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

Posts Tagged ‘1946


This article is meant to be posted in atulsongaday.me. If this article appears in 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

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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 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


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 : 3598 Post No. : 14359

“Aai Bahaar”(1946) was directed by Shankar Mehta for Ganga productions, Bombay. This obscure movie had Irshad, Ajmal, Om, Asha, Romesh, Bhaag Singh, Anant Bahri, Charlie, Roofi, shrimati Atta etc in it.

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

Here is the second song from “Aai Bahaar”(1946) to appear in the blog. HFGK is silent about the singers of the songs of this movie. The uploader of the song mentions Zeenat Begam as the singer.

D N Madhok is the lyricist.

There were two music directors in this movie, viz Pt Amarnath and Anupam Ghatak, but the distribution of songs between th two is not known. So we will never know which of the two composed this nice gem of a song. I have assumed Anupam Ghatak to be the music director for this song.


Song-Aa mil baithhen zara (Aayi Bahaar)(1946) Singer-Zeenat Begam, Lyrics-D N Madhok, MD-Anupam Ghatak

Lyrics

aa mil baithhen zara
aa mil baithhen zara
aa mil baithhen zara
aa mil baithhen zara
ghadiyaan judaai ki ab aayin een
aa mil baithhen zara
aa mil baithhen zara

o jaane waale
itna kya jaana
ho more rote dil ka
ab kaun thhikaana
o jaane waale
itna kya jaana
ho more rote dil ka
ab kaun thhikaana
toh bin humen kal na aaye
humaare dil se nikle haaye
ghataayen chhaayin een
toh bin humenkal na aaye
humaare dil se nikle haaye
ghataayen chhaayin een
aa mil baithhen zara
aa mil baithhen zara
ghadiyaan judaai ki ab aayin een
aa mil baithhen zara
aa mil baithhen zara

pardes chale ho
kuchh humen bataao
o kya keh doon dil se
jab yaad tum aao
pardes chale ho
kuchh humen bataao
o kya keh doon dil se
jab yaad tum aao
toh bin humen kal na aaye
humaare dil se nikle haaye
ghataayen chhaayin een
toh bin humen kal na aaye
humaare dil se nikle haaye
ghataayen chhaayin een
aa mil baithhen zara
aa mil baithhen zara
ghadiyaan judaai ki ab aayin een
aa mil baithhen zara
aa mil baithhen zara


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 : 3597 Post No. : 14355

Today (24 may 2018) is the 25th rememberance day of Bulo C Rani (6 may 1920-24 may 1993). He is one of several artists, many of the music directors whose birth as well as remembrance days fall in the same month.

On this occasion, here is a song from “Dharti”(1946) as a tribute to Bulo C Rani.

“Dharti”(1946) was directed by Manibhai Vyas and it had Mumtaz Shanti, Trilok Kapoor, Padma Banerji, Vikram Kapoor, Baby Anwari, Sheikh Hussain, Pandit Iqbal, Jugal Kishore, Lakshman, Mustafa, Leela Shinde, and Tipnis.

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

Here is the second song from “Dharti”(1946) to appear in the blog. This song is sung by Mohantara Talpade. Lyrics are by Pandit Indra Chandra. Music is composed by Bulo C Rani.

Only the audio of this song is available. I request our knowledgeable readers to throw light on the picturisation of this song which sounds like a meera bhajan.


Song-Roothh gaye mose manmohan ab saawan ko kya karoon (Dharti)(1946) Singer-Mohantara Talpade, Lyrics-Pt Indra Chandra, MD-Bulo C Rani

Lyrics

rooth gaye mose manmohan
ab saawan ko kya karoon
rooth gaye mose manmohan
ab saawan ko kya karoon
chhod chale mohe madhusudan
ab madhuwan ko kya karoon
chhod chale mohe madhusudan
ab madhuwan ko kya karoon
mor papeeha koyal bairan
mor papeeha koyal bairan jali ko aur jalaaye re
jali ko aur jalaaye re
birhan aansu ki jamuna mein
birahan aansu ki jamuna mein pal pal doobi jaaye re
pal pal doobi jaaye re
raakh hui jal jal kar un bin
ab chandan ko kya karoon
raakh hui jal jal kar un bin
ab chandan ko kya karoon

gagan pe chanda jug jug jhaanke
gagan pe chanda jug jug jhaanke
sheetal aangan gaaye re
sheetal aangan gaaye re
kunj gali mein vyaakkul birhan
kunj gali mein vyaakul birhan
ang ang murjhaaye re
ang ang murjhaaye re
main to hoon sajan ki jogan
ghar aangan ko kya karoon
main to hun sajan ki jogan
ghar aangan ko kya karoon
rooth gaye mose manmohan
ab saawan ko kya karoon


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : 3595 Post No. : 14347

20th May was the 34th remembrance day for Hansraj Behl, the composer emeritus of Hindi films.

In the history of Hindi cinema, only two music directors have had the distinction of being addressed as Master ji. The first one was Ghulam Haider Sb. Hansraj Behl was only the second music director to be so addressed. Maybe one of the reasons is that he always encouraged, mentored and promoted new artists. Many a singers and some music directors were given their debut breaks by him. Asha Bhosle and Madhubala Jhaveri started their singing careers under the baton of Hansraj Behl, and Bulo C Rani worked as assistant with him before getting independent assignments.

As I searched the web for information, I came across this wonderfully detailed piece at apnaarchives.com which lists a number of golden hits that he has composed in the 1940s and 1950s, including some of the seminal hits of singers like Mukesh, Rafi, Lata and others that really helped to build their careers.

For today’s remembrance, I present this lovely song of coming of age and a young heart pining for her lover. The singer of this delightful song from the 1946 film ‘Gwaalan’ is Susheela Rani – a name that may not be entirely unknown to the readers, but also not too familiar though. Regulars will recognize this name as the lady who started off as the secretary to Baburao Patel, the vitriolic editor of the famous film magazine ‘Film India’, and very quickly graduated to be his third wife. A lady of substance and caliber, she was actively involved in managing the publishing process for the magazine, and eventually the entire publishing and business empire of her husband.

As a part of their business run, Baburao Patel produced and directed two films also. The first was ‘Draupadi’ in 1943 and the second was ‘Gwaalan’ in 1946. Susheela Rani played the female lead in both these films, garnering some critical acclaim for her portrayal of the complex role  of ‘Draupadi’.

The other members of the star cast of the film ‘Gwaalan’ include Trilok Kapoor, Bipin Gupta, Madhuri, Sheikh Hasan, Bikram Kapoor, David, Noorjahan, Master Ratan, Shanta Kumari, Nagendra, Pandit Iqbal, Yusuf, Altaf Hussain, and Karan Singh etc. The film has 10 songs, all written by Pt Indra., and the music is by Hansraj Behl. The singing voice is that of Susheela Rani herself, singing her own songs in the film.

A beautiful rendition of a song of love indeed. Listen and enjoy.

[Ed Note: The song is uploaded on YT by our very own Sadanand ji.]

Song – Gulnaar Joban Raar Machaaye Galiyan Maa  (Gwaalan) (1946) Singer – Susheela Rani, Lyrics – Pandit Indra, MD – Hansraj Behl

Lyrics

gulnaar joban raar machaaye galiyan ma
oo galiyan ma
gulnaar joban raar machaaye galiyan ma
oo galiyan ma

main matwaali
bholi bhaali
main matwaali bholi bhaali
pardesi ki naar
naar
pardesi ki naar
main to akeli
haaye saheli
main to akeli haaye saheli
joban de lalkaar
ji haan
joban de lalkaar
gulnaar joban raar machaaye galiyan ma
oo galiyan ma
gulnaar joban raar machaaye galiyan ma
oo galiyan ma

saanjh savere
here phere
piya rahe us paar
ji haan
piya rahe us paar
chhalke dhalke
bhari gagriya
chhalke dhalke bhari gagriya
jaise nain hamaar
haan haan
jaise nain hamaar
gulnaar joban raar machaaye galiyan ma
oo galiyan ma
gulnaar joban raar machaaye galiyan ma
oo galiyan ma

saawan aaya
aa jaa saajan
saawan aaya aa jaa saajan
kehlan ki din chaar
ji haan
kehlan ki din chaar
sakhiyan se bach bach ke kar lo
chori chori pyaar
haaye chori chori pyaar
gulnaar joban raar machaaye galiyan ma
oo galiyan ma
gulnaar joban raar machaaye galiyan ma
oo galiyan ma

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

गुलनार जोबन राड़ मचाये गलियन मा
ओ ओ गलियन मा
गुलनार जोबन राड़ मचाये गलियन मा
ओ ओ गलियन मा

मैं मतवाली
भोली भाली
मैं मतवाली भोली भाली
परदेसी की नार
नार
परदेसी की नार
मैं तो अकेली
हाय सहेली
मैं तो अकेली हाय सहेली
जोबन दे ललकार
जी हाँ
जोबन दे ललकार
गुलनार जोबन राड़ मचाये गलियन मा
ओ ओ गलियन मा
गुलनार जोबन राड़ मचाये गलियन मा
ओ ओ गलियन मा

साँझ सवेरे
हेरे फेरे
पिया रहे उस पार
जी हाँ
पिया रहे उस पार
छलके ढलके
भरी गगरिया
छलके ढलके भरी गगरिया
जैसे नैन हमार
हाँ हाँ
जैसे नैन हमार
गुलनार जोबन राड़ मचाये गलियन मा
ओ ओ गलियन मा
गुलनार जोबन राड़ मचाये गलियन मा
ओ ओ गलियन मा

सावन आया
आ जा साजन
सावन आया आ जा साजन
खेलन के दिन चार
जी हाँ
खेलन के दिन चार
सखियों से बच बच के कर लो
चोरी चोरी प्यार
हाय चोरी चोरी प्यार
गुलनार जोबन राड़ मचाये गलियन मा
ओ ओ गलियन मा
गुलनार जोबन राड़ मचाये गलियन मा
ओ ओ गलियन मा


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : 3565 Post No. : 14293

In the continuum of the vast annals of history, there are tales and legends in every civilization and every system of knowledge and learning, that identify the supreme importance associated with the very support system that we rest upon. In practically every system, this support system, this concept, is endowed with divine qualities – qualities that are almost always endowed with the mother, as the provider of all that is required in life, and more.

In the Greek wisdom, this concept is name as Gaia. In the Roman legends, she is called by the name Terra. In the Norse mythology, she is named as Erda. In the east, in China, she is known as Houtu or Houtushen – the Goddess Queen of Earth. In the Buddhist scriptures that span the South East Asian region, she goes by the name Phra Mae Thorani. She is worshipped as Atira or Awitelin Tsta amongst the native tribes of the Americas, who gives birth to all life. On the African continent, she is known as Odudua, the beautiful black goddess of Earth with a skin of deepest dark ebony.

In our own land and in our culture, she is known by many names, the most important ones being Bhoo Devi – that which makes possible and supports all existence, and Vasudha – the provider of all wealth and riches.

Wherever, in whichever part of the world one may seek, there is a revered acknowledgement of the divinity of the earth as the mother, and the provider of all things. If one may sit down to list all the things that we need, we desire, and we dream – other than the light energy that comes from the Sun, Moon and the stars, the life breath that is the air that swirls around us, and the waters of rain that descend from the skies – all else, and I mean everything else comes forth from the very earth that we stand upon. Our existence and sustenance is – because the earth is.

The world is celebrating today as the Earth Day. The western dogmas consider a once in a year celebration to be an adequate measure of honor and gratitude. In our belief system, it is a celebration and honor that happens on a daily basis. And we celebrate and seek blessing, not just for our family or our country, but for the entire planet as a whole.

The reminder for this celebration and the suggestion of this song came in yesterday from Avinash ji. The film name itself is so appropriate – ‘Dharti Ke Laal’ from 1946. The music is by Pt Ravi Shankar, who was later destined to be the world famous sitar player from India. No other information relating to singer(s) or songwriter is readily available.

The song is in praise and honor of Mother Earth. It is depicted as a folk song in the tradition of Bengal, being performed at the village fair. It is such a wonderful expression of veneration towards the entity that makes all life possible.

A salute to Mother Earth – today, and every day of the year.

Song – Jai Dharti Maiya Jai Ho  (Dharti Ke Laal) (1946) Singer – Unidentified Male Voice 1, Unidentified Male Voice 2, Lyrics – [Unattributed], MD – Pt Ravi Shankar

Chorus

Lyrics

jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho

yahi maati mein jiyan hamro
yahi mein maran hai bhaiyyaa
yahi sagri poonji
yahi hai hamro dhan hai bhaiyya aa
aa aa aa
ho
jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho

god mein tori sukh ke saagar
khelat maiyyaa
aa
yahi mein sona upjey
yahi mein barse amrit maiyyaa
aa aa
ho

jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho

ab maiyya vardaan se tore
sang jiyenge sang marenge
tori chhaati se atyaachaari ko
door karenge ae
ho

jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho

jag taaran haari jai ho
jai ho
jag paalan haari jai ho
jai ho

jag taaran haari jai ho
jag paalan haari jai ho
jag taaran haari jai ho
jag paalan haari
jag taaran haari
jag paalan haari

jag taaran haari
jag paalan haari
jag taaran haari
jag paalan haari

jai ho
jai ho
jai ho
jai ho

jai ho
jai ho
jai ho
jai ho

jai ho
jai ho
jai ho
jai ho

jai ho

———————————————————
Hindi script lyrics (Provided by Avinash Scrapwaala)
———————————————————
जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो

यही माती में जियन हमरो
यही में मरण है भैय्या
यही सगरी पूँजी
यही है हमरो धन है भैय्या आ
आ आ आ
हो
जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो

गोद में तोरी सुख के सागर
खेलत मैय्या

यही में सोना उपजे
यही में बरसे अमृत मैय्या
आ आ
हो

जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो

अब मैय्या वरदान से तोरे
संग जियेंगे संग मरेंगे
टोरी छाती से अत्याचारी को
दूर करेंगे ए
हो

जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो

जग तारण हारी जय हो
जय हो
जग पालन हारी जय हो
जय हो

जग तारण हारी जय हो
जग पालन हारी जय हो
जग तारण हारी जय हो
जग पालन हारी
जग तारण हारी
जग पालन हारी

जग तारण हारी
जग पालन हारी
जग तारण हारी
जग पालन हारी

जय हो
जय हो
जय हो
जय हो

जय हो
जय हो
जय हो
जय हो

जय हो
जय हो
जय हो
जय हो

जय हो


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 : 3524 Post No. : 14153

“Reet”(1946) was an extremely obscure movie. Very little is known about this movie. It was directed by Najmistan Film Producers. Names of artists of the movie are not known. HFGK mentions descriptions of seven songs leaving spaces for more indicating that the movie perpahs had more songs in it.

Here is the first song from “Reet”(1946) to appear in the blog. Zeenat Begam is the singer. Music is composed by S D Batish. That is all that is known about the song.

Uploader of the song describes it to be a movie of 1946 and so I have taken it as a movie of 1946. HFGK mentions it as a movie of 1940s and so mentions this movie in the appendix of HFGK part II.

I request our knowledgeable readers to throw light on this movie.

With this obscure song, “Reet”(1946) makes its debut in the blog.


Song-Guzarti hai jo haay kaise bataayen (Reet)(1946) Singer-Zeenat Begam, MD-S D Batish

Lyrics

Guzarti hai jo haay
kaise bataayen
guzarti hai jo haay
kaise bataayen
ye aansoo ye aahen aen aen aen aen
kahaan tak chhupaayen
kahaan tak chhupaayen
guzarti hai jo haay
kaise bataayen

jawaani ke rangeen khwaabon se keh do
jawaani ke rangeen khwaabon se keh do
kabhi khwaab mein bhi na aayen na aayen
guzarti hai jo haay
kaise bataayen

khabar(?) lo kahaan ho
o o o o
zamaana hai dushman
zamaana hai dushman
kahin ghut ke armaan yoon hi mar na jaayen
guzarti hai jo haay
kaise bataayen

na bhoole se mujhko
kiya yaad lekin
na bhoole se mujhko
kiya yaad lekin
bahut yaad aayengin meri wafaayen
guzarti hai jo haay
kaise bataayen

koi thhaam kar dil ko o o
itna bata de
itna bata de
ke jo bas gaya dil mein
kaise bhulaayen
guzarti hai jo haay
kaise bataayen


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 : 3521 Post No. : 14140

Today’s song is from the 1946 film ‘Alibaba’.

The story of ‘Alibaba And The 40 Thieves‘ has been entertaining the masses of the world since the 18th century. It is a part of the ‘ Arabian Nights’ stories. These stories have been the basis of films in almost every language in every country of the world, including China. But for a few large scale films, most such films fall under stunt / action / costume films or in short C grade films.

Most of us like to watch films, be it on a TV, in a cinema hall, or through DVD. Some like old films and some like new films. Did you ever see films like, ‘Khooni Khanjar’, ‘Daghabaaz Doctor’, ‘Shaitaan Ka Paash’, ‘Chaar Chakram’, ‘Daaku Rani Talwaarwaali’, ‘Jaadu Ka Danda’, ‘Zinda Laash’, ‘Revolver Rani’, ‘Sindbad-Alibaba-Alladin’, ‘Flying Man’, ‘Fighter Sheela’, ‘Khooni Darinda’, ‘Tarzan Aur Jadugar’, ‘Tarzan Aur Jaadui Chiraag’, ‘Golden Gang’, ‘Murde Ki Jaan Khatre Mein’, or ‘Jaadui Putli’ ? I bet you may not have even heard most of these movie names. These are all stunt films or in other words ‘C’ grade films.

In India I really wonder how the classification or grading of films is done, or who is the person or the body authorised to do it. Because Censor Certificates do not label A B or C grades at all. Then how does this happen ?

My guess is that films are graded on two counts – one, the cost of production or budget and the class of stars in it and two, the class of people for whom the film is made or directed, like the rich, middle and the poor class. Whatever the basis, there is a very thin line between A and B grade films, while there is a big gulf between these two and the C grade films.

Stunt films, costume dramas, fantasy films and purely religious films are normally treated as C grade films. These film do not carry any prestige, the actors working in them are exclusive to C grade films, the production values and the budget is quite low and most important, they are ALWAYS shown in theatres situated in older parts of the town, single screens, or only for morning shows or in theatres generally frequented by lower strata of society.

In India, this is the fate of C grade films. Actually these films have everything that A and B grade films have, like story, songs, dances, fights etc., but still,the treatment given to handling of the story etc. in the films is very poor or lacking in expertise. This is a different world altogether. The set of actors is fixed, many times the composers are unheard of or they are known composers now in bad shape, the directors are typical and the production houses are exclusive to churn out such films.

It is, nevertheless, a fact that many well known and famous actors and actresses of the 40s and 50s evolved from the stunt films of yore. Examples are Jairaj and Master Bhagwan. Can you believe that this roly-poly Bhagwan Dada was a great body-builder when he started his career in stunt films in the late 1920s and 1930s ? Lalita Pawar (Amboo), Madhuri, Rampyari, Miss Moti, Sabita Devi and Sulochna (Ruby Myers) are some female examples who graduated to social films via stunt films.

Sometimes gems are found in these C grade films. Remember the famous qawwaali- Hamen To Loot Liya Mil Ke Husnwaalon Ne– which had the honour of becoming the prestigious 5000th song in this Blog ? This was from a C grade film from 1958 – ‘Al Hilal’.

In my younger days I was fond of stunt films and used to travel to theatres in old city of Hyderabad, to watch films featuring Kamran (father of famous choreographer and Director Farah Khan and director, comedian, anchor Sajid Khan), Naazi, Bhagwan and many such actors. ‘Adventures Of Captain Marvel’ (1941) and ‘Trip To Moon’ (1902) were my favourites from Hollywood’s Republic serial productions.
[Ed Note: In the early part of the twentieth century, Republic Studios was one of the main production houses in Hollywood, along with Universal, Columbia and Mascot etc. Serial productions were two reel short films, that were produced as a series – either as a comic serial (e.g. ‘The Three Stooges’ etc.) or as an action serial (e.g. ‘The Adventures Of Fu Manchu’ and ‘Commando Cody: Sky Marshals Of The Universe’ etc.)]

Today’s song under discussion is from a C grade film, ‘Alibaba’ made in 1946. Not much information is available on this film. Such C grade films generally go unnoticed. We only know that this film was made by Mohan Pictures of Ramniklal Shah (husband of actress Indurani), who was well known for making such low budget stunt films. The director of this film was his Co- Brother (साडू)- Nanubhai Vakil (husband of actress of Sarojini who was sister of Indurani and mother of actress Azra). The music was by Damodar Sharma and Ram Gopal. In the cast, only 3 names are mentioned in HFGK – namely Shanta Patel, Prakash and NA Ansari.

Recently, we learnt about a stunt film Hero-Shankar Rao Vazare. Today we will know more about another stunt actor Prakash. During the decade of 1940s, he performed in many action and stunt films.

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 family. Hashmat studied somehow up to 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 ‘Prem Lakshya’ (1936), ‘Bandit Of The Air’ aka ‘Hawai Daaku’ (1936) (the first film of KN Singh as a hero; Mazhar Khan was the villain here) and ‘Dangerous Woman’ aka ‘Khatarnak Aurat’ (1938). He also got a miniscule role in New Theatre’s film ‘Abhaagin’ (1938).  Not getting what he aspired, Hashmat shifted to Delhi and worked in All India Radio 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; also seemingly that he was quarrelsome, a liar and short tempered. Perhaps his experiences taught him a lesson and he decided to change himself and concentrate on work seriously. This did good to him in his life. In his second stint in Bombay, first he worked in ‘Gharib Ki Ladki’ (1940), but the film got delayed and was released in 1941 only. Meanwhile he did ‘Rani Saheba’ (1940) and ‘Pyaar’ (1940) also. This time his career took a good turn. Till film ‘Gharib Ki Ladki’, he used his name Hashmat for credits, but after that he took a new name Prakash and used it till the end of his career.

A changed actor Prakash became acceptable to the industry and more assignments came 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 WZ Ahmed met him and Prakash went to Shalimar Pictures in Poona to do 3 films for them, namely ‘Ek Raat’, ‘Prem Sangeet’ and ‘Mann Ki Jeet’. 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 1960s. His last film was ‘Suhaag Raat’ (1968). There is no information about him after that. May be he went back to Pakistan or died, we do not know.

The composer of today’s song – Damodar Sharma, was a name attached to stunt films of Paramount, Liberty, Ramnik Productions, Mohan Pictures etc. Starting in 1934, Damodar Sharma gave music to 41 films till 1948. After that he stopped getting films and for survival, he became assistant to composer AR Qureshi (29-4-1919 to 3-2-2000) till 1964.

Today’s song tune has been inspired (read copied) by the famous all women qawwaali – “Aahen Na Bhari, Shiqwe Na Kiye” from the film ‘Zeenat’ (1945). The tune is very similar. For this reason only this song is very melodious and worth listening to. This song is very rare.

With this post, the 1946 film ‘Alibaba’ makes its debut on our blog today.

[Author’s Note: Acknowledgments – Information for this article is taken, with thanks, from Harish Raghuwanshi ji, All India Film Directory, Who’s Who in Indian Film Industry, HFGK, MuVyz and my own notes.]



Song – Aansoo Na Girey Naale Na Kiye (Alibaba) (1946) Singer – [Unattributed], Lyrics – [Unattributed], Music – Damodar Sharma

Lyrics (Provided by Sudhir)

aansoo na girey naale na kiye
ghabra ke kaleja thaam liya
aansoo na girey naale na kiye
ghabra ke kaleja thaam liya
ghabra ke kaleja thaam liya

aansoo na girey
naale na kiye
aansoo na girey naale na kiye
ghabra ke kaleja thaam liya
ghabra ke kaleja thaam liya
ghabra ke kaleja thaam liya
toofaan sa uth’ta tha dil mein
ey..ey..ey
aaa aaa aaaaaa
aaa aaa aaa
toofaan sa uth’ta tha dil mein
par kuchh na zabaan se kaam liya
par kuchh na zabaan haan haan
par kuchh na zabaan se kaam liya
hum apni kahaani bhool gaye
jab tera kisi ne naam liya
hum apni kahaani bhool gaye
jab tera kisi ne naam liya
aansoo na girey naale na kiye
ghabra ke kaleja thaam liya

dil ke dukhde
gham ke kisse
ey..ey..ey
aaa aaa aaaaaa
aaa aaa aaa
dil ke dukhde gham ke kisse
ya hum samjhen ya wo samjhen
ya hum samjhen ya aaa haaan
ya hum samjhen ya wo samjhen..en..en
aaa aaa aaaaaa
aaa aaa aaa
majboor e mohabbat  ke dar se
alfaaz se hum azaad huye
alfaaz se hum haan haan
alfaaz se hum azaad huye
nazron ne sunaaye afsaane
aankhon se zubaan ka kaam liya
nazron ne sunaaye afsaane
aankhon se zubaan ka kaam liya
aansoo na girey naale na kiye
ghabra ke kaleja thaam liya
ghabra ke kaleja thaam liya
ghabra ke kaleja thaam liya

ab dekhne se kya hota hai
dekha karey duniya saahil se
aaa aaa aaaaaa
aaa aaa aaa
toofaan chade ab ya utrey
jo doobne waale the doobey
jo doobne waale haan haan
jo doobne waale ho ho
jo doobne waale the doobey
kashti ka sahaara jaane de
toofaan ka daaman thaam liya
kashti ka sahaara jaane de
toofaan ka daaman thaam liya
aansoo na girey naale na kiye
ghabra ke kaleja thaam liya
ghabra ke kaleja thaam liya
ghabra ke kaleja thaam liya

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
आँसू ना गिरे नाले ना किए
घबरा के कलेजा थाम लिया
आँसू ना गिरे नाले ना किए
घबरा के कलेजा थाम लिया
घबरा के कलेजा थाम लिया

आँसू ना गिरे
नाले ना किए
आँसू ना गिरे नाले ना किए
घबरा के कलेजा थाम लिया
घबरा के कलेजा थाम लिया
घबरा के कलेजा थाम लिया
तूफान सा उठता था दिल में॰॰ऐ॰॰ऐ॰॰ऐ
आss आss आsssss
आss आss आss
तूफान सा उठता था दिल में
पर कुछ ना ज़ुबान से काम लिया
पर कुछ ना ज़ुबान से हाँ हाँ
पर कुछ ना ज़ुबान से काम लिया
हम अपनी कहानी भूल गए
जब तेरा किसी ने नाम लिया
हम अपनी कहानी भूल गए
जब तेरा किसी ने नाम लिया
आँसू ना गिरे नाले ना किए
घबरा के कलेजा थाम लिया

दिल के टुकड़े
ग़म के किस्से॰॰ऐ॰॰ऐ॰॰ऐ
आss आss आsssss
आss आss आss
दिल के टुकड़े ग़म के किस्से
या हम समझें या वो समझें
या हम समझें या आं हाँ
या हम समझें या वो समझें॰॰ऐ॰॰ऐ॰॰ऐ
आss आss आsssss
आss आss आss
मजबूर ए मोहब्बत के दर से
अलफाज से हम आज़ाद हुये
अलफाज से हम हाँ हाँ
अलफाज से हम आज़ाद हुये
नज़रों ने सुनाये अफसाने
आँखों से ज़ुबान का काम लिया
नज़रों ने सुनाये अफसाने
आँखों से ज़ुबान का काम लिया
आँसू ना गिरे नाले ना किए
घबरा के कलेजा थाम लिया
घबरा के कलेजा थाम लिया
घबरा के कलेजा थाम लिया

अब देखने से क्या होता है
देखा करे दुनिया साहिल से
आss आss आsssss
आss आss आss
तूफान चढ़े अब या उतरे
जो डूबने वाले थे डूबे
जो डूबने वाले हाँ हाँ
जो डूबने वाले हो हो
जो डूबने वाले थे डूबे
कश्ती का सहारा जाने दे
तूफान का दामन थाम लिया
कश्ती का सहारा जाने दे
तूफान का दामन थाम लिया
आँसू ना गिरे नाले ना किए
घबरा के कलेजा थाम लिया
घबरा के कलेजा थाम लिया
घबरा के कलेजा थाम लिया


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 : 3503 Post No. : 14074

 

Today’s song is from the film ‘Milan’ (1946).

Bengali people, in general, are fond of reading. The literacy percentage of Bengal during last century and before that has been quite noteworthy. The literate population of Bengal is divided in two parts. One is Bhadralok– a term used to indicate upper and middle class – affluent and educated people; and the other is Madhabit (or what we call a middle class in rest of India). Both these classes of society in Bengal were patrons of books. In addition, Bengal also boasts of a large number of very famous authors. Eminent writers like Rabindranath Tagore, Bankim Chandra Chatterji, Sarat Chandra Chatterji, Sunil Gangopadhyaya, Bibhuti Bhushan Bandopadhyay, Satyajit Ray, Mahashweta Devi, Tarashankar Bandopadhyay, Shirshendu Mukhopadhyay, Shardendu Bandopadhyay, Humayun Ahmed, Kazi Nazrul Islam, Michael Madhusudan, Manik Bandopadhyay, Premendra Mitra, Badal Sircar, Sukumar Rai, Jibanand Das, Rajnikant Sen and many others were, and continue to be popular in Bengal.

No wonder, then, that their novels, dramas and short stories became the basis of Bangla films, both in the silent as well as talkie era. In rest of India, almost all major production houses had their own story departments, where many Munshis, Pandits and the likes of them were employed to provide ‘made to order’ story material for films. The Lahore, Bombay and Madras centres depended heavily on mythology, folk tales, history, and stage dramas etc. for their films.

Since Bangla films had their firm stories, their films were closer to the audiences in Bengal and Eastern India in general. This literary sourcing was firmly entrenched in the minds of the film directors of the 1930s to the 1950s, in Bengal. When an exodus of actors, directors and technicians started from Calcutta to Bombay, in the 40s and 50s, most directors from Bengal made Hindi films in the Bombay center, based on Bangla novels, dramas and short stories. Some important examples are, ‘Do Bigha Zameen’ (Salil Choudhari’s short story of 1943), ‘Devdas’, ‘Parineeta’, ‘Parivar’, ‘Biraj Bahu’, ‘Yahudi’, ‘Ratnadeep’ etc.

When Nitin Bose left Calcutta and came to Bombay to join Bombay Talkies, no one was surprised. Bombay Talkies was known to attract Bangla talent and gave them opportunities to showcase their skills. Being owned by a Bengali-Himanshu Rai and managed by a Bengali-Shashadhar Mukherjee, Bangla cine artistes were always welcome. For his first directorial venture in Bombay, Nitin Bose suggested Rabindranath Tagore’s novel Noukadubi, first published in 1906. This story was a favourite of producers. Already a Bangla film on it was made in 1932. Nitin Bose further suggested to make it a bilingual film – in Hindi and Bangla, for Bengal and East India.

The year was 1946. Himanshu Rai had passed away in 1940, S. Mukherjee left in 1942 with his friends. Devika Rani had left in 1945. Bombay Talkies was in dire straits already. The powers that be at the company thought that making a bilingual film will open doors to Bengal and other East Indian states. While the Hindi version ‘Milan’ was made in 1946, the Bangla version ‘Naukadubi’ was made in 1947.

Dilip Kumar was an upcoming new hero in Bombay Talkies. He had just done 2 films. ‘Jwar Bhata’ in 1944 and ‘Pratima’ in 1945. He was chosen for ‘Milan’ as its hero. The film needed two heroines. One, Ranjana was already available and selected. For the second heroine, Bombay Talkies gave advertisements in newspapers. From several applicants, a new Kanpur born Bengali speaking girl Meera Mishra was selected.

Meera Mishra’s joining the films generated a lot of interest and excitement because she was the wife of an IPS officer. She was chosen to play Kamala in both versions. For the role of Hemnalini, Meera Sircar was selected for the Bangla version, and Ranjana did this role in the Hindi versions. The role of Ramesh, the hero, was assigned to Dilip Kumar in the Hindi version, and to Abhi Bhattacharya in the Bengali version. The role of  Akshay Babu was assigned to Pahadi Sanyal in both Hindi and Bangla versions.

In a manner of speaking, Meera Misra made her debut opposite to Dilip Kumar as her first leading man. The film was directed by Nitin Bose and Anil Biswas was the music director. Parul Ghosh lent her voice in both the versions. In ‘Noukadubi’ she had five Tagore songs, her only Bengali songs.

Both ‘Noukadubi’ and ‘Milan’ did well. Initially Meera had planned to retire after this one film. However, her husband, Kripa Sindhu Mishra was killed in action during Delhi riots and Meera decided to carry on with her film career. She had a son Jishnu from the Late KS Mishra. Her other films include ‘Abhijatya’ (1949), ‘Eki Gramer Chhele’ (1950), ‘Abarta’ (1950), ‘Sandhyabelar Rupkatha’ (1950), ‘Sabyasachi’ (Hindi-1948, based on Sarat Chandra Chatterjee’s ‘Pather Dabi’. Meera played the role of Sumitra) and Bishnupriya (1949). Her other Hindi films include ‘Ghar Ki Numaish’ (1949), ‘Kashmir Hamara Hai’ (1950), ‘Azaadi Ke Baad’ (1951), ‘Chamakee’ (1952), and ‘Chhoti Maa’ (1952). She quit films early and settled into married life again. Her second husband was Mr Ranjit Gupta, Chief Secretary to the Government of West Bengal. She passed away in Calcutta in 2008.

‘Milan’ was produced for Bombay Talkies by Hiten Choudhury, who was with New Theatres earlier. He was the earliest member to leave New Theatres and join Bombay Talkies in Bombay. After Nitin Bose left Bombay Talkies, it was Hiten Choudhury who brought in Bimal Roy to make film ‘Maa’ (1952). Bimal Roy, who had come to Bombay for the premiere of his film ‘Pehla Aadmi ‘ (1950), subsequently settled in Bombay. Asit Sen, BN Banerjee, Salil Choudhury, Hrishikesh Mukherjee and few others too left New Theatres to join Bimal Roy in Bombay.

Director Nitin Bose was working with Dilip Kumar for the first time. That time Dilip had not yet developed the nasty habit of interfering in director and composer’s work. He was still learning and he learnt a lot from Nitin Bose. It seems that the famous hair style of Dilip was also suggested by Nitin Bose while shooting a boat scene for Milan. Dilip acknowledges that Nitin Bose had groomed him.

Later Nitin Bose directed Dilip again for ‘Deedar’ (1951) and ‘Ganga Jamuna’ (1961). Nitin Bose once wrote that during the shooting of ‘Ganga Jamuna’ he was sitting aside on a chair, helplessly watching Dilip Kumar do his (the director’s)  job. By that time Dilip had obtained a Doctorate in this “art of interference”.

Dilip had become famous due to his early tragic films, when he used to die frequently in most of them. In 1948 alone, out of his 6 films, he died 4 times. In the year 1955, he died in 3 films. In the entire 50’s decade he died 6 times. In a total of 57 films, Dilip kumar had died in 18 of them. Interestingly his last film ‘Qila’ (1998) also saw him dead! A real tragedy king indeed !!! By the way, in his 57 films 39 directors worked with him. SU Sunny directed him in 4 films. Nitin Bose, Bimal Roy and Subhash Ghai directed him in 3 films each.

‘Milan’ was based on Rabindranath Tagore’s novel ’Noukadubi’, published in 1925. This story was a favourite of producers. It was produced in Bangla in 1932, 1947, 1979 and 2011. Hindi versions came in as ‘Milan’ (1946), ‘Ghoonghat’ (1960) and ‘Kashmakash’ (2011). The cast of the 1946 version incudes Dilip Kumar, Meera Mishra, Ranjana, Pahadi Sanyal, Shyam Laha, S.Nazir, Moni Chatterjee, KP Mukherjee etc. The story is –

The story is set in 1905. Ramesh (Dilip Kumar) is studying law in Calcutta and has just appeared for his final exams. He is a friend and neighbour of Jogen who is also studying law. Jogen (Shyam Laha) lives with his father Annada Babu (Moni Chatterjee) and sister Hemnalini (Ranjana). Ramesh and Hemnalini are fond of each other and Ramesh visits their house most days for tea. Their association is disliked by another friend Akshay (Pahadi Sanyal) who also likes Hemnalini.

Ramesh has been asked to come back to his village for the holidays by his father but is dissuaded from going by Hemnalini. Ramesh’s father Braja Mohan (KP Mukherjee) is from the priestly caste and lives in the village. He receives an anonymous letter stating that his son is involved with the neighbour’s daughter who comes from a tradesman caste and that he spends his entire time there.

Braja Mohan goes to the city and brings Ramesh back with him to the village. He has arranged Ramesh’s wedding with a poor widow’s daughter. Ramesh tries to convince his father about his involvement with Hemnalini. His father after satisfying himself that Ramesh has as yet not committed himself to Hemnalini prevails upon Ramesh to marry Sushila because of the promise he had given to the girl’s mother. There is a storm at night when the wedding party from the groom’s side is returning to their village by boat. During the crossing the boat capsizes. Nearly all on the boat are drowned including Ramesh’s father and Ramesh appears to be the only one to survive. He sees a woman in bridal dress lying unconscious on the bank. He brings her to his village but soon understands that this is a case of mistaken identity. She continuously checks him when he calls her Sushila and tells him her name is Kamala (Meera Mishra). He realizes there was another bridal procession and their boat too had capsized.

After the formalities of his father’s funeral service Ramesh decides to take Kamala to Calcutta. He finds out about her only living relative, an uncle, and writes to him. A letter arrives telling him of the death of Kamala’s uncle but the sender has mentioned Kamala’s husband’s name and profession. His name is Nalin and he’s a doctor. Ramesh now starts searching for Dr. Nalin. He has so far made no mention about his marriage to Hemnalini or her family nor told anyone regarding the mistaken identity of his supposed bride to avoid any embarrassment to the girl.

On arrival in Calcutta, Ramesh suggests that Kamala get an education. After allaying her apprehension regarding her age he admits her in a girl’s boarding school. Akshay’s sister also studies in the same school and through her Akshay gets to know the truth about Ramesh’s marriage. In the evening he questions Ramesh in front of Hemnalini. Ramesh deflects the question and asks Hem to trust him. Preparations are on at Annada’s house for the wedding of Hemnalini and Ramesh. Their wedding is set for the coming Sunday but Ramesh is asked by the principal to take Kamala home for the weekend. Ramesh postpones the wedding and brings Kamala back from school. Akshay brings Jogen to Ramesh’s house where they see Kamala and on being questioned Ramesh keeps silent. Hemnalini goes into a state of shock when she’s told about Ramesh’s wife.

Her father takes her to Kashi to recuperate. Ramesh decides to leave Calcutta and he takes Kamala with him to Ghazipur. Kamala reads the letter Ramesh has written to Hem explaining the entire situation and mentioning Kamala’s husband’s name. She finally recognizes the truth about her and Ramesh’s situation. She decides to kill herself and leaves the house. She is rescued and comes under Nalin’s mother’s care.

She realizes that Nalin is her husband but finds out that Hemnalini and he are to be betrothed. However, Nalin is not happy about the betrothal as he refuses to believe that Kamala is dead and wants to wait a while longer. Finally the truth comes out and she’s accepted by her husband and his mother while Ramesh and Hemnalini get back together.

The film had 8 songs. Today’s song is the 5th song to be posted. All other songs are also available on You Tube. Enjoy the video song.

[Author Note: My acknowledgements and thanks to Dr. JP Guha ji, the book ‘Hero-I’ by Ashok Raj, HFGK, and my own notes.]

 


Song-Gungun gungun boley bhanwra (Milan)(1946) Singer-Parul Ghosh, Lyrics-P L Santoshi, MD-Anil Biswas
Dilip Kumar
Ranjana

Lyrics

gungun gungun boley bhanwrva aa
hamaari bagiya mein aaike
wo gungun gungun bole bhanwrva aa
hamaari bagiya mein aaike
hamaari bagiya mein aaike ho bhanwra
gungun gungun boley
hamaari bagiya mein aaike
wo gungun gungun bole bhanwrva aa
hamaari bagiya mein aaike

madhuvan se laaye sandesha bahaar ka
madhuvan se laaye sandesha bahaar ka aa aa
taar(?) jaaye mere pyaar ka
veena baja ke
baawri bana ke
haumaari bagiya mein aaike ho bhanwra
gungun gungun bole
humaari bagiya mein aaike
wo gungun gungun bole bhanwrva aa
hamaari bagiya mein aaike

Dialogues
———————————
iraada badal bhi sakta hai
lekin uske liye ek munaasib bahaana gadhna padega

bahaana

haan aakhir pitaaji ka hukm
baghair kisi vajah ke thhode hi taala jaa sakta hai
aur aap kya samajh rahin hain
ham apni marzi se jaa rahe hain

oh

lekin ye sab ek shart par

kya shart

jo gaana abhi ham sun rahe thhe wo poora ho

poora hoga

aaiye
————————
gungun gungun boley bhanwrva aa
hamaari bagiya mein aaike
wo gungun gungun boley bhanwrva aa
hamaari bagiya mein aaike
wo jaan gaya re
jaan gaya re
wo jaan gaya re
mere man mein hai kya
jaan gaya re
kahta phire sab kaliyon se jaa
kahta phire sab kaliyon se jaa
mere man mein hai kya
jaan gaya re
jaan gaya re
dekh rahi thhi
main raah kisi ki
dekh rahi thhi
main raah kisi ki
ankhiyaan bichhaai ke
?? lagaay ke ae
ankhiyaan bichhaai ke
?? lagaay ke
hamaari bagiya mein aay ke ho bhanwra
gungun gungun boley
hamaari bagiya mein


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : 3493 Post No. : 14034

The box office successes of ‘Chaudhvin Ka Chaand’ (1960) and ‘Taj Mahal’ (1963) were mainly attributed to musical bonanzas they offered to the cinegoers in general. In that process, the captain of the ships, i.e., the director of the films who had an important role in making the films the box office success was largely ignored. In those days, like many, I identified the first film with Guru Dutt and the music director Ravi. In case of ‘Taj Mahal’ (1963), I identified the film with the musical and lyrical feasts of Roshan and Sahir Ludhianvi. I was not aware at that time that these two successful films were directed by M Sadiq.

After few years when I did come to know of M Sadiq, I thought of him as a new upcoming director who specialised in directing Muslim social and historical films. This was borne out of the facts that his subsequent two films were ‘Bahu Begum’ (1967) and ‘Noor Jahan’ (1967). How wrong I was!

Last year, while doing a research on producer-director  AR Kardar, I became aware of the fact that M Sadiq (10/03/1910 – 03/10/1971) started his filmy career as early as 1932 as screen-play writer for Punjabi film, ‘Heer Ranjha’ (1932) which was a debut film for AR Kardar as the director of a talkie film.

After 1932, there appears to be a big gap in his filmy career if I go by his filmography. However, browsing through many pages of various ‘Filmindia’ issues gives me an indication that M Sadiq assisted AR Kardar all through 1932 to 1942 in his various directorial ventures, in various capacity – story/screen-play/dialogue writer, editor in addition to being one of his regular Assistant Directors.

By 1942, M Sadiq had become one of the two key assistants to AR Kardar along with SU Sunny. (SU Sunny later directed films like ‘Udan Khatola’ (1955), ‘Kohinoor’ (1960) and ‘Paalki’ (1966)). Baburao Patel, Editor of ‘Filmindia’ magazine had described them as ‘the left hand and the right hand of AR Kardar’ without identifying as to who was left hand and who was the right hand. He had also nicknamed them as ‘little Kardars’.

When AR Kardar set up his film production company, Kardar Productions in 1942 with his maiden film ‘Sharda’ (1942) as a producer-director, he gave an additional responsibility to M Sadiq as the film editor. In his next film, ’Namaste’ (1943),  AR Kardar entrusted  M Sadiq and SU Sunny to jointly direct the film. Kardar’s ‘Jeewan’ (1944) appears to be the first film which M Sadiq directed independently. However, this film did not do well on the box office. In the same year, Jaimini Dewan Productions gave him the opportunity to direct ‘Rattan’ (1944). The film became a box office bonanza for its producer. However, the credit for the success of the film was mainly given to the musical scores by Naushad.

From 1946 through 1950, M Sadiq directed 8 films which included ‘Shaam Savera’ (1946), ‘Daak Bangla’ (1947), ‘Kaajal’ (1948), ‘Chaar Din’ (1949) and ‘Sabak’ (1950), the last mentioned film was his first home production under the name of Sadiq Productions. In the 1950s, he directed 11 films, mostly his home productions like ‘Saiyaan’ (1951), ‘Shabaab’ (1954), ‘Musafirkhana’ (1955), “Chhoo Mantar’ (1956), ‘Mai Baap’ (1957), ‘Duniya Rang Rangeeli’ (1957) and ‘Khota Paisa’ (1958).

However, many of his home production films did not fare well on the box office. When Guru Dutt started ‘Chaudhvin Ka Chaand’ (1960), being a Muslim social film, he wanted the film to be directed by a Muslim director who was well versed in Lucknowi etiquette. Those days, M Sadiq had a lot of financial difficulties and Guru Dutt wanted to help him (as mentioned in Nasreen Munni Kabir’s documentary ‘In Search of Guru Dutt’).

‘Chaudhvin Ka Chaand’ (1960) was a box office hit film. However, the credit for the success of the film went mainly to the musical scores of Ravi with the lyrics of Shakeel Badayuni. In Hindi film industry, a director working for a producer who also happens to be an ace director would remain in his shadow. For, the people will always have a doubt whether the ace director was a ‘shadow director’ of his own film. The song sequences in the film as Abrar Alvi puts it “. . .bear the stamp of Guru Dutt. . .” (Source: ‘Ten Years with Guru Dutt’). This kind of aspersions were also made in the case of  Radhu Karmakar who directed RK Films’ ‘Jis Desh Mein Ganga Behti Hai’ (1960) and of Abrar Alvi himself who directed Guru Dutt’s ‘Sahib Bibi Aur Ghulam’ (1962).

In spite of the success of ‘Chaudhavin Ka Chaand’ (1960), M Sadiq did not get offers for directing the films until ‘Taj Mahal’ (1963). Once again the success of this film did not help him in his career as in this case also, the credit for the success of the film was mainly shared by its super hit songs composed by  Roshan on the lyrics of Sahir Ludhianvi.

I feel that  it was unfortunate that the film industry did not recognise the contribution of M Sadiq in the success of  films like ‘Rattan’ (1944), ‘Shabaab’ (1954), ‘Chadhavin Kaa Chaand’ (1960) and ‘Taj Mahal’ (1963). I have seen all these films and I feel that M Sadiq had done a wonderful job as a director. Guru Dutt was indeed a master craftsman in picurisation of songs. He may have done the song picturisation himself in ‘Chaudhavin Ka Chaand’ (1960).

In my view, M Sadiq was not a novice in picturisation of song sequence in the films. Having experience of directing films for 20 years at the time when he directed ‘Taj Mahal’ (1963), I do not think that he would not have done justice to the song sequences of ‘Chaudhvin Kaa Chaand’ (1960). Just note how beautiful was his picturisation of the song Paaon Chhoo Lene Do Phoolon Ko Inaayat Hogi. It is a difficult situational song where Pradeep Kumar’s open romantic proposal has to be  met with a restrained modesty of the heroine Bina Rai. In this song, the director has also to make the sequence of picturisation interesting with an added handicap of the expressionless Pradeep Kumar. Nonetheless, the director had succeeded at least for me as it is one of those songs where I like to watch and listen on the video clip rather than listening on the mp3 clip.

Again, after the success of ‘Taj Mahal’ (1963), M Sadiq had to wait for another 4 years to get the directorial assignments of ‘Bahu Begum’ (1967) and ‘Noor Jahan’ (1967). Unfortunately, both these films, despite good musical scores, did not fare well at the box office. Sometime in 1970, M Sadiq migrated to Pakistan and directed the film ‘Baharon Phool Barsaao’ (1972) under his own banner, Sadiq Productions. In a couple of Pakistani articles on the migration of film artists, it has been mentioned that M Sadiq came to Pakistan on an assignment to make ‘Bahaaron Phool Barsaao’ (1972). However, when the film was more than half way through, he left for the heavenly abode on 03/10/1971 in Lahore.

Today, I am presenting a multiple version song, “Meri Mitti Ki Duniya Niraali. . . Jahaan Bhagwaan Basen’ from the film ‘Shaam Savera’ (1946) which makes a debut on our blog today. The film was directed by M Sadiq. The star cast included Swarnalata, Wasti, Sulochana Chatterjee, Rafiq Ghaznavi, Badri Prasad, Pratima Devi  etc.

I became aware of this song only a few days back when I heard it in the voice of SD Batish. I immediately fell in love with the song for its rendition and the lyrics. In fact, its first verse led me to minutely grasp the subsequent part of the lyrics. As I was planning to present the song for the blog, somewhere I got confused with the film ‘Subah Shaam’ (1944) which has already made a debut on the blog. Since this film is not in the verge of attaining the status of a ‘yippied’ film, I felt that there was no urgency in presenting the song.

Yesterday, I heard this song once again. But this time, it was in the voice of Rafiq Ghaznavi. After checking on the website, it transpired that it was a multiple version song. It was at this stage I realised that the song in reference was from ‘Shaam Savera’ (1946) which is yet to make a debut on the Blog.

In my 3 decades of trekking in the Himalayas for soaking in the nature, I had always felt that there is Godliness in the nature – “jahaan bhagwan base”.


Song – Meri Mitti Ki Duniya Niraali (Shaam Savera) (1946) Singer – Rafiq Ghazanvi, Lyrics – [Unattributed] , MD – Pt Amarnath
SD Batish

Lyrics

meri mitti ki duniyaa niraali ee
ho o o o o
o o
jahaan bhagwaan basen
jahaan bhagwaan basen
meri mitti ki duniyaa niraali ee
ho o o o o
o o
jahaan bhagwaan basen
 
phoolon se rang churaayaa aa
kaanton se dard main laayaa
komalta pankhadiyon se
belon mein pyaar basaayaa
main hoon sundar ban kaa maali
ho o o o o
o o
jahaan bhagwaan basen
jahaan bhagwaan basen
meri mitti ki duniyaa niraali ee
ho o o o o
o o
jahaan bhagwaan basen
 
hirnon ne aankhen de deen
moron ne naach sikhaayaa aa
hirnon ne aankhen de deen
moron ne naach sikhaayaa
mad bhari koyal ki koo koo
pi pi papihaa ne gayaa
ban ke panchhi phiroon daali daali
ho o o o o
o o
jahaan bhagwaan basen
jahaan bhagwaan basen
meri mitti ki duniyaa niraali ee
ho o o o o
o o
jahaan bhagwaan basen
 
guru’on kaa saath jahaan hai
pariyon kaa naach jahaan hai
sundar taanon kaa raseelaa
prem kaa geet jahaan hai
main ne jaadoo ki nagri basaa li ee
ho o o o o
o o
jahaan bhagwaan basen
jahaan bhagwaan basen
meri mitti ki duniyaa niraali ee
ho o o o o
o o
jahaan bhagwaan basen

SD Batish Version 
meri mitti ki duniyaa niraali ee
ho o o o o
o o
jahaan bhagwaan basen
jahaan bhagwaan basen
meri mitti ki duniyaa niraali ee
ho o o o o
o o
jahaan bhagwaan basen
 
ho jahaan chaandni raaten
pyaar-o-muhabbat ki ghaaten
sundar sunehraa jeewan ho
kyun na ho pyaar ki baaten
tu ne ganga ki nadiyaa bahaa li
ho o o o o
o o
jahaan bhagwaan basen
jahaan bhagwaan basen
meri mitti ki duniyaa niraali ee
ho o o o o
o o
jahaan bhagwaan basen
 
jeewan mein thhaa jo andheraa
kiranon ne kiyaa saveraa aa
jeewan mein thhaa jo andheraa
kiranon ne kiyaa saveraa aa
khilaa kamal hai suhaanaa
swarg banaa ghar teraa
tu ne preet nagariyaa basaa li ee
ho o o o o
o o
jahaan bhagwaan basen
jahaan bhagwaan basen
meri mitti ki duniyaa niraali ee
ho o o o o
o o
jahaan bhagwaan basen

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

स्वर: रफ़ीक़ ग़ज़न्वी

मेरी मिट्टी की दुनिया निराली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें
जहां भगवान बसें
मेरी मिट्टी की दुनिया निराली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें

फूलों से रंग चुराया
काँटों से दर्द मैं लाया
कोमलता पंखड़ियों से
बेलों में प्यार बसाया
मैं हूँ सुंदर बन का माली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें
जहां भगवान बसें
मेरी मिट्टी की दुनिया निराली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें

हिरणों ने आंखें दे दीं
मोरों ने नाच सिखाया
मद भरी कोयल की कू कू
पी पी पपीहा ने गाया
बन के पंछी फिरूँ डाली डाली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें
जहां भगवान बसें
मेरी मिट्टी की दुनिया निराली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें

गुरुओं का साथ जहां है
परियों का नाच जहां है
सुंदर तानों का रसीला
प्रेम का गीत जहां है
मैंने जादू की नगरी बसा ली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें
जहां भगवान बसें
मेरी मिट्टी की दुनिया निराली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें
====================

स्वर: शिव दयाल बातिश 

मेरी मिट्टी की दुनिया निराली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें
जहां भगवान बसें
मेरी मिट्टी की दुनिया निराली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें

हों जहां चाँदनी रातें
प्यार ओ मोहब्बत की घातें
सुंदर सुनहरा जीवन हो
क्यों ना हों प्यार की बातें
तूने गंगा की नदिया बहा ली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें
जहां भगवान बसें
मेरी मिट्टी की दुनिया निराली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें

जीवन में था जो अंधेरा
किरणों ने किया सवेरा
जीवन में था जो अंधेरा
किरणों ने किया सवेरा
खिला कमाल है सुहाना
स्वर्ग बना घर तेरा
तू ने प्रीत नगरिया बसा ली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें
जहां भगवान बसें
मेरी मिट्टी की दुनिया निराली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें


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(© 2008 - 2018) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

What is this blog all about

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 14500 song posts by now.

This blog is active and online for over 3600 days since its beginning on 19 july 2008.

Total number of songs posts discussed

14559

Number of movies covered in the blog

Movies with all their songs covered =1142
Total Number of movies covered =3975

Total visits so far

  • 10,661,839 hits

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Historical dates

Blog Start date: 19 july 2008

Active for more than 3500 days.

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