Posts Tagged ‘1947’
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Blog Day : |
4455 | Post No. : | 15926 |
Yearwise discussion of Lata Mangeshkar songs in HFM: Part I: 1946-1947
Today (28 september 2020) is the 91st birthday of Swar Samragyi Lata Mangeshkar (DoB 28 September 1929). We as part of HFM lovers extend her a very happy birthday and wish her many happy returns of the day.
She has been the most influential singer of HFM (and by extension all Indian film music).
A lot has been written on her career and her songs and her life. Instead of joining that race and repeating the already much repeated facts about her, I would take this occasion to stat my discussion of her HF songs yearwise, right from the beginning. So one can see that it is going to be a long series, which may have started on her birthday and it will contunue on and on, and each post will discuss one year. She has been around for more than six decades. It will take me at least 40 posts, may be more to discuss her songs over the years. I plan to publish one article every year. At this rate, this series could take upto one year. But then what is one year for this blog which is going on for more than 12 years !
This writeup, which is part I takes up the years 1946 and 1947. Why two years ? Because this series will discuss a Lata Mangeshkar song from the year under discussion. Lata Mangeshkar made her debut in 1946 but all songs sung by her in 1946 are already covered in the blog. 1947 is the second year for her HFM career. Here just one song sung by her remains undiscussed. So I had to take up the year 1947 as well so that I could discuss a song of the year with the article.
Coming to 1946, here are the details of the songs sung by Lata Mangeshkar in HFM in 1946:-
| Movie | Music director | Lata song in the blog | Lata HFM songs in the year | Lata solo songs | Male duet | Female duet | Other songs | Lyricists | Song detail |
|---|---|---|---|---|---|---|---|---|---|
| Jeewan Yaatra | Vasant Desai | 1 | 1 | 1 | 0 | 0 | 0 | Dewar Sharar | Chidiya boley choon choon choon |
| Sona Chaandi | D C Dutt | 1 | 1 | 1 | 0 | 0 | 0 | Wali Sahab | Pyaare Bapu ke charnon ki le lo prasann |
| Subhadra | Vasant Desai | 2 | 2 | 2 | 0 | 0 | 0 | Pt Sudarshan (1) Pt Indra (1) | Piya aayegaa…gori sudh na bisaar piya aayegaa Pt Indra Chandra Saanwariya oye baansuriya oye bajaaye gayo re Pt Sudarshan |
| Total Three movies | Two music directors | 4 | 4 | 4 | 0 | 0 | 0 | Four lyricists | All solos |
The next year 1947, which was an important year for the country saw Lata Mangeshkar faring more or less how she had fared the previous year, as can be seen from the table below :-
| Movie | Music director | Lata song in the blog | Lata HFM songs in the year | Lata solo songs | Male duet | Female duet | Other songs | Lyricists | Song detail |
|---|---|---|---|---|---|---|---|---|---|
| Aap Ki Sewa Mein | Datta Dawjekar | 2 | 3 | 3 | 0 | 0 | 0 | Mahipal | Paa laagoon kar joree re Ek naye rang mein dooje umang mein |
| Shaadi Se Pehle | Pt Ramakant Paingankar-Karnad | 1 | 1 | 0 | 1 | 0 | 0 | Pt Mukhram Sharma | Chalo ho gayi taiyyar Duet with Rafi |
| Shehnaai | C Ramchandra | 1 | 1 | 0 | 0 | 0 | 1 | P L Santoshi | Jawaani ki rail chali jaaye re with Chitalkar and Geeta Dutt as co singers |
| Total Three movies | Three music directors | 4 | 5 | 3 | 1 | 0 | 1 | Three lyricists | Three solos, plus her first male duet and first multiple singers song |
If someone had done an year end analysis of Lata Mangeshkar’s career prospects at the end of 1947, he would have written off her chances as a playback singer. Such an analyst would have lots of facts backing his judgement. Lata Mangeshkar had a thin feeble voice, unlike the buland voices of the predominantly Punjabi female singers of those days. Forget laypersons, even a few studio owners, such as Filmistan’s boss rejected Lata’s voice outright, despite the recommendations of music director like Ghulam Haider. If one had to give opportunities to a new voice, then Geeta Roy showed far more promise. Unlike Lata, who was struggling on family and career fronts, Geeta Roy was getting her breaks almost without much struggle. And her voice was loved by all prominent music directors and movie producers.
So, Lata Mangeshkar did not have it easy in her career. She has faced lots of hardships. She has overcome them all. Moreover, she stood for her rights, took on powerful influential individuals in the induustry and got her way. Not just that, she survived and outlived them all.
Many people, with the benefit of hindsight may think that Lata Mangeshkar had a smooth career in film industry. Not at all. She has survived lots and lots of hardships that would have destroyed lesser mortals. One forgotten fact is that an attempt was made to poison her. It was a tactic that was earlier used against Master Madan in 1940s. Lata Mangeshkar’s enemies had planted a cook in her residence who was slowly poisoning her meals. It was an incident of early 1960s. The matter was detected in time and the cook ran away.
Her detractors accuse her of sabotaging the careers of some of her contemporaries. I think this accusation has an element of exxagaration. Even in the prime of her career, there were lots and lots of movies where she did not sing. She would typically sing songs in 50 odd movies in a year out of 100 odd movies released in that year. If these contemporaries were as good as they thought, they had enough opportunities to get work in the movies where Lata Mangeshkar did not sing. It takes far more than just raw singing ability to get work and get repeated. It takes lots of social networking which Lata Mangeshkar was good at. A few of her contemporaries known to be regarded as her competitors did not possess even a fraction of the networking abilities that Lata and her equally illustrious younger sister Asha Bhonsle possessed.
My observation about Lata Mangeshkar is that she was like an iceberg, and only the tip of her abilities were used in HFM. And even that has resulted into a body of work that is quite formidable.
One can see from the above two tables that Lata Mangeshkar was a struggler for most of the 1940s and she had very little to show for her struggles by the end of 1947. Lots and lots of things happened thereafter. She has the luck and the ability to turn it around spectacularly in the years to come. We will look at these facts in details in the future posts of this series.
It has been mentioned above that all Lata songs of 1946 have been covered in the blog. The table for 1947 shows that one Lata song from 1947 remains uuncovered. The song under discussion is that remaing song.
“Aap Ki Sewa Mein”(1947) was directed by Vasant Joglekar for Chandrma Pictures Bombay. This obscure movie had Dixit, Kesri, Shantarin, Saroj Borkar, Nimbalkar, Smson, D R Gokhale, Bhal Marathe, Vijaya, Baby Nalini etc in it. The movie had eight songs in it. Four songs have been covered in the past.
Lata Mangeshkar had sung three solos in the movie. Two of these songs have been covered in the blog in the past.
Here is the third and final Lata solo from “Aap Ki Sewa Mein”(1947) to appear in the blog. The song is penned by Mahipal (later a hero of mythological movies). Music is composed by Datta Davjekar.
Listening to the voice in this song, one can notice the influence of Suraiyya in her voice, who was a leading female playback singer of those days.
With this song, all the Lata Mangeshkar HFM songs of 1947 have now got covered in the blog.
In the next instalment of this series, we will discuss Lata Mangeshkar HFM songs sung by her in Hindi movies released in 1948.
Song-Ab kaun sunega mere man ki baat (Aap Ki Sewa Mein)(1947) Singer-Lata, Lyrics-Mahipal, MD-Datta Davjekar
Lyrics
ab kaun sunega
ab kaun sunega aa aa
mere man ki baat
ab kaun sunega aa aa aa
mere man ki baat
jiske chhoote sabhi sahaare ae ae ae
jiske chhoote sabhi sahaare
uska haar(?)
ab kaun sunega aa aa aa
mere man ki baat
ab kaun sunega
jo karte thhe kabhi ishaare ae ae
jo karte the kabhi ishaare
doob gaye we chand sitare
doob gaye, doob gaye
dub gaye oe chaand sitare
raah dikhaane aayi mujhko
raah dikhaane aayi mujhko, toofaanon ki raat
ab kaun sunega aa aa aa mere man ki baat
ab kaun sunega
jyot diye ki ee ee jab bujh jaaye ae ae ae
jyot diye ki ee jab bujh jaaye
aansu kya usko sulgaaye
aansu kya aa
aansu kya
aansu kya usko sulgaaye
bhar bhar aatin ankhiyaan
ankhiyaan
bhar bhar aatin ankhiyaan
man sookha sookha jaaye
ab kaun sunega aa aa
mere man ki baat
ab kaun sunega aa aa
mere man ki baat
ab kaun sunegaa
Ham dharti ke laal
Posted on: September 16, 2020
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Blog Day : |
4443 | Post No. : | 15890 |
“Ghar Ki Bahu”(1947) was directed by Narayan Rao and G K Devre for Kohinoor pictures, Bombay. This “social” movie had Paro Devi, Umakant, Ghulam Mohammad (actor), Pandey, Mehar Sultana, Manohar Ghatwai, Dhuliya, Babu Raje, Geeta Sardesai etc in it.
This forgotten movie had eight songs in it that have become extremely rare songs. One song has been covered in the past.
Here is the second song from “Ghar Ki Bahu”(1947) to appear in the blog. This song, even rarer than the one discussed earlier, is sung by Paro Devi and chorus. Taresh is the lyricist. Music was composed jointly by Shanti Kumar Desai and R C Rai.
Only the audio of this song is available. It is clear that the song was picturised on Paro Devi herself.
I request our knowledgeable readers to throw light on this movie.
Song-Ham dharti ke laal (Ghar Ki Bahu)(1947) Singer-Paro Devi, Lyrics-Taresh, MD-Shanti Kumar Desai
Chorus
Lyrics
Ham dharti ke laal
Ham dharti ke laal
Ham dharti ke laal
hamaaro o o o o
hamaaro dharti se hi pyaar
Ham dharti ke laal
Ham dharti ke laal
Ham dharti ke laal
ghaas paat ki hamri jhopadiya
ghaas paat ki hamri jhopadiya
ho hamri jhopadiya
kheti ko byopaar
kheti ko byopaar
gaay bail hain sangi saathi
gaay bail hain sangi saathi
kudrat ko aadhaar
hamaaro albelo sansaar
hamaaro albelo sansaar
kaho jee
kaho jee saanch baat ya jhoothh
hamaaro dharti se hi pyaar
hamaaro dharti se hi pyaar
ham dharti ke laal
Ham dharti ke laal
ham dharti ke laal
ho o o
garmi jaawe
garmi jaawe
barkhaa taawe
sardi ang churaawe
haay maa
sardi ang churaaye
haay maa
sardi ang churaaye
khoon bahaaye
khoon bahaaye
?? na paaye
ham bhookho rah jaayen
hamen na
hamen na pal bhi mile karaar
hamen na pal bhi mile karaar
kaho jee
kaho jee saanch baat ya jhoothh
hamaaro dharti se hi pyaar
hamaaro dharti se hi pyaar
ham dharti ke laal
ham dharti ke laal
ham dharti ke laal
ho o
dhoop sahen chupchaap rahen ham
karke yahi vichaar
arre haan
karke yahi vichaar
ik din howo
in kheton par hamro hi adhikaar
arre haan
arre haan
hamri hi sarkaar
rahe na kou zameendaar
rahe na kou zameendaar
kaho jee
kaho jee
saanch baat ya jhoothh
hamaaro dharti se hi pyaar
hamaaro dharti se hi pyaar
ham dharti ke laal
ham dharti ke laal
ham dharti ke laal
Ho zara meri gali aa re balam
Posted on: September 5, 2020
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Blog Day : |
4432 | Post No. : | 15865 |
“Bela” (1947) was directed by Chaturbhuj Doshi for Ranjit Movietone, Bombay. The story, screenplay, dialogues and Lyrics of this movie were by D N Madhok. The movie had P Jairaj, Nigar Sultana, Shrinath Tripathi, Pt.Iqbal, Krisnakumari, Master Mehmood, Rekha, Usha, B.R.Sharma etc. in it.
The movie had ten songs in it. Eight of these songs have been covered in the past.
Here is the ninth song from the movie. This song is sung by Zohrabai Ambalewaali. D N Madhok is the lyricist. Music is composed by Bulo C Rani.
Only the audio of the song is available. My guess is that this melancholic song was picturised on the leading lady viz Nigar Sultana. I could be wrong as well, seeing that Zohrabai Ambalewaali’s voice figured in all the ten songs of the movie, so who knows, she may have sung for all the important ladies in the movie, in addition to leading lady. I request our knowledgeable readers tp throw light on the picturisation of the song.
Song-Ho zara meri gali aaa re balam (Bela)(1947) Singer-Zohrabai Ambalewaali, Lyrics-D N Madhok, MD-Bulo C Rani
Lyrics
Ho zara meri gali aa re balam
zara meri gali aaa re baalam
nanhi si jaan hai meri ee
haaye baalma aa
nanhi si jaan hai meri ee
haay baalma aa
tod na de tera gham
ho zara meri gali aa re balam
zara meri gali aa re balam
rain diwas jiya dagmag doley
tera naam pukaare
dheere dheere haule haule
rain diwas jiya dagmag doley
tera naam pukaare
dheere dheere haule haule
jab main pyaar se poochhoon to yehi boley
jab main pyaar se poochhoon to yehi boley
nanhi si jaan hai meri
haaye baalma aa
nanhi si jaan hai meri
haay baalma aa
tod na de tera gham
zara meri gali aa re balam
zara meri gali aa re balam
aadhi aadhi raat
aadhi aadhi raat
mera nindiya se jaagna
aadhi aadhi raat
mera nindiya se jaagna
naam tera le le ke
it ut bhaagna
naam tera le le ke
it ut bhaagna
ab to milo baalma aa
haay baalma aa
ab to milo baalma aa
haay baalma aa
chhoot na jaaye ye dam
zara meri gali aa re balam
zara meri gali aa re balam
nanhi si jaan hai meri ee
haaye baalma aa
nanhi si jaan hai meri ee
haay baalma aa
tod na de tera gham
zara meri gali aa re balam
ho zara meri gali aa re balam
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Blog Day : |
4404 | Post No. : | 15793 |
“Renuka”(1947) was directed by Ramesh Sahgal for Jayant Desai productions, Bombay. This “social” movie had Mubarak, Hemawati, Afzal, Shreemati Vijaydas, Shashi Kapoor (senior), Baby Vimla, Chanda Bai, Kesar Bai, Sati devi, Dharpure, etc in it.
The movie had twelve songs in it. Four songs have been covered in the past.
Here is the next song from the movie. This song is “o bewafa zamaane toone dagha kiya hai.”
The song is sung by Ram Prasad Sharma. Qamar Jalalabadi is the lyricist. Music is composed by Sardar Malik.
I request our knowledgeable readers to throw light on the picturisation of this song.
Song-O Bewafa zamaane toone daga kiya hai(Renuka)(1947) Singer-Ramprasad Sharma, Lyrics-Qamar Jalalabadi, MD-Sardar Malik
Lyrics
o bewafa zamaane ae ae
toone daga kiya hai
o bewafa zamaane ae ae
toone daga kiya hai
do dil mile huye the ae ae
unko juda kiya hai
itna mujhe bata de
rasme wafa yahi hai
itna mujhe bata de
rasme wafa yahi hai
o pyaar karne waale ae kyon dard de diya hai
o pyaar karne wale kyon dard de diya hai
o bewaafa zamane
tune daga kiya hai
do dil mile huye the ae ae
unko juda kiya hai
pahle mile thhe kaise
aur ab mile hain kaise
pahle mile thhe kaise
aur ab mile hain kaise
hum soch kya rahe thhe ae ae
kismat ne kya kiya hai
hum soch kya rahe thhe ae ae
kismat ne kya kiya hai
o bewafa zamaane ae ae
toone daga kiya hai
Ye Kab Tak Chalegi Chori
Posted on: July 27, 2020
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.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.
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Blog Day : |
4392 | Post No. : | 15760 | Movie Count : |
4344 |
Today’s song is from the film ‘Lal Batti’ aka ‘Red Light’ from 1947. It was a social film, made by Janata Chitra, Bombay. The film was surprisingly directed by Nari Ghadiyali – who was known for only C grade action and stunt films. This may be one of the rare social films which he directed. The music was composed by a lesser known music director – Indravadan Bhatt from Gujarat. The cast of the film was Prakash, Rajkumari, Phool Rani, Ali, Firoza, Habib, Vasant Kumar etc. First I thought that this Vasant Kumar in the cast must be the composer Vasant Kumar Naidu, but he was not known to have acted in any film. So, maybe he was someone else. The lyricist was SP Tripathi.
1947 was an year of turmoil – not only for the film industry but also for the whole country. This was the year of partition. The news of the impending partition of India on religious basis was appearing in newspapers since the beginning of the year. Muslims connected with the film industry-especially producers and the directors were in a hurry to finish films on hand before the month of July-1947. Those who had decided to migrate to the new nation Pakistan were not starting new films. Many people were still in two minds.
The entire atmosphere was one of suspicion and mistrust. No one knew for sure, who will migrate and who will stay here. Then there was also the problem of the Hindu artistes operating from Lahore. They too prepared to return to India. Thus the film industry was in a hurry to complete films at any cost before the Partition. This resulted in a very high number of films produced in 1947. A record number of 181 Hindi films were made in 1947 alone. This record was only broken later in 1988, when 185 films were made in Hindi. That means the 1947 record stood unbroken for 57 years (1931 to 1988).
Unfortunately, the year 1947 began with shocking sad news of the death of KL Saigal on 18-1-1947. Despite all the disturbed atmosphere in the country and the film industry, it is creditable that a number of good and musical films were made in this year and some landmarks were also established. For example, Lata Mangeshkar made her Debut as a playback singer in film ‘Aap Ki Sewa Mein’. Singer Uma Devi also sang her first famous song in film ‘Dard’ – “Afsaana Likh Rahi Hoon Dil e Beqaraar Ka “. Geeta Dutt sang her first 2 famous songs in film ‘Do Bhai’ – “Mera Sunder Sapna Beet Gaya” and “Yaad Karoge Yaad Karoge, Ik Din Hum Ko Yaad Karoge“.
The revolutionary Muslim Social reform film ‘Elan’ was made by Mehboob Khan. Usha Kiron made her debut in film ‘Lalaat’, with her real name of Usha Marathe. The only Hindi film of the Southern wonder singer MS Subbulaxmi – ‘Meera’ was released. Noorjehan acted and sang in her last film in India – ‘Mirza Sahibaan’. Madhubala and Raj Kapoor debuted as the lead pair in film ‘Neel Kamal’ and C Ramchandra’s epic musical film ‘Shehnai’ was made with the iconic song “Aana Meri Jaan.. Sunday Ke Sunday“.
As such, since a record number of movies were made in 1947, it was obvious and most likely that the quantity came at the cost of quality. Most films were not even worth taking a note of. Film ‘Laal Batti’ was also one such film. You will find a new name in the cast – Firoza. Once upon a time, she was very famous and popular. She was one of the earliest Jewish actresses to work in silent and early talkie films. Let us know more about her. This is first time her information is available at one place.
Firoza or Firoza Begum (real name Susan Soloman) was born in a village in Konkan, Maharashtra in 1905, into a Bene Isareli Jew family. By the time she finished her education, she was proficient in Hebrew, Marathi, Hindi and English. In spite of opposition from family, she started working in silent films and soon became popular. Some of her films also became famous and hits. She continued working in silent films till 1934, when silent films stopped being made. Due to family’s opposition, she had to leave her house. She stayed in Bombay.
With the advent of talkie films, she naturally entered talkie films, with ‘Noor E Yaman’ (1935), in a small role. She acted in films like ‘Bhikaaran’ (1935), ‘Aasnuon Ki Duniya’ (1936), ‘Bharat Ke Laal’ (1936), ‘Jeevan Jyoti’ (1937), ‘Dukhiyari’ (1937), ‘Veerbaala’ (1938) etc. Due to her success in films, she fell a prey to false promises and dreamt of working in Hollywood films. She wasted 3 years in this and dejected, started working in films again here with ‘Ek Raat’ (1942), ‘Circus Girl’ (1943), ‘Duniya Diwani’ (1943), ‘Bhaagta Bhoot’ (1943), ‘Andhi Duniya’ (1943), ‘Din Raat’ (1945), ‘Lal Batti’ (1947), ‘Daulat Ke Liye’ (1947), ‘Haatimtai’ (1947), ‘Dilwaale’ (1948) etc.
She became an alcoholic and a chain smoker. She made the mistake of refusing offers from Bombay Talkies and other big banners. Meanwhile she fell in love with actor Chandra Mohan and wished to marry him, but he became a drunkard and died in 1949. Her financial condition became worse. She did small roles in Marathi and Hindi films. ‘Yasmin’ (1954) was her last film.
She lost her parents and lived alone in a single room, where she died unnoticed one day in early 70s. She was one of the top 5 Jew actresses, included in the Documentary ‘Shalom Bollywood’ made by Danny Ben-Moshe in 2003. Thus ended a talented artiste !
(Ack: Information culled from ‘Beete Kal Ke Sitare’ by S Tamrakar, ‘The Untold Story of Jews in Indian Cinema’ – Sunday Guardian, ‘Women in Hindi Cinema’ by Bhavna, Jigna and Supriya, theoneminute.com, HFGK, muVyz and my notes.)
The director of this film was Nari Ghadiyali – an expert in stunt and action films. Nari Kaikhushro Ghadiyali was born as a Parsee in Bombay. He joined the film industry in 1932 and his first directorial film was ‘Jungle King’ (1939). Nari wrote his own stories, screenplays and dialogues. He also edited his own films. He established his own production company called NKG Productions, Bombay.
He was a favourite of another Parsee producer Wadia Brothers and he directed many of Wadia films, including some Fearless Nadia films too. Some of his directed films, out of total 25 films were ‘Namumkin’ (1946), ‘Royal Mail’ (1946), ‘Pistolwali’ (1943), ‘Blackout’ (1942), ‘Red Signal’ (1941), ‘Safed Sawar’ (1941), ‘Lehri Cameraman’ (1944), ‘Lehri Badmash’ (1944), ‘Taxi Driver’ (1944), ‘Hamari Kismat’ (1949), ‘Jio Raja’ (1949), ‘Jungle Goddess’ (1948), ‘Jungle Ka Jaadu’ (1955), ‘Jungle Queen’ (1956).
His last film was ‘Murad’ (1961). This film was produced by Naqi Jehan, his step daughter. Nari married actress Pramila after her husband actor Kumar migrated to Pakistan. Pramila and Nari Ghadiyali lived together for 40 years.
Today’s song is a duet, but HFGK or the up loader of this song do not mention the singers’ names. By the way, 1947 is a year, I find in HFGK also, maximum number of films are without adequate information. May be it was because in a hurry to complete the film, the producers skipped making the film booklets, which normally provide all the information about the film. With today’s song, film ‘Lal Batti’ (1947) makes its debut on this blog.
Song – Ye Kab Tak Chalegi Chori (Laal Batti) (1947) Singer – Unidentified Female Voice, Unidentified Male Voice, Lyricist – SP Tripathi, MD – Indravadan Bhatt
Lyrics (Provided by Sudhir)
ye.. kab tak chalegi chori
ye.. kab tak chalegi chori
jab tak chale
chalne do gori
jab tak chale
chalne do gori
ye.. kab tak chalegi chori
ye.. kab tak chalegi chori
kaahe ko chhip chhip chori chori
kaahe ko chhip chhip chori chori
aate ho hardam hamri gali
aate ho hardam hamri gali
kewal tumahre darshan ko gori
kewal tumahre darshan ko gori
preet lagi akhiyan barjori
preet lagi akhiyan barjori
ye.. kab tak chalegi chori
ye.. kab tak chalegi chori
jab tak chale
chalne do gori
jab tak chale
chalne do gori
ye.. kab tak chalegi chori
ye.. kab tak chalegi chori
jis din dekhegi duniya saari
us din hogi museebat bhaari
jis din dekhegi duniya saari
us din hogi museebat bhaari
duniya mein koi na aisa hai pyaari
duniya mein koi na aisa hai pyaari
jisko lagi ho na ye bimaari
jisko lagi ho na ye bimaari
isliye tum fikar karo na gori
isliye tum fikar karo na gori
ye.. kab tak chalegi chori
ye.. kab tak chalegi chori
jab tak chale
chalne do gori
jab tak chale
chalne do gori
ye.. kab tak chalegi chori
ye.. kab tak chalegi chori
————————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————————
ये॰ ॰ कब तक चलेगी चोरी
ये॰ ॰ कब तक चलेगी चोरी
जब तक चले
चलने दो गोरी
जब तक चले
चलने दो गोरी
ये॰ ॰ कब तक चलेगी चोरी
ये॰ ॰ कब तक चलेगी चोरी
काहे को छिप छिप चोरी चोरी
काहे को छिप छिप चोरी चोरी
आते हो हरदम हमरी गली
आते हो हरदम हमरी गली
केवल तुम्हारे दर्शन को गोरी
केवल तुम्हारे दर्शन को गोरी
प्रीत लगी अखियाँ बरजोरी
प्रीत लगी अखियाँ बरजोरी
ये॰ ॰ कब तक चलेगी चोरी
ये॰ ॰ कब तक चलेगी चोरी
जब तक चले
चलने दो गोरी
जब तक चले
चलने दो गोरी
ये॰ ॰ कब तक चलेगी चोरी
ये॰ ॰ कब तक चलेगी चोरी
जिस दिन दुनिया देखेगी सारी
उस दिन होगी मुसीबत भारी
जिस दिन दुनिया देखेगी सारी
उस दिन होगी मुसीबत भारी
दुनिया में कोई ना ऐसा है प्यारी
दुनिया में कोई ना ऐसा है प्यारी
जिसको लगी हो ना ये बीमारी
जिसको लगी हो ना ये बीमारी
इसलिए तुम फिकर करो ना गोरी
इसलिए तुम फिकर करो ना गोरी
ये॰ ॰ कब तक चलेगी चोरी
ये॰ ॰ कब तक चलेगी चोरी
जब तक चले
चलने दो गोरी
जब तक चले
चलने दो गोरी
ये॰ ॰ कब तक चलेगी चोरी
ये॰ ॰ कब तक चलेगी चोरी
Ye Haseenon Ke Mele Albele
Posted on: July 26, 2020
- In: Devnagri script lyrics by Sudhir | Duet | Feelings of heart | fun timepass song | Geeta Dutt songs | Guest posts | Lyrics contributed by readers | Post by Sadanand Kamath | Shamshad Begam -Geeta Dutt duet | Shamshad Begam songs | Songs of 1940s (1941 to 1950) | Songs of 1947 | Yearwise breakup of songs
- 2 Comments
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4391 | Post No. : | 15757 |
I have carried an impression in my mind for a long time that in the 1940s, Anil Biswas rarely used full-throated playback singers like Shamshad Begum, Zeenat Begum, Zohrabai Ambalewaali, Munawwar Sultana etc. This is based on my listening many songs composed by Anil Biswas during the last about one decade. To check my ‘hypothesis’, I glanced through all the songs composed by Anil Biswas which have been tagged under his name in our Blog. In addition, I went through a couple of websites on Hindi film songs and my excel-sheets of songs for the period 1931-50, partially taken from HFGK. The main conclusions of my ad-hoc research are as under:
- Zeenat Begum and Munawwar Sultana did not sing for Anil Biswas though both of them had shifted to Mumbai sometime in 1944.
- Although Shamshad Begum had shifted to Mumbai along with the musical team of Ghulam Haider in 1942, Anil Biswas gave her chance to sing under his music direction for the first time in the film ‘Bhook’ (1947).
- Anil Biswas took Zohrabai Ambalewaali for the first time in the film ‘Gramophone Singer’ (1938) followed by ‘Hum Tum Aur Woh’ (1938). After a gap of nearly 9 years, she got a chance to sing for him in ‘Naiyya’ (1947) which happened to be her last film with Anil Biswas as a playback singer.
- Ameerbai Karnataki and Anil Biswas started their musical career almost simultaneously in Mumbai during 1935-36 and she sang for him in a couple of films as an actor-singer. But as a playback singer, she got a chance to sing under the music direction of Anil Biswas for the first time in ‘Kismet’ (1943). With the popularity of her songs in this film, Ameerbai Karnataki became one of the topmost playback singers of Hindi films.
Based on the discography of Anil Biswas as a music director, I have attempted to get the reasons as to why he did not utilize or sparingly utilized the singers listed above under his music direction. In my view, there are three main reasons for this.
- In most of the films for which Anil Biswas was the music director during 1936-1942, there were actor-singers like Sardar Akhtar, Husn Bano, Sitara Devi, Bibbo, Wahidan Bai, Jyoti, Maya Banerjee, Nalini Jaywant etc who sang for themselves. Whenever, Anil Biswas was in need of additional playback singer, he mostly relied on Rajkumari Dubey.
- During 1942-48, Anil Biswas mainly relied on his sister, Parul Ghosh, Hamida Bano, Meena Kapoor and Geeta Roy (later Dutt) as playback singers in addition to actor-singer Suraiya. From 1948 onwards, Lata Mangeshkar became his main playback singer.
- It is quite likely that Anil Biswas did not find full-throated singers suitable for singing his musical compositions which were mostly soft melodies.
I am presenting today, a fun song, “Ye Haseenon Ke Mele Albele” sung by Geeta Roy (later Dutt) and Shamshad Begum – a mix of husky and high-throated voices. The song is from the film ‘Bhookh’ (1947). The song is written by Dr Safdar Aah Sitapuri which is set to music by Anil Biswas. This is the first film in which Shamshad Begum sang under the music direction of Anil Biswas. Also, this is the first duet song of Geeta Dutt and Shamshad Begum.
‘Bhookh’ (1947) is the maiden film produced and directed by Dr Safdar Aah Sitapuri. The star cast includes Sheikh Mukhtar and Husna in the lead roles supported by Kanhaiyalal, Agha, Laddan, Narmada Shankar, Abu Baker, Ghulam Hussain, Miss Kiran etc. It is a debut film for Husna and Miss Kiran. From the advertisement of the film, it appears that the film is about tackling the hunger – a theme which had come into the focus of Hindi film industry in the backdrop of Bengal famine during World War II. Films like ‘Neecha Nagar’ (1946) and ’Dharti Ke Laal’ (1946) had already covered this theme.
Anil Biswas and Dr Safdar Aah Sitapuri had worked together for 15 years in 15 films with a break during 1943-44 when Anil Biswas shifted to the Bombay Talkies. As a lyricist, Safdar Aah Sitapuri worked with Anil Biswas for the first time in ‘Comrades’ (1939) followed by ‘Alladdin’ (1940) and ‘Aurat’ (1940). They worked together for the last time in ‘Maan’ (1954) which he also directed. Thereafter, he returned to teaching Urdu literature in his university and published books like ‘Amir Khusro Bhaisiyat Hindi Shaayar’, ‘Rubiyaat-e-Zamzama’(1963), ‘Meer Aur Meeryaat’ (1972), ‘Tulsidas Aur Ramcharitmanas’ (1977).
Enjoy this light-hearted fun song.
Song – Ye Haseenon Ke Mele Albele (Bhookh) (1947) Singer – Geeta Roy, Shamshad Begum, Lyrics – Dr Safdar Aah Sitapuri , MD – Anil Biswas
Geeta Dutt + Shamshad Begum
Lyrics
ye haseenon ke mele albele
ye haseenon ke mele albele
ye haseenon ke mele albele
ye haseenon ke mele albele
kaho kaisi kahi
ek dil haaye haaye
ek dil aur laakhon jhamele
ek dil aur laakhon jhamele..ae
ek dil aur laakhon jhamele
kaho kaisi kahi
ye haseenon ke mele albele
ye haseenon ke mele albele
ye haseenon ke mele albele
ye haseenon ke mele albele
rasiya jobna pe aankhon se maare
rasiya jobna pe aankh se maare
ye pukaara ki ho ja mere pyaare
ye pukaara
ye pukaara ki ho ja mere pyaare
main angootha dikha ke boli ye le
main angootha dikha ke boli ye le
kaho kaisi kahi
ye haseenon ke mele albele
ye haseenon ke mele albele
ye haseenon ke mele albele
ye haseenon ke mele albele
achchi soorat pe marna na aaya aa
achchi soorat pe marna na aaya
tumko to pyaar karna na aaya
tumko to pyaar karna na aaya
saiyaan ban jaao aake mere chele
saiyaan ban jaao aake mere chele
kaho kaisi kahi
ye haseenon ke mele albele
ye haseenon ke mele albele
ye haseenon ke mele albele
ye haseenon ke mele albele
kaho kaisi rahi
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Hindi script lyrics (Provided by Sudhir)
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ये हसीनों के मेले अलबेले
ये हसीनों के मेले अलबेले
ये हसीनों के मेले अलबेले
ये हसीनों के मेले अलबेले
कहो कैसी कही
एक दिल हाय हाय
एक दिल और लाखों झमेले
एक दिल और लाखों झमेले
एक दिल और लाखों झमेले
कहो कैसी कही
ये हसीनों के मेले अलबेले
ये हसीनों के मेले अलबेले
ये हसीनों के मेले अलबेले
ये हसीनों के मेले अलबेले
रसिया जोबना पे आँखों से मारे
रसिया जोबना पे आँख से मारे
ये पुकारे के हो जा मेरे प्यारे
ये पुकारे
ये पुकारे के हो जा मेरे प्यारे
मैं अंगूठा दिखा के बोली ये ले
मैं अंगूठा दिखा के बोली ये ले
कहो कैसी कही
ये हसीनों के मेले अलबेले
ये हसीनों के मेले अलबेले
ये हसीनों के मेले अलबेले
ये हसीनों के मेले अलबेले
अच्छी सूरत पे मरना ना आया
अच्छी सूरत पे मरना ना आया
तुमको तो प्यार करना ना आया
तुमको तो प्यार करना ना आया
सैंया बन जाओ आ के मेरे चेले
सैंया बन जाओ आ के मेरे चेले
कहो कैसी कही
ये हसीनों के मेले अलबेले
ये हसीनों के मेले अलबेले
ये हसीनों के मेले अलबेले
ये हसीनों के मेले अलबेले
कहो कैसी रही
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
This is his 600th writeup in the blog.
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4327 | Post No. : | 15618 |
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Blog 10-Year Challenge (2010-2020) – Song No. 31
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Agha Jaani Kashmiri (16/10/1908 – 27/03/1998) was perhaps the first story/screen-play/dialogue writer who was the ‘king maker’ in the Hindi film industry. Some of the producers/directors like Mehboob Khan, Shashidhar Mukherjee, Sunil Dutt used to consult him while taking up their new film projects. It is said that though he would be officially engaged for writing screen-play and dialogues, in realities, he would be their adviser in almost all the aspects of the film-making. Some of the actors themselves used to get trained from him about the correct pronunciations of their dialogues in Hindustani. Ashok Kumar, Devika Rani, Nargis, Joy Mukherjee, Sadhna, Saira Bano were some of the actors who sought his advice on their Urdu diction.
During his nearly 4 decades of filmy career in Hindi film industry, Aghajaani Kashmiri directed only one film, ‘Tohfaa’ (1947). The star cast included Nawab Kashmiri, Veera, Rehman, Anuradha, Shah Nawaz Shakuntala, Agha Miraz, Kanta, T N Charlie etc. There were 6 lyricists for 10 songs which were set to music by M A Rauf Osmania, the ghazal singer at the court of Nizam of Hyderabad and on Nizam Radio. Rafique Ghaznavi provided the background music. The theme of the film was Hindu-Muslim unity.
Nawab Kashmiri. a favourite actor of New Theater’s Boss, B N Sarkar, was a cousin of Agha Jaani Kashmiri and was the same actor who removed all his teeth for the realism of his role in ‘Yahudi Ki Ladki’(1933).[Ref: ‘Stars From Another Sky’ (2010)]. In ‘Tohfaa’ (1947), he probably did the role of an Ustad whose daughter (Veera) is in one-sided love with Ustad’s disciple (Rehman). The disciple takes it to be a sisterly love of her devotion. The daughter is devasted when the disciple falls in love with a city-bread damsel (probably, Anuradha) whom he introduces to his ‘sister’ to fulfil his long overdue promise to present her with a gift (tohfaa). It is a tragic story of misinterpretation of love between the Ustad’s daughter and his disciple and also of the misinterpretation of the gift (tohfaa) the daughter was expecting. [I have interpreted the story of the film based on the review of the film in May 1948 issue of ‘Filmindia’].
The review in ‘Filmindia’ had blamed the inapt handling of the direction by Agha Jaani Kashmiri. The film flopped miserably at the box office. My guess for one of the reasons for the failure of the film is its timing of the release. This film was due for release at a time when the partition of the country was to take place. Hindu-Muslim riots on the eve of the partition forced the film to be released post-partition. The film was released in April 1948 by which time the prospective audience had already seen the impact of the partition. Probably, they were not in a mood to watch the serious film with the rhetoric of Hindu-Muslim unity theme. But most of the songs in the film became popular.
Exactly 10 years ago, i.e. on May 23, 2010, our Blog had covered 3 songs of which one song, kahaan tak jafaa husn waalon ke sahte, was from ‘Tohfaa’ (1947).
So far, 7 out of 10 songs from ‘Tohfaa’ (1947) have been covered in the Blog as under:
| No. | Songs | Posted on |
|---|---|---|
| 1. | kahaan tak jaffa husn waalon ke sahte | 23/05/2010 |
| 2. | jeene ki soorat ho gayee | 28/07/2012 |
| 3. | kisne chheda man ka taar | 14/10/2012 |
| 4. | ik aisa geet sunaavo | 23/06/2013 |
| 5. | hamne tumne kiyaa thha jo aabaad | 03/07/2013 |
| 6. | mohabbat kar mohabbat kar | 07/07/2013 |
| 7. | bhole sajan tujhe kaise bataaun | 01/02/2015 |
| 8. | wo dil gaya wo dil ke sahaare chale gaye | Being covered in this writeup |
| 9. | gunche sharminda na ho | Yet to be covered |
| 10. | kabhi tarsi huyi aankhon ki hasrat | Yet to be covered |
It would be observed that out of 10 songs, 3 songs are yet to be covered. There has been no addition to the song already covered in the Blog for the last 5 years. I checked on the video sharing platforms on the internet and found that out of these 3 songs only one song, wo dil gaya wo dil ke sahaare chale gaye is available as of date which I am presenting here. The song is rendered by Geeta Dutt. The song is written by Rafique Ghaznavi which is set to music by M A Rauf Osmania.
Audio Clip:
Song-Wo dil gaya wo dil ke sahaare chale gaye (Tohfa)(1947) Singer-Geeta Dutt, Lyrics-Rafiq Ghaznavi, MD-M A Rauf Osmania
Lyrics
wo dil gaya wo dil ke
wo dil gaya wo dil ke
sahaare chale gaye
sahaare chale gaye
sahaare chale gaye
wo dil gaya wo dil ke
sahaare chale gaye
jinse thha hamko pyaar
jinse thha hamko pyaar
jinse thha hamko pyaar
wo pyaare chale gaye
jinse thha hamko pyaar
tum the har ek cheez thhi ee ee ee
mere naseeb mein aen aen
tum kya gaye naseeb
tum kya gaye naseeb
hamaare chale gaye
jinse thha hamko pyaar
wo pyaare chale gaye
raushan thha jinke dam se mera
aa aa aa aa
dil mera khayaal
wo chaand bhi gaya
wo sitaare chale gaye
sitaare chale gaye
sitaare chale gaye
jinse thha hamko pyaar
wo pyaare chale gaye
jab band aankh karte hain
aen aen aen aen
ye dekhte hain hum m m m m
jaise ki hum bhi saath
jaise ki hum bhi saath
tumhaare chale gaye
jaise ki hum bhi saath
tumhaare chale gaye
jaise ki hum bhi saath
tummhaare chale gaye
chale gaye
Do hain naina hon chaar kaise
Posted on: March 2, 2020
This article is written by Arunkumar Deshmukh, a fellow enthusaist 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.
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4245 | Post No. : | 15464 | Movie Count : |
4261 |
Today’s song is from an obscure film – Namak-47. Not only the film title was obscure but even the production House, the Director and even most of the cast too was practically unknown.
And no wonder. 1947 was an year which saw India’s Partition on religion basis. Pakistan was created and there was a stream of film people wanting to migrate. By the beginning of 1947 itself it was clear that there would be a Partition and those of the film industry who wanted to migrate, were in a great hurry to finish off their projects on hand at any cost before the D Day. Investors and artistes of various fields in film making tried their best to complete their films somehow. In this melee, quality of films became the casualty in most such cases, where migration hungry people were involved. This resulted in an unusually high number of films being completed and censored. The year 1947 recorded the maximum number of films – 181, since films were made. This record remained till 1988 when 185 Hindi films were made. So this record stood for 57 years !
This also reflected in the cast of several films, where to fill up vacancies, actors were recruited thoughtlessly. Most such excess people never appeared in films again ever. Film Namak was an example . The film was directed by Balwant B. Dave. He was actually a Cameraman. With the help of an investor S H Torani, he floated a Production company, Azad Pictures to produce film Namak. He also became a director of this film. It is another matter that this Production Company got dissolved after this one film, but Balwant Dave directed 3 more films – White face-48, Shahi Bazar-57 and Gogola-66. This Azad Pictures had even announced 2 more films, namely Kasturba and Voice of India. These ofcourse remained only on paper.
Similarly, the Music Directors were Shyam Babu Pathak and one Naresh Chandra. Though Pathak was an established composer, who remained active many years thereafter, Naresh Chandra was never heard again. Naresh Chandra even sang a song in this film. I have heard his song in this film and wondered who taught him singing. Looks like he went for recording straight from his bathroom !
The cast of film Namak-47 consisted of Dulari, Bhim, Dilawar, Habib, Neelam, Sharda, Chandrashekhar, and Sugandha. The names of Bhim, Sharada, Chandrashekhar and Sugandha were never heard by me after this film. The lead actress Dulari was a comparatively new one. having worked in small roles hetherto, this film was her first film as a Heroine. Earlier in film Adab Arz-43, she had played a side Heroine and the love interest of Mukesh. The Lyricist was Indivar and there were 5 songs in this film- 4 of them composed by Pathak and 1 by Naresh Chandra, the song being sung by him only. For 5 songs a total of 7 singers were used, out of which 4 were New names. These were, Anika Rizvi,Shabnam Hussaini, Naresh Chandra and R P Sharma. These four singers’ names were not heard by me earlier and never later also. They proved to be One time performers only, as far as I know.
In the cast there were two names, which were a part of “Same name Confusion” list. Those names are Heroine Dulari and singer Leela Mehta. Many times, I wondered why same names were used in the film industry at all ? Names like Nalini and Leela could be counted in as many as 5 to 6 artistes. My observation is , whenever the artistes used their Surnames along with own names, there was no confusion. A case in point is name ‘Leela’.
There were following Leelas in film industry…
Leela Chitnis
Leela Chandragiri or Pendharkar,
Leela Mishra
Leela Sawant and
Leela Mehta.
Similarly, there were Shanta Patel, Shanta Mujumdar, Shanta Apte, Shanta Hublikar and many such examples. Since Maharashtriyan actresses were keen on using their Surnames, they were hardly a part of SNC, with the exception of Leelas. Leela Desai and Leela Chandragiri were actresses who operated in same periods in films. Generally, their names were credited full. However some films listed their names as simply, Leela or Miss Leela. In case of Leela Chandragiri , she was listed variously as Leela, Miss Leela, Leela Chandragiri or Leela Pendharkar. This caused lot of confusion in updating their filmographies.
In film Namak-47, the singer was Leela Mehta. Luckily she was essentially a singer, except for one Hindi film-Shri Ram Avatar-50, in which she had acted also.Since she was almost always credited as Leela Mehta, she was not a part of any SNC. Thank God !
Daughter of Kanhaiyalal Mehta and Indumati, Leela was born on 10-12-1935 at Borivali in Bombay. She was elder of the two sisters. Due to loss in business, her family shifted first to Ahmedabad and later to Baroda, where they settled. Leela studied in Marathi medium school- New Era Vidyalay in Baroda. Leela participated in all functions of the school and acted in dramas, much to the annoyance of their social circle. She developed interest in singing after listening to songs by Khursheed and Kananbala. She started learning music despite the resistance from home and others in their society.
V.M.Vyas, the famous Director and a family friend knew about her interest and offered her main role in film Ranak Devi-46. She was just 11 year old and did not suit the role, but she was given another role in it. Kokila Balsara aka Nirupa Roy too acted in it as a Debut film.
Due to her father’s death, the family shifted to Bombay and Leela took the responsibility of being the bread earner by acting and singing in dramas and Radio plays. Meanwhile she learnt further music from Prof. Surendra Rao. She started acting and singing in Gujarati films. Ranjit Movietone offered her a big role in film Gunsundari-48, but since the role needed her to put on a Sleeveless Blouse, she refused that role. Finally, it went to Dulari. She, however sang songs in that film and they became quite popular in Gujarat.
Leela Mehta had grown up in Marathi atmosphere and also was educated in Marathi Medium, so her Marathi was very good. She was invited to work in Marathi dramas. She did roles in famous and popular Marathi dramas and also sang songs. From 1950 onwards, she started acting in Gujarati dramas. Meanwhile she used to sing in Hindi films occasionally. In early 50s, she mad very successful foreign trips with her troupe, to do Gujarati dramas and singing concerts.
Inspite of being successful and acting and singing in Marathi, Hindi and Gujarati films and dramas, her father did not see even one show of hers. This pained her till end. leela stayed in a Bungalow in Versova in Bombay. Once it was rumoured that there was a Ghost in it, she immediately left that house and shifted to Dadar. Inadvertently, she forgot to inform the industry about her change of address, and this diminished her demand drastically.
Her mother died in 1972. In 1982, she toured USA. In 1985, the Marathi Natya Parishad honoured her with a cash award. Till 1992, she acted in Marathi and Gujarati TV serials. In all, Leela acted in 300 Gujarati/Marathi dramas, films and serials. Leela was bedridden and unable to speak also.Her house was demolished. She was under the care of a close relative, Nitin Dahisariya. Finally, the news came that Leela Mehta expired in September 2019.
Leela Mehta acted in only one Hindi film- Shri Ram Avatar-50. She sang 17 songs in 9 Hindi films, including 2 Unreleased films.
Her Films are Nai Kahani-43 ( 2 songs), Gaurav-47 (1), Namak-47 (1), Pehli Pehchan-47 (2), Gunsundari-48(2), Satyawan Savitri-48..No information, Chocolate-50..No information, Shri Ram Avatar-50 (4) and Hanste Rehna-50 (1). Her unreleased films were, Apradh-48 (3) and Bidhata-48 (1).
The other Same name was that of Dulari. There was one more Dulari, since the silent days into the Talkie, but luckily the Sr. Dulari stopped working much before this Dulari entered films, hence there was no SNC.
The Senior Dulari was in silent films starting with film “Poona Raided”-1924, made by Deccan pictures Corpn,Bombay. She acted opposite Vishnupant Pagnis ( who became famous in the Prabhat Talkie film “Sant Tukaram”-1936 and won award in Venice Festival). The silent films were made till 1934. She continued acting in the silent films and when Talkie films started she did act in few Talkie films too. There is a record that she acted in 11 Talkie films. Her last film was Laylo Nihar-1936. Then there is no trace of her.
The Junior Dulari was born as Ambika Vithalrao Gautam, on 18-4-1928 at Nagpur. Her father was in P and T dept. She was called first as Rajdulari and later only Dulari remained. She had 2 younger brothers. Father left P and T job,and joined “Alfred – Khatau” drama company. They shifted to Bombay in 1939.
She started films with Jhoola in 1941. In “Adab Arz”-43, she was the love interest of Mukesh. In film Paapi-53, she was Raj kapoor’s second heroine. In film Namak-47, she first became a Heroine.
Lee
She got married to Sound Recordist Jagannath Jagtap in 1951. They had one daughter. He died in 1972.
She acted in 171 Hindi, 35 Gujarati and 3 Marathi and 1 Rajasthani film till last film Ziddi-1997.
She died on 19-1-2013 at Pune.
I have not seen this film. I saw few advertisements of this film in some old issues of Film India magazine. According to the ads, the film was a social thriller and Dulari played a Christian Convert in this film. The dialogues were by Pt. Anuj.
With today’s song, film Namak-47 makes its Debut on this Blog.
Song-Do hain naina hon chaar kaise (Namak)(1947) Singers- Leela Mehta, Yeshwant Bhatt, Lyricist-Indeevar, MD- Shyam Babu Pathak
Both
Lyrics
Do hain naina
Do hain naina
hon chaar kaise
Do hain naina
Do hain naina
hon chaar kaise
Do hain naina
koi kahe hamko pyaar hai
koi kahe hamko pyaar hai
Do hain naina
Do hain naina
hon chaar kaise
Do hain naina
kisi ka saath nahin
haathhon mein haath nahin
kisi ka saath nahin
haathhon mein haath nahin
?? sharmaaye aur intzaar kaise
?? sharmaaye aur intzaar kaise
Do hain naina
Do hain naina
hon chaar kaise
Do hain naina
karaar kiya nahin
karaar kiya nahin
karaar kiya nahin
dil bhi diya nahin
dil bhi diya nahin
dil koi(?) ho jaaye taiyyaar(?) kaise
dil koi(?) ho jaaye taiyyaar kaise
Do hain naina
Do hain naina
hon chaar kaise
Do hain naina
ek nazar
ek nazar ?? unko ghoorti(?)
ek nazar ?? unko ghoorti(?)
ek nazar man mein bana leti hoor ki
ek nazar man mein bana leti hoor ki
salaam (?)kar le ab kaise kaise
salaam (?) kar le ab kaise kaise
pranaam ka miley adhikaar kaise
pranaam ka miley adhikaar kaise
Do hain naina
Do hain naina
hon chaar kaise
Do hain naina
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