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

Posts Tagged ‘1946


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 :

3943 Post No. : 15019 Movie Count :

4116

Today’s song is from film “Saathi”(1946).

This title seems to be quite popular because, films with the same title were made in 1938, 1946, 1968, 1991 and 2005 as Saathi.Moreover one film called Saathiya was also made in 2002.

The first film Saathi-38 was a bilingual film, in Hindi and Marathi. This film was made by Mubarak Merchant. He was the Hero and the Heroine was Durga Khote. The Marathi version was titled “Savangadi” mening Partner or Saathi.

The 1946 film was made by Central Studios- partly owned by Mehtab, the film’s Heroine. While the film was in the making, Mehtab got married to Sohrab Modi on 28th April-1946, which happened to be her own Birthday also. She already had a son from her first marriage to actor Ashraf Khan ( who later on became a Soofi Saint). Her son Ismail, stayed with her and Modi, after her second marriage as per the understanding between the couple. Mehtab got one more son from Modi-Mehelli. He was raised as a Parsee. He settled in USA later on.

In this film, the Hero was Sadiq Ali, who was called ” Prince of Minerva ” and was Modi’s favourite. I have written about Sadiq Ali, recently, so I am not repeating it. The other cast of the film included M.Ismail, Jyoti, Badri Parshad, Gulab, Majid, Latika etc etc.

M.Ismail was born in 1902 in a Jeweller family of Lahore. He was a very good designer and Calligrapher.

M. Ismail was a resident of the Inner Bhati Gate in Lahore. Well built and fair complexioned, Ismail had blue eyes, and was quite. attractive. Mian Abdul Rasheed Kardar (the famous A. R. Kardar), also belonged to the same area in Lahore. M. Ismail used to work as a golden calligrapher, while Kardar was involved in sketching and illustration.

They went to Bombay in 1927, and according to Ismail, he and Kardar played Kaedo and side hero respectively, in Imperial Company’s Heer Ranjha. But conditions weren’t helpful, and the two young men had to return to Lahore. Fortunately, for them, during 1928, Premier Film Company started a film called Daughters of Today. Both Kardar and Ismail were inducted into the cast, but the film remained incomplete.

Later, Kardar learned production and became well known as a brilliant technician. Kardar established his own film making firm in 1930, called United Players Corporation, and cast Ismail in his early silent movies like Mysterious Eagle a. k. a Husn Ka Daku, which also had Kardar in a central role. Others in the cast were Gulzar Begum, Ghulam Qadir, Ahmed Deen and an American actress, Aeris Crawford. Ismail also acted in Kardar’s film, Safdar Jang, and both these early silent films were very successful. This led Kardar to cast him in Shepherd King (Gadarya) and Golden Dagger (Sunehri Khanjar). In those days, every film used to have an English title and an Urdu one.

After Alam Ara opened the way for talkies, Ismail became even more popular. In Kardar’s Hoor e Punjab, an adaptation of Heer Ranjha, Ismail again played Kaedo, the intriguing ice uncle of Heer, which he repeated yet again later, in film Heer Siyal, with his characteristic style. His other films in India include Alif Laila, Dekha Jaega, Mast Faqeer, Raja Gopi Chand, Prem Pujari, Watan Parast, Sohni Mahiwal, Laila Majnoon, Zamindar and others.

In 1948, M. Ismail came to Pakistan, and immediately got offers from seniors like Nazir, whose films, Pherey, Larey, Anokhi Dastan and Shehri Babu included him in their cast. His first film here was Hichkole-49. Observing his work, another promising and experienced director, Anwar Kamal Pasha offered him some good roles. His films, Ghulam, Gumnam, Qatil, Inteqam and others were the earliest hits of Pakistan. Luqman also cast him in Patan, and Mehbooba was another one that was appreciated.

Similarly Nazeer Ajmeri’s Qismat and Paigham, Munshi Dil’s Hasrat and Ishq e Laila and S. M. Dar’s Saltanat and Dulla Bhatti were also amongst his famous movies. His other films were Darwaza, Subah Kaheen Sham Kaheen, Patey Khan, Piya Milan Kee Aas, Jameela, Bara Aadmi, Zehr e Ishq and many others. The Late M. Ismail was a charming person, with a rural simplicity and a very forgiving disposition. Endearingly called Bhaiyyajee in the industry, M. Ismail’s roles of good hearted, forgetful, careless and sometimes cynical man were the best that he did. But, in many films, he performed a perfect villainish role, including the earlier mentioned, Hoor e Punjab, which had a historic role of Kaedoo. This one was only bettered later, by that most sterling artiste, Ajmal, who made Kaedo legendary with his gestures in Khwaja Khurshid Anwar’s Heer Ranjha.

In Yamla Jat and Khazanchi, in India, he did very fine title roles, while K. Asif’s Phool portrayed him as an old hakeem from Turkey, which he did to perfection. As a villain in Indian film, Wamiq Azra, he presented an individual style, with his full facial expressions. By full facial expressions means that most artistes use the eyes and the forehead, but M. Ismail, with a tremendous mobility of his motor mouth, his sagging cheeks and his prominent and protruding jowls, used a tremendous expanse of his face, which aided him in doing old men’s roles very early in his career.

In those days, there was much importance of finding a characteristic face for films and not handsome or beautiful faces, which is the trend today. That was the reason that more such fine artistes were available to the screen. In Nazeer Ajmeri’s Qismat, he played a unique role of a man, who is too forgetful to even remember his own name. It was a most hilarious performance from a truly talented actor of his times. M. Ismail got a Presidential Award for this role in Qismat.

His last film in Pakistan was Maan jawani da-76- released after his death. He died on 22-11-1975 at Lahore.

The film was directed by M.Sadiq, who was one of the most successful Directors of Bombay who migrated to Pakistan in 1970. He was born in Lahore on 10-3-1910 and died in Lahore on 3-10-1971.

Sadiq was a Cinematographer, writer,screenplay and dialogue writer,producer and director-all in one. He started his career with Thokar-39 as writer. Around 1940, he shifted to Bombay along with his mentor A.R.Kardar, actor Suresh ( Nazim Ahmed), actor Amar and few others. While working as kardar’s assistant, slowly he developed into a Director who directed about 27 films.He directed films like- Namaste, Rattan, Anmol Ratan, Saiyan, Shabab,Musafirkhana, Chhoo mantar, Chaudhavin ka chaand, Tajmahal and Bahu Begum for which he also wrote story and dialogues.

After Khota Paisa-58 Sadiq fell on bad times. He had no films on hand.That was the period when Guru Dutt was also in problems of debts. he wanted to make a film but did not want to direct it. That time Johny Walker suggested the name of M.Sadiq, whose first movie Namastey and another movie Sanjog, both produced by A R Kardar,were released in 1943 & were big hits.His Rattan,released in 1944 ,broke the records all over, in box office sweep. Poonam, Shabab, Anmol Rattan, Pardes, Jawani Ki Hawa, Anjan, were few of his famous movies.The prolific director,how ever ,was now passing through a lean phase & of late he had made light comedies, like Chhoo Mantar, Duniya Rang Rangeeli, Khota Paisa, Musafir Khana etc.

M.Sadiq was brought in & he made the movie at break neck speed & released in 1960. Film Chaudhvin ka Chand needed a director who fully equipped with muslim background and observation of even small presentation of voice, etiquette, religious etc. It is all that M Sadiq performed but we must keep in mind Guru Dutt was behind the screen, though uncredited but he had lion share to beautify the film. The movie proved to be the biggest hit earned lot more than other movies made by Gurudutt. M.Sadiq proved to be the saviour for Gurudutt.Gurudutt,not only came out of the cesspool of debt , but earned enough money to plan his next movie.

The movie proved to be lucky for the good Samaritan M.Sadiq also who was recognized as a specialist of the movies having Muslim background.He got big movies Taj Mahal,Noor Jahan & Bahu Begum (1967),to direct.

Riding on the peak of popularity ,after Bahu Begum,Sadiq Sahab left India & migrated to Pakistan.In 1971,there under his own banner he decided to produce Baharo Phool Barsao & for the music and songs he signed Nashad & Shewan Rizvi,respectively.Both had already migrated to Pakistan from India.He started shooting at Lahore Studio.but a calamity struck & Sadiq Sahab passed away after a brief illness on 03-10-1971. The movie was completed by Hasan Tariq & was released in 1972. The movie opened to full houses and celebrated Golden Jubilee at many places in Pakistan. Even in the re-run the movie was a jubilee hit. M.Sadiq was destined to die at his birth place Lahore.

There were two more uncommon names in the cast- Majid and Gulab. Majid’s name was Abdul Majid Syed. He was born at Farrukhabad in U.P. in 1915. His father was an Overseer. After Matric in 1929, he started his business of Leather in Akola, Maharashtra. in 1935, actor, director and producer Nazeer of Hind pictures, introduced him to S.K.Daryani and he got a small role in Sher ka Panja-36 and Sangdil samaj-36. However, from film Bulldog-37, he got side roles and lead roles in films like Gentleman daku-37, insaaf-37, Rajkumari-38, Masterman-38, Zamana-38, Mud-40, Saubhagya-40, Swami-41, Swaminath-42, he also acted in more films like Najma-43, Babar-44 and Zeenat-45.

In all he did over 100 films till 1947. After Partition, he migrated to Pakistan with Nazeer and Swarnalata. In Pakistan he did just 7 films. He died on 24-9-1959.

The First actress from Kashmir to work as a Heroine in Hindi films was GULAB. Her real name was Saraswati Devi. She was born on 10-6-1908 at Jammu. She joined Krishna Film Company in 1924. Her first silent film’Krishna kumar’ came in 1925. She worked in 60 silent films. Her last silent film was ‘Dagabaz Dushman’-32, made by east India Film co.Bombay.

Her first Talkie film was Suryakumari-33, made by Vishnu Cinetone. It was directed by Dhirubhai Desai. She sang one song ‘more preetam jab ghar aaye’ composed bu Kikubhai Yagnik. Then came Baburao Patel’s ‘Bala Joban’-34, Sewa Sadan-34 and Nai Duniya-34 ( Debut film of Rajkumari and Jayant). In this film Gulab sang 2 songs.

Gulab was very beautiful and quite popular in film industry. Some of her films were Bambai ki sethani-35, Challenge-37, Bharosa-40, Pyas-41, Ek Raat-42, Station master-42, Gaali-44, Rattan-44, Mann ki jeet-44, Mirza Sahibaan-47, Lahore-49, Badi Behan-49, stage-51, Post Box 999-58, Chhabili-60 etc etc. She acted in 160 films. Her last film seems to be Haqeeqat-64. She also sang 22 songs in 11 films.

The lyrics were by Wali Sahab and the music was by Gulshan Soofi, about whom I have written recently. The song is sung by one of my favourite singers- G M Durani ( Ghulam MUstafa Durani). He was one singer who would make gold of a good melodious song anytime. I like almost all of his songs. I was very sad that his end came in very pathetic condition. Once an artiste is out of circulation in the film industry, he is quickly forgotten. I have not seen a more selfish and ungrateful industry in my life where no one even attends the last journey of a forgotten artiste.

This is a very good song, sung in even a better way. With this song, film Saathi-46 makes its Debut on the Blog.

( Thanks to cineplot, pakmag.com, wiki, cinerang, Filmdom-46 and my notes for information used herein.)


Song-Wo nazron mein samaate ja rahe hain ja rahe hain (Saathi)(1946) Singer-G M Durraani, Lyricist- Wali Sahab, MD- Gulshan Soofi

Lyrics

Wo nazron mein samaate ja rahe hain
ja rahe hain
hamen apna banaate jaa rahe hain
ja rahe hain
Wo nazron mein samaate ja rahe hain
ja rahe hain

ye dil pehloo se nikla jaa raha hai ae
ye dil pehloo se nikla jaa raha hai ae
jaa raha hai
wo shaayad a a
paas aate ja rahe hain
hamen apna banaate jaa rahe hain
ja rahe hain

main jitna aa
bhool jaana chaahta hoon oon oon
oon oon
wo utna aa
aa aa aa
aa aa
yaad aate jaa rahe hain
jabaan par haan
ishaaron mein meri
hai ae ae ae
jabaan par haan ishaaron mein meri
hai ae ae
wo deewaana banaate
jaa rahe hain
jaa rahe hain
hamen apna banaate jaa rahe hain
jaa rahe hain
Wo nazron mein samaate ja rahe hain
jaa rahe hain

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

Blog Day : 3923 Post No. : 14990

Today’s song is from an almost unknown film called Zamin Asman-46. The film was made by Saubhagya Pictures, but was promoted and distributed by Prakash Pictures. While HFGK mentions name of Saubhagya, the film booklet and other records show the name of Prakash Pictures. In fact, with this film, not only the rights of this film but the company Saubhagya Pictures was taken over by the Bhatt brothers for Prakash Pictures.

The film was directed by Dwarka Khosla (born in 1904), who started from silent film era. His first Talkie film was Josh E Jawani-35 and he directed, in all, 33 films till his last film Reporter Raju-62. All songs of today’s film were composed by Faiyaz Hashmi (1920 to 29-11-2011), who wrote lyrics for only 9 Hindi films in India. The Music Director was Kamal Dasgupta and today’s song is sung by Jagmohan Sursagar and Kalyani Das.

Kalyani is a name fit for ” Same name Confusion” and I find that though kalyani Bai and kalyani Das were two different singers, most sites, Blogs and even the well known book ” Swaron ki yatra” by Anil Bhargav ji, makes a mix up and they are treated as one person. Let us know who they were….

First Kalyani Bai. Hailing from Turkman gate in Delhi, Kalyani Bai was a born singer. She took lessons from Ustad Vazir khan and in no time started singing on A.I.R and HMV. She recorded many Ghazals, Khayals and Thumris. She was taken to Calcutta at the age of 13 years to act and sing in film Pardesi, which was shelved halfway, but she was offered a job by New Theatres at Rs. 250 pm. Her nickname was Kallo. R C Boral changed her original name Zarina to Kalyani bai.

She acted and sang in 4 films of New Theatres- Anath Ashram, mukti, president and Vidyapati till 1937. She acted with all big stars of that time. Later Chandulal Shah called her to Bombay with Rs. 800 per month and she joined Ranjit in Bombay, doing her first film Toofani Toli-37. After doing 9 films, she left Ranjit and worked for several production houses. In 1945, she was in the famous All Women Qawali in film Zeenat-45- Aahen na bhari, shikve na kiye.

After her marriage in 1948, she left films to raise a family. However, she had to come back to films after after many years to do some films in 1975 onwards. After doing some films with small roles, she realised that her time was gone and she retired completely. Her last years were spent in financial difficulties. She died on 1-10-2009. kalyani Bai acted in 26 films and sang 68 songs in 41 films.

Kalyani Das was born and brought up in Calcutta. She was born in 1927 in Calcutta. Her first Hindi film song came up in film Jawab-1942, but her solo song came in Kurukshetra-45, under the baton of Pt. Ganpatrao. When Kamal Dasgupta went to Bombay, he called her and she sang in film Meghdoot-45, Bindiya-46, Zamin Asman-46, Prem ki Duniya-46, Manmani-47, Faisla-47,Giribala-47, Swayamsiddha-49 and Iran ki ek raat-49. She sang 37 songs in 11 Hindi films in addition to several songs in Bangla films.

Kalyani Bai left Calcutta in 1937 and kalyani Das started in 1942 in Calcutta. Kalyani Bai never sang for Kamal Dasgupta or any imported Bangla composer. kalyani Das sang only for Kamal Dasgupta (8 films) and in one film each for Ganpat rao, Subal Dasgupta and Prafulla Choudhari. Therefore there need not be any mix up, but you know how it is in Hindi film industry ! Shortcuts are popular.

After Partition in 1947, it did not take long for things to become normal in the Indian film industry. This was mainly because ready replacements were available in plenty to fill the vacancies caused by migration. As far as producers and financers were concerned, almost all producers and film makers had arrived here from Lahore. It was actually Lahore which felt the absence of Film makers. Pakistan film Industry was somehow managed well by the experienced people who went from India and Pakistan enjoyed a ” GOLDEN AGE OF FILMS AND MUSIC ” from 1959 to 1977. Once the old generation retired, there was no second line to take over from them.

The film industry in Pakistan was never an organised one. Moreover the often changing Goverments did not bother to do anything to protect, sustain, help or develop the infrastructure of Film industry. Unlike India, there was neither a Films Division, nor was there anything like Film and Television Institute to build local artistes in different fields.

By 2010,the film industry in Pakistan was in such a poor shape that, against India’s film production of 13526 films in 2011, Pakistan had produced only 7 films in that year !

While Indian films were distributed in over 90 countries, there was no International market for Pakistan films.

All studios in Pakistan were in ruins and Theatres had been demolished.

Can you believe, In the entire Islamabad city, there is ONLY ONE Theatre-a multiplex of 4 screens ! (info from-Filmistan-Javed Shaikh 0n pk.politics.in dated 10-4-2014 )

We heard songs composed by the Music Directors who migrated to Pakistan,i.e. West Pakistan. Today we will talk about a famous and talented composer of Hindi/Bangla films, who migrated to East Pakistan (now Bangladesh). His name is KAMAL PRASANNA DASGUPTA or simply, Kamal Dasgupta.

It is a moot point whether Kamal should be called a Film composer or a NFS composer in Hindi and Bangla. He can be called the Originator or the Pioneer, who established NFS during the period from 1935 to 1955. It was he who introduced the word ” Hindustani Song” for NFS on the 78 RPM records.

Kamal Prasanna Dasgupta was born on 28-7-1912 in village Narail,Jessore district in East Bengal. He matriculated in 1928 and did his B.Com. Then he earned a doctorate in music from the Banares Hindu University. His father Tara Prasanna died early. Kamal, his brother Subal and sister Sudhira were brought up by the eldest brother Bimal Dasgupta.

In 1935, he joined HMV as a Music Director. Here he met Kazi Nazrul Islam, who was also employed there. Kamal was a singer himself and sang many songs in Hindi, Bangla and also Tamil. He tuned almost 400 songs written by Kazi as Nazrul Geeti. It was here that he met and developed the talents of singer Juthika Roy and Jagmohan. The modern songs tuned in Rabindra and a mixed ghazal style were labelled as ” HINDUSTANI SONG ” and soon became popular all over the country. Lyricist Faiyaz Hashmi was the third person in the team of Kazi, Kamal and Faiyaz. Besides Jagmohan, Kamal Dasgupta also helped Talat Mehmood and Hemant Kumar to get established with NFS in Hindi and Bangla. His close ties with Juthika Roy were ‘special’. She wanted to marry him, but when it was clear that it was not possible, she chose not to marry at all and remained a spinster throughout her life.

He gave music in 16 Hindi films like Jawab, Hospital, Rani, Meghdoot, Arabian Nights, Bindiya, Krishna Leela, Pehchan, Zameen Aasmaan, Faisla, Giribala, Manmaani, Chandrashekhar, Vijay yatra, Iran ki ek raat and Fulwari. However, except for Jawab and Hospital his songs did not become very popular. Kanan Devi became a National name after she sang “Ye duniya Toofan mail” in Jawab-42. He also gave music in 22 Bangla films.

Kamal was a chain smoker and suffered from Gall Bladder stones. Instead of an operation, he started taking Morphin injection for pain relief, but then he became its addict. His elder brother died and all the family responsibility fell on his shoulders. He had earned a lot, but all his money was lost when his bank went bankrupt. In Calcutta, New Theatres was almost on the verge of closing down. Arrival of new blood in music field took away focus from him and he felt neglected. He became a depressed person. Around 1958 he migrated to Dhaka-East Pakistan. He converted to Islam, changing his name to Kamal Islam. He also married singer Firoza Begum. The got 3 sons and a daughter.

After the emergence of Bangla Desh, the Government tried to help him, but it was too late by then as he had become disillusioned and depressed. In frustration he wrote to a friend “The pictures you see in front, everybody remembers them and praises them. But nobody wants to know the people who work behind the scenes, nor talk about them. That is the nature of the world.”

His was not in good terms with his wife. In his final days, he contracted T.B. Finally he said Good-Bye to this world on 20-7-1974. The originator and populariser of NFS in India and a maker of memorable songs like “Toofan mail” left us forever-unsung !

The Heroine of this film was Ranjana. Now, hardly anyone knows about this actress who had worked as a Heroine with Dilip Kumar also in his early career. One can not get any information about her in any book or on the internet. here is some information about her, for our readers.

Ranjana’s real name was Ratan Shantaram Deshpande. She was born in Nagpur on 20-10-1927. While studying in St. Ursula High School, she learnt dancing and music from well known ustads. After passing her 6th standard examination, she came to Bombay to her elder sister, Kusum Deshpande, who was already working as actress with Minerva Movietone films. Kusum married Vasant Thengadi, a handsome actor in Hindi films of those times.

Kusum arranged for specialised dancing for Ratan in the holidays. later Ratan was taken to Vijay Bhatt of Prakash pictures for an interview. She was immediately selected and got a role in the famous film Ramrajya-1943. In this film she was Chitralekha, Sita’s sakhi. Vijay Bhatt also changed her name to Ranjana. She was on pay roles of prakash for Rs. 2000 pm. She acted in films like police-44, Vikramaditya-45 and Hamara Sansar-45. Next films were Nai Maa-46 and Zamin Asman-46.

Ranjana was called by Bombay Talkies to do Heroine’s role opposite Dilip Kumar in film Milan-46. This film was based on Bangla film Nauka Doobi written by Tagore. She did the role of Hem Nalini in this film’s Hindi version. The same role was done by Meera Sircar in the Bangla film Nauka Doobi.

After this film, Ranjana was in great demand, but she wanted to quit films and get married to live a simple life. But as the Luck would have it, she had to continue working in films till 1975. She also worked in many Marathi films. In all, she worked in about 35 films or so. Ranjana worked with many big stars of her times like, prem Adeeb, Prithviraj Kapoor, Jairaj,Dilip kumar,Jeevan, Umakant etc etc

It is interesting to note that her sister and her brother in law acted with her in few films. Some such films were Zamin Asman-46 and Shadi se pehle-47. In film Saajan ka Ghar-48 all three had worked together. Her sister Kusum Deshpande was born on 20-11-1914 at Nagpur. She came to Bombay in 1930 and worked in Minerva as an apprentice, without pay. She worked in A.I.R. and some Marathi dramas and films. Her first Hindi film was Ghar ki Rani-40. She also did Charnon ki Daasi-41, Village Girl-45, Wamaq Azra-46 and Zamin Asmaan-46. In all she did 20 Hindi films. She married actor Vasant Thengadi on 30-11-1944.

We have many families like this in Hindi films. I remember Zubeida and her mother and sisters, Sitara Devi and her 2 sisters, Nargis,her mother and brothers, Kapoor family, Dilip kumar, his brother and sister in law, many film couples and families of several film people are examples. Ranjana was perhaps one early example. Thank God this Ranjana was not around when yet another Ranjana came to Hindi films. She was Ranjana Deshmukh, niece of actress Sandhya(nee Vijaya Deshmukh). This Ranjana, however , worked mainly in Marathi films and did only 4 Hindi films starting with the famous film Chaani-77. Unfortunately, she first met with an accident and then died of Heart attack at the age of just 40 years or so.

Film Zamin Asman-46 was about a love triangle. Baburao Patel severely criticised this film and especially Jeevan- the Hero, in his film magazine Film India issue. The film was released on 12-7-1946 at Lamington Theatre, Bombay. The story of the film as outlined in this magazine was-

Nanak Chand (Ramesh Sinha) owns a sugar mill in partnership with Ravi (Jeevan)- son of his dead partner Pooran Chand. Ravi’s marriage with Nirmala (Kusum) is already announced, before he went to England for higher studies, but Ravi is not interested. Ravi is distressed by the plight of his factory workers, he meets Kamala (Ranjana) in a jungle ashramcalled Bharati Ashram. They fall in love.
There is a conflict between Nanak Chand and his workers. Ravi takes workers’ side. Finally, Nanak chand has to bow down and Ravi and Kamala unite.

Here is a duet sung by Kalyani Das and Jagmohan Sursagar. Jagmohan has not sung many songs in Hindi films. He was more interested and famous for his wonderful NFSs. Therefore it is more enjoyable. I like the voice of kalyani Das.

( Thanks to http://www.beetehuedin.blogspot.com for information culled from Kalyani Bai’s interview by Shishir Krishna Sharma ji )


Song-Ek geet sunaana hai hamen ek geet sunaana hai (Zameen Aasmaan)(1946) Singers-Kalyani Das, Jagmohan Sursagar, Lyrics- Faiyaz Hashmi, MD- Kamal Dasgupta
Both

Lyrics

Ek geet sunaana hai hamen
ek geet sunaana hai
Ek geet sunaana hai hamen
ek geet sunaana hai
rone waalon ko hansaana hai
duniya ko swarg banaana hai
hamen naach naach ke gaana hai
hamen jhoom jhoom ke gaana hai
hamen naach naach ke
jhoom jhoom ke
gaana hai ae ae
ek geet sunaana hai hamen
ek geet sunaana hai

aansoo bhi hansi ban sakte rhain
haan aan aan aan
aan aan aan aan aan
kaanten bhi kali ban sakte hain

haan aan aan aan
aan aan aan aan aan
aansoo bhi hansi ban sakte hain
kaanten bhi kali ban sakte hain
ye kar ke hamen dikhaana hai
ye kar ke hamen dikhaana hai

hamen naach naach ke gaana hai
hamen jhoom jhoom ke gaana hai
hamen naach naach ke
jhoom jhoom ke
gaana hai ae ae
ek geet sunaana hai hamen
ek geet sunaana hai

thhirak thhirak kar jaise baati
aanchal bhar bhar jyot lutaati
ee ee
waise hi

auron ke liye jal jaana hai
jal jaana hai

hamen naach naach ke gaana hai
hamen jhoom jhoom ke gaana hai
hamen naach naach ke
jhoom jhoom ke
gaana hai ae ae
ek geet sunaana hai hamen
ek geet sunaana hai

ab na rahen ye sapne adhoore ae ae ae
ye geet hamen kar denge poore
ae ae ae

jo khoya hai so paana hai
paana hai ae ae
jo khoya hai so paana hai

hamen naach naach ke gaana hai
hamen jhoom jhoom ke gaana hai
hamen naach naach ke
jhoom jhoom ke
gaana hai ae ae
ek geet sunaana hai hamen
ek geet sunaana hai


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 : 3890 Post No. : 14922

Today’s song is from film Arab ka Sitara-1946. Produced and directed by Nanubhai Vakil, under his own banner- Roshan Pictures, it was a costume drama film,eulogising the greatness of Islam and how sincere 5-time Namaz pleases Allah- the Supreme power.The 10 songs of the film were written by Shevan Rizvi and were composed by the One Film Music Director S Qureshi.

Sometimes I wonder, there was a time when this film industry was thickly populated with Muslim artistes in every field-acting, production,direction or composing music…still there were really not many films on Muslim backgrounds made. There is a sizable and rapidly growing portion of Muslim population in India, still,if you count films based on Muslim issues or Muslim backgrounds,they may not account for more than 1 to 2 % of the total film production.

It is not only the Muslim films, but films on other minorities like Christians,Parsis, Jains,Budhists, Sikhs too are not much represented in our films. It is very sad that such films are not made, though the figures and history tells us that such films were quite successful at the Box Office.

Muslim films are in Two categories. One, films made on Historical Muslim characters like Akbar, babar, Humayun, Shahjehan, Jehangir, Razia Sultan, etc etc and the Second group is that of Muslim society. Just for the sake of curiosity, I scanned the 5 volumes of HFGK and wrote down names of films made on Muslim subjects-both types. To my surprise,I could not go beyond even 50 films-from 1931 to 1980 !, Granting that I must have made a mistake in counting and identifying,since I do not know the story lines of every film, still the number will not go beyond 70-80 films, despite ruthless stretching !

The point I want to make here is that not many Muslim social movies are made in India ,over the years. One of the earliest such a film was Najma-43,I think. One very very explosive Muslim social film,made by Director Mehboob was “Elan” in 1947. Munawar Sultana was the lead actress in it. Before starting the shooting, Mehboob called her and said,” You have heard the story,it is a very very hot story.I guess there will be a lot of opposition from our fundamentalist people. You may have to face their ire. may be you will be attacked or thrown out of the society. But remember,I am doing this film,because I want our people to improve on par with others. If you want,you can reject the film even now. Think and tell me before we start shooting. “Munawar Sultana quickly said,”There is no need to think. I want to do this film. I am not afraid of anyone. I have full faith in you.” After release,the film did evoke violent reactions from a section of the Muslim society but it subsided slowly. Before Partition, Fazli brothers were known to make Muslim social films.

Some other Muslim socials I remember are Zeenat,Dil hi to hai,Bahu begum,Dastak,Garm hava,Bazar,Anjuman,Naseem, the Triology by Khalid Mohammed-Mammo-Sardari begum and Zubeida, Fiza,Junoon,Benazir,Gazal,Chhote nawab.Then there were Barsaat ki raat,Nikah,Shatranj,mehboob ki Mehendi,Umrao Jaan,Paakiza,Mere mehboob,Chaudhavi ka chaand,Anwar, My name is Khan,Bombay etc. Surely,there must be many more than what I have mentioned. I am not counting Historical films as they are not socials.

Being from Hyderabad, when it was a Nizam ruled state, I had a closer view of Muslim culture and even had some close Muslim friends in school and college. Though my early education in the 40s was in Urdu, over a period, I have lost the touch with Urdu- may be due to ‘ atrophy of disuse’ !
When I learnt that one of my friends, Shri P Kamalakar aka Kamlakar Pasupuleti, has written a book on Muslim films, I was very eager to have a copy. Last week I got my copy of his book ” Forgotten movies on Muslim Culture 1933-1947 “.

The book is an authentic chronicle of 30 films made on Muslim culture- social, historical and costume dramas based on imaginary events and stories. Kamlakar ji is an Urdu Scholar and had a superb enviable collection of film materials in Urdu, which he collected during his early life in Hyderabad. Now, he has been settled in US for a very long time. He has earlier published 2 books, based on this material, which are real Gems for students of old films, like me.

This new book too is exclusively based on documents like film booklets, reviews and News items in papers, books etc, all in Urdu. All this makes the book very well documented and authentic too. This is a treasure trove of early Indian movies, fit to be preserved for posterity. The original Urdu material is also given in the book.

Today I have selected a song from one of the films discussed in this book,namely, Arab ka sitara-46. Though the book’s title says 1933 to 1947, only one film of 1947 (Mulaqat-47) features in this book. As far as my information goes, films like Abida, Dard, Ek Roz, Elaan, Gul e Bakavli, Hatimtai, Kasam and Mirza Sahiban, all made in 1947, were also with Muslim culture background. These films do not feature in this book. One reason could be that due to Partition-pre and post activities, most films, passed by Censors in 1947 could not be released in 1947 itself for obvious reasons. Obviously, there were no reviews, articles or comments etc on these films in the newspapers. All these films got released in 1948 and thus are not included in this book. Of course, this is my surmise, based on facts.

I know for sure that the most famous and daring Muslim culture film ” Elaan” was censored in 1947 on 11-3-1947 ( certificate no. 35351) but was actually released only on 20-2-1948 in Super Cinema, Bombay. I thank Harish Raghuwanshi ji to confirm my surmise by facts, within lightning time, after my query today itself.

In any case, the book is not without errors. No book is without errors-in this subject- including my own book also. This is because, history and facts get updated every now and then, with newer evidence coming to light through many sources.

Film Arab ka sitara-46 was directed by Nanubhai Vakil. He was the fittest person for such type of B and C grade costume dramas- in which he specialised. It is no surprise that in his 20 Silent and 70 Talkie films just ONE film was a social film-Kya yeh Bambai hai-1959.

Nanubhai Vakil was born in Valsad in Gujarat in the year 1904. In his family there were many Advocates including his father,so their family name itself became Vakil, instead of their original surname Desai. Nanubhai came to Bombay to study Law. He completed his B.A. LL.B from Wilson College, Bombay but he did not join his family profession. Instead he was attracted towards the film world.

He joined Sharada films as a screenplay writer and later joined Ranjit films as a Director. He directed 18 silent films for Ranjit studios. However, it was Sagar Movietone which gave him the first opportunity to direct his first Talkie film. It was the First Gujarati Talkie film, “Narsimh Mehto” in 1932. After this there was no looking back. He opted for and became an expert in directing only Fantasy,Stunt and Costume films.

In his career from 1929 to 1973 period,he directed 20 silent and 70 Talkie films -all stunt and fantasy films, except one social film Kya yeh Bambai hai in 1959.

He was associated with Mohan pictures for a long time and directed 18 films for this company. During this period he also married his Heroine Sarojini ( real name Roshan Jehan alias Ranee). They had one daughter-AZRA, who too became an actress. Sarojini was actress Indurani’s elder sister.

Unlike most of his colleagues ,who had no formal school education ,Mr Vakil was highly educated ,being B.A.L.L.B. in those days.Since beginning,he was attracted to Fantasy & Arabian Night movies.He believed that,the audience visits the cinema hall, to experience some thing,which he has not seen in his real life. He wants to be entertained & to forget the harsh realities of the outer world. Fantasy/ Costume movies transports him to an imaginary world of King & Queens, where beside the crafty Vazir, he finds gorgeous girls dancing, the handsome,manly & brave hero,rescues the pretty damsel from the clutches of evil magician. The movie comes to an end and the viewers come out from the theater,happy & satisfied, since evil doers have been eliminated & brave man living happily with the petite gal, in their fairy land.

Bulbul E Bagh,Rashk E Laila, Fakhr E Islam, Gulshan E Alam, Kumud Kumari were his earlier movies. In 50s & 60s,few of his movies were,Shan E Hatim, Khul Ja Sim Sim, ShanE Khuda, Idd Ka Chand, Noor Mahal, Flying Rani, Alam Ara Ki Beti, Bansri Bala, Hatim Tai Ka Beta etc.He made remakes of many movies like Lal E Yaman, Alam Ara (Twice in 1956 & !973) & Hatim Tai Ki Beti in 1940 & 1955.During his five decades long career,he made movies with in a small budget ,with less paid actors. Nanu Bhai Vakil had two productions Companies viz Desai Films & Vakil Production. All his movies had no connect with the present. Elite & pseudo intellectuals avoided to even discuss his movies, but Vakil Sahab had a dedicated audience consisting of common public,less privileged & so called front benchers,who enjoyed his brand of cinema.

His films included less known stars like Sarojini, Navin chandra, Rafiq, Prakash, Gulnar, Daljit, Chitra etc. He also worked with Zubeida, Yakub, Jal Merchant,Jaddanbai,Shanta Hublikar, Nimmi, Veena, Jairaj, Shakila,Nirupa Roy, Nadira, Mehmood, Shobhana Samarth, Nirmala,her husband Arun Ahuja etc. His MDs were also little known. However, Music Director A.R.Qureshi ( the famous Tabla Nawaz Alla Rakha-father of Zakir Hussain) gave music to his 18 films.
He never mixed with film folks and spent his life aloof. He quietly died on 29-12-1980 at Bombay.

The story of film Arab ka Sitara-46 ( as given in the book) was…….

Anwar is a devout Muslim following 5 times Namaz, without fail. From a common soldier, he becomes Commander in Chief and then the king of his state. He is advised by his Vazier to go to neighbouring country to spread Islam. Accordingly, Anwar reaches that kingdom. Here he falls in love with the Princess Arifa. In his love she converts to Islam. When the king comes to know this, he arrests Arifa and Anwar. When Anwar is tortured for days, he exhibits his immense faith on Islam and The Allah. The king is impressed and he too coverts to Islam. Arifa and Anwar are married. Anwar forgets his 5 times Namaz in his joy and is punished immediately.

The Prime Minister rebels and with an army to support him, arrests Anwar, Arifa and the King. In the jail, Anwar starts his 5 times Namaz. A good hearted Namazi frees them. Anwar realises his mistakes and all of them strictly follow 5 times Namaz. All obstacles are removed, the rebels run away from the kingdom. The King is reinstated and all the kingdom is converted to Islam, thus Anwar proves the power of Namaz.

The cast of the film was Amirbai Karnataki, Prakash, Cuckoo, Rafiq, Ansari, Agha Shapoor etc etc. The song is sung by Rafi and Amirbai Karnataki with gusto and it had become quite popular among the Muslims in that period.


Song-Macha di dhoom duniya mein Islaam ke deewanon ne (Arab Ka Sitaara)(1946) Singer-Rafi, Lyrics-Shewan Rizvi, MD-S Qureshy
Rafi + Amirbai Karnataki

Lyrics

Macha di dhoom duniya mein
Macha di dhoom duniya mein
islaam ke deewaanon ne
Macha di dhoom duniya mein
islaam ke deewaanon ne
Macha di dhoom duniya mein

haan aan aan aan
mita ke kufr ki hasti
ee ee ee ee ee
basa ke ae
jalwon ki basti
ee ee ee
haan aan aan aan
mita ke kufr ki hasti
ee ee
basa ke ae
jalwon ki basti
ee ee ee ee ee ee
jala di noor ki shama
jala di noor ki shama
tauheed ke parwaanon ne
jala di noor ki shama
tauheed ke parwaanon ne
Macha di dhoom duniya mein
islaam ke deewaano ne
Macha di dhoom duniya mein

haan aan aan aan
jhanda ye sabz rang ka
aa aa aa aa
bajta hai jiska danka
aa aa aa
jhanda ye sabz rang ka
bajta hai jiska danka
aawaaz sun ke jiski
dhun sabko laagi rab ki
aawaaz sunke jiski
dhun sabko laagi rab ki
aawaaz sunke jiski
dhun sabko laagi rab ki
padha kalma Muhammad ka
padha kalma Muhammad ka
insaanon ne be-deenon ne
padha kalma Muhammad ka
insaanon ne be-deenon ne
macha di dhoom duniya mein
islaam ke deewaanon ne
macha di dhoom duniya mein

haan aan aan aan aan
zameen pe jab hua gul
la ilaaha il lallah
sitaaron se jawaab aaya
Muhammad ya rasool allah
kya
macha di dhoom duniya mein
macha di dhoom duniya mein
islaam ke deewaanon ne
islaam ke deewaanon ne
islaam ke deewaanon ne
macha di dhoom duniya mein
islaam ke deewaanon ne
macha di dhoom duniya mein


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 :

3861 Post No. : 14876 Movie Count :

4067

Today’s song is from film Toofan Queen-46. From the title itself, it is clear that this was a C grade Action/Stunt film. This is confirmed once you see its cast comprising of Fearless Nadia, Prakash, Shanta Patel, Anant Prabhu, Shyamsunder, Agha Shapur, Vijay Kumar and Motor cycle ” Champion”.

In Nadia’s films, not only the human characters had names but even her animal helpers and Auto machines had special names. As long as she was in Wadia Movietone, till 1942, she had Punjab ka beta (Horse), Gunboat (Dog), and Austin ki beti ( a jalopy). After she joined Homi Wadia’s Basant Pictures, she had Rajpoot (Horse), Moti (Dog) and Austin ki bachhi (a jalopy). In addition, whenever required, she used a Motor cycle called ” Champion” !

Stunt films was one of my favourite Genres in my younger days. Now of course, this genre does not exist anymore. The action and stunt part of the film is entrusted to the Special effects Team- deleting the need of stunt actors. The Hero of the film himself does most of the stunts and fighting, even in a social film, so the stuntmen and fighters have hardly any job now to justify a complete Stunt film. Actually the line between social and action, social and musical and social, comedy, horror, historical and stunt film is no more visible !

From the days of silent films till about the middle of the 50s, stunt type of films were being made. In early cinema, Shankar rao Vazre, Ganpat Bakre, Yeshwant Dave and Master Vithal were the popular ” Maar peet” film Heroes. Later on, Fearless Nadia took over the reigns and the Genre concluded with films made by Bhagwan dada.

Music in stunt films had insignificant value or importance, so there were no specialised composers in this field. Since stunt films were made generally on shoe-string budgets, any composer, who settles for minimum fees would be selected. Therefore one would see strange unknown composers like Dilip Chand Vedi, Master Dinkar, Brijlal, Mushtaq Ahmed, Sunder das, Master Mohammed, Mohd. Hussain, M.Chhaila, Ram Hira,H.R.Bhalla, Master manzoor, Motilal, G.A.Khan, Amir hussain Khan, Kanhaiya Pawar, Vinod Ganguli, S.N.Manjrekar, Kikubhai Yagnik, Abdul karim khan etc etc.

Some of the composers, who made a name later on in film industry, actually started their careers from stunt, action and Mythological films . One such prominent name was that of CHITRAGUPTA ( SHRIVASTAV ), who gave music to film Toofan Queen-46, our today’s film.

Chitragupta Shrivastav (16-11-1917 to 14-1-1991) was born, brought up and educated in Bihar. He was perhaps the most educated composer of his times. He had done M.A. in Economics from Patna University and also taught for few years. He came to Bombay in 1945 and having learnt classical music wanted to become a composer. He started as an assistant to S N Tripathi. His first break came in 1946 with ” Lady Robin hood”. Initially he got only stunt and devotional films to do. In 1955, Dada Burman recommended him to AVM for “Shiv Bhakta “. This was a landmark film for Chitragupta, because he used Lata for the First time. Later Lata and Chitragupta had very good relations,till the end.

Actually Chitragupta should be counted as No 1 composer who gave very melodious songs to Lata, but this is forgotten, because like Madan Mohan, Roshan,S-J, C.Ramchandra or S D Burman, he never got big banner films ( at least not very often), which became a reason to discuss only their Lata songs frequently. Chitragupta always got mostly B and C grade films,which were not famous,but he was in no way less capable of composing good tunes for Lata.

Chitragupta was a very homely family man with a middle class mentality. He had a fun group comprising of Lata, Usha, Meena, Dilip Dholakiya, Prem Dhawan and Chitragupta. They used to have lot of fun at the home of Chitragupta. Lata liked their food very much. Chitragupta Shrivastav was a Kayastha ( ” Lalaji ” as they are called in Bihar ) and their Non veg food was excellent.

In the late 80s, I came in personal contact with Chitragupta,when my close friend’s daughter married his elder son. When Chitragupta learned that I liked ” Sattu ki poori ” very much, he called me to his house and we ate Sattu Puris and Alloo Sabji, to our heart’s content !

His house in Prabhat building on Khar Road,Bombay had a Music room on the ground floor,where he composed his most tunes during 1959 to 1990. During the early 60s upto 65,he was so busy with work that-according to his son Anand- at one time 4 Lyricists were writing Lyrics in his home,Anand Bakshi in Garden,Majrooh in a room,Rajendra krishna in the Music room and Prem Dhawan under a palm tree and Chitragupta used to visit one by one to see their progress !!

Chitragupta was such a simple person that when S-J demanded 5 Lakhs per film,he hesitated to ask for 50000 !

He remained a typical Gentleman till the end. He was expert in using Bihari folk tunes in his songs. He became the First MD of the First Bhojpuri film ” Ganga maiyya tori piyri chadhaibo’-1962. His main singers remained Lata, Rafi and Mukesh.

As far as singing songs is concerned, it was his hobby. He must have sung about 30 odd songs in 16 films in his career. Most songs were for S N Tripathi,who was his Guru in film Music. He gave music to 149 films, composing 1036 songs. His last film was Shivganga-1989.

Film Toofan Queen-46 was a stunt film, featuring Fearless Nadia, prakash etc etc. A lot has been written on Nadia here and on the Internet. I too have written about Nadia, especially, how I was able to meet her in Bombay during early 80s, in one of my earlier articles. So, today we will know more about the Hero Prakash.

The real name of actor Prakash was Hashmat Ullah Khan. He was born in 1914 at Gwalior, where his father was a businessman.The family was originally a Punjabi Muslim. Hashmat studied somehow upto Inter arts and left the college. He was an overactive child , interested in acting in films. Hashmat ran away to Bombay and worked in Sagar Movietone. He got a small uncredited role in film Village Girl-1936. Not satisfied with this, he travelled to Calcutta.

In Calcutta, Hashmat worked in 3 films-Taqdeer ka teer aka Premlakshya-36,Hawai Daku aka Bandit of the Air-36 ( this was the first film of K N Singh as a Hero. Mazhar Khan was the villain here) and Dangerous woman aka Khatarnak Aurat-38. He also got a miniscule role in New Theatre’s film Abhagin-38. Not getting what he aspired, Hashmat shifted to Delhi and worked in A.I.R. as a singer. True to his nature within two years he left this job and landed in Bombay again.

It is reported that he was very arrogant, untrustworthy and a cheat of first rate. It seems he was quarrelsome, a liar and short tempered. His experiences,perhaps, taught him a lesson and he decided to change himself and concentrate on work seriously. This did good to him in his life. In Bombay first he worked in Garib ki ladki-40, but the film got delayed and was released in 41 only. Meanwhile he did Rani saheba-40 and Pyar-40 also. This time his career took a good turn. Till film Garib ki ladki-40, he used his name Hashmat for credits, but then he took a new name Prakash thereafter till the end.

A changed actor Prakash became acceptable to the industry and films were on his way. In all Prakash did 5 films as Hashmat and 38 films as Prakash. However, he got only action, stunt and C grade films. Once director W Z Ahmed met him and Prakash went to Shalimar Pictures Poona to do 3 films for them, namely Ek Raat-42, Prem Sangeet-43 and Mann ki Jeet-44. He was also a favourite of Master Bhagwan and appeared in many of his stunt films. The year 1946 proved to be the best year for Prakash, because he did 14 films in 1946.

After Partition he migrated to Pakistan and did few films there. He came back to India and did 3 films in the 60s. His last film was Suhag Raat -68. There is no information about him after that. May be he went back to Pakistan or died, we do not know.

Now enjoy today’s song. It is very melodious. I consider Chitragupta as the King of melodious songs. His song is always a guarantee of melody, a good tune and suitable musical accompaniment. Too sad, he was not recognised for his abilities by the industry and he always remained in the ‘B’ team of composers. Nevertheless, one should learn from him, how to be happy and contented with whatever one gets from Destiny !


Song-Tan pinjre mein mann ka panchhi chahak chak kar boley (Toofaan Queen)(1946) Singer- Raajkumari Dubey, Lyrics- Shyam Hindi, MD- Chitragupta

Lyrics

Tan pinjre mein mann ka panchhi
chahak chahak kar boley
jiyara doley
doley
tan pinjre mein mann ka panchhi
chahak chahak kar bole
jiyara doley
doley

chhup ke dwaar
umangon ke koi
dheere dheere kholey
jiyara doley
doley
chhup ke dwaar
umangon ke koi
dheere dheere kholey
jiyara doley
doley

jinse naina lage hamaare
bade raseele bhole bhaale
jinse naina lage hamaare
bade raseele bhole bhaale
jinki soorat basi jiya mein
wo sapnon mein aane waale
jinki soorat basi jiya mein
wo sapnon mein aane waale
jinki ?? jhoom jhoom main
paaon ke ?? khole
jiyara doley
doley
tan pinjre mein mann ka panchhi
chahak chahak kar bole
jiyara doley
doley

jo mere man ke aangan mein
kehte hain nit prem kahaani
jo mere man ke aangan mein
kehte hain nit prem kahaani
wo hain mere man ke raaja
main bani unki deewaani
wo hain mere man ke raaja
main bani unki deewaani
madhur madhur jinki baani
kaanon mein amrit ghole
jiyara doley
doley
tan pinjre mein mann ka panchhi
chahak chahak kar bole
jiyara doley
doley


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 : 3838 Post No. : 14847

Today’s song is from a Mythological film Dev Kanya-46. The film was made by Vishnu Cinetone and was directed by its owner Dhirubhai Desai. Though there were 3 Lyricists, HFGK does not credit any song to any Lyricist. The melodious songs were composed by my favourite-or one of the favourites- MD Shyam Sundar (Gabba).

When I was a child, I was very fond of seeing Religious and Mythological movies. This was not because I was very religious minded, but because I liked the Trick scenes in these films. When I grew a little older, I was appointed the House Escort to a group of old relatives and women of the family whenever they wanted to see a movie- which was reasonably frequent. I would happily lead them as I too could see the film.

At that time I liked lilting, melodious songs, but not songs based on classical ragas. The reasons were, one- I never understood why the classical singers repeated one line several times and two- such singers’ names were obscure to me. It was only when I grew up as a young man ( sigh! That was a real long time ago ! ) I realised how classical music was India’s Heritage and in film songs they were made short and sweet too.

India has produced many Classical singers of repute. There are various Gharanas( styles) of Music and each had famous singers who created equally capable Shishyas (disciples) to maintain Gharana’s individuality. Before the advent of Talkie films and the spread of Film music, the classical music ruled the entertainment field. Many kings,Maharajas and Nawabs were the connoisseurs and patrons of classical music and supported this by appointing Raj Gayaks or Darbar Gayaks..

Over a period, Kings and Nawabs disappeared and Film music became popular with the common people. There was an unwritten dividing line between classical and Filmy music.Normally,no cross-overs were taking place, unless situations compelled. However, post Independence and the end of Royal patronage, classical music was relegated to background and only genuine lovers followed it. No wonder, the lure of lucrative film music attracted even the staunch classical maestros and we had many classical music experts-both Vocal and Instrumental, do a stint with the Film world.

Great Vocalists like M S Subbulaxmi, D V Paluskar, Bade Ghulam Ali Khan, Amir Khan, Bhimsen Joshi, Hirabai Badodekar, Manik Verma, Saraswati Rane, Shobha Gurtu etc, as well as Internationally famous classical Instrumentalists like Pt. Ravi Shankar, Bismilla Khan, Ali Akbar Khan, A R Qureshi etc made their Debuts in Hindi Film Music.Their participation enriched the HFM considerably. However, there were some staunch classical vocalists like Gangubai Hangal, Mogubai Krdikar, Kesarbai Kerkar etc, who, I believe, kept themselves away from films, though later on, their disciples did few film assignments.
I am not a classical music expert but from what I have read and understood, this was the situation. More knowledgeable readers can add their views as comments.

Today’s song is also sung by a classical singer who happens to be my favourite one- the great Saraswati Mane / Rane, under the baton of another great musician, Shyam Sundar. In the 40s and the 50s, the scions of Mane family, namely Sureshbabu Mane, Hirabai Badodekar and Sarswati Rane gave their contribution to the Hindi film music as well as Marathi Natyageet, Bhavgeet and cinema music.

Smt. Saraswati Mane/Rane alias Sakina [Chhotutai] was born in Miraj (4th October 1916). Sakina was the youngest daughter of the legendary maestro of the Kirana gharana, Ustad Abdul Karim Khan Sahib and Smt. Tarabai Mane. After separating from Karim Khan, Tarabai renamed all her children and Sakina became Kumari Saraswati Mane. The surname “Mane” was derived from her mother’s surname.Thus, Abdul Rehman became Sureshbabu mane, Krishna became Krishnarao Mane, Champakali became Hirabai Badodekar,Gulab became Kamalabai Badodekar. Krishnarao and Kamalabai were not singers. They only acted in films.

Saraswati was initiated into music by her illustrious brother Sureshbabu Mane. After about 1930, she also learnt from from her sister Smt. Hirabai Barodekar, Ustad Nathan Khan(1889-1946) of the Jaipur gharana and Prof. B. R. Deodhar of the Gwalior gharana.Working on stage in her mother’s ‘Nutan Sangeet Natak Mandali’, with luminaries like Bal Gandharva, Master Krishnarao, Vinayakbuwa Patwardhan, Sawai Gandharva and also stage drama singingThusThus like ‘Soubhadra’, ‘Sanchaya Kollol’ and ‘Ekacha Pyala’ brought her fame. Between 1929 and 1933 she cut several discs with the ‘Odeon’ label under the name of Kumari Saraswati Mane, rendering Hindi Bhajans and Marathi Bhavgeet.

In the meantime, she married Mr. Sunderrao Rane. In the early 1940’s, she made recordings as a playback singer for movies such as ‘Paisa Bolto Aahe’ (Marathi, 1943). She also acted in a Marathi film ‘Savitri’, and later took to playback singing for Marathi and Hindi films. She provided playback to over 50 films. She sang in almost all the films produced by Acharya P. K. Atre. Her song ‘Beena madhur madhur vacha bol’ in raga Bhimpalas from the Hindi/Marathi film ‘Ram Rajya’ (Prakash Films) was most popular. Her songs were heard all over North India. Younger listeners will probably remember her rendering Raga Shudh Kalyan with her grand daughter Shrimati Meena Faterpekar in the film ‘Bhumika’, directed by the renowned director Shyam Benegal.

Saraswati Rane cut over 200 songs on 78 rpm discs consisting of classical, light classical and film songs. She was probably one of the pioneering female playback singers of the Hindi film industry.

However, in order to concentrate on the performance of Hindustani classical music, at one point in time she virtually stopped accepting offers for playback singing. By then, she was a regular performer for All India Radio, and had also made several gramophone records with ‘Odeon’, ‘His Master’s Voice’, ‘Columbia’, and ‘Young India’ records, apart from her countrywide concert tours. Her renderings of Ragas Chandrakauns, Basant Bahar, Yaman and the immortal Marathi numbers ‘Ghanashyam Nayani Aalaa’, ‘Jaa Ghevuni Sandesh Pakhara’, the duets with her sister Hirabai Barodekar remain ever-popular. She also had the honour of singing the Maharashtra Geet on the very first Maharashtra Day, the 1st of May, along with her sister. She has also recorded a LP record of duet with her sister Heerabai Barodekar in 1960. She received several awards including the prestigious ITC Award 2006, presented at the ITC Sangeet Sammelan in Delhi.

She was very active in music circles and used to attend music programs and functions. She attended the Hirabai Barodekar birth centenary program at Sharada Sangeet Vidyalaya, Bandra in May 2006. She participated in this function and sang raga Todi. Smt. Saraswatibai Rane, the last living member of Ustad Abdul Karim Khan’s family passed away at Pune on Tuesday October 10, 2006.

If you see the cast of this film, you will see name of Leela Desai, Leela Chitnis, Ulhas, Wasti, Indira, Jillobai, Samson etc. Having two Leelas in one film was a coincidence, but having artistes of same name is a big problem for students of Hindi Film History. There were several Leelas operating at the same time in Hindi films, like Leela Desai, Miss Leela (Chandragiri/Pendharkar), Leela Gupte ( stunt film specialist), and Leela Mishra ( the eternal Leela mausi).

Leela Desai was the daughter of Dr. Umedbhai Desai-a Gujarati and his second wife Satyabala Devi- a Bengali from Bihar, who was a prominent singer of the 1930s. She was born in America, where her parents had gone for a 3 year trip. She grew up in India. She learnt dancing from Amla Devi-who married Uday shanker, Lachhu Maharaj and Sohan lal. She also learnt music in Morris College , Lucknow. Actress kamala Kumari of New Theatres had also learnt from here. In one of her stage performances in Lucknow, NT’s Director Hem Chander saw her and invited her to Calcutta for working in films.

She worked in the film President-37 as sister of Kamlesh Kumari,opposite Saigal. It was followed by Vidyapati-37, Dushman-38, Kapal Kundala-39 and Nartaki-40. She also did Adarsh Mahila-37 with Ideal Film company. Chimanlal Trivedi brought her to Bombay to act opposite Jairaj in film Tamanna-42. She acted in 5 films of Chimanlal Trivedi. After Tamanna, LeelaDesai acted in films like Sharafat-43, Paraya Dhan-43, Nagad Narayan-43, Inkaar-43, Mujrim-44, Miss Devi-44, Kaliyan-44, Meghdoot-45,Maharani Minal Devi-46, Magadhraj-46,Kamla-46, Dev kanya-46, Soorat-47 and last film Geet Govind-47.

She acted opposite leading actors like K L Saigal, Najmul Hasan, Jairaj, Pahadi Sanyal, Surendra, Chandra Mohan, Khalil, Baburao pendharkar etc etc. She worked under top directors like Debki Bose, Nitin Bose, kidar Sharma, Phani mujumdar and others. her sisters Monica Desai ( who married Phani Mujumdar) and Ramola were also in films. In a span of just 10 years, Leela Desai acted in 21 films and then left films. She settled in Darjeeling with her mother. Baburao Patel said this about Leela Desai….

“What shall be said of Leela Desai, who acted the part of the President’s sister, the mischievous school-girl, and who always took the active part in the love-making between her and Prakash Babu (Saigal)? I cannot find a single fault with her acting. She played up to Saigal splendidly. Even her eyes were most expressive. What naughtiness was in them? As a shameless hussy she could give points to any of your Hollywood actresses–and win. In the love-duet between her and Saigal it was she who always led. She was the personification of Mr. Bernerd Shaw’s pet notion that, in this eternal amorous game, it is the woman who leads the man on and not, as is commonly supposed, the other way about. From the moment she jumped down her school garden-wall and almost fell plump into the arms of Prakash Babu, who was sitting below chewing the end of his reflections anent his dismissal from his job, she never, in a manner of speaking, left him to himself. She would bring down the house with her: “Uske bad kya hua, Prakash Babu?” The poor man had to dance to her measure ever afterwards. When she found herself with him alone she gave us the impression of having fed on honey-dew and on the milk of paradise. Then, in addition to her sparkling dialogue and supremely ‘alive’ acting, she was gorgeous in her dancing performance. Her whole face was a mirror in which her thoughts were reflected. She was an imp of mischief from commencement to conclusion.”

As the time passes by, New becomes old and the old becomes older. New Generations do not know much about old films, actors etc. Actually Old Film is a relative term. A Teenager thinks, films of 70s and 80s are old stuff, Middle agers feel that films of 50 and 60s are old films and the old people feel old films means films of the 30s and 40s. For older generations, the old times are still fresh in their minds. Articles on old films and old actors revive their memories and they feel Nostalgic. Not everything that they enjoyed can be revived, but my attempts are to bring to light information about forgotten artistes of the bygone era, old time films and the people connected with them.

As time flows, Heroes become character artistes and then they fade out. There are hundreds of old time actors about whom absolutely no information is available. Intense search sometimes yields some results and one feels at peace with whatever is available. One such actor is Ulhas. For many years nothing was known about him except names of his films from HFGK. Over a period a little more about him came to light. Now we know that his real name was M.N.Kaul and that he was a Kashmiri Pandit. He worked in 155 films. Recently I found the following note on Ulhas in ‘ Chinar Shade’ Blog..

He was known as ULHAAS and his real name was M N Kaul.He belonged to a kashmiri Pandit family from Ajmer. As a young boy, he moved to Poona in 1937 and joined Prabhat Pictures as an actor. His first movie as an actor was ” Wahan “.He worked with stalwarts like A R Kardar and Sohrab Modi.

Chander Mohan Wattal , another actor of 1930s and 1940s helped him a lot to settle in films .In fact he intervened and requested V Shantaram for his role in “WAHAN”. Ulhaas remained loyal to Chander Mohan wattal for this favour till later’s death in 1949.

When Bombay Talkies decided to start their New film BASANT, Ulhaas and Mumtaz Shanti were signed as lead pair.Again in the movie PARBAT pE APNAA DERA , he was signed as hero.

Thereafter , he started doing charactet roles. He played memorable character roles in GUIDE , AMAR, AADMI, ,SHAMA PARVANA, SEHRA, ZIDDI, GOONJ UTHI SHEHNAAYI, RANI ROOPMATI, DAKKA KI MALMAL, SAMRAAT PRITHVI RAJ CHAUHAN, KUNDAN, HEER.MIRZA GHALIB ,JHANSI KI RAANI , NAI UMAR KI NAI FASAL,SANGARSH , PREM PUJAARI, BADI DEEDI, DO AANKHEIN BAARAH HAATH, AMAR AND JOHAR MEHMOOD IN GOA .

In his 38 years of career, he acted in many hit movies. His last movie was Sawaal (1982).

The story of film Dev kanya-46 is…….

Beautiful Madalasa is the daughter of gandharvaraj of Gandharva Lok. Once she comes to Earth to enjoy its beauty. She meets Kumar Ritudhwaja, son of Samrat Shatrujit. They fall in love. Meanwhile the king of Pataal lok, Pataal Ketu sees her and abducts her to his Lok. Ritudhwaj comes to know this and goes to rescue her. In a battle ,he kills Pataal Ketu and marries Madalsa, with Narad Muni’s help. But the slain head of Pataal Ketu goes to his brother Taal Ketu and asks him to take revenge. Now Taal ketu abducts Madalasa. Kumar Ritudhwaja fights with him and kills him too. All is well now.

Let us now listen to the song by Saraswati Rane. Her song in film Ramrajya-43, Shobha-42 and Sargam-50 are my favourites. She sang only 26 film songs in 11 films.


Song-Main preetam ke gun gaaun (Dev Kanya)(1946) Singer-Saraswati Rane, MD-Shyam Sundar

Lyrics

Main preetam ke
main preetam ke
main preetam ke gun gaaun re
main preetam ke gun gaaun
pyaase ?? ki in ankhiyan ke
pyaase ?? ki in ankhiyan ke
nahin kabhi bhi jaati
nahin kabhi bhi jaati
khil khil badhti hi jaati hai
khil khil badhti hi jaati hai
jyon jyon darshan paati
jyon jyon darshan paati
maala japoon main naam ki unke ae ae
maala japoon main naam ki unke
charanan pe bali jaaun re
main charanan pe bali jaaun re
main preetam ke gun gaaun re
main preetam ke gun gaaun

unke hansne se khil jaati
jeewan ki phulwaadi
unke hansne se khil jaati
jeewan ki phulwaadi
unke charan kamal ki pooja se
unke charan kamal ki pooja se
pooja se hai mukti hamaari
man mandir ke devta
?? devta
aa aaa
sada unhin ko rijhaaun re
main sada unhin ko rijhaaun re
main preetam ke gun gaaun re
main preetam ke gun gaaun re
main


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 : 3830 Post No. : 14836

“Safar”(1946) was directed by B Mitra for Filmistan Limited, Bombay. This “social” movie had Shobha, Kanu Roy, V H Desai, S L Puri, Rajendra, Chandrika, Harun, Mumtaz Banu, Satyanarayan etc in it.

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

Today is the 101st birth anniversary of C Ramchandra (12 january 1918- 5 January 1982)
Here is the eighth song from “Safar”(1946) to appear in the blog. This song is sung by Shamshad Begam and C Ramchandra. Gopal Singh Nepali is the lyricist. Music is composed by C Ramchandra.

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

I have not been able to get a few words righ in the lyrics of the song. I request our readers with keener ears tohelp fill in the blanks/ suggest corrections as applicable.


Song-Kabhi chupke se ratiyaa mein aaiho raaja jee (Safar)(1946) Singers- Shamshad Begam, C Ramchandra, Lyrics-G S Nepali, MD- C Ramchandra

kabhi chupke se aaiho
kabhi chupke se aaiho
kabhi chupke se ratiyaa mein aaiho raaja jee
kabhi chupke se ratiyaa mein aaiho raaja jee
aaiho raaja jee
phir na jaiho raaja jee
aaiho raaja jee
phir na jaiho raaja jee
kabhi chupke se ratiyaa mein aaiho raaja jee

baadal aayen ghir ghir jaayen
wo din mein bijli kadkaayen
baadal aayen ghir ghir jaayen
wo din mein bijli kadkaayen
raaja mere mauj udaayen
ham to ro ro bain ganwaayen
din bhar na chain paayen
aise kab tak karejwa dukhaiho raaja jee
aise kab tak karejwa dukhaiho raaja jee

oonchi ataari meri
sooni phulwaari meri
duniya hai nyaari meri
aaja ?? teri
raaja kariyo na deri
oonchi ataari meri
sooni phulwaari meri
duniya hai nyaari meri
aaja ?? teri
raaja kariyo na deri
aaiho aaiho
?? raaja jee
aaiho aaiho
?? raaja jee

chaandni raat mein
sirhaane chaand ho

chaandni raat mein
sirhaane chaand ho
phoolon ki sej pe
tu mere saathh ho
galey mein haathh ho
aankhon aankhon mein baat ho

zara dheere se batti bujhaiho raaja jee
zara dheere se batti bujhaiho raaja jee


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

Blog Day : 3786 Post No. : 14770

Today’s song is from the film Safar-1946. This was a film made by Filmistan, directed by a comparatively new person-Bibhuti Mitra. The lyricist was G S Nepali and composer was C.Ramchandra.

This was C Ramchandra’s first film after joining Filmistan. His friend, Kavi Pradeep, who was close to S Mukherjee of Filmistan, had brought C Ramchandra to this company. Now it was imperative for C Ramchandra to make his first film a musical hit, to establish himself, impress the owners and earn respect.

The working conditions at Filmistan were much better than what they were at Jayant Desai’s company, C Ramchandra’s earlier job. This was because, here all the people-atleast the most important ones- were from Bombay Talkies and Discipline and commitment were built into their work pattern. The planning was good and good facilities were provided to its workers.

The cast of film Safar-46 was Shobha, Kanu Roy, V.H.Desai, Haroon, Chandrika, Mumtaj Banu etc etc.

When I talk about film Safar-46, I invariably remember the film ” Maine Pyar kiya”-89. There are many similarities in both films.

First, both films were made by Big banners like Filmistan (Safar-46) and Rajashri (Maine Pyar Kiya-89).

Secondly, the lead pair in both films were unknown and New comers. It was just the second film of Salman Khan-his First film as a Hero. His Heroine Bhagyashree (Patwardhan) was making her Debut with the film Maine Pyar kiya-89. In Safar-46, the Heroine Shobha was totally unknown and she was making her a Debut as a Heroine here. For Kanu Roy, this was the first film as a Hero.

The name Kanu Roy is generally confused with composer Kanu Roy. Actor Kanu Roy was a different person.

Kanu Roy (the Actor) was in reality a name for Nalini Ranjan Roy, born on 9-12-1912 at Jabalpore. He was very fond of acting and so landed at Bombay Talkies, a company started by two Benagalees- Himanshu Roy and Devika Rani. Those days many people from Bengal used to come to Bombay Talkies, but only the capable ones like Amiya Chakravarty, Shashadhar Mukherjee or Ashok Kumar etc could make their careers here.

Kanu Roy started his acting career from the film Basant-1942. His name Nalini was sounding like a Girl’s name in Bombay ( there were already half a dozen Nalinis working in films those days), so it was changed and he opted for Kanu, his pet name in the house. Thus Kanu Roy came into films. Due to his good looks, he even became a lead actor in a few films. Nazrana-46 (UR) was one such film where he was working opposite Kamini Kaushal.

Kanu Roy worked in about 40 odd films from 1942 to 1983 ( Kisi se naa kehna). Kanu Roy also left Bombay Talkies along with S.Mukherjee and others and joined Filmistan. He was in many Filmistan films like, Munim ji, Nastik, Naagin, Jagriti etc. He acted in a Bangla film ‘Samar’ too in 1950.

Kanu Roy (the Composer) gave music to very few films like Uski Kahaani-66, Anubhav-71, Avishkar-74, Tumhara Kallu-76, Grih pravesh-79, Mayuri-81 and Shyamla-79 which was re-censored in 1981 as Woh phir naa aayee. Some people and sites describe him as Geeta Dutt’s brother, but he was not her brother. Her brother was Mukul Roy. Kanu Roy, the composer died in Bombay on 20-12-1981.

Thirdly, the Director of Maine Pyar Kiya, Sooraj Barjatya was making his Debut with this film. ( Later on he made Hits like, Hum apke hai kaun and Hum saath saath hai etc.). For film Safar-46, the Director was Bibhuti Mitra-an import from Calcutta.

It was just his second film. His first film ‘ Angoothi’-43 was a resounding Flop. Actually Ashok Kumar was its Hero and when Angoothi was released Ashok’s film Kismet was making records all over India. Film Angoothi ran only for 3 days and it was then withdrawn from theatres. Normally, in Film Industry, an unsuccessful Director is not touched even with a barge pole, but S. Mukherjee selected him as a Director. ( C Ramchandra has written in his autobiography that this Bibhuti Mitra had a nasty habit of interfering in Music Director’s work, which irritated him. He tolerated him, because this was C Ramchandra’s first film in Filmistan. Anyway, after this film was done, Mitra went back to Calcutta….only to come back again to Filmistan to direct Shabistan-51, for which C Ramchandra was the Music Director. This time, C Ramchandra was ready. When Mitra started his interference, C Ramchandra not only left the film halfway, but also left Filmistan.)

Lastly, the Music Director for Maine Pyar kiya-89 was Ram-Laxman, hardly a known name at all. For Safar-46, C Ramchandra was selected. He had done 10 C grade films and just 5 social films till then and his name had not yet become famous. In spite of this, S.Mukherjee took the risk and trusted his talent, which he had judged correctly. S.Mukherjee was known to judge person’s capabilities accurately. In only one case- that of Lata- he went flat wrong.

Despite the Actors, MDs, Director and the lead pair being either Unknown, making a Debut or less known, both the films became Hits- only because of Music. Both Music Directors, C Ramchandra as well as Ram-Laxman became famous overnight and this became virtually the starting point of their ascent to the Top of HFM. What happened first with Safar-46 repeated itself after 43 years in the success of Maine Pyar Kiya-89 !!!

Besides this similarity, I feel the story of Safar was inspired by a Hollywood film of the year 1934- ‘It happened one night’. Directed by Frank Capra, the film had Clark Gable and Claudette Colbert in the lead. This film had become popular wherever English films were shown in the world. In turn, film Safar-46 inspired many films made in later years, in many languages. Two names come to the mind- Raj-Nargis film Chori Chori-56 and Amir Khan-Pooja Bhatt film ‘ Dil hai nki manata nahin’-1991. Of course in every such film some changes to suit the public taste were made.

Today’s song is sung by Naseem Akhtar. The history of Hindi Films and Music is replete with unsolved mysteries, disputes, misinformation, riddles and puzzles as well as half or wrong informations. Fortunately, there are few dedicated workers who constantly dig out correct information and few matters are thus straightened. Though delayed, at least the true information is available for the future workers.

There was the case of who actually sang the song Dilli se aaya bhai Tingu from film EK THI LADKI-1949. For almost 50-60 years it was believed that Honey O’Brion, who lip synched this song in the film had sung this song herself-though there was no history of her singing any songs anytime. And then the interview of singer Binota Chakraborty (nee Vinita Amladi ) was published in July 2007 issue of the Listeners’ Bulletin of Hamraz ji, and it was revealed that it was she who had actually sung this song !

Similarly, the name of MD Mohan Junior (Ajamil-48 and Dana pani-52) was treated as the cover-name of MD Madan Mohan. After about 60 years, it was proved that Mohan junior (Real name- Mohan kanoji Rajpoot) was a Gujarati composer and a different person-and NOT Madan Mohan. Even mMadhubala Jhaveri who sang for him also confirmed this in an answer to a Telephone call made to her.

It was commonly believed that the MD pair of “VASANT-RAMCHANDRA” ( Kalakar, Suhagan of 1954) was short forms of Vasant Desai and C Ramchandra. The myth of almost 65 years was busted when it was revealed that C Ramchandra himself had said, that it was not him, but they were Vasant Prabhu and Ramchandra Vadhavkar.

One more example is that of Child actor Shashi Kapoor. It was popularly believed that Shashi Kapoor (Deewar, Trishul, Dharmaputra fame) had acted as a child artist in about 25 films. This misinformation was cleared when the real child artist-Shashichand Kapoor gave an interview on Cineplot and Maitri Manthan, explaining that it was him who had acted in 21 films as child actor (Bhakta Prahlad-46 etc). Shashi Kapoor (Deewar wala) had actually done only 5 child roles-in Aag-48, Bhakta Bilwamangal-48, Patanga-49, Sangram-50 and Aawara-51.

In case of today’s singer-Naseem Akhtar also, the same thing is happening. It was popularly believed that Naseem Akhtar is the sister of Sardar Akhtar( wife of Mehboob Khan) and Bahar Akhtar( wife of A.R.Kardar),but it is NOT TRUE !

Both Sardar Akhtar-known as Daari and Bahar Akhtar-known as Bahaaro were tawayafs of Hiramandi Lahore. When A R Kardar eloped with Bahar Akhtar and married her, Sardar Akhtar registered a Police complaint of abduction. Kardar and his family were arrested and put in lock up. It was only after Bahar’s statement that she married Kardar on her own choice, they were released. Sardar Akhtar herself later married Mehboob Khan.

Naseem Akhtar’s father was a Sarangi player. They were originally from Kashmir. She was born in 1924. She started singing on Lahore Radio. Impressed with her singing style, composer Pt. Amarnath gave her a break in Nishani-1942. Till then she used to sing at rich persons functions and mehfils etc. after Nishani, she came to Bombay to sing for Khooni Laash-43. She never acted in any films. She sang in Bhai, Ek din ka Sultan, 40 karod, Flat no.9, Pehli nazar, Ratnavali, Dharma, Sanyasi, Tadbir, Shahjehan, Nek Parveen, Safar, keemat, Sohni Mahiwal, Bhanwar, Ek Roz, Doli, Parai aag etc. She sang for Naushad, Ghulam Mohd, Anil Biswas, Shyam sunder, Ghulam Hyder, Rafiq Gaznavi, Govind Ram, Sajjad Hussain, Firoze Nizami and C.Ramchandra. She sang 67 songs in 38 films.

She left for Pakistan after Partition and sang in few films,but was not successful She got married to Rauf Maula, a Producer and settled as housewife. It seems, she died in Lahore on 11-5-2007.

Out of the 10 songs of film Safar-46, 6 songs have already been discussed. This is the 7th song. The song is quite good, however some other songs of this film had more melodious tunes and catchy rhythms.


Song-Dil jo diya kehne lage aaj na(Safar)(1946) Singer- Naseem Akhtar, Lyrics-G S Nepali, MD- C Ramchandra

Lyrics

dil jo diya
dil jo diya
kahne lage aaj naa
dil jo diya
kahne lage aaj naa
mujhse
mujhse mil ke gaye bhole bhaale saajna
o mere
o mere saajna
saajna aa
mujhse
mujhse mil ke gaye bhole bhaale saajna
dil jo diya
kahne lage aaj naa
mujhse mil ke gaye bhole bhaale saajna

daal milee daal se ae ae ae ae
phool mila phool se
phool se
daal milee daal se ae ae ae ae
phool mila phool se
ham bhee mil gaye kaheen pe raaste kee dhool se
kahne lage ae ae
maan jaao
ek maheena
main kah naa sakee naa
taar mere
taar mere dil ke uthhe jhanjhana
mujhse
mujhse mil ke gaye bhole bhaale saajna
o mere
o mere saajna
saajna aa
mujhse
mujhse milke gaye bhole bhaale saajna
dil jo diya
kahne lage aaj naa
mujhse mil ke gaye bhole bhaale saajna

mere prem ke kumkum
khilo tum hanso tum
aise hee mere baag mein uss roz bhee khilna
jis roz hamaara ho kisee kunj mein milna
aise hee mere baag mein uss roz bhee khilna
jis roz hamaara ho kisee kunj mein milna
nain miley jinse hamaare
jinse hamaare
ab unki
abb unki yaad mein hai jaagna
mujhse
mujhse mil ke gaye bhole bhaale saajna
o mere
o mere saajna
saajna aa
mujhse
mujhse mil ke gaye bhole bhaale saajna
dil jo diya
kahne lage aaj naa
mujhse mil ke gaye bhole bhaale saajna


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

Blog Day : 3717 Post No. : 14649

“Door Chalein”(1946), an extremely obscure “social” movie was directed by Phani Majumdar for Durga Pictures Bombay. The movie had Naseem (Jr), Kamal Kapoor, Damyanti Sahni, Balraj Sahni, Rajkumari, Agha, David, K C Dey etc in it.

The movie had at least eight songs, perhaps more. Details of eight songs are available in HFGK.

One song from the movie has been covered in the past. Here is the second song from the movie to appear in the blog. The song is sung by K C Dey and Meena Kapoor. Lyricist is not known. Music is composed by K C Dey.

Only the audio of the song is available. Seeing that K C Dey acted in the movie, it seems clear that he lip synced for himself, but it is difficult to say who lip synced in Meena Kapoor’s voice. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of the song.

PS-Mr Sadanand Kamath has helped fill in the gaps as far as the missing details are concerned. He informs that Sajjan was the lyricist in this movie.


Song-Anjaane se pehchaane se(Door Chalein)(1946) Singer-K C Dey, Lyrics-Sajjan, MD-K C Dey
K C Dey + Meena Kapoor

Lyrics

Anjaane se pehchaane se
kya naya sandesha laaye ae ae
kaun kahaan se aaye
tum kaun kahaan se aaye

tum phoolon mein muskaate ho
tum kaliyon mein sharmaate ho
phoolon mein muskaate ho
tum kaliyon mein sharmaate ho

shabnam ke aansoo ro ro ker
beete din yaad dilaate ho
shabnam ke aansoo ro ro ker
beete din yaad dilaate ho
mere toote se sapnon ko
kya aaj jodne aaye
aaj jodne aaye
anjaane se pahchaane se

tum aaye ae
tum aaye
veena baaj uthhi
swar lahri phir se naach uthhi
tum aaye
veena baaj uthhi
jeewan ki veena baaj uthhi
geeton ki duniya jaag uthhi
tum aaye

jab aaye ho phir na jaana
apna lo phir na thhukraana
aaye ho phir na jaana
apna lo phir na thhukraana

tum mera jeewan ban jaao
sooni aankhon mein bas jaao
tum mera jeewan ban jaao
sooni aankhon mein bas jaao
main jaan gaya hoon
tum mera sansaar badalne aaye

sansaar badalne aaye
anjaane se
pahchaane se
kya naya sandeshaa laaye ae
kaun kahaan se aaye
tum kaun kahaan se aaye


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

Blog Day : 3664 Post No. : 14533

“Saalgirah”(1946) was directed by K S Daryani for Krishin Movietone, Bombay. This “social” movie had Snehprabha Pradhan, Jairaj < Bibbo, Gope, Majid, Tarabai, Chandrkala, Kumar, Pramila etc in it.

The movie had eleven rare songs in it. One song has been covered in the past.

Here is the second song from "Saalgirah"(1946) to appear in the blog. The song is sung by Snehprabha Pradhan. Wali Sahab is the lyricist. Music is composed by Bulo C Rani.

Only the audio of the song is available. It is clear that the song was picturised on Snehprabha Pradhan herself who was the leading lady in the movie.


Song-Saawan ki badariya roti hai badariya (Saalgirah)(1946) Singer-Snehprabha Pradhan, Lyrics-Wali Sahab, MD-Bulo C Rani

Lyrics

Saawan ki badariya
roti hai badariya
Saawan ki badariya
roti hai badariya
aur poochh rahi hai
mere saajan ki khabariya
aur poochh rahi hai
mere saajan ki khabariya
Saawan ki badariya
roti hai badariya

ashqon ki kahaani
unhen main kaise sunaaun
ashqon ki kahaani
unhen main kaise sunaaun
wo door hain majboor hain
kya unko bataaun
wo door hain majboor hain
kya unko bataaun
rone se bhi darti hoon
ke kah degi najariya
rone se bhi darti hoon
ke kah degi najariya
saawan ki badariya
roti hai badariya

likkha hai mere bhaag mein
din raat tarasna
likkha hai mere bhaag mein
din raat tarasna
o kaali ghata
ab tu kahin aur barasna
o kaali ghata
ab tu kahin aur barasna
kis munh se kahoon
haaye ke sooni hai sajariya
kis munh se kahoon
haaye ke sooni hai sajariya
saawan ki badariya
roti hai badariya


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

Blog Day : 3642 Post No. : 14470

Today’s song is from an almost unknown film ‘Haqdaar’ (1946).

There were two more films with the same title, made in 1964 and 1981. The love of Hindi films for identical titles is well known. In silent films, the situation was different. There used to be one name for Censor Certificate and then in every linguistic state the film would have one local name for the film, to attract local audience. In talkie films, this facility was absent, as everywhere, the film name is the same.

Thus, we find that there was/is ‘Same Name Confusion’ even in film titles. But of course, the system of mentioning the year, made them different, like ‘Haqdaar’ (1946), ‘Haqdaar’ (1964) or ‘Haqdaar’ (1981) etc. Here again confusion was whether the year of Censor Certificate should be mentioned or the year of film’s release. Standard documents, like HFGK, give only the year of Censor Certificate, irrespective of the film’s release year. Regular users of HFGK know this very well. Usually most films are released quickly and very few take time to get released.

Shri Harmandir Singh Hamraaz ji has published a Film Index for films made between 1931 to 2012. I went through this list to find out about the same name titles. Films made 2 times and 3 times are many and beyond count. However, on counting detailed way, I found 80 film titles repeated 4 times, 23 films repeated 5 times and 5 films repeated 6 times. Above all, there is ONE film whose title is repeated 7 times. The name is ‘Insaaf’. It was made at regular intervals – almost every decade. It was made in 1937, 1946, 1956, 1866, 1973, 1987 and 1997! The person who had registered the name first, must have earned a lot!

‘Haqdaar’ of 1946 was directed by Rafiq Rizvi, who had worked as assistant to AR Kardar. He was brother of lyricist Ehsan Rizvi. His first film as an independent director was ‘Waida’ (1940). Then came ‘Awaaz’ (1942), ‘Koshish’ (1943), ‘Haqdaar'(1946), ‘Alladin Ka Beta’ (1955) and lastly ‘Kaarvan’ (1956). Thereafter he migrated to Pakistan.

The Music Director was Mohd Shafi (25-12-1925 to 30-4-1980).  He was one of those talented artists of Hindi Film Music who was only used by others and never got enough credit for his work. He is honoured as the ‘The Original Arranger’ in the industry. He was an excellent sitar player. He started with Imperial Film company, where he played Bulbul Tarang. In 1937 he went to Calcutta, joined New Theatres and played Sitar in films ‘Kapaal Kundala’ (1939) and ‘Aandhi’ (1940), as an assistant to Pankaj Mullick and KC Dey. He played sitar in the film ‘Ujaala’ (1942). In this film, the hero – Prithviraj Kapoor played the role of a sitar player, hence the expertise of Shafi was fully utilised in this film.

Starting with film ‘Haqdaar’, he gave music to 19 Hindi films and 2 Marathi films. He worked with Naushad, as his assistant and arranger, for 14 years. He was considered a ‘Daada’ in background music. He gave background music to about 70 films (for Naushad and others). For ‘Mughal e Azam’ (1960), K Asif used to send his personal car to fetch him to studio. It was Shafi who gave the first break to Suman Hemmadi (Kalyanpur) in ‘Mangu’ (1954).

Shafi had bought his first car when he was just 15 year old. He had a posh flat in Shivaji Park area of Dadar in Bombay. In the end , everything was gone.He had helped the families of Shakeel Badayuni and Ghulam Mohammed after their deaths. However in his last difficult days, except Rafi, no one came for his help. In the final few months, his memory had gone. His begum ruefully said,” Good that he does not remember anything. All took his advantage and gave him nothing. There were more things to forget than to remember!”

It is said that the entire music of ‘Sohni Mahiwal’ (1958) was done by him. Naushad was sick during this period and did not attend even one recording. “Do Hanson Ka Joda” and “Dhundho Dhundho Re Saajna” from ‘Gunga Jamuna’ (1961) were his creations. He used to give tunes to many composers too – whoever asked for help.

The cast of film ‘Haqdaar’ was Harish, Najma, H Prakash, Amirbai Karnataki, Kalyani, Azad etc.

Harish was also known as Tara Harish. Tara Harish – this name is quite misleading. At first glance, it looks lie a woman’s name. On second thoughts, one feels it must be a pair of persons like Krishnan Panju or Aruna Vikas. But this is name of a single person, who was an actor, producer, director and a singer too!

Born on 23-10-1916 at Delhi, his real name was Tarachand Harish Mathur. He was distantly related to Motilal and Mukesh. His father died when he was just 3 year old. He was brought up by his brothers and uncle. He graduated in 1937. After trying and failing in a second hand car business, he decided to enter film world and joined Sagar Movietone, where Motilal was getting established. His first foray into films was in film ‘300 Days And After’. In this film he was uncredited. However he got roles in other films like ‘Postman’, ‘Ladies Only’, ‘Service Limited’, ‘Hum,Tum Aur Woh’, ‘Ek Hi Raasta’, ‘Civil Marriage’, ‘Aurat’, ‘Nai Roshni’, ‘Vijay’, ‘Haqdaar etc. He used to sing also in the films. As a hero his last film was ‘Amaanat’ (1943).

Harish took up direction with film ‘Beda Paar’ (1944), a C grade stunt film, but soon he directed many social films also. In his career he directed 21 films. Some of his films are ‘Toote Taare’ (1948), ‘Ustad Pedro’ (1951), ‘Malhaar’ (1951) (originally Harish was to be the hero, but he gave chance to Arjun), ‘Daku Ki Ladki’ (1954), ‘Laalten’ (1956), Kaali Topi Laal Roomaal’ (1959), ‘Do Ustad’ (1959), ‘Burma Road’ (1962). His last film was ‘Awaara Abdulla’ (1963).  Harish acted in 21 films. He sang 39 songs in 16 films (stats by MuVyz). He established his own production company – Omar Khayyam Films. When he was directing film ‘Ustad Pedro’ (1951), he changed the name of actress Nargis Rabadi to Shammi, since another more famous actress of same name was already working in films.

Tara Harish died sometime in 1970.

The heroine Najma was born at Lahore in 1928. Her father was a businessman. Her real name was Naseem. Since there was already one famous actress Naseem, she changed her name. She first worked in ‘Kunwaara baap’ (1942) and ‘Uljhan’ (1942) Then came ‘Nai Zindagi’ (1943), ‘Dr Kumar’ (1944), ‘Piya Milan’ (1945) and last film ‘Naseeb’ (1945). Then she got married and left films.

There was an actor Azaad in this film. His real name was Mohd Hanif. He was born in November 1916 at Delhi in a wealthy family. His father was an electrical engineer and a political leader. His elder brother was in the British Army. Hanif started motor vehicles business in Delhi. He got married also. Due to his desire to act in films, he came to Bombay. His acting career started with ‘Himalaya Ki Beti’ (1938). During this film he got to know Kalyani Bai, the singer actress. Soon they got married. While she did well in films, he was struggling in his career, without credit. In film ‘Haqdaar’ (1946), he was credited with his filmi name Azaad. Frustrated, he left films and went back to Delhi to restart his motor vehicles business. Kalyani brought him back and together they started their own production company – Azad Pictures. However, soon after partition, he and his family migrated to Pakistan. Kalyani stayed back.

There were two Kalyanis and there is always a confusion.

Kalyani Bai (1920-2009) (real name – Zarina) was an actor-singer who was trained in classical singing. She sang khayal, thumri and ghazals for All India Radio and recorded such genre of songs for HMV. This led her to a filmy career in Calcutta in 1934 as an actor-singer. After some struggle, she was employed with New Theatres and she acted in films like ‘Anaath Ashram’ (1937), ‘Mukti’ (1937), and ‘President’ (1937) in which she also sang some songs for herself.

In 1937, Kalyani Bai left New Theatres and joined Ranjit Movietone in Bombay (Mumbai). Her first film with Ranjit Movietone was ‘Toofaani Toli’ (1937). In the 40s, she appeared to have become a free-lancer, although I find that she worked in more films directed by VM Vyas of Sunrise Films than other banners. Her last film as an actor-singer was ‘Ghar’ (1945). However, she lent her voice for other actresses in films released during 1947-54. She also acted in small roles in a few films of 1970s and probably early 80s. She later married Seth Chirauddin Bakar. She had 2 sons and a daughter from him. She retired and settled in Bombay.

Kalyani Das was a playback singer who started her career in Hindi films from Calcutta with PC Barua’s ‘Jawaab’ (1942) and ended her playback singing career in Hindi films with ‘Iran Ki Ek Raat’ (1949). She also sang for a few films made in Bombay. To the best of my knowledge, she did not act in any films.

It is not so difficult to segregate ‘Kalyanis’ as both of them worked in Calcutta at different time. Kalyani Bai worked in films produced in Calcutta up to 1937 whereas Kalyani Das commenced her playback singing career from Calcutta from 1942 onward. She mostly worked for music director Kamal Dasgupta (8 out of 11 Hindi films in which she was playback singer).

‘Haqdaar’ had 9 songs. I have heard some more songs also, but as today’s song is somewhat comical, I have selected this. Name of the singer is not mentioned.

[Auth Notes: Credits – ‘Hindi Film Singers’ by Prof Yadav, Harish Raghuwanshi ji, Film Directory, MuVyz, HFGK, Film Index, Swaron Ki Yatra, Beete Kal Ke Sitaare, RMIM and my notes.]

 

Song – Haaye Khujlaane Laga Phir Mera Sar, Baap Re Baap (Haqdaar) (1946) Singer – [Unattributed], Lyrics – CM Hunar, Music – Mohammed Shafi

Lyrics (Provided by Sudhir)

haaye khujlaane laga phir mera sar baap re baap
haaye khujlaane laga phir mera sar baap re baap

haaye khujlaane laga
phir mera sar baap re baap
khair ab aati nahin
apni nazar baap re baap
hai chhuri haath mein
zaalim ke udhar baap re baap
dil dhadakta hai mera
darr se idhar baap re baap
jaan ab jaa ke bachaaun main kidhar baap re baap

haan
kya meri tarah se
hota hai yun sab ka haal
kya mohabbat mein utarti hai yun hi sab ki khaal
jootian dene ki hai jis tarah rasm e susraal
haa..aaan
kya nasibon mein hai..ai..ai..ai
us shauk ke ye hi janjaal
haan..aan
kya yun hi khijte hain sab shaam o sehar baap re baap
kya yun hi khijte hain sab shaam o sehar baap re baap
kya yun hi khijte hain sab shaam o sehar baap re baap
kya yun hi khijte hain sab shaam o sehar baap re baap

haan
ishq ka bhoot mere
sar pe subh o shaam rahe
mar ke bhi mujhko na ik roz se araam rahe
ae..ae
tarq e majnoon ka mere saamne nakaam rahe
ae..ae
pehla number hi..ee..ee
mahobbat mera naam rahe
paida naalon mein ho kuchh aisa asar baap re baap
paida naalon mein ho kuchh aisa asar baap re baap
paida naalon mein ho kuchh
paida naalon mein ho kuchh aisa asar baap re baap
aisa asar baap re baap
paida naalon mein ho kuchh aisa asar baap re baap

haaye khujlaane laga phir mera sar baap re baa..aap

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

हाय खुजलाने लगा फिर मेरा सर बाप रे बाप
हाय खुजलाने लगा फिर मेरा सर बाप रे बाप

हाय खुजलाने लगा
फिर मेरा सर बाप रे बाप
खैर अब आती नहीं
अपनी नज़र बाप रे बाप
है छुरी हाथ में
ज़ालिम के उधर बाप रे बाप
दिल धड़कता है मेरा
डर से इधर बाप रे बाप
जान अब जा के बचाऊँ मैं किधर बाप रे बाप

हाँ
क्या मेरी तरह से
होता है यूंहीं सब का हाल
क्या मोहब्बत में उतरती है यूंही सब की खाल
जूतियाँ देने की है जिस तरह रस्म ए सुसराल
हाँ॰॰आं
क्या नसीबों में है॰॰ऐ॰॰ऐ॰॰ऐ
उस शौक के ये ही जंजा;
हाँ॰॰आं
क्या यूंही खिजते हैं सब शाम ओ सहर बाप रे बाप
क्या यूंही खिजते हैं सब शाम ओ सहर बाप रे बाप
क्या यूंही खिजते हैं सब शाम ओ सहर बाप रे बाप
क्या यूंही खिजते हैं सब शाम ओ सहर बाप रे बाप

हाँ
इश्क़ का भूत मेरे
सर पे सुबहो शाम रहे
मर के भी मुझको ना इक रोज़ से आराम रहे
ए॰॰ए
तर्क ए मजनूँ का मेरे सामने नाकाम रहे
ए॰॰ए
पहला नम्बर ही॰॰ई॰॰ई
महोब्बत में मेरा नाम रहे
पैदा नालों में हो कुछ ऐसा असर बाप रे बाप
पैदा नालों में हो कुछ ऐसा असर बाप रे बाप
पैदा नालों में हो कुछ
पैदा नालों में हो कुछ ऐसा असर बाप रे बाप
ऐसा असर बाप रे बाप
पैदा नालों में हो कुछ ऐसा असर बाप रे बाप

हाय खुजलाने लगा फिर मेरा सर बाप रे बा॰॰आप


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

This is a labour of love, where “new” songs are added every day, and that has been the case for over TEN years. This blog has over 15000 song posts by now.

This blog is active and online for over 3900 days since its beginning on 19 july 2008.

Total number of songs posts discussed

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Movies with all their songs covered =1171
Total Number of movies covered =4135

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