Posts Tagged ‘1947’
Sundar sundar taaron
Posted on: November 11, 2018
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.
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Blog Day : |
3768 | Post No. : | 14742 | Movie Count : |
4029 |
“Director”(1947) was a “social” movie which was directed by S Shafaqat, M A for Dawn Films, Punjab. This by now obscure movie had Salim, Raza, Zeb Qureshi, Zahoor, Aarif, Mohini Das, Iqbal Sheikh, Hafeez etc in it.
This rare movie had nine rare songs in it. It is known that the movie had two lyricists (Tufail Hoshiyarpuri, Aziz Kashmiri) and two music directors (Fateh ali Khan and Pt Lachchiram). HFGK is silent about the singers of the song.
Mr Girdharilal Vishwakarma, a renowned record collector, has recently uploaded a song from this movie. According to him, this song is sung by Zeenat Begam and it is composed by Fateh Ali Khan. The lyricist is not known.
I have not been able to get one (may be more) word right in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.
With this song, “Director”(1947) makes its debut in the blog.
Song-Sundar sundar taaron (Director)(1947) Singer-Zeenat Begum, MD-Fateh Ali Khan
Lyrics
Sundar sundar taaron
Sundar sundar taaron o o
Sundar sundar taaron
Sundar sundar taaron
meethhe meethhe geet suna kar
kirnon ka sangeet suna kar
meethhe meethhe geet suna kar
kirnon ka sangeet suna kar
birhan ke ae ae ae ae
birhan ke dukhiyaare man par
agni baan na maaro o o o
Sundar sundar taaron o o
Sundar sundar taaron
Sundar sundar taaron
tum aakaash
tum aakaash ke rahne waale
tum aakaash ke rahne waale
sukh saagar mein bahne waale
sukh saagar mein bahne waale
mere beete huye sapnon ka
mere beete huye sapnon ka
ab tum roop na dhaaro o o
Sundar sundar taaron o o
Sundar sundar taaron
Sundar sundar taaron
?? tumhaara saath tumhaare
rehta hai din raat
?? tumhaara saath tumhaare
rehta hai din raat
?? hamaara kabhi na poochhe
aa kar man ki baat
?? hamaara kabhi na poochhe
aa kar man ki baat
apni raah sidhaaro o o
Sundar sundar taaron o o
Sundar sundar taaron
One two cha cha cha
Posted on: November 9, 2018
This article is written by Peevesie’s mom, 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 : | 3766 | Post No. : | 14739 |
8th November, this year (2018) was bang in the middle of the festivities connected with the big Indian festival of lights Deepawali, which is said to symbolize Rama’s return to Ayodhya after completing the stipulated 14 years of exile. It is said that since the day he returned was the day of Amavasya whole of Ayodhya was lit up to pave the way for the Lord. Another belief is that it marks the vanquishing of the demon Narkasura by goddess Kali and so one of the five days of festivities is called “Kali Chaudas” or “Narka Chaturdashi”.
Whatever the belief it is a five day long festival of lights and joy and celebrations in most parts of India. So here is wishing the Atulsongaday followers or Atulites as I like to call the followers a Happy Deepawali and Prosperous New Year. Some parts of the country will be celebrating “Bhai Dooj” or “Bhau Beej” on 9 November. Happy Bhai Dooj too.
The spirit of the festival is such that I found that the blog has been getting one-song-per-day for a few days now. I myself visited the blog after 3 days today. But the festival was not the only reason for my absence, my all-time favourite grudge about Bangalore had also played a part for my absence.
In fact I heard the Vividh Bharati too after quite some days and it was playing all songs of Usha Uthup in the 9:30 p.m. program. On googling I realized that it was Usha Uthup’s birthday on 8 november 2018.
She has turned 71, time has really flown since she was first sang under RD Burman’s baton in the 1971 for “Hare Rama Hare Krishna” and followed it up with “Bombay to Goa” in which she also made an appearance on-screen. She has an unusual voice which is normally not used for the female lead but more for dance numbers. But our legs move automatically to songs sung by her whether it is “one two cha cha cha”; “hari om hari”; “rambha ho”; “doston se pyar kiya”; “pyar karna toh zaroori hai”; or “I love you, kya kushi hai kya hai gham”. I find that the stats page shows that we have “6” songs of Usha on the blog (I could locate only 3). That is surprising considering that many of her songs were popular and still are popular.
The song with this post is another such song. It is from the 1978 released Krishna Shah directed multi star-casted “Shalimar”. The songs were written by Anand Bakshi and music was R. D. Burman’s. Shalimar’s LP contains 10 songs of which 3 were instrumental, one was a multi-version song. we have three songs from the movie on the blog, here is the next. It is a song which is filmed in a dance school where Aruna Irani is shown giving training for “Cha Cha Cha”. There is also a gambling den attached to the school where we see a sardar (Premnath) squandering his wealth, suffering a heart attack and being assisted by Dharamendra. It is from here that the story of the movie begins.
Audio (Full)
Song-One two cha cha cha (Shaalimaar)(1978) Singer-Usha Uthup, Lyrics-Anand Bakshi, MD-R D Burman
Chorus
Lyrics
cha cha cha,
cha cha cha
one two cha cha cha,
lets do cha cha cha
me and you cha cha cha
du ru
cha cha cha
ek do cha cha cha
aise
bahut achchhaa
ek do cha cha cha
du ru
cha cha cha
cha cha cha
cha cha cha
ek qadam aage cha cha cha
ek qadam peechhe cha cha cha
ek qadam aage cha cha cha
ek qadam peechhe cha cha cha
aaa
that’s the way aa haa aa haa
i like it
aa haa aa haa
paanv rakho aage-peechhe
aankhen upar haath thhoda neeche
paanv rakho toh aage-peechhe
aankhen upar
haath aha thoda neeche
o back to back
haan cheek to cheek
haan o baby o baabu
one two cha cha cha
lets do the cha cha cha
me and you cha cha cha
du ru
cha cha cha
waah waah cha cha cha
kya khoob cha cha cha
oh great
du ru
cha cha cha
tirikit tam
tirikit thai
tham thi tham
tham thi tham
oh god mr naidu
this is not the bharatanatyam
this is the cha cha cha
mr naidu
gir mat jaana
yahaan tumhen kal bhi hai aana
hey naidu
gir mat jaana
yahaan tumhen kal bhi hai aana
dhirap pap lo
dekho toh
qadmon ka ye jaadoo
one two three kick
one two three kick
hup two three kick
du ru
cha cha cha
one two three kick
one two three kick
hup two three kick
du ru
cha cha cha
aa honey
lets do the offbeat
swing your firm hips now to your two feet
well honey, lets do the offbeat
swing your firm hips now to your two feet
ek do cha cha cha
haan
bahut achchha
yes yes cha cha cha du ru
cha cha cha
waah waah cha cha cha, kya khub cha cha cha
lets do the cha cha cha
du ru
cha cha cha
cha cha cha,
cha cha cha
mr lover
kya karte ho, pyaar karte ho aur darte ho
o o
dhirap pap lo
dont be shy
you and I
main aur tu
ek do cha cha cha
yes yes bahut achchha
ek do cha cha cha, du ru
cha cha cha
kya khub cha cha cha
oh great cha cha cha
you are doing fine
du ru
cha cha cha
hey come on over here
lets dance
everybody together now
wahaan kya hai
all the action is here man
nazar hamaari taraf
come on
remember how you do it
cha cha cha
cross to cha cha cha
turn to cha cha cha, du ru
sabke saath
waah waah cha cha cha
kyaa khoob cha cha cha
bahut achchhe cha cha cha
du ru
dhira papa pa dhira papa pa dhira
dhira papa pa dhira papa pa dhira
dhira papa pa dhira papa pa dhira
shiba pa pa dhira pa pa dhira
oh yeah thats the way aa haa
one two cha cha cha, cross to cha cha cha
turn to cha cha cha, du ru
sabake saath
waah waah cha cha cha,
haan bahut achchha
aise
la la la, right
cha cha cha
waah waah cha cha cha
haan haan cha cha cha
thats the way cha cha cha,
haa haa cha cha cha
waah waah cha cha cha,
kya khub cha cha cha cha
right
haan loud
come wild
- In: "Advice" song | Ameerbai Karnataki Manna Dey duet | Ameerbai Karnataki songs | Bhajan | Biography of artists | Biography of Directors | Duet | Guest posts | Manna Dey songs | philosophical song | Post by Arunkumar Deshmukh | Prayer | Rare song | Songs of 1940s (1941 to 1950) | Songs of 1947 | Yearwise breakup of songs
- 2 Comments
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.
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Blog Day : |
3748 | Post No. : | 14711 | Movie Count : |
4019 |
Today’s song is from film Sati Toral-47. This film was made by Laxmi Productions, Bombay and was directed by Nandlal Jaswantlal. The music was provided by a team of Hari Prasanna Das and Manna Dey. The song is sung by Amirbai Karnataki and Manna Dey. The lyrics were by Miss Kamal, B.A. This was a pseudonym of Kavi Pradeep. At that time, he was under contract with Bombay Talkies and could not use his real name . Under this Pen name, he wrote lyrics for four films, namely Kadambari-44, Amrapali-45, Sati Toral-47 and Veerangana-47. Incidentally, all these films were directed by Nandlal Jaswantlal.
Nandlal was born on 15-3-1907 at Bardoli in Surat. His father was Administrative Officer in Kohinoor films. He started his career by joining it in 1924. He assisted Chandulal Shah(1926-29) and also directed silent and Talkie films for Ranjit from 1929 to 1933. Nandlal left the job and went to Europe on tour. On his return he joined Imperial company(34-36) and directed some remakes of silent films of Sulochana into Talkie films. For one year-1937- he went to Madras and ran a Laboratory also.
His first Talkie film as a Director was Pardesi Preetam-33 and last was Akeli mat jaiyo-63. Both were Ranjit films. Due to his death in 1961, Akeli mat Jaiyo was delayed and completed by Chandulal Shah himself. Nandlal directed, in all, 24 films-5 Silent and 19 Talkie films. Some of his well known films were Indira M.A.-34, Bambai ki billi-36, Sati Toral-47, Sanam-51, Anarkali-53 and Nagin-56. (adapted from indiancine.ma)
Music Director Hari Prasanna Das or H.P.Das was born in Chitgaon, East Bengal, in 1905. He was a Bengali. He was assistant to Pankaj Malik in films Dushman and Kapal Kundala-1939. He gave music to Bangla film ‘ Nimai Sanyasi’-40, in which he gave singing opportunity to 20 year old young Hemant Kumar. His first Hindi film as a MD was New India Films’ Blood Feud (or Josh-E-Inteqam)- 1935. His other films were Mohabbat-43, Meena-44, Kadambari-44, Mazdoor-45, Begum-45, Insaaf-46, Veerangana-47, Sati Toral-47 and Hum bhi insaan hai-48. He died on 26-9-1989.
The cast of the film was Shobhana Samarth, Prem Adeeb, Sankata Prasad, Jeevan, Badri prashad, Rehana and others. Sankata Prasad was the elder brother of more famous character actor Kanhaiyalal, who entered film line first as a Lyricist only. Born in Banares in 1903, Sankata came to Bombay and joined Sagar Film company in 1929. From the beginning, he was a fixture in almost every silent and Talkie film of Sagar Film company, Sagar Movietone, National Studios and lastly Amar pictures. After the last connection, he became a free lancer. To be noted is a fact that Sankata Prasad is the only actor who worked in all 3 First Talkie films of Sagar Movietone, namely Veer Abhimanyu, Romantic Prince and Abul Hasan. His last film was Do Mastane-58. He acted in 65 films,in all.
Film Sati Toral -47 was based on a Folk Tale of Gujarat. Folk Tales are stories passed through generations by telling. They are built around Fairy Tales, Tall tales, Trick tales, Myths and Legends. The base of Folk tales is a true historical event , person or a story. Folk tales of loving couples have been very popular and have been subjects on which films in almost every language are made. Stories of Heer Ranjha, Mirza Sahiban,Sassi Punnu, Sohni Mahiwal, Momal Rano, Dhola Maru,Prithviraj Sanyogita, Bajirao mastani, Laila Majnu, Salim Anarkali, Shahjehan Mumtaz Mahal etc. are famous folk tales of lovers and films are made on them.
Similarly, Mythology and religious books provide plenty of scope for Folk tales. Several films are made in several languages on the folk tales of Satis in Hindu religion. Actually, 44 Talkie films are made, whose Titles contain the word ‘Sati’. The more popular Folk tales are on Sati Anusuya, Parvati, Ahilya, Anjani, Madalasa, Narmada, Mahananda, Pingala, Renuka, Savitri, Seeta, Sulochana, Toral, Vaishalini, Vijaya and Vimala to quote a few. Maximum 7 films are made on Sati Anusuya. As if only Sati is not enough, there are films like Mahasati Anusuya, Behula,Madalasa,Maina Sundari, Savitri, Tulsi and Tulsi Vrinda. You really must appreciate the creativity of Hindi film makers.
Like lovers and Religious persons, there are folk tales of Historical persons too, Like Rana Pratap ( and his Horse Chetak), Akbar, Shivaji, Amar singh Rathod, Razia Sultan, Chandbibi, Jhansi ki Rani, Birbal and Tenali Raman. Films have been made on most of these too.
Coming back to Film Sati Toral-47, I have not seen this film in Hindi or Gujarati, So, I was looking for the story of Toral. I found one on Wiki. There is a slightly different ( in details) story written by Amrit Ganger ji, the famous author in English and Gujarati on cinema and history. He has won the Gujarat Sahitya Academy Award too. This story is available on tellmeyourstory.in, for those who are interested.( I am happy to note here that I know Mr. Gangar and he has gifted me his latest book ” Walter Kaufmann in India 1934 – 1946″ ). So, here is the Sati Toral story from Wikipedia…
” Jesal, a young Kutchi Rajput, was a dreaded dacoit.
His brother’s wife once chided him that if he was truly brave, he should prove it by stealing Toral, an extraordinary mare belonging to a Saurashtra king. In the process of stealing Toral, Jesal’s hand got caught in a nail and his agonised cries brought the king running outside.Asked what he wanted, Jesal said “Toral”, not knowing that the queen too had the same name. The king, a devout daani (donor) who had sworn never to disappoint anyone, gave him three Torals – his queen, the mare and a sword by that name. But on the boat journey back home, Jesal realised that Toral was not an ordinary woman.
He was tormented by guilt at having taken away someone who, out of loyalty, did not even question her husband’s decision. It is said that the enlightened company of Queen Toral, remembered in Gujarati literature as a devotional poet who composed and sang songs, transformed Jesal completely and the two began spreading the message of God.
Their inseparable companionship as teacher and disciple is talked about, but in cautious tones. No one, not even the local scholars, wants to discuss the Jesal-Toral alliance as a man-woman relationship. “Even the Gujarati film Jesal-Toral did not suggest any such angle,” recalls photographer Vinay Thacker, who started his career in 1976 by selling photos of the twin samadhis outside the shrine.
However, people do accept their unusual affinity, which even death couldn’t change. It is said that when Jesal undertook samadhi, he called out to Toral from his grave to join him. Toral, who was travelling, heard his voice, came back to Anjar and immediately took samadhi.
Toral, the mare, too was buried outside the temple. A green and magenta chaddar now covers the equestrian grave. The destroyed roof of the shrine has been temporarily replaced with an asbestos sheet. ”
Today’s song is sung by Amirbai Karnataki and Manna Dey, with Chorus. HFGK does not indicate names of singers for this song, but the voices are unmistakable. This song is in Amirbai’s song list. Prof. Yadav, in his book ” फिल्म संगीतकार – सुवर्णयुगवाले” also mentions these two names for this song. This is quite a good song. “Sati Toral”(1947) makes its debut in the blog with this song.
Song-Chaar dinon ka hai ye mela re bhai(Sati Toral)(1947) Singer-Amirbai Karnataki, Manna Dey, Lyrics-Kavi Pradeep, MD-H P Das
Chorus
Lyrics
Chaar dinon ka hai ye mela re bhai
?? raha hai ??
hari ka sumaran kar le re
tera hoga bhala
mera hoga bhala
apne ?? ko bacha le
hai shaam ki bela
aur din dhala
khud ko kar de prabhu ke hawaale
door karega wo teri bala
apne man ka dhundhla darpan
apne man ka dhundhla darpan
tu hari bhajan se kar ujla
hari ka sumaran
prabhu ka sumaran
kar le re
tera hoga bhala
mera hoga bhala
ab to hari ko sumar le re bhai ee
saari umar toone yoonhi ganwaai ee ee
yoonhi ganwaai
tera prabhu tere bheetar chhupa hai
tera prabhu tere bheetar chhupa hai
tu apne man ka deepak jala aa
hari ka sumaran
prabhu ka sumaran
kar le re
tera hoga bhala
mera hoga bhala
ye duniya hai ek musaafirkhaana
yahaan ki dosti ka kya thhikaana
ye duniya hai ek musaafirkhaana
yahaan ki dosti ka kya thhikaana
aaj yahaan par hai rain basera
aaj yahaan par hai rain basera
kaun jaane kal kahaan ho dera
is zindagi ka kya bharosa
ye jal ki dhaara hai silsilaa(?)
hari ka sumaran
prabhu ka sumaran
kar le re
tera hoga bhala
mera hoga bhala
dil ka rakshak wo parmeshwar hai ae ae ae ae
unko is jag mein kiska darr hai
unko is jag mein kiska darr hai ae ae
kaun hai aisa ishwar ka banda
kaun hai aisa ishwar ka banda
ki jis ka sankat nahin tala aa
hari ka sumaran
prabhu ka sumaran
kar le re
tera hoga bhala
mera hoga bhala
Ye Duniya Hai Sab Prem Ki
Posted on: September 30, 2018
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 : | 3726 | Post No. : | 14663 |
Today’s song is from film ‘Shahkaar’ (1947). Very few people must have heard about this film. That is probably because, it was made in 1947- the year of India’s partition. As the year 1947 began, news was circulating about the partition. Like many other industries, film industry was also worried. There was an air of uncertainty. Who will stay and who will migrate was hotly debated in the privacy of homes, studios and clubs. People looked at each others with suspicion. Muslims were worried about their safety in India, in spite of the assurances by Gandhi and Nehru.
Crores of rupees were invested in films. After the second world war started in 1939, lot of Black money was generated and much of it came to film industry. Investors, financiers and producers were worried about half made films. Everybody seemed to be in a hurry to finish his assignment on hand. Due to this the quantity of films increased, sadly at the cost of quality. 1947 saw a record number of films made in 1947- 181 Hindi films, the highest ever since films were made. It took another 40 years to break this record in 1988, when 185 films were made.
Almost 75 to 80 % films of 1947 were obscure and forgotten within a short time.Films like ‘Aisa Kyun’, ‘Atom Bomb’, ‘Barrister’, ‘Beete Din’, ‘Chalte Chalte’, ‘Chandrahaas’, ‘Dehati’, ‘Daulat Ke Liye’, ‘Extra Girl’, ‘Farz’, ‘Gaurav’, ‘Gudiya’, ‘Heera’, ‘Janata’, ‘Jhalak’, ‘Khandaani’, ‘Lalat’, ‘Manmaani’, ‘Mere Bhagwan’, ‘Mohan’, ‘Nai Baat’, ‘Pehla Pyar’, ‘Paro’, ‘Riwaaz’, ‘Shabari’, ‘Shahkaar’, ‘Tohfa’, ‘Toote Di’l, ‘Veerangana’ are some of the films made in 1947. How many of us even know about them? Actually, some of these were films in which well known and major stars of the times had acted. For example, ‘Mohan’ had Dev Anand as hero, ‘Lalat’ was the debut film of Usha Kiran (as Usha Marathe), Prem Adib and Vanmala had acted in ‘Chandrahaas’ etc.
Not that ALL films were bad. Certainly some famous and excellent films providing some milestones of Hindi cinema were also made in 1947, like ‘Aapki Sewa Mein’ (first playback song of Lata Mangeshkar), ‘Bela’ (all 10 songs by Zohrabai Ambalawali), ‘Dard’ (debut song of Umadevi), ‘Elaan’ (a bold Muslim social film by Mehboob Khan), ‘Jugnu’ (the only film of Dilip Kumar and Noorjehan), ‘Meera’ (all 18 songs by MS Subbulaxmi), ‘Mirza Sahibaan’ (last film of Noorjehan in India), ‘Neel Kamal’ (debut of Raj Kapoor and Madhubala as lead pair), ‘Parwaana’ (last film of KL Saigal), ‘Shadi Se Pehle’ (first duet of Rafi and Lata) and ‘Shehnai’ (epoch making music by C Ramchandra).
Nevertheless partition did have an impact on the film industry, due to the migration of artistes from both countries. Lahore, an important city in the undivided Punjab in the pre-independence days was one of the major film making centres in India. Talented actors and musicians from all Punjab and Sindh area tried their luck in the Cine Industry at Lahore. Nevertheless, the biggest centre of film production was Bombay and it was every aspiring artist’s dream to go to Bombay and shine there.
The film activity at Lahore increased considerably in the early 1940s in terms of film production and music. Those days Lahore was called a supply source for Bombay, as many actors and musicians shifted their base to Bombay from there. In reality, a large number of star performers and music directors of Bombay film industry had their roots in the undivided Punjab. Many started careers in Lahore, some started from Calcutta and some even from Bombay itself. Most who were in Calcutta shifted to Bombay in early 40s ( but it had nothing to do with Partition). The list of such people is very long, but suffice to mention some well known names.
Noorjehan, Pran, KL Saigal, Prithviraj Kapoor and his sons, Shyam, Dilip Kumar, Surinder, Karan Dewan, Dev Anand, Balraj Sahni, Singer Khursheed, Mumtaz Shanti, Veena, Begum Para, Meena Shorey, Suraiya, Manorama, Kamini Kaushal, Shyama (Khursheed Akhtar), AR Kardar, M Sadiq, Suresh (Nazim Ahmed), Amar, Chetan Anand, Jhande Khan, Ghulam Haider, Pt Amarnath and his brothers Husnlal-Bhagatram, Hansraj Behl, S Mohinder, Feroz Nizami, Khursheed Anwar, Khayyam, Vinod, Shyamsunder, Kidar Sharma, Krishna Chander, OP Dutta, Saadat Hasan Manto, Qamar Jalalabadi, DN Madhok, Tanvir Naqvi, Prem Dhawan etc.
Many of the actors and producers used to shuttle between Lahore and Bombay for their work.
And then the PARTITION took place in 1947.
In the communal frenzy, polarisation of artistes took place. Hindus shifted to Bombay and Muslims left for Lahore. But there were some reverse migrations also in this period. One example each is of Sahir Ludhiyanvi who migrated to India, and Deebo Bhattacharya from Calcutta migrated to Karachi and prospered in Pakistan as a successful music Director.
Some of the families got divided, like Mehboob Khan opted to remain in India, but his brother MR Khan remained in Pakistan and worked as a well known producer. Juhi Chawla’s grandfather JC Anand and uncle Satish Anand stayed in Lahore. Consequently they became the pioneers of Pakistan Film Industry. After the divorce, Rafi’s wife also migrated to Pakistan with her children.
At the actual time of Partition some artists were in Lahore for film work. They were BR Chopra, Ramanand Sagar, IS Johar, Gulshan Rai, Omprakash, Jeevan, OP Nayyar, Rajinder Singh Bedi, Naqsh Lyallpuri, Surinder Kaur, Prakash Kaur and Pushpa Hans. They all left Lahore hurriedly and reached Bombay safely.
However this journey was not so safe for one actor – comedian Durga Prasad, known as Durga Mota. He was very fat. In the melee, he reached the Lahore station and somehow entered the train to Bombay. Suddenly a group of mad rioters entered the Lahore station and started killing the travellers. Most people ran helter skelter, but due to his heavy body, Durga Mota could not run and was cut into pieces on the Lahore station platform itself !
Same way many artists from Bombay left for Lahore and ALL of them reached safely.
I have full lists of who migrated, but to put it in short, some of the directors who migrated were,
Syed Shaukat Hussain Rizvi, SM Yousuf, Najam Naqvi, Munshi Dil, Nakshab Jarchavi, M Sadiq, Zia Sarhadi, Sibtain Fazli (of Fazli Brothers), ST Zaidi , Zahoor Raja, Wali Saheb and Manto.
Some of the heroes were- Nazeer, Sadiq Ali, Masood, Sudhir, Santosh, Ratan Kumar, Najmul Hussain, Suresh and Nasir Khan (both came back to India later), Sheikh Mukhtar.
Some of the actors were- M Ismail, Ajmal, Gulam Mohd, Kumar, Ghori, Majeed, Shahnawaz, Himalayawala, Shyam Kumar, Allauddin, Shah Shikarpuri, Charlie, Nazar Faizi etc.
Some of the Heroines were- Noorjehan, Meena Shorey, Khursheed, Zeenat Begum, Asha Posley, Najma, Kalawati, Rehana, Swarnalata, Ragini, Bibbo, Renuka Devi, Geeta Nizami, Maya Devi etc.
Some from the music field were- Khursheed Anwar, Inayat Hussain, Rafiq Gaznavi, GA Chisti, Ghulam Haider, Feroz Nizami, Nissar Bazmi, Nashaad, Tufail Faruqi, Tanvir Naqvi, Faiyaz Hasmi, Iqbal Bano, Premlata etc.
With so many people migrating to Pakistan at a time and the condition of Pakistan Film Industry then, it is a moot question, whether all these migrants could get work there and shine ?
There were 2 types of people who migrated-
- Those who had achieved their peaks already in India and
- Those who had just started their careers.
Obviously the second group, at least some of them, could do well there eventually.
Some of the successful migrants there were- Noorjehan, Khursheed Anwar, GA Chisti, Nissar Bazmi, Feroz Nizami, Najam Naqvi, Nakshab Jarchavi, Sibtain Fazli, Wali Saheb, Manto, Rashid Atre, Sudhir, Santosh, Asha Posley, Shameem, Najma, Yasmeen, Ragini, Zahoor Shah, Shaikh Iqbal, Himalayawala, Nazar, Rafiq Gaznavi, Tanvir Naqvi, Iqbal Bano etc.
The unfortunate ones were (some of them) – Meena Shorey, Ratan Kumar, M Sadiq, Charlie, Ghori, Kumar, Sheikh Mukhtar, Najmul Hussain, Neena, Kalavati, Maya Devi, Gulam Haider, Nashaad, Premlata etc.
Almost all the artists who shifted to Bombay prior to Partition did very well here.
There was a second wave of Migration in 1955-56, during which many artistes like Veera, Rattan Kumar, Rehana, Mumtaz Shanti, Meena Shorey, Wali Sahib, K Anwar etc migrated to Pakistan.
Partition did some damage to India, but as there was a second line waiting to take over, the impact was negligible. However, Pakistan had to build a new film industry with the help of the migrant artistes in almost all departments of film making. Once this generation ended their career, unfortunately there was not much of a second line to take over in Pakistan.
Here is an excerpt from a book “The Travels of Bollywood Cinema ” by Anjali Geeta Roy, in this connection…….
The rioting of 1947 set in motion irreversible, irrevocable migration. B R. Chopra and I S Johar were planning films in a big way for Lahore but had to run for their lives. Ramanand Sagar left in July, so did Gulshan Rai. Character actor Om Prakash (of Fateh Din fame, an all-time favourite skit relayed for years by Radio Lahore), comedian-bad man Jeevan and many others also left Lahore for Bombay. O P Nayyar recorded his immortal song Preetam Aan Milo/ Dukhia Jiya Bullai, Aan Milo at the His Master’s Voice studio in Lahore. He left Lahore only in 1948 when it became clear that people with the wrong religion were not going to return to their homes on either side of the Punjab. Writer Rajinder Singh Bedi escaped, sitting on top of a railway carriage carrying loads of Hindus and Sikhs out of Lahore. Song-writer Naqsh Lyallpuri began his literary career in Lahore as a journalist but had to leave in 1947. Punjabi singers, the sisters Surinder Kaur and Prakash Kaur, and Pushpa Hans also left Lahore.
Migration in the other direction also took place. Nazir and his wife Swarnlata, Noorjahan and her husband Shaukat Husain Rizvi, character actor Alauddin and many others headed for Lahore. Manto came in January 1948, music directors Ghulam Haider and Khurshid Anwar followed some years later and director M. Sadiq probably in 1969 or 1970. Meena Shori, Khurshid and Mumtaz Shanti also immigrated to Lahore. Some Pakistani actors in Lahore continued to use Hindu filmic names. Santosh Kumar (Musa Raza) and Sudhir (Shah Zaman), the two most famous heroes of the 1950s and 60s represented such practice. On both sides, initially considerable goodwill existed between the two film communities.
Some families were divided. Thus for example, while Nazir shifted to Lahore, his nephew K. Asif stayed on in Bombay. Kardar stayed on but his brother Nusrat Kardar and son Rauf Kardar returned to Lahore. While Suraiya, her mother and grandmother settled in Bombay, many of her other relatives shifted to Lahore. Rafi stayed on to reign supreme in Bombay while his parents and siblings were in Lahore.
There were some cross-religion marriages that created peculiar challenges. Raj Kapoor’s maama (maternal uncle) Mr Mehra married a Muslim, converted to Islam and stayed in Lahore. A unique case of reverse migration took place as well: poet Sahir Ludhianvi (Abdul Hai) left Lahore for India.
In the context of partition and its effect, if one sees, the film ‘Shahkaar’ was an ordinary film. The director of the film, the hero Shah Nawaz and few actors like Nazma, Majid, Mehdi Raza, Maqbool etc. migrated to Pakistan after partition. Obviously these artistes were in a hurry to complete the film, which affected the quality of the film.
The music director was K Datta aka Datta Korgaonkar. There were only 7 songs – all written by Arzoo Lucknowi. The film was directed by S Khalil, who directed 7 films in all in India. Shah Nawaz continued his career in Pakistan by acting in 41 films there (32 Urdu and 9 Punjabi). He died on 18-6-1971 in Karachi. Today’s song is sung by a young Mohd Rafi and Shamshad Begam. Rafi sounds very fresh here.
[Author’s Notes – the lists of names given here are indicative and not exhaustive. Migration period is considered as 1947 to 1970.]
[Acknowledgements – My thanks to Harish Lalwani of Hyderabad-Sindh and Rafiq Ansari of Lahore. Credits – HFGK, ‘Mourning the Nation’ by Bhaskar Sarkar, ‘Partition’ by Kavita Daiyya, “The Travels of Bollywood Cinema ” by Anjali Geeta Roy, Encyclopedia of Indian Cinema and my notes.]
Song-Ye duniya hai sab prem ki (Shahkar)(1947) Singers-Rafi, Shamshad Begam, Lyrics-Aarzoo Lucknowi, MD-K Datta
Lyrics
o o o
o o o
o o o
o o o
o o o
o o o o
o o o o
ye duniya hai sab prem ki
tu prem kiye ja
ye duniya hai sab prem ki
tu prem kiye ja
haan prem kiye ja
duniya mein jiye ja
haan prem kiye ja
duniya mein jiye ja
aa aa aa aa aa
aa aa aa
aa aa aa aa aa
o dharti ke raaja
aa aa aa aa
tere haath mein baaja
tere hath me baaja
o chaand ki raani
aa aa aa
teri mast jawaani,
teri mast jawaani
tu chaand mere dil ka hai
aankhon ka hai taara
mamta ne kiya phoolon mein chhip chhip ke ishaara
sandesh mujhe chupke se pardon mein diye ja
o chaand ki raani
o dharti ke raaja
o chaand ki raani
aaja
aaja
aaja
main aati to hoon
par tu mujhe chhed na dena
main aati to hoon
par tu mujhe chhed na dena
o baanke lutere
o baanke lutere
tu kahin loot na lena
tu kahin loot na lena
haan chhed na dena
mujhe tu loot na lena
haan chhed na dena
mujhe tu loot na lena
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
mohabbat sharaab aur mohabbat jawaani
mohabaat jawaani
jawaani deewaani
behoshi ke mausam mein
behoshi ke mausam mein
lagaataar piye ja,
lagaataar piye ja
aur yoon hi jiye ja
aur yoon hi jiye ja
aur yoon hi jiye ja
aur yoon hi jiye ja
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 : | 3710 | Post No. : | 14637 |
“Wo Zamaana”(1947) was directed by Manibhai Vyas for Ranjeet Movietone, Bombay. This “historical” movie had Khursheed (Junior), Lalita Pawar, Altaf, Padma Bannerji, Subhadra Devi, Sheikh Hasan, S N Tripathi, Pt Iqbal, Joshi, Ramswaroop, Nafeez Khalili, Kaabuli, Iqbal Hussain, Ibrahim, Bhupatrai Ojha etc in it.
This movie had ten songs in it. Two songs have been covered in the past.
Here is the third song from “Wo Zamaana”(1947) to appear in the blog. This song is sung by Mohantara Talpade and Rati Kumar Vyas. Pt Indra Chandra is the lyricist. Music is composed by Bulo C Rani.
Only the audio of this rare “expression of love” song is available. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of the song.
I have not been able to get a few words right in the lyrics. I request readers with keener ears to help fill in the blanks/ suggest corrections as applicable.
With this song, Rati Kumar Vyas makes his debut in the blog as a singer. I request our knowledgeable readers to throw light on this singer.
Song-Ho saloni naari tere roop ka jagat bhikaari(Wo Zamaana)(1947) Singers-Mohantara Talpade, Rati Kumar Vyas, Lyrics-Pt Indra Chandra, MD-Bulo C Rani
Lyrics
hey ae ae ae ae
ae ae ae ae ae ae
ae ae ae
ae ae ae
hey ae ae ae
saajan to teekha bhala
ae ae
jyon barse talwaar
ae ae ae ae
paani jiska dekh kar
haaye chhup jaaye sansaar
ae ae ae ae
ae ae ae
ae ae ae ae
ae ae ae ae
ae
naari to baanki bhali
jaise dhanush kamaan
ae ae ae ae
tirchhe chitwan
baan pe ae
ae
isi se karat nishaan
o o o
saloni naari
tere roop ka jagat bhikaari
tere roop ka jagat pujaari
o o o
saloni naari
tere roop ka jagat bhikaari
tere roop ka jagat pujaari
jab se geet sunaaya tumne
jab se geet sunaaya tumne
pad gayi koyal kaali
kaali
kook kook kar
kook kook kar
deti tujhko
?? adharon se gaali
gaali
manhaari
matwaari
tere roop ka jagat bhikaari
o o o
saloni naari
tere roop ka jagat bhikaari
tere roop ka jagat pujaari
kaliyon ka ras rang churaaya
kaliyon ka ras rang churaaya
bhav ?? uthhe man mein
man mein
nain raseele
nain raseele
dekh tihaare
hirni bhaagi van mein
van mein
balihaari
balihaari
tere roop ka jagat bhikaari
o o o
saloni naari
tere roop ka jagat bhikaari
tere roop ka jagat pujaari
Main parwat khadi pukaaroon
Posted on: September 8, 2018
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 : | 3704 | Post No. : | 14627 |
“Wo Zamaana”(1947) was directed by Manibhai Vyas for Ranjeet Movietone, Bombay. This “historical” movie had Khursheed (Junior), Lalita Pawar, Altaf, Padma bannerji, Subhadra Devi, Sheikh Hasan, S N Tripathi, Pt Iqbal, Joshi, Ramswaroop, Nafeez Khalili, Kaabuli, Iqbal Hussain, Ibrahim, Bhupatrai Ojha etc in it.
This movie had ten obscure songs in it. One song has been covered in the past
Here is the second song from “Wo Zamaana”(1947) to appear in the blog. This song is sung by Mohantara Talpade. Pt Indra Chandra is the lyricist. Music is composed by Bulo C Rani.
Only the audio of this “calling the beloved” song is available. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of the song.
Song-Main parwat khadi pukaaroon (Wo Zamaana)(1947) Singer-Mohantara Talpade, Lyrics-Pt Indra, MD-Bulo C Rani
Lyrics
main parwat khadi pukaaroon
balamva aa aa re
sajanva aa aa re
main parwat khadi pukaaroon
balamva aa aa re
sajanva aa aa re
teri palchhin baat nihaaroon
balamva aa aa re
sajanva aa aa re
teri palchhin baat nihaaroon
sajanva aa aa re
balamva aa aa re
wo mast morni ee ee
wo mast morni
mor dekh kar dole ae dole
wo mast morni ee ee
wo mast morni
mor dekh kar dole ae dole
tum aao to mere man ki maina bole ae bole
tum aao to mere man ki maina bole ae bole
main preet ka jaadoo daaroon
balamva aa aa re
sajanva aa aa re
main preet ka jaadoo daaroon
balamva aa aa re
balamva aa aa re
kya karoon kya karoon
kya karoon kya karoon
kya karoon
preet meri laaj ka ghoonghat khole ae khole
kya karoon
preet meri laaj ka ghoonghat khole ae khole
lo suno
jiya mora piya piya piya bole ae bole
lo suno
jiya mora piya piya piya bole ae bole
main kaise tujhe bisaaroon
balamva aa aa re
sajanva aa aa re
main kaise tujhe bisaaroon
balamva aa aa re
balamva aa aa re
main parwat khadi pukaaroon
balamva aa aa re
sajanva aa aa re
Aate hain wo aate hain wo
Posted on: August 10, 2018
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 : | 3675 | Post No. : | 14562 |
Khaamosh hai zamaana chup chaap hain sitaare
The first line of the song, aayega aane waala aayega from ‘Mahal’ (1949) must have vibrated in the cinema halls many times when the film was released on October 13, 1950 (on Ashok Kumar’s birth day). How true it was! Just two months before the release of the film, the creator of the immortal melodies in the iconic film ‘Mahal’ (1949) breathed his last on August 10, 1950 in Harkishandas Hospital in Bombay (Mumbai) at the young age of 42 years.
Today, August 10th 2018 is the 68th Remembrance Day of Khemchand Prakash (12/12/1907 – 10/08/1950). In 1939, he was like a newly capped cricketer who attained the form in his very first assignment and remained in form most of the time. In a short span of 11 years in the Hindi film industry, he composed a little over 430 songs in around 45 films. His career graph was like ‘I came, I saw, I conquered’ the Hindi film music.
Khemchand Prakash was born in Sujangarh (presently in Churu district of Shekhavati region of Rajasthan) in the family of Dhrupad singers and kathak dancers belonging to Jaipur Gharana. The family had a long lineage of kathak dancers and dhrupad singers. It is said that some of them received the patronage of Mughal kings from the time of Akbar and continued the royal patronage until the death of Mohammed Shah ‘Rangeela’. Thereafter they had to seek royal patronage from other princely states like Jaipur, Jodhpur, Bikaner, Rampur, Lucknow, Gwalior etc. [Reference: Sunil Kothari’s book ‘Kathak – Indian Classical Dance Art’ (1989)].
Pandit Govardhan Prasad, the father of Khemchand Prakash was also dhrupad singer and kathak dancer who was in the royal court of Jaipur. Khemchand Prakash received training in dhrupad singing and kathak dance from his father in Jaipur. When he was still in his teen, he became the court singer and dancer in the royal court of Bikaner. Soon he got an opportunity to join the royal court in Nepal as a singer and dancer where he remained for the next 7-8 years.
Khemchand Prakash got an opportunity to work in New Theatres (NT) as a music assistant to Timir Baran who was the music director for ‘Devdas’ (1935). There has been some speculation for a long time that Khemchand Prakash composed tunes for two songs of ‘Devdas’ (1935). About 3 years back, Pavan Jha, in his Article reaffirmed:
Music director Daan Singh [(‘My Love’ (1970), ‘Bhool Na Jaana’ (1960s, UR)], who was a formal protégé of Khemchand Prakash for a year and half, had told me that two of the classic compositions from Devdas, ‘Dukh ke din ab…’ and ‘Baalam aan baso…’, were composed by Guruji (Khemchand) and yet his contributions as composer went unaccredited.
Another important event in the life of Khemchand Prakash during his New Theatres day was his comic role as an actor-singer in ‘Street Singer’ (1938) in which he performed and sang lo khaa lo madam khaana. It seems, he also had a small role in ‘Kapal Kundla’ (1939).
Sometime in 1939, Khemchand Prakash joined Prithviraj Kapoor, K N Singh and others in quiting NT and came to Bombay (Mumbai). Probably, he must have thought that with stalwarts like R C Boral and Pankaj Mullick, he had no scope for becoming a music director in NT. With Prithviraj’s connections, Khemchand Prakash got his first assignment as an independent music director for Supreme Pictures’ ‘Ghazi Salauddin’ (1939) and ‘Meri Aankhen’ (1939).
For ‘Ghazi Salauddin’ (1939), Naushad assisted Khemchand Prakash as the story of the film had a historical Muslim background. Two songs sung by Kalyanibai became popular from this film. With ‘Meri Aankhen’ (1939) which was released first, Khemchand Prakash’s association with Khursheed Bano – Ranjit Movietone’s actor-singer- began which churned out many popular songs.
Although these two films did not have a good run at the box office, the songs of the films were appreciated. Khemchand Prakash joined Ranjit Movietone as music director with ‘Paagal’ (1940), ‘Holi’ (1940) and ‘Diwaali’ (1940) in his bag. In all, he composed music for 26 films during his 5 years of association with Ranjit Moveitone.
Some of the films made under the banner of Ranjit Movietone in which songs composed by Khemchand Prakash became popular were ‘Holi’ (1940), ‘Pardesi’ (1941), ‘Chaandni’ (1942), ‘Tansen’ (1943), ‘Bharthari’ (1944), ‘Bhanwra’ (1944), ‘Mumtaz Mahal’ (1944) etc.
A special mention needs to be made about the song compositions of ‘Tansen’ (1943). In this film, two top actor-singers – K L Saigal and Khursheed Bano were teamed together for the first time. It was the first occasion for Khemchand Prakash as a music director to record the song rendered by K L Saigal. It was the first occasion to compose a song in dhrupad for K L Saigal. While the songs of Khursheed Bano were a blend of folk and raag based, that of K L Saigal were based mainly on classical raags.
After ‘Prabhu Ka Ghar’ (1945), Khemchand Prakash left Ranjit Movietone ostensibly for the differences with Sardar Chandulal Shah on engaging a new playback singer. After remaining inactive for about a year, he became a free-lancer during which he scored music for successful films like ‘Sindoor’ (1947), ‘Ziddi’ (1948), ‘Saawan Aaya Re’ (1949), ‘Rimjhim’ (1949), ‘Mahal’ (1949) etc.
Some of the lesser known songs composed by Khemchand Prakash which I like are as under:
| Songs | Singer(s) | Movie |
|---|---|---|
| Main albeli titli | Sitaara Devi | Meri Aankhen (1939) |
| Mori atariya hai sooni mohan nahi aaye | Khursheed Bano | Pardesi (1941) |
| Meri atariya pe aa jaa | Sitara Devi/Mukesh | Dukh Sukh (1942) |
| wo chaand ban muskuraa rahe hain | Ameerbai Karnataki | Vishkanya (1943) |
| Mere dheere se ghoonghat hataaye piya | Ameerbai Karnataki | Bharthari (1944) |
| teri pi pi ke pukaaron ne dil loot liya | Ameerbai Karnataki | Bhanwra (1944) |
| Mohabbat mein saara jahaan jal raha hai | Khursheed Bano | Shahanshah Babar (1944) |
| ye dil na mujhe yaad dila baaten puraani | Rafi/Shamshad | Saawan Aaya Re (1949) |
| Jagmag jagmag karta nikla chaand poonam ka pyaara | Kishore Kumar | Rimjhim (1949) |
| dekh gagan mein kaali ghata kya kehti hai | Nalini Jaywant | Muqaddar (1950) |
No discussion on Khemchand Prakash would be complete without the mention of his melodious song compositions for “Mahal’ (1949) in general and aayega aane waala aayega in particular. Probably, this was the first song in the genre of ‘haunting song’. The top popularity this song achieved after the release of the film relegated into background the other melodious songs of this film such as mushqil hai bahut mushqil and ghabra ke jo ham sar ko .
I had heard this song on the radio quite often during my childhood and teenage years. It was one of my favourite songs. During my gramophone record collection days in early 1970s, the 78 RPM gramophone record of this song (in two parts) was one of my early collections. It was then I came to know that the song was composed by Khemchand Prakash, a name unknown to me at that time. Due to the slow tempo in Part-1 of the song, I would play only Part-2 of the song on my record player on most of the time. After watching the song picturisation, now I am in a better position to appreciate Part-1 of the song as well.
It is said that after the marathon rehearsal of the song of about 6 minutes of duration, Ashok Kumar, Savak Vacha and lyricist Nakshab Jarchvi felt that the slow tempo in the song would not appeal to the audience. But Khemchand Prakash was very confident about the song becoming popular. He was supported by the director, Kamal Amrohi.
Khemchand Prakash’s prophecy came true. The song became a rage all over India. Radio listeners were asking as to who was the real singer since the name of ‘Kamini’ – the character Madhubala played in the film – was printed on the label of the 78 RPM gramophone record. Thereafter the radio anouncers started announcing the name of Lata Mangeshkar whenever the song was being played on the radio.
The musical hit of ‘Mahal’ (1949) made Madhubala a star to reckon with. Lata Mangeshkar’s playback singing career graph gained a quantum jump which helped her to become numero uno among the female playback singers and retain that status for about the next 5 decades. After being in the film industry for over a decade as a story/screen-play/dialogue writer and lyricist, Kamal Amrohi’s success in his first directorial assignment got him the recognition as a director. The debt-ridden Bombay Talkies under whose banner the film was produced, got a breather.
But Khemchand Prakash, the creator of the immortal melodies in the film was not there to witness the tremendous success of his songs. Just 2 months before the release of the film, he breathed his last on August 10, 1950. Although Khemchand Prakash had earlier composed many hit songs especially with Khursheed Bano and Ameerbai Karnataki, this one song , aayega aane waala’ has immortalised him forever in the history of Hindi film music.
As a tribute to Khemchand Prakash on his 68th Remembrance Day, I am presenting one of the rare songs from an obscure film ‘Chalte Chalte’ (1947) in which Khemchand Prakash composed 11 songs (including one multiple version song). All the songs were written by Lalchand Bismil Peshawari. The song is ‘aate hain wo aahista aahista haule haule’ sung by Patanjal and Meena Kapoor. The film was produced and directed by S K Malik under the banner of Malik Productions. The main cast included Patanjal, Latika, Sudha, Kanta Kumari, Anwari, Gope, K N Singh, Shekhar, Anjlina etc.
‘Chalte Chalte’(1947) was one of the films he was associated with after leaving Ranjit Movietone in 1946. After struggling for a year or so, I guess, he may have done some retrospection and decided to adapt to the changing scenarios in Hindi film music. Probably, this song may be the first song in which Khemchand Prakash was influenced by western music. Meena Kapoor’s singing of multiples ‘aa aa aa…’ before the start of new antaras add a feeling of joie de vivre. The symphony style orchestration mainly of violins at the beginning as well as in the interludes seems to be the contribution of Antony Gonsalves, the Goan musician, who had worked with Khemchand Prakash, Anil Biswas and Naushad when he joined them in the second half of the 1940s.
This is one of those humming melodies created by Khemchand Prakash which remained unknown to many admirers of vintage Hindi film songs.
With this rare song, ‘Chalte Chalte’ (1947) makes its debut in the Blog.
Song-Aate hain wo aate hain wo (Chalte Chalte)(1947) Singers-Patanjal, Meena Kapoor, Lyrics-Lal Chand Bismil Peshawri, MD-Khemchand Prakash
Lyrics
aate hain wo
aate hain wo
aahista aahista
haule haule
aate hain wo
aate hain wo
aahista aahista
haule haule
aaa
aa aa aaa aa
aa aa
aa aa
aa aa
aa aaa
aaaa
aate hain wo naazon ke paale
baanki tirchhi maang nikaale
aate hain wo naazon ke paale
baanki tirchhi maang nikaale
aahista aahista
haule haule
aaa aa aa
aa aa aa aaa
aa aa
aa aa
aa aaa
aa aaa
gulshan ki duniya ne chun chun ke pahne
gulshan ki duniya ne chun chun ke pahne
baanke sajeele phoolon ke gahne
baanke sajeele phoolon ke gahne
shabnam ne chaandni ke moti roley(?)
shabnam ne chaandni ke moti roley(?)
aahista aahista
haule haule
aate hain wo
aate hain wo
aahista aahista
haule haule
raat ki raani gesu sanwaare
ha ha ha ha ha
raat ki raani gesu sanwaare
ha ha ha ha ha
neele dupatte pe chamke sitaare
neele dupatte pe chamke sitaare
jhumke suraiyya ke kaanon mein dole
jhumke suraiyya ke kaanon mein dole
aahista aahista
haule haule
Piya milne naveli nadi jaaye re
Posted on: August 5, 2018
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 : | 3670 | Post No. : | 14547 |
Is Raj Kapoor singing a song for himself?
That was my reaction (to myself) when I heard for the first time, the song ae duniya ke rahne waalon bolo kahaan gaya chitchor from ‘Dil Ki Raani’ (1947) on the Blog. I could not believe that it was Raj Kapoor’s voice. This happened just a few days after I joined the Blog in July 2011. At that time, I felt that this could be a case of giving credit to the actor on the gramophone record label on whom the song was picturised instead of accrediting the real playback singer who could be someone else. At that time, I was not even aware of Har Mandir Singh ‘Hamraaz’ saab’s publications, Hindi Films Geet Kosh (HFGK).
During early 1970s, I used to spend almost every week-end with my friends who were the admirers of the old Hindi film songs. I do not recall any conversation about Raj Kapoor (or for that matter, Dilip Kumar, Nalini Jaywant and Meena Kumari) singing the songs in the films for themselves. Of course, Ashok Kumar’s singing was well known because of the popularity of his songs from films like ‘Achhut Kanya’ (1936), ‘Jhoola’ (1941) etc.
Since then, a lot of water has flowed under the bridge. The publication of HFGK in the 80s and the advent of Internet have disseminated a lot more information relating to Hindi films and songs which were hitherto not known to most of us. Also, there are now film information sharing platforms like Recorded Music Indian Music (RMIM), Society of Indian Record Collectors (SIRC) and many other informal Groups. Also, we have our own Blog to revalidate the information on the Hindi film songs.
Coming back to Raj Kapoor as a singer, I have heard his voice in two other songs also – one each from ‘Jail Yatra’ (1947) and ‘Gopinath’ (1948). In my view, Raj Kapoor had a good singing voice worthy of becoming an actor-singer. His renditions were very close to that of the professional playback singers. As a testimony of Raj Kapoor as a good singer, watch this video as to how he has rendered the song ‘ae bhai jara dekh ke chalo’ from ‘Mera Naam Joker’ (1970) in a stage show presented by Raj Kapoor for the Indian Navy a few days before the release of his film in December 1970. In this show, while a few other songs from the films were rendered by Mohammed Rafi and Mukesh, Raj Kapoor had to sing this song as Manna Dey could not attend the stage show.
It is a well-known fact that Raj Kapoor was a musically inclined producer-director. He personally supervised all aspects of song compositions especially in the films which he produced and directed under R K Banner. Lata Mangeshkar in her chat with Indian Express has recently said:
Raj saab was a complete musician. He played the tabla, the harmonium and the piano. He composed songs and sang them in his own voice before handing them over to professional playback singers. He could have easily scored the music in his films. But he chose not to take credit for the music in his films.(Indian Express, March 20, 2018).
An old article written by Journalist Lata Khubchandani, which was reproduced in ‘Cineplot’, also confirm the musical inclination of Raj Kapoor. Later, she also wrote and published a book – ‘Raj Kapoor – The Great Showman (2005). In the words of Raj Kapoor, quoted by Lata Khubchandani:
From the earliest days, I have been interested in music. In fact, my first ambition was to be a music director. I even sang in my earlier films like Chitchor (probably, meant ‘Dil Ki Rani’), Chitor Vijay, Jail Yatra and Gopinath. When words fail, it is music that conveys much more than all words put together.
I wonder as to why Raj Kapoor did not become an actor-singer and left his ambition of becoming the music director in the back burner which he could have done easily for the films he was the producer-director-actor. I have also no idea as to when Raj Kapoor got interested in music. Probably his biographies should throw some lights in these matters. Since I do not have his biographies in my collections and they are not available online, I have relied on ‘circumstantial evidences’ to draw some conclusions.
When Prithviraj Kapoor was associated with the New Theatres, Calcutta (Kolkata) during 1933-39, the young Raj Kapoor was with him. He may have been influenced by the singing of K L Saigal. The autobiography of Kidar Sharma mentions that K L Saigal was a regular visitor to Prithviraj Kapoor’s house for musical soirees. Probably, the young Raj Kapoor may have also exposed to R C Boral who was composing songs for the films of New Theatres in which Prithviraj Kapoor acted. These environments may have attracted him towards the music.
Sometime in 1946, Raj Kapoor was put under the tutelage of Pandit Jagannath Prasad (a cousin of music director Khemchand Prakash). Mukesh was also learning the classical music from him. One day, when Mukesh was practising a particular raag , Raj Kapoor loved his voice and felt that his own voice paled in comparison with Mukesh’s voice. At that time, Mukesh had said to Raj Kapoor that he can take his voice. (Ref: The Hindu, June 16, 2003). How true it was to become in the later days. Although Mukesh sang 4 songs in Raj Kapoor’s first film in a lead role, ‘Neel Kamal’ (1947), none of these songs were picturised on Raj Kapoor. It was in ‘Aag’ (1948) that Mukesh became the voice of Raj Kapoor for the first time.
Just before his marriage in May 1946, Raj Kapoor was appointed as an Assistant in Prithvi Theatres and was associated with the production of one of its popular plays ‘Deewar’ (1946). In the review of the play, which appeared in May 1946 issue of ‘Filmindia’, the reviewer praised Raj Kapoor’s acting as a family servant in the drama and devoted one full paragraph on it. In addition to acting, he was the Art Director and assisted in light and sound arrangements and also to Ram Ganguli, the music director. Perhaps, all round experience gained from the play, ‘Deewar’ seemed to have encouraged him to produce, direct and act in the first film ‘Aag’ (1948) under his own banner. With this, Raj Kapoor appears to have decided to concentrate as director-actor and fulfil his ambition of becoming music director with a ‘back seat driving’.
As far as I know, Raj Kapoor sang 4 songs as an actor-singer out of which only one song as mentioned above has been covered in the Blog. The remaining 3 songs are as under :
| SN | Song | Co Singer | Movie |
|---|---|---|---|
| 1. | Piya milne naveli nadi jaaye re | Solo | Jail Yatra (1947). |
| 2. | Lehraaye mori laal chunariya | with Nalini Mulgaonkar | Jail Yatra (1947) |
| 3. | Jab se Dekha hai tumhen | Solo | Gopinath (1948) |
In Lata Khubchandani’s article referred to above, the name of ‘Chittor Vijay’ (1947) has propped up in which Raj Kapoor has reportedly sung a song. However, none of the songs of the film is available on line as far as I know.
I am presenting today, one of the rarest songs ‘piya milne naveli nadi jaaye re’ from ‘Jail Yatra’ (1947) sung by Raj Kapoor. The song was not available on YT until about 4 months back. The video was uploaded from the mp3 clip provided by Saregama. Since it was wrongly captioned, I have uploaded a new video of the song made by me by downloading mp3 clip from the Saregama website (with a small price). The song was written by Rammurty Chaturvedi and wa sset to music by Ninu Mazumdar.
Enjoy the song in the voice of Raj Kapoor which is probably based on one of the folk songs from Gujarat.
Song-Piya milne naveli nadi jaaye re(Jail Yatra)(1947) Singer-Raj Kapoor, Lyrics-Rammurty Chaturvedi, MD-Ninu Majumdar
Lyrics
piya milne naveli nadi jaaye re…ae
piya milne naveli nadi jaaye re
main akela chala dard dabaaye re
jiya mein liye haay re
jiya mein liye haay re
piya milne naveli nadi jaaye re
main akela chala dard dabaaye re
jiya mein liye haay re
jiya mein liye haay re
kaale baadal ghumad ghir aaye re..e
kale baadal
kaale baadal ghumad ghir aaye re
naache mor man mor ghabraaye re..ae
naache mor man mor ghabraaye re..ae
choom kaliyon ko
choom kaliyon ko bhanwra geet gaaye re
na aaj saha jaaye re
choom kaliyon ko
choom kaliyon ko bhanwra geet gaaye re
na aaj saha jaaye re
main akela chala dard dabaaye re
jiya mein liye haay re
jiya mein liye haay re
lata pedon se lipat laharaaye re
lata pedon se lipat laharaaye re
dekh-dekh ke umang lalchaaye re..e
dekh-dekh ke umang lalchaaye re..e
lata pedon se
lata pedon se lipat lahraaye re
mujhe chaaron oar soona dikhlaaye re
mujhe chaaron oar soona dikhlaaye re
kisi ki yaad aaye re
mujhe chaaron oar soona dikhlaaye re
kisi ki yaad aaye re
main akela chala dard dabaaye re
jiya mein liye haay re
jiya mein liye haay re
Jeevan Panchhi Boli Boley
Posted on: June 24, 2018
- In: Devnagri script lyrics by Sudhir | Guest posts | Lyrics by Sudhir | Lyrics contributed by readers | National integration song | Patriotic song | philosophical song | Post by Arunkumar Deshmukh | Rashid Atre Songs | Songs of 1940s (1941 to 1950) | Songs of 1947 | Yearwise breakup of songs
- 3 Comments
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 : | 3628 | Post No. : | 14452 |
Today’s song is from a film ‘Paaro’ (1947), made during the turmoil of Independence of India. By early 1947, it was clear that India would be divided and a new nation, based on religion, would be carved out by bifurcating United India. The name Pakistan was also known to everyone.
Like in every other field of activity, Hindi film industry was also abuzz with rumours of who is migrating and who is not. Close to the month of June, July 1947, many ‘would be’ migrators were seen selling their properties. There was total chaos in film world. People were seen with suspicion and caution. All this culminated in a frenzy of activity in the industry. Everyone was in a hurry to complete his assignments. Financiers were hastening the producers and directors to complete their films somehow.
This finally ended in a record number of films made in the year 1947. The number of total films made was 280, and only Hindi films were 181. This record number was surpassed only after 41 years ! In the year 1985, the number of Hindi films made was 185. These figures are taken from Film Index by Harmandir ji. It automatically transpired that the quantity was achieved at the cost of quality. Almost 75 to 80 % films of 1947 were obscure and forgotten within a short time.
Films like ‘Aisa Kyun’, ‘Atom Bomb’, ‘Barrister’, ‘Beete Din’, ‘Chalte Chalte’, ‘Chandrahaas’, ‘Dehati’, ‘Daulat Ke Liye’, ‘Extra Girl’, ‘Farz’, ‘Gaurav’, ‘Gudiya’, ‘Heera’, ‘Janata’, ‘Jhalak’, ‘Khandaani’, ‘Lalat’, ‘Manmaani’, ‘Mere Bhagwan’, ‘Mohan’, ‘Nai Baat’, ‘Pehla Pyaar’, ‘Riwaaz’, ‘Shabari’, ‘Shahkaar’, ‘Tohfa’, ‘Toote Dil’, ‘Veerangana’ are some of the films made in 1947. How many of us even know about them ? Actually, some of these were films in which well known and major stars of the times had acted. For example, Mohan had Dev Anand as hero, Lalat was the debut film of Usha Kiran (as Usha Marathe), Prem Adib and Vanmala had acted in Chandrahaas etc.
‘Paaro’ was also one such film which was probably the outcome of the frenzy of 1947. The music director, the heroine, the director, both the lyricists and one singer of this film migrated to Pakistan at their earliest. I have not seen this film. perhaps it never came to Hyderabad. After Independence, Sardar Patel had launched ‘Operation Polo’, to annexe Hyderabad state to India in 1948. The state was in turmoil, so new releases of 1947 came only after October 1948, that too only the most popular ones like ‘Shehnai’, ‘Saajan’, ‘Naatak’, ‘Neelkamal’, ‘Jugnu’, ‘Elaan’, ‘Dard’ and the likes of them.
The cast of film ‘Paaro’ was Geeta Nizami, Randhir, Jeevan, Ranjeet Kumari (who married actor Ram Singh and settled in UP) , Saroj Borkar, Kusum Bhate (sister of Rohini Bhate, the internationally famous dancer, on whom Lata’s first playback song was filmed in film ‘Aap Ki Sewa Mein’) etc. Geeta Nizami’s real name was Rashida Begum. She was born in 1926, in a middle class family of Lahore. At the age of 14, she was married to Barkat Nizami, uncle of actress Mumtaz Shanti. This was his second marriage.
It was through the efforts of Barkat Nizami that she was introduced to the screen. This person had a knack for recruiting girls to cinema. First he brought in Mumtaz Shanti and then his own wife. According to him this was a business, more than a marriage. He used to take 50% of earnings from Mumtaz Shanti, but after she married Wali Saheb, this stopped. To compensate, he brought Geeta. He had made a written agreement with her that she will give 50% of her income to Barkat and 25 % to his son from first wife. She earned only 25 %. This type of arrangements used to be there in those days. This was nothing but exploitation of helpless poor girls.
Geeta Nizami made her debut as a Heroine. Initially, she took on the name of Mohini, but after realizing that there was another actress Mohna, already in films, she became Geeta and added Nizami to it. Another actress having such a Hybrid name was Mumtaz Shanti, in the same period.
In her first film ‘Mann Ki Jeet’ (1944), she acted and had a song and dance. The song was “More Jubna Ka Dekho Ubhaar” sung by Zohrabai, written by Josh Malihabadi and composed by SK Pal. The dance Geeta did on this song was very sensuous. She was shown emerging from a blooming lotus and at that time she did such provocative actions that soon the song became talk of the town. The then Bombay Government, led by Morarji Desai, promptly banned the song, but in the rest of India the song became very popular. Her second film was Navyug’s propaganda film ‘Panna’ (1944). Her acting in this film was so good that the Govt. of India gave her a gift of Rs. 9000 as a reward.
Famous author Manto says in his book, ‘Dastavej ‘ Vol 5, that after this film, Geeta Nizami left Barkat Nizami, refusing to give him any share of her earnings. He went to the court and his case lingered, meanwhile he migrated to Pakistan also. Geeta Nizami then married several times and was known for that.
Geeta Nizami could not continue long as a heroine in films. She was lead actress in only seven films, out of total 13 that she did in India. The reason why she did not get more roles as a heroine was found in a book by a well known author. According to this author, Geeta took a bath only once a week, smelt horrible and her head was full of lice. No actor was ready to do a close up scene with her. (I remember another actress of the early 1960s – Kalpana, with same reputation. Shammi Kapoor was on record saying that Kalpana smelt very foul as she probably took bath only once a month. He had refused to work again with her in any film, after ‘Professor’ (1962).)
Geeta Nizami did just 13 films. Her last film was ‘Ek Tha Ladka’ (1951). After this she migrated to Pakistan. In Pakistan she formed a dance troupe and did shows in various cities of Pakistan. She died on 28-4-2008.
The film had only 7 songs, written by Nakshab Jarchavi and S. Nadeem, composed by Music Director Rashid Atre.
Composer RASHEED ABDUL ATRE was born in Amritsar on 15-2-1919. His father Khushi Mohammed was a well known musician and singer. Rasheed learnt music from Ustad Khan Saheb Ashfaq Hussain. Then he went to Calcutta and worked under RC Boral. During his stay in Calcutta he is presumed to have composed songs for films ‘Pardanasheen’ (1942) and ‘Mamta’ (1942), under the name RA Atra. After coming back to Bombay he joined Jhande Khan and Gobindram in composing songs for Pagli’ (1943). He was assistant to composer Amir Ali in ‘Panna’ (1944). With Pt Amarnath, he composed songs for ‘Shirin Farhad’ (1945). Then came ‘Room No. 9’ (1946), ‘Nateeja’ (1947), ‘Paaro’ (1947) and ‘Shikaayat’ (1948). From 43 to 48 he gave music to 6 (confirmed) films. Not much, but then he did not get much time too.
‘Nateeja’ was a Muslim social made by Bombay Talkies and he was specially called for it. ‘Nateeja’ music was his best in India and all its songs became very popular. For ‘Room No 9’, he worked in Navyug Chitrapat Co. where one of the owners was PK Atre, a noted Marathi writer and dramatist. PK Atre was, of course a Hindu, but it was a coincidence.
After Partition Atre went to Pakistan. He first served Radio Pakistan, Rawalpindi and then at Lahore. He prospered in Pakistan and gave music in 54 Urdu and Punjabi films. He was awarded the coveted Nigar Award 3 times in a row. The famous marching song of Pakistan ”Allah o Akba ” was composed by him. The first Pakistani film for which Rasheed Atre gave his music was director Masood Pervez’s ‘Beli’ (1950).
Three years after ‘Beli’, Rasheed was in-charge of music for director Nazir Ahmed Khan’s Punjabi film, ‘Shehri Babu’ (1953), whose evergreen songs still are popular in Pakistan . Atre’s music for director WZ Ahmed’s 1954 family-friendly film ‘Roohi’ (1954) was also a huge success.
Rasheed Atre’s music is all very praise-worthy in director Nazir Ahmed Khan’s film ‘Khatoon’, which was popular for its thumri. Atre’s composition exhibits an astonishing range and power in director Anwar Kamal Pasha’s superhit film ‘Sarfarosh’ (1956). In 1956, Rasheed was also given the responsibility of composing songs for director Anwar Kamal Pasha’s golden jubilee punjabi film ‘Chann Mahi’ (1956) (lyrics: Tufail Hoshiarpuri, starring: Bahar, Aslam Pervaiz). Atre was, indeed, a powerhouse of a musician and a case in point is director WZ Ahmed’s all-time favorite film, ‘Waada’ (1957), which happened to be a movie from a more idealistic time. At the height of his fame, Atre came up with his magical composition for film director Anwar Kamal Pasha’s semi-historical movie, ‘Anarkali’ (1958). To be precise, it was a joint venture of 2 film music composers Rasheed Attre and Master Inayat Hussain.
Rasheed Attre passed away on December 18, 1967, at the age of 48.
Today’s song is sung by Rashid Atre himself with co singers, whose names are not mentioned in HFGK, so no guessing. Both, singer Rashid Atre and the film Paro-47 make a debut on the blog today.
[Author’s Note: Credits- Film directory, mpop.org, pakfilms.net, Encylopedia of Indian Cinema, Harish Raghuwanshi ji, Muvyz, HFGK, my notes.]
[Ed note-With this song, “Paaro” (1947) becomes the 100th movie of 1947 to get represented in the blog]
Song – Jeevan Panchhi Boli Boley (Paaro) (1947) Singer – Rashid Atre, Unidentified Female Singer, Lyrics – [Unattributed], Music – Rashid Atre
Lyrics (Provided by Sudhir)
jeevan panchhi boli boley
jeevan aana jaana re pagle
jeevan aana jaana
jeevan panchhi boli boley
jeevan aana jaana re pagle
jeevan aana jaana
kaun chhoot aur kaun achhoot
sab hindustani hain
kaun chhoot aur kaun achhoot
sab hindustani hain
alag alag paudhe bagiya ke
par hai paani ek
alag alag paudhe bagiya ke
par hai paani ek
?? kahaana re
?? kahaana re
jeevan panchhi boli boley
jeevan aana jaana re pagle
jeevan aana jaana
ek baap ke laakhon bete
ek bhoomi par rehte
ek baap ke laakhon bete
ek bhoomi par rehte
aandhi paani aag hawaa sab
ek saath hi sehte
aandhi paani aag hawaa sab
ek saath hi sehte
kyun bairi ban jaana re
kyun bairi ban jaana re
jeevan panchhi boli boley
jeevan aana jaana re pagle
jeevan aana jaana
do din ka hai sab ka jeevan
kaun oonch aur neech
do din ka hai sab ka jeevan
kaun oonch aur neech
palak jhapakte udd jaayen sab
?? ho ya ??
?? ho ya ??
maati mein mil jaana re
maati mein mil jaana re
jeevan panchhi boli boley
jeevan aana jaana re pagle
jeevan aana jaana
desh jal raha
desh jal raha
desh jal raha bhed bhav ki
ab ye aag mita do
ho jaao sab ek
prem ki ganga nadi bahaa do
ho jaao sab ek
ho jaao sab ek
ho jaao sab ek
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
जीवन पंछी बोली बोले
जीवन आना जाना रे पगले
जीवन आना जाना
जीवन पंछी बोली बोले
जीवन आना जाना रे पगले
जीवन आना जाना
कौन छूत और कौन अछूत
सब हिंदुस्तानी हैं
कौन छूत और कौन अछूत
सब हिंदुस्तानी हैं
अलग अलग पौधे बगिया के
पर है पानी एक
अलग अलग पौधे बगिया के
पर है पानी एक
?? कहाना रे
?? कहाना रे
जीवन पंछी बोली बोले
जीवन आना जाना रे पगले
जीवन आना जाना
एक बाप के लाखों बेटे
एक भूमि पर रहते
एक बाप के लाखों बेटे
एक भूमि पर रहते
आँधी पानी आग हवा सब
एक साथ ही सहते
आँधी पानी आग हवा सब
एक साथ ही सहते
क्यों बैरी बन जाना रे
क्यों बैरी बन जाना रे
जीवन पंछी बोली बोले
जीवन आना जाना रे पगले
जीवन आना जाना
दो दिन का है सब का जीवन
कौन ऊंच और नीच
दो दिन का है सब का जीवन
कौन ऊंच और नीच
पालक झपकते उड़ जाएँ सब
?? हो या ??
?? हो या ??
माटी में मिल जाना रे
माटी में मिल जाना रे
जीवन पंछी बोली बोले
जीवन आना जाना रे पगले
जीवन आना जाना
देश जल रहा
देश जल रहा
देश जल रहा बेहद भाव की
अब ये आग मिटा दो
हो जाओ सब एक
प्रेम की गंगा नदी बहा दो
हो जाओ सब एक
हो जाओ सब एक
हो जाओ सब एक
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