s definition. To be “Shareef” on personal level is one thing, but to believe that there is no other thing in the world apart from “Sharafat” is another thing altogether. We see quotable quote which say similar things like to think and believe the best about others also. These type of exhortations are common is all social, religious set ups across the board.

To be on that plane where you see the best in others and believe the best about others, discarding all negative notions about anything and anybody, what a blissful state that must be. Rafi Sahab had this inherent quality without trying to achieve it. Truly blessed by the Almighty. Where is the ‘Zarf” in all this ? ‘zarf’ cannot be left behind, because it is also high ideals and values. By all accounts Rafi Sahab never let go of his ‘zarf’, without ever realising those high ideals/values were chronicled widely in literature and philosophies. I hope that he was always giving thanks to the Almighty for these known and unknown blessings. It is a fact that we the ignorant humans are unable to know in what all ways the Almighty has blessed us all.

I am presenting a solo song by Rafi song from the film ‘Mera Geet’ (1946). The composer is Shankar Rao Vyas and Ramesh Gupta is the lyricist. My favourite period for Rafi Sahabs songs in actually 1950’s. It is picturised on Susheel Kumar as per the excel sheet. I am aware that huge no of Rafi songs from 50’s are yet to be posted in the blog. There are a few songs from 40’s also are available for posting. For the last few months I was trying to do the series of ‘Dheere dheere” songs and some other newer songs of post-Rafi era.

Hopefully, the new year we will see more songs by Rafi Sahab in the blog,

The audio link available is reasonably clean and clear, unlike most songs of this period.


Song-Aapas ke jhagdon ne dekho Bharat ko barbaad kiya(Mera Geet)(1946) Singer-Rafi, Lyrics-Ramesh Gupta, MD-Shankar Rao Vyas

Lyrics

aapas ke jhagdon ne dekho
bharat ko barbaad kiya
jinka thha mohtaaj zamaana
aaj unhen mohtaaj kiya
aapas mein ham rahen jhagadte
gairon ne aa raaj kiya
jinka thha mohtaaj zamaana
aaj unhen mohtaaj kiya

kabhi mere iss bharaat mein bhi jee
doodh ki nadiyan behti thhi
thhi doodh ki nadiyaan behti thheen
dhan dhaan ke thhe kothhaar bhare
aanand mein duniya rehti thhi
dhan dhaan ke thhe kothhaar bhare
aanand mein duniya rehti thhi
thha kuber ka bhandaar yahaan
heeron ki hoti kheti thhi
mitti ka sonaa bantaa thha
anmol yahaan ki reti thhi
mitti ka sonaa bantaa thha
anmol yahaan ki reti thhi
aaj ussi gulshan ko dekho
kusum(?) ? ? ka raaj kiya
jinka thha mohtaaj zamaana
aaj unhen mohtaaj kiya

kabhi mere gulshan ki daaliyaan
hari bhari lehraati thhin
haan hari bhari lehraati thhin
jhoom jhoom ke sundar kaliyaan
geet suhaane gaati thheen
jhoom jhoom ke sundar kaliyaan
geet suhaane gaati thheen
thhaa saraswati ka vaas yahaan
daulat insaan ki daasi thi
thhey roz naye tyohaar yahaan
har roz deewaali aati thhi
thhey roz naye tyohaar yahaan
har roz deewaali aati thhi
sur mein thhe sab saaz mere
ye kis ne besur aaj kiya
jinka thha mohtaaj zamaana
aaj unhen mohtaaj kiya

naye taraane sunte sunte
bhool gaye ham apnaa taal
gairon ke sang chalte chalte
bhool gaye ham apni chaal
aish mauj fashion mein phans kar
aaj huaa bhaarat kangaal
aaj huaa bhaarat kangaal
roti roti khade pukaaren
bhaarat maa ke laakhon laal
roti roti khade pukaaren
bhaarat maa ke laakhon laal
roti eee
roti eee
roti eeee


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 : 4110 Post No. : 15261

Today’s song is a Parody song from film Phoolwari-46. It is sung by Mohantara Talpade. Jayashree T and Meena T were her brother’s daughters, I believe. Mohantara was a major female playback singer in the 40s. Starting with film Mamaji-42,she sang 117 songs in 54 films, till Inaam-55. Though she got married in 1950 to Dr. Ajinkya, she continued with using her maiden name to avoid confusion. Mohantara was a popular Bhavgeet and film singer in Marathi also.

In Hindi films we find a variety of songs. Love songs, Happy songs, Sad songs, Comedy songs, Birthday songs, patriotic songs, Chorus songs, prayers, Lories, Bhajans and many more types.

However there is one type of songs which is a sure hit with all viewers and that is a PARODY SONG(in Hindi it is called VIDAMBAN song – विडंबन ). Normally a Parody song is equated with a medley of old popular song tunes, set to new Lyrics, enacted by someone else.

While this is right to a great extent, the actual definition of a Parody song is ” A song which involves changing or copying well known musical ideas or lyrics or copying a particular style of a composer or an actor or even a general twisted style of Music ”.

Our friend AK ji of Songs of Yore says, “As is commonly known, parody is an exaggerated imitation of a person, song, literature or performance to produce a comic effect. It seems parody has existed from the earliest days of dramatic performance. Wikipedia states that according to Aristotle, Hegemon of Thasos was the inventor of a kind of parody; by slightly altering the wording in well-known poems he transformed the sublime into the ridiculous. In ancient Greek literature, a parodia was a narrative poem imitating the style and prosody of epics “but treating light, satirical or mock-heroic subjects”. The ancient Indian treatise on dramaturgy, Natyashstra by Bharat Muni, is of similar antiquity. Though it mentions Prahasan as one of the ten types of play, from its definition it seems to be a low form of performance – something like burlesque – and not quite parody as we know today.

Where do parody songs in Hindi films fit in the above general description? Parody songs do not have any pretensions of being art. They are not intended to mock the original either. Very simply, these songs are a recognition of the original’s popularity. They include a large number of such songs. Broadly classified Parody songs are in two types: one, parody based on a single song, and the other, a medley of songs. There could be some more subtle variations within these broad categories.” (adapted, with thanks, from his article on Songs of Yore dt.2-3-2018)

The very FIRST Parody song in Hindi films came as early as 1936. It came from a film called ” Sunehara Sansaar”-1936. It was a Parody of a famous patriotic song by Dr. Iqbal-” Saare jahan se achha Hindosta hamara…” The parody song was ‘ Saare jahan se achha saabun bana hamara,hum kishtiyan hai iski…’

The lyricist was Vijay Kumar, B.A. and the Music Director was K C Dey.

When the song was released, instead of becoming popular, it drew people’s ire for distorting a patriotic song. There was criticism and several protests.

Another Music Director Master Mohd. (who was well known for composing many patriotic songs in those days, in his films) decided to make a Parody of K C Dey’s famous song, ‘Jao jao aye mere sadhu…’ from Pooran Bhagat-1933.

He included this parody song in same year in his film ‘ Miss frontier Mail ‘-1936. The lyrics for this song were- gaao gaao aye mere aye mere sadhu…’.

It was sung by Minu,the Mystique in the film.

This Minu was actually Minoo Cooper, a regular singer in Bombay city Parsi circles. He used to sing in many Hotels in those days. He has also sung a few more songs in Hindi films later.

This retaliatory Parody song was well received by the audience and it became popular too.

This song has been posted on this Blog, by our dear SUDHIR ji, on 29th June 2012.,along with a very interesting write up, for which he is known.

So, parody songs entered Hindi films with an interesting History behind them !

I can recall that during our younger days, it was our hobby to twist the popular songs with comic lyrics. Even today I still remember a few of them…

1) Jiya beqarar hai
Nargis ko bukhar hai,
Aja be Dilip kumar
tera intejar hai.

2) Dhoti chhod ke mat jaana
Dhoti saath mein le jaana
kasam tujhe mere Pehelwanki….

3) Bhaiya mere, saambaar mein Idli na dubaana

4) Ek saal pehle,tum to Bekaar the
Gadhe pe sawar the,
aaj bhi ho,aur kal bhi rahoge…

5) De gayi bill, budhiya dukaan ki… etc etc

I am sure many of the readers also must have done this,in their times. These song Parodies added spice to our lives. So when some film had a Parody song, we used to see that film without fail !

Making a Parody song is one of the easiest matters for the Music Directors and many Music Directors have resorted to Parody songs at least once, except probably serious composers.

The cast of the film Phoolwari was Motilal, Khursheed, Dikshit, Tiwari, Himmat Sharma (brother of Kidar Sharma), Leela Shinde, Baby Anwari etc etc. The film was made in Ranjit studios. Ranjit was almost like a factory, churning out films after films continuously. The studio had 6 shooting floors. When a Ranjit film was not shooting, the floor would be given on hire to other producers. When film Phulwari was being made, there were other five films shooting in Ranjit , on other floors. They were Prabhu ka Ghar, Chaand Chakori, Dharati, Rajputani and Seeta Haran. In this list, Khurshid had 2 films, Trilok kapoor was in 2 films and Mumtaz Shanti also had 2 films being shot there at the same time. In other films actors like Jairaj and Surendra were acting. By the way this was Khurshid’s last film at Ranjit Studios.

The film was directed by Chaturbhuj Doshi. Chaturbhuj Doshi (1894–1969) was a Hindi and Gujarati writer-director of Indian cinema. He was one of the top Gujarati screenplay writers, who helped script stories for the Punatar productions. He is stated to be one of the leading figures who launched the Gujarati film industry with work on notable films like Gunsundari (1948) and Nanand Bhojai (1948). He was well known for his family socials and had become a celebrity in his own right. He made a name for himself as a journalist initially and was referred to as the “famous journalist” & publicist by Baburao Patel, editor of Filmindia.

His debut film as a director was Gorakh Aya (1938), produced by Ranjit Movietone, though he joined Ranjit in 1929, as a scriptwriter. In 1938, he directed another film for Ranjit, a social comedy, The Secretary, and both films were box-office successes for Doshi. His forte was socials, regularly adapting stories and novels for films. He worked initially on comedies like Secretary and Musafir (1940), but then “shifted to more significant films”.

Chaturbhuj Anandji Doshi was born in 1894 in Kathiawad, Gujarat, British India. He was educated at the University of Bombay, after graduation he started work as a journalist for a daily, Hindustan (1926), working for editor Indulal Yagnik. His entry into films was working as a scenarist in the silent era for directors like Jayant Desai, Nandlal Jaswantlal & Nanubhai Vakil. He joined Ranjit Movietone in 1929, and wrote stories and screenplay for several of Ranjit films.

Film Gorakh Aya (Gorakh has come) in 1938, was the first film directed by Doshi. It was produced by Ranjit Movietone with screenplay by Gunvantrai Acharya & dialog-ues by P. L. Santoshi. The music, termed “good” was composed by Gyan Dutt. The Secretary (1938), was a “riotous comedy”, starring Madhuri, Trilok Kapoor. Charlie. The music was composed by Gyan Dutt, became a regular in most of the films directed by Doshi. Musafir in 1940 was a comedy costume drama, which had Charlie playing a prince.

Bhakta Surdas, a devotional film directed by Doshi in 1942, is stated to be the “most famous” of the several versions made. It starred K. L. Saigal and Khursheed “the singing idol(s) of millions”, winning “unprecedented popularity” everywhere.

Maheman (1942) starred Madhuri, Ishwarlal, Shamim and Mubarak. Music director Bulo C. Rani had come to Bombay in 1942, and joined Ranjit Studios assisting Khemchand Prakash in music direction.

Doshi helped enormously in the development of the Gujarati cinema. During 1948-49 he directed three successful Gujarati films which “brought immense success to the industry”. The success of the Gujarati film Kariyavar in 1948, directed by Chaturbhuj Doshi from a story by Shaida, called Vanzari Vaav, helped establish the Gujarati film industry along with other films like Vadilo Ne Vanke (1948) by Ram chandra Thakur and Gadono Bel (1950) by Ratibhai Punatar. His next Gujarati film was Jesal Toral (1948) based on folk-lore, which proved a big box-office success. In 1949, Doshi directed another Gujarati film, Vevishal, an adaptation of Meghani’s novel of the same name.

He also wrote stories, and one of his stories Pati Bhakti was used in the Tamil film En Kanawar (1948) produced by Ajit Pictures, which starred the Veena maestro, Sundaram Balachander, who was also the debut director and music composer for the film. In all he directed 24 Hindi films. His last Hindi film was Sanskar-1958. He had also written few songs in film Maya Bazar-32.

Chaturbhuj Doshi died on 21 January 1969 in Bombay, Maharashtra, India. Filmography-1932: Narasinh Mehta (Writer), 1934: Sitamgarh (Writer), 1938: Gorakh Aya, Secretary, 1939: Adhuri Kahani, 1940: Musafir, 1941:Pardesi, Sasural, 1942: Bhakta Surdas, Dhiraj, Mehmaan, 1943: Chhoti Maa, Shankar Parvati (Director, Writer), 1944: Bhartrahari, 1945:Murti, 1946: Phulwari, 1947: Bela, Kaun Hamara, 1948: Jesal Toral, Kariyavar (Director, Writer), Sati Sone, 1949: Bhakta Puran, Vevishal, 1950: Akhand Saubhagya, Kisi Ki Yaad, Ramtaram, 1954: Aurat Teri Yahi Kahani, 1956: Aabroo, Dashera, Dassehra, 1957: Khuda Ka Banda, Shesh Naag, 1958: Sanskar, 1960: Mehndi Rang Lagyo (Writer, Lyricist) (Thanks to Gujarati articles provided by Harish Raghuwanshi ji and Encyclopedia of Indian Cinema).

In the cast, you will find a name Dikshit or Dixit. In the olden films Dixit and Ghory was a comedy pair, which became very famous. Some times they even acted singly in different films. Phoolwari-46 was one such film for Dixit.

Manohar Janardhan Dixit was born on 12-11-1906 at Sinner in Nashik district,Maharashtra (Bombay state at that time.) His comedy career started with silent film ‘Sparkling youth’-1930. His first day of work in a film was 14-11-1929. He did 3 more silent films with Navjivan Films and then joined Ranjit studio. Here he met his mate Nazir Ahmed Ghori,born on 11-8-1901 at Bombay.He was the senior of the two,having started in 1927. He worked till 1931 in silent films of various companies and then joined Ranjit studio in 1931 Here too he did 4 silent films.

He paired with Dixit first time in Char Chakram-1932,directed by Jayant Desai.The film was a terrific hit and the pair did many films together like, Bhutio mahal, Do Badmash, Bhola shikar, Bhool bhulaiya, Vishwamohini, Nadira etc. They worked together till 1947,doing solo films also in between. Unfortunately none of their films have survived and we know about their acting only through Photographs,interviews and articles. However Dixit’s solo films like Pehle Aap-44, Jeevan yatra-46, Aap ki sewa mein-47 and Pugree-47 are still available. In film Pugree,his name was Ramu kaka and the very fat Dixit (222 pounds) carried the world’s smallest dog-Chikoo in the film. Later comedian Omprakash did this role in the remake of the film in Dil Daulat Duniya-1972.

Dixit acted in 66 Talkie films and 8 silent films in 17 years. He died on 29-6-1949 due to a massive heart attack. His partner Ghori migrated to Pakistan and did 8 films there till 1960,without much success. He too died on 9-12-1977 at Karachi. (Thanks to book Ina Mina Dika by Sanjit Narwekar.)

Music was by Hansraj Behl, for this Ranjit movie. I have heard many many parody songs, have seen also many, but this must be the only time when the singer of the original song is also in the same film in which that singer’s song is ‘parody- ed’. Today’s song is a parody of the famous song of Khurshid from film Tansen-43 ” Ghataa ghanghor ghor, Mor machaave shor “. I wish I was able to this film.


Song-Hawaa chale saany saany (Phoolwaari)(1946) Singer- Mohantara Talpade, Lyrics- Pt Indra Chandra, MD- Hansraj Behl

Lyrics

hawa chale saany saany
hawa chale saany saany
kauwa kare kaany kaany
more sajan jaago o
jaago
more sajan jaago o

murga jaaga
murgi jaagi
jaage khel kabootar
murga jaaga
murgi jaagi
jaage khel kabootar
bhadak bhadak kar jaagi bhainsan
jaage saanp chhachhundar
bhadak bhadak kar jaagi bhainsan
jaage saanp chhachhundar
chhodo piya chaarpaayi
chhodo piya chaarpaayi
garma garam chaai laayi
more sajan jaago o
jaago
more sajan jaago o

dhanna dhobi ganga teli
natkhat nanda naai
dhanna dhobi, ganga teli
natkhat nanda naai
chhagan sambholi laaya goli
koot raha halwaai
chhagan sambholi laaya goli
koot raha halwaai
chaukwa khaska de bhaiya
chaukwa khaska de bhaiya
wahaan dekho jaaya(?) sainya
more sajan jaago o
jaago
more sajan jaago o

daal chadhi choolhe per meri
garam masaala laao
daal chadhi choolhe per meri
garam masaala laao
main talti hoon bhajiya bhaaji
tum bacche nahlaao
main talti hoon bhajiya bhaaji
tum bacche nahlaao
raho piya ?? joda
raho piya ?? joda
rahe jaise ?? ghoda
more sajan jaago o
jaago
more sajan jaago o


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 : 4055 Post No. : 15187

Today’s song is from film Insaaf-1946. This was a social film, directed by Phani Mujumdar and the music was by Hari Prasanna Das aka H P Das. The lyrics came from the veteran, successful lyricist D N Madhok. This film is a special one, because this was the Debut film for Balraj Sahni, after he decided to join films.

Balraj Sahni has a very high place in my list of Original actors, the others being Ashok Kumar, Motilal, Om Puri, Sanjeev Kumar, Amol Palekar, Anupam Kher, Satish Shah and few more. Indian film industry had very few ‘ Natural’ actors and most of them operated from the 30s to the 70s. As I am not well acquainted with the Newer generation actors, I can not speak about them,but I am sure there must be few such Natural actors. I guess Ranbir Kapoor is one actor , who I feel acts with ease.

Basically, it is wrong to compare old actors with the crop of New actors. Comparisons are always between ” Like with Like”. There is a sea of change in everything in film making. The parameters are changed because the needs are different today. It is grossly unfair to compare anything with the old ones.

Few years back, when I first wrote about Balraj Sahni, I had said that Balraj Sahni was a different type of person than all other film actors. It is surprising how he came into film line, in the first place. Basically he was a very sensitive writer and stage actor, but having once entered the film world, he continued for the sake of earning a livelihood, making lot of compromises on his journey of life. I still stand by what I had said. It is worthwhile to even repeat it.

In the days,when not many educated people came into films, Balraj-a double MA in English and Hindi joined the films. In the conventional way he was not a handsome person,but his superior acting prowess compensated for this. In an industry,which is a ‘show business’, he was never counted amongst the Top grade stars, though critics and learned viewers always found him excellent. You can never imagine a Raj kapoor or a Dev Anand in a film like Seema or Kabuliwala, nor can a Dilip kumar fit into ‘Do Bigha Zameen’. For such roles Balraj was matchless. After the film Do Bigha Zameen, he and Nirupa Roy became India’s most loved, poor and uneducated, good natured and simple couple for many subsequent films.

Due to this, Balraj never got any romantic or Glamorous roles. However, to earn his daily bread satisfactorily, he compromised and worked in several B grade movies, like Black Cat-59, opposite a Non actress Minu Mumtaz !

Yudhishthir Sahni aka Balraj Sahni was born in Rawalpindi, Punjab, British India (now Pakistan) on 1st May, 1913 in a Punjabi family. After completing his graduation in Bachelor of Arts (Hindi), and post graduation in Masters of Arts (English Literature), both from Punjab University; he got married to Dayamanti. It was in late 1930s that both husband and wife moved to Bengal to join Rabindra Nath Tagore’s Vishva Bharati University in Shantiniketan as English and Hindi teacher. It was about the same time that in 1936 Balraj wrote his first compilation of Hindi fiction called “Shahzaadon ka Drink”. It was also in Bengal that Balraj and Damayanti’s son, Parikshit was born. In 1938, Sahni went to work with Mahatma Gandhi for a year and the very next year went to England to join the British Broadcasting Network’s Hindi service as a radio announcer. In 1943, he returned to India.

It was in 1944 that Sahni moved to Bombay and joined the Indian People’s Theatre Association (IPTA), a group with which he also started his acting career, albeit through plays. In the same year, he bagged a role in the film “Insaf”, which marked the beginning of his acting career in Hindi film industry. “Dharti ke Lal” and “Door Chalein” were his next of releases in the same year. (In 1947, after doing Heroine’s role in film Gudiya-47, Damayanti expired. Two years later, Balraj married his first cousin Santosh Chandhok and they had 2 children.) It was, however, the film “Do Bigha Zameen” that established his strengths as an actor. The movie was directed by Bimal Roy and came out in 1953; it also won the international prize at the Cannes Film Festival. The film is now considered a classic.

In the years that followed, he played many leading roles in commercial films opposite actresses like Nargis, Meena Kumari, Vyjayanthimala, and Nutan in films “Lajwanti” (1958), “Ghar Sansar” (1958), “Satta Bazar” (1959), “Kathputli” (1957), and “Sone Ki Chidiya” (1958) respectively. These films further established his position as a versatile actor. In the 1961, film “Kabuliwala”, written by Tagore, went on to become another of his classic. To prepare for the role, Balraj lived with kabuliwalas in a Bombay suburb. His character roles with strong performances in films like “Haqeeqat” (1964), “Waqt” (1965), “Do Raaste” (1969), “Ek Phool Do Mali” (1969), and “Mere Humsafar” (1970) further left an indelible mark in the film fraternity and fans alike. The legendary song “Ae Meri Zohra Jabeen” from the film “Waqt”, picturized on Balraj Sahni and Achala Sachdev is still etched deep in peoples’ memories and is loved by the current generation as well. He acted in 3 films.

Along with successfully proving his acting prowess, he also displayed exceptional directing skills through the film Lal Batti (1957), where passengers are forced to spend a night together at the railway platform at the time of India’s independence. Balraj co-directed this movie along with Krishan Chopra. His performance in the film “Garm Hava” (1973) is considered to be the best, till date. Sadly, this was his last film before his death.

Sahni’s writing career begun with “Shahzaadon Ka Drink” that came out in 1936. This was his first compilation of Hindi fiction. He went on to become an esteemed writer in the Punjabi literature. He wrote “Mera Pakistani Safar” shortly after his visit to Pakistan in 1960. After a tour to Soviet Union in 1969, he wrote “Mera Rusi Safarnama”. This book also earned him the Soviet Land Nehru Award. He also wrote his autobiography called “Meri Filmy Aatmakatha”. Sahni even penned the screenplay for the 1951 released film “Baazi”; starring Dev Anand and directed by Guru Dutt. Apart from this, he wrote a number of poems, short stories, and contributed to the Punjabi magazine Preetlari.

Going through depression for some time after his young daughter Shabnam’s untimely death, Balraj Sahni passed away on 13th April, 1973 at the age of 59 following a cardiac arrest. He is survived by his son Parikshit, who is also an actor in the Hindi film industry.

Balraj Sahni received Padma Shri Award in 1969. Balraj Sahni earned the ‘Soviet Land Nehru Award for his book Mera Rusi Safarnama in 1969. Balraj Sahni starrer movie ‘Do Bigha Zameen’ won the international prize at the Cannes Film Festival in 1953. Balraj Sahni joined the BBC-London’s Hindi service as a radio announcer from 1939-43. ‘Punjabi Kala Kender’, founded in 1973 at Mumbai by Balraj Sahni, gives away the annual Balraj Sahni Award’. ‘All India Artists’ Association’ also gives away the annual ‘Balraj Sahni Award’.

The other day,I was reading the Autobiography of Balraj Sahni. His style of narration is very good. He does not miss even the smallest details.The part of his life when he entered the Hindi films is extremely readable.

When he was with BBC, London,once he was deputed to attend a seminar in Poona,India. He came down with his wife Damayanti and they stayed with a friend-Appasaheb Pant, the scion and Yuvraj of Aundh-a princely state in British India, in Maharashtra.( He later became the High Commissioner to Britain, post Independence). One evening they all went to see a Marathi film “Manoos'(Aadmi-39) of Prabhat, directed by V.Shantaram. After seeing the film,he was terribly impressed with Shantaram’s direction and was all praise for him.
When Balraj left BBC and returned to India,he was again in Poona. This time he went to see Shantaram, with prior appointment. When he reached the Gate, a person was waiting for him. he was taken to the reception room. That man left. In the room there was one more person with a Black cap-which was very common for Maharashtrians, those days. Balraj thought he too was another visitor like him After few minutes, that man asked in excellent English if he was Balraj Sahni. Balraj was astonished and nodded affirmatively. That man got up and said,’I am Shantaram. Nice to see you’. Later Shantaram took him around the studio etc.

Balraj returned to Bombay absolutely mesmerized with Shantaram. While in Bombay they were loitering, when they suddenly met Chetan Anand- his old friend. They were very happy to see each others. Chetan took them to his 4 bedroom spacious flat in Pali Hill,Bandra.They stayed with him for few days. Balraj had decided to work in films and was negotiating for his role in film Insaf, while Chetan was busy in his Neecha Nagar-46. One evening they went to see film ‘Shakuntala’, made by Shantaram. After seeing the film Balraj was very much upset and started criticising Shantaram that his standard has gone down, compared to Aadmi-39.

Chetan Anand smiled and said, “Shantaram has made a film for Box office.” Balraj did not understand. Chetan Anand explained, ” One can not go on making art films alone. To run the studio, you need money. Shantaram being a good businessman, he makes such films which earn him money. With this money he can make more meaningful films. For example after Shakuntala, Shantaram made Parbat pe apna Dera-44 and then his memorable film Dr. Kotnis ki amar kahani-46. This is how the maths of cinema works”. There are many such incidents described in his Autobiography which is highly readable,not only for his story but also for glimpse into the film scenario of the 40s and 50s.

Balraj had done 101 films. His first film was ‘Insaaf’-46 and the last film of Balraj, to be released well after his death was “Amaanat”-77.

The film Insaaf-46 was directed by Phani Mujumdar (28-12-1911 to 16-5-1994),who was already a seasoned Director. He is the only Director who directed films in 9 languages (Hindi, Bangla, English, Malay, Chinese, Magadhi, Maithili, Aasamese and Punjabi). Starting with P C Barua in Calcutta, besides Street singer-38 and Kapalkundala-39, he had directed several hit films like Baadbaan, Doctor, Tamanna, Door Chalen, Faraar, Aarti, Kanyadan, Akashdeep, Oonche Log etc., a total of 29 films. A short Biography and Obituary on him, written by the famous Film Historian and writer of “Encyclopedia of Indian Cinema”-Ashish Rajadhyaksha was published in The Independent,Calcutta, on 22-6-1994. I have reproduced it few months back in one of my earlier posts, so I am not repeating it here.

The Music Director of this film, Hari Prasanna Das or H.P.Das was born in Chitgaon, East Bengal, in 1905. He was a Bengali. He was assistant to Pankaj Malik in films Dushman and Kapal Kundala-1939. He gave music to Bangla film ‘ Nimai Sanyasi’-40, in which he gave singing opportunity to 20 year old young Hemant Kumar. His first Hindi film as a MD was New India Films’ Blood Feud (or Josh-E-Inteqam)- 1935. His other films were Mohabbat-43, Meena-44, Kadambari-44, Mazdoor-45, Begum-45, Insaaf-46, Veerangana-47, Sati Toral-47 and Hum bhi insaan hai-48. He died on 26-9-1989.

The film Insaaf aka Justice aka Nyay (न्याय)- 1946 had 8 songs – all penned by D.N.Madhok (5-9-1902 to 9-7-1982), who was an actor (Radheshyam-32), Music Director (Radheshyam-32), Singer (Radheshyam-32), and a Director (16 films,from 1933 to 1955). As a Lyricist, he wrote 882 songs in 119 films (1932 to 1969).

2 songs from this film are already discussed here. Today’s song will be the 3rd song. It is a chorus song. Looks like a Marching song or similar one. I do not know the story line of this film. From the lyrics of all the songs ( I have all the 8 songs of this film with me), I feel it is a film about the battle between “The Haves and The Have Nots”. No wonder, a man of Socialistic leanings, Balraj Sahni made his beginning from such a film ! There is 1 solo and 1 duet of Manna Dey in this film. These are his earliest songs in Hindi films. Manna Dey was a joint MD with H P Das in 3 films – Veerangana-47, Sati Toral-47 and Hum bhi Insaan hai-48.

Now let us listen to this chorus song.


Song- Chala chal chalaa chal uthaa ke kadam (Insaaf)(1946) Singers- Chorus, Lyricist- D N Madhok, MD-Hariprasanna Das

Lyrics

Chala chal chalaa chal
uthaa ke kadam
bhaaga jaaye jagat
rah na jaayen ham
Chala chal chalaa chal
uthaa ke kadam
bhaaga jaaye jagat
rah na jaayen ham
?? chal diya hai magar
?? hain nahin
aa aa aa
aa aa aa
?? chal diya hai magar
?? hai jahaan walwale nahin
aa aa aa
aa aa aa
?? hai jahaan walwale nahin
pyaara watan
aa aa aa
pyaara watan
pyaara watan
pyaara watan
pyara watan
le na kahin dam
Chala chal chalaa chal
uthaa ke kadam
bhaaga jaaye jagat
rah na jaayen ham

maate tujhse ??
ghutnon ke bal par chalte jo
maate tujhse ??
ghutnon ke bal par chalte jo
uthha kadam
uthha kadam
uthha kadam
aa aa aa
uthha kadam
aa aa aa
?? se nahin kam
Chala chal chalaa chal
uthaa ke kadam
bhaaga jaaye jagat
rah na jaayen ham
Chala chal chalaa chal
uthaa ke kadam
bhaaga jaaye jagat
rah na jaayen ham

maate tujhse ??
ghutnon ke bal par chalte jo
maate tujhse ??
ghutnon ke bal par chalte jo
uthha kadam
uthha kadam
uthha kadam
aa aa aa
uthha kadam
aa aa aa
uthha kadam
?? se nahin kam
Chala chal chalaa chal
uthaa ke kadam
bhaaga jaaye jagat
rah na jaayen ham
Chala chal chalaa chal
uthaa ke kadam
bhaaga jaaye jagat
rah na jaayen ham
aa aa aa
aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa


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

Blog Day : 4019 Post No. : 15130

Today’s song is from film Hawai Khatola-46.

Whenever I come across a film starting with the word ‘Hawai’, I always remember film Hawai Daaku aka Bandit of the Air-1936, in which K N Singh was the Hero. His heroine was Ram Pyari and villain in the film was Mazhar khan. See the fate – in later years, Mazhar Khan became a Hero and K N Singh made his indelible mark as a sophisticated villain ! Incidentally, there were 7 films, starting with the word ‘Hawai’, if you are wondering about it. There were 2 films with the same Title ” Hawai Insaan “(The flying man), made in 1947 and 1965.

I have been writing on old films, their songs and about the people in those films,like actors, directors,producers,composers,lyricists, film story, studios, as well as the times in which these films were made etc, since about last 7 years – from 1-10-2012 to be precise. Many of my relatives and friends ask me how do I spend my time these days as they know that I do not work anywhere now. I tell them that I study and write on old films. Their immediate response is, “yes, old music was great” and they would spell out few old songs.

The words, old films, old music and old songs are highly relative terms. An young teenager might feel that films before 2000 are old. A man in his 30’s may feel that songs before 90s are old. Similarly, a man in his 40s feels that songs before 70 are old songs. Likewise a man in his 70s and above may feel that songs from the 30s and 40s are old songs. For a teenager songs of 30s and 40s are ‘ Antiques’ and ‘ Heritage ‘ songs !

In general Old Films have become synonymous with old songs. But it is NOT so. There is a world beyond old songs. Like English Literature, you can divide old films in 2 parts – Prose and Poetry. While poetry part will include songs, music, musicians,Lyricists, choreographers and allied matters, the Prose section will include information about actors, actresses, directors, producers and the allied specialists etc.

Writing on songs is different and writing Prose side is altogether different. With the kind of poor documentation and preservation of information in our country ( not only films but any other field too), it is extremely difficult to gather genuine, credible information on old actors etc. Old Magazines, Old Newspapers, Diaries, Letters and such other matters are difficult to trace. Those who have this treasure, rarely share it with others. Luckily, not all are like that.Thanks to generous Historians, and book writers, nowadays information is getting available to a small extent, but it is still a long way to go. There is more information available on the Poetry side than the Prose side. Most Bloggers prefer writing on Poetry side of films. Very few Bloggers write on Prose side.

My comfort zone is writing on Prose side. Not that I can not or do not write on songs or music, because these two are interlinked. All these thoughts came to my mind, when I took a look at the cast of film Hawai Khatola-46. The cast shows Devraj,Gohar karnataki,Ameena Begum, Sarla Devi, M.Beg, Raja Chatterjee, Fazal Khan, G H Chishti, M.Basheer, Gopinath etc. HFGK does not mention the name of Shanta Kumari, but she was in this film. Film India magazine carried her photo from this film,in one of its issues in 1946. So her name is confirmed. Barring Gohar Karnataki, I was unable to get any information on any of the star cast members. This is the position, about information on old time actors.

Shanta Kumari was very beautiful. She started her career from a silent film-‘ Bhai ya Kasai’-1928. Her first Talkie film was Heer Ranjha-1931. Then came many films, including 4 parts of film Hatimtai-33, in which she was Heroine Husnbanu. In film Sant Tulsidas-34, she sang along with even G N Joshi, famous classical singer of those times and later on an officer in H.M.V. Recording section. Due to her good singing, till 1936 she sang on A.I.R. Bombay. In 1940, she got married to Sound Recordist Kothari. In the later period, she acted in som6e famous films like Bharat Milap-42, Ramrajya-43, Prithvi Vallabh-43, Gwalan-46, Ram Vivah-49 and Grih Laxmi-49. After a gap, she came in Toofan aur Diya-56. She acted in few C grade films and her last film was Toofani Tarzan-62. She acted in 27 films and sang 21 songs in 8 films. She died on 18-1-2006 ( information adapted from Beete kal ke sitare by Shriram Tamrakar, and MuvYz with thanks).

Film Hawai khatola-46 was made by A M Khan Productions. It was directed by A M Khan himself, along with Sultan Alam – for whom it was the only film he directed. A M Khan began as director with film Voh Kaun-35. He directed 37 films in his career, with last film, Jadui Angoothi-65. he also acted in 2 films (Dil-46 and Bigde dil-49) and wrote Lyrics in 3 films (Cyclewali-38, Ran sangram-39 and Bahana-42).

As far as the Hero Devraj is concerned, I do not have much information about him except what is in HFGK. His name first appears in film ‘Bahadur Kisan’-38. This was Master Bhagwan’s first film as a director. The MD for this film was Meer Saheb, with whom the young C.Ramchandra worked as his assistant. This is where Bhagwan and C Ramchandra met first time and became fast friends. Name of Devraj comes up in 9 films – last film being ‘Khaufnak aankhen-47. All his films were C grade action films.

Film Hawai Khatola-46 ( by the way Hawai khatola means Aeroplane aka Udan Khatola) had music by Basheer khan Dehlavi. His first film as MD was Kala Jigar-39. He gave music to 12 films – all C grade action/stunt films. His last film seems to be Hawai Khatola. After this his name does not appear anywhere. Possibly, after Partition he must have migrated to Pakistan. He also wrote Lyrics for 2 films – Saheli-42 and Khooni-46.

Today’s song tune is similar to the famous Noorjehan song ” Baithi hoon teri yaad mein lekar ke sahara” from film Gaon ki Gori aka Village Girl-45. The song is sung by Amirbai Karnataki and Premlata, according to the uploader,Girdharilal Vishwakarma ji.


Song-Toote huye is dil ko diya kisne sahaara (Hawaai Khatola)(1946) Singers- Ameerbai Karnataki, Premlata, Lyrics-Unknown, MD-Bashir Dehalvi
Both

Lyrics

Dheere se mere man mein bataa kaun pukaara
dheere se mere man mein bataa kaun pukaara
toote huye is dil ko diya kisne sahaara
tere prem ke aakaash pe chamka hai sitaara
toote huye is dil ko

tu roop ki devi hai to main tera
haan haan main tera pujaari ee
main tera pujaari
tu roop ki devi hai to main tera
haan haan main tera pujaari ee
main tera pujaari
hoga nahin ab door kabhi chaand sitaara
tere prem ke aakaash pe chamka hai sitaara
toote huye is dil ko

reh reh ke ye kehti hai mere hriday ki dhadkan
mere hriday ki dhadkan
reh reh ke ye kehti hai mere hriday ki dhadkan
mere hriday ki dhadkan
ye dor bhi jeewan ki bani prem ka bandhan
ab swarg se badh kar hai ye sansaar hamaara
toote huye is dil ko diya kisne sahaara aa
tere prem ke aakaash pe chamka hai sitaara
toote huye is dil ko
toote huye is dil ko diya kisne sahaara aa


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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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