Posts Tagged ‘1947’
Thhukra ke jo nazron se
Posted on: May 15, 2022
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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5049 | Post No. : | 16962 |
Today’s song is from an obscure film called Aisa Kyun-1947.
The film was made by Shri Raj Pictures, Calcutta. It was directed by A K Chatterjee and the music was by Anupam Ghatak. The cast of the film was Iftikhar, Radharani, Urmila, Pinky, Faiz, Tandon etc. Most people are not aware of the fact that besides New Theatres studio in Calcutta, there were many other film making studios in Calcutta. Hindi films were also made in Burma at that time by the indo-Burma productions.
Some of the studios based in Calcutta were East india film co., Madon Theatres, Aurora film corporation, Shree Bharat films, Laxmi pictures, Chitramandir, RBS Productions, Dev Datta films, Indra movietone, Kali films, Kamla Movietone, Moti mahal Theatres, Murli Pictures, New Popular Pictures, Quality Pictures, Radha film co., Sonoray Pictures, Star film co., Sunrise film co.and Tollywood studios. (source-Indian Cinematographers’ yearbook-1938) This is an old list of when many Hindi films were made in Calcutta. Of late, there must be a lot of changes now.
In olden days, there were 3 major film centres-Bombvay, Lahore and Calcutta. After 1947, all the Hindi film activity at Lahore shifted to Bombay. By mid 50’s even Calcutta almost stopped making Hindi films. Many Hindi speaking artistes in various disciplines of film making shifted to Bombay and finally Bombay became the only and the main Hindi film making Centre.
The year 1947 is a reminder not only for the Independence of India, but also for the upheaval that took place in the film industry that time. More than in any other industry in India, Muslims were plentiful, working in different sections and departments of the Hindi film industry. majority of them migrated to the newly formed Muslim Nation of Pakistan. This did create a lot of disturbance in the film industry. Right from the beginning of 1947, there were signs that soon the British would leave India – after dividing it into two Nations, India and Pakistan. When the month and date became known for the Partition, there was a great hurry among the filmmakers to complete their projects on hand and in process, compromising many factors like quality of the film, number of songs and such other things.
This resulted in the record number of films made in 1947 alone – 181 Hindi films and about 100 films in other languages in India. This was a record which remained unbroken till 1985, when 187 Hindi films were made. Thus from 1931 to 1985, this record remained unbroken for more than 50 years ! Obviously, this resulted in a big compromise on quality to achieve quantity with many films produced half heartedly. Most or rather many films made in 1947 remained obscure, unheard of and many flopped due to poor quality. Actually only few films were released in 1947, because many films were released in 1948 and 1949, with some films being released in Pakistan too.
Did you ever hear about films Amar Asha, Angoorbala, Attention, Barrister, But Tarash, Chalte Chalte, Chandrahas, Dagabaz Dost, Dehati,Ek kadam,Gaurav,Giribala, Heera, Intezar ke baad, Jhalak,Jurmana, Khaufnak aankhen, Lalaat, Mangalsutra, Moti, Sewa gram, Stage girl, Tohfa or Utho jago ? Of course not all films were below standards. Some of the landmark films were also made in 1947, like Shehnai, Mirza Sahiban, Jugnu, saajan, Naatak, Meera, Elan,Aap ki sewa mein, Dard, Do Bhai, Neel Kamal or Parwana etc. However by and large the picture was like this only.
I have not seen this film, so I have no idea about its story etc. For the film’s Heroine-RadhaRani Calcuttewali, this was her last Hindi film that she acted or sang in. She continued her work in Bangla films, I suppose. This Radha Rani was one of the “Same Name Confusion ” pair, as there was another Radha Rani-Bombaywali. The music director Anupam Ghatak also died in 1947 only.
The music Director Anupam Ghatak – the second-generation Bengali-Hindi composer (after Rai Chand Boral and Pankaj Mullick) was born on 4-12-1911 at Mymensingh(now in Bangladesh). He took music lessons from father Atul Ghatak and Keshav ganesh Dhekan. He became an excellent Flautist. After a short stint in AIR,as a singer in 1930, he joined as asst. to Bishen Chand Boral (brother of Raichand Boral) and later to R C Boral himself for Vidyapati-1937
First independent film score: Payer Dhulo. Later worked at Sagar Film in Bombay, composing Zia Sarhadi’s Bhole Bhale and a series of films for Badami, Luhar et al. (1939). Returned to Calcutta, notably for Barua’s Shapmukti; thereafter had assignments in both Calcutta and Lahore. Known for his wide range, from the sentimental Ekti paisa dao go babu in Shape Mukti to the experimental Gane mor kon indradhanu in Agni Pareeksha.
His Hindi film career started with ‘Tarzan ki Beti-38 and Bhole Bhale-39. He gave music to only 17 Hindi films, composing 153 songs.These included Ladies Only,Service Ltd.,Sadhana,Uski tamanna (all 1939), Civil marriage (1940), Sri Ramanuj-43 etc. In Lahore he did Champa -45,Badnami-46 and Shalimar -46 before Partition. His other films as MD were, Khush Naseeb-46, Aai bahar-46, faisla-47, Aisa Kyun-47 and Banjare-48 and Shamsheer-1953. He had also sung 4 songs in his first film Tarzan ki beti-1938. His last Hindi film was Shamsheer-53, which was released only in 1953,after he died on 5-2-1947 itself.
Today’s song is sung by Jaganmoy Mitra aka Jagmohan Sursagar. So much is already written about him on our Blog by me and others, therefore I will not repeat his Bio-data. However I reproduce here an article published in Bangla Paper ” Anandabazar Patrika,Calcutta ” after his death.
Jaganmoy Mitra passes away
(Translated from Anadabazar Patrika, September 5, 2003)
Jaganmoy Mitra, the legendary singer of “chithi” is very far from us now. (PDG: The opening lines of the song “chithi”(1952), MD: Sailesh Dattagupta, are “tumi aaj koto doore” which means “you are so far today”). He expired yesterday night after suffering a cardiac arrest in his house at Juhu, Mumbai. He was 85. He is survived by three sons and two daughters. Although he stayed away from Bengal for the greater part of his life, he admired Bengali music and culture till his last day.
“aami duranto baishaakhi jhad” (PDG: which means ‘I am a restless summer tempest, you are a fiery flame’, MD: Kamal Dasgupta, 1947) and “shaaon raate yadi” – romantic numbers like these have entertained numerous music lovers over more than five decades.
Besides Bengali, his popularity in Hindi music was also unsurpassable at one time. He was known to the rest of India as ‘Jagmohan’. Gandhiji was an admirer of his music. He has recorded over 400 songs in a career spanning over five decades. Besides Bengali romantic numbers he has also sung Rabindrasangeet,
Nazrulgeeti, and simultaneously in Hindi, Gujrati and Marathi.
His first record for HMV was the Nazrulgeeti “shaaon raate yadi” in 1938. This song propelled him to immediate popularity. He has recorded 100 plus Hindi songs. He scored music for the Hindi film “Sarhad”. (PDG: That should be Sardar(1955)).
He has received numerous awards and felicitations including Padmashri and Sursagar. But he always valued the admiration of his listeners above any awards. His music had taken him to the United States, Great Britain and East Africa. His autobiography is titled “shaaon raate yadi smarane aase more” ( which means ‘If you remember me on a rainy night’).
The song,which follows, is sung so beautifully that one is lost with the soft and melodious voice of Jagmohan. This was his speciality and for this style I simply adore him.
Song-Thhukra de jo nazron se (Aisa Kyun)(1947) Singer-Jagmohan Sursagar, Lyrics-Unknown, MD-Anupam Ghatak
Lyrics
Thhukra de jo nazron se
dil ka mere nazraana
apna na samajh usko
begaana hai begaana
Thhukra de jo nazron se
guzri huyi baaton ko o
o o o o o o o
dohraane se
kya aa aa haasil il
guzri huyi baaten to
afsaana hai afsaana
guzri huyi baaten to
afsaana hai afsaana
Thhukra de jo nazron se
main aen ae ae
thhak gaya samjha kar
apne dil e naadaan ko o o
deewaane ko kya kahiye
deewaana hai deewaana
deewaane ko kya kahiye
deewaana hai deewaana
Thhukra de jo nazron se
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4922 | Post No. : | 16753 |
Today’s song is from the film ‘Dekho Jee’ (1947).
The year 1947 is a reminder not only for the Independence of India, but also for the upheaval that took place in the film industry that time. More than in any other industry in India, Muslims were plentiful, working in different sections and departments of the Hindi film industry. majority of them migrated to the newly formed Muslim Nation of Pakistan. This did create a lot of disturbance in the film industry. Right from the beginning of 1947, there were signs that soon the British would leave India – after dividing it into two Nations, India and Pakistan. When the month and date became known for the Partition, there was a great hurry among the filmmakers to complete their projects on hand and in process, compromising many factors like quality of the film, number of songs and such other things.
This resulted in the record number of films made in 1947 alone – 181 Hindi films and about 100 films in other languages in India. This was a record which remained unbroken till 1985, when 187 Hindi films were made. Thus from 1931 to 1985, this record remained unbroken for more than 50 years ! Obviously, this resulted in a big compromise on quality to achieve quantity with many films produced half heartedly. Most or rather many films made in 1947 remained obscure, unheard of and many flopped due to poor quality. Actually only few films were released in 1947, because many films were released in 1948 and 1949, with some films being released in Pakistan too.
Did you ever hear about films ‘Amar Asha’, ‘Angoorbala’, ‘Attention’, ‘Barrister’, ‘But Tarash’, ‘Chalte Chalte’, ‘Chandrahas’, ‘Daghabaaz Dost’, ‘Dehati’, ‘Ek Kadam’, ‘Gaurav’, ‘Giribala’, ‘Heera’, ‘Intezar Ke Baad’, ‘Jhalak’, ‘Jurmana’, ‘Khaufnak Aankhen’, ‘Lalaat’, ‘Mangalsutra’, ‘Moti’, ‘Sewagram’, ‘Stage Girl’, ‘Tohfa’ or ‘Utho Jaago’ ? Of course not all films were below standards. Some of the landmark films were also made in 1947, like ‘Shehnai’, ‘Mirza Sahiban’ and Parwana etc. However by and large the picture was like this only.
Today’s film ‘Dekho ji’ was also one such film. The producer/director,MDs, hero heroine and most actors of this film migrated to Pakistan, one after another in few years’ time. The film was made by The Punjab Film Corporation, Bombay. The Producer/ Director was Wali saheb. There were 2 MDs, namely Tufail Faruqui and Sabir Hussain There were 11 songs in the film but only few songs are available on YouTube. The cast consisted of Mumtaz Shanti, Anjum, A Shah, Haroon, Khatoon, Afzal, Dilshad, Mintobai, Gulnar etc.
When we talk of partition and migration of artistes from one country to another, only the famous and the well known names are taken. There were hundreds of small-time actors, directors, lyricists, composers, instrument players, chorus singers, technicians etc who were not known to many and also had migrated for various reasons. The other day I was reading a book, ‘Who’s Who: Music in Pakistan’ written by A Shaikh and M Shaikh. In this book I found several names of singers, composers, lyricists and above all instrument players, who shifted to Pakistan.
It is a well known fact that in olden times, the instrument players, chorus singers and orchestra players had personal attachments and preferences for particular composers and vice versa too. That is why when Ghulam Haider went back to Lahore after partition, he was extremely happy to meet some of his orchestra players in Lahore. In one of the interviews he had said that he felt like he was having a family reunion. He arranged a get together for all those people.
In the Hindi film industry, many partition immigrants came back to dominate and transform the scene here. Filmmakers like Sippy, BR Chopra, Yash Chopra, Ramanand Sagar-all India’s most successful commercial producers were also partition immigrants. Once heavily dominated by Muslim film makers, writers, actors and composers, the Hindi film industry changed drastically after the partition, only to again be dominated after 60-70 years !
Many successful film personalities had gone to Pakistan between 1947 and 1950, including producers like Mehboob, Kardar and Shaukat Hussain Rizvi – who went to Lahore with capital to buy the Hindu-owned studios. Prominent producers of Lahore like Dalsukh Pancholi and Roop K Shorey were forced to sell their studios and properties for a song and flee for their life to India after riots in Pakistan post partition. Some Muslim artistes returned to India after a few years when they realized that Lahore film industry had largely collapsed due to exodus of prominent Hindu producers.
The crucial role played by films in Indian culture could be seen in the refugee camps of Delhi where Hindi movies were shown for free for two hours every evening to all. ‘Film India’ magazine commented that there were more than 15,000 refugees from Sindh and Punjab in Bombay. It also suggested that good looking and educated women can be employed in films. Due to polarization, there was much inflammatory writing published in this magazine at that time.
However, as before and always Bombay film industry maintained its secular culture. A big rally, led by Durga Khote and Prithviraj Kapoor was taken out on 2-10-1947 in Bombay. The entire film industry had joined in it and slogans like ‘Hindu-Muslim bhai bhai’ etc were shouted in the rally. Similarly, to pacify over one lakh refugees from East Pakistan (now Bangaladesh) in Calcutta, film artistes had led a rally in Calcutta at the same time.
The famous Music Historian James McConnachie said, ”As India marched into an uncertain future – in 1947 – film songs offered something unique: they helped creating a sense of belonging to One Nation, something that the divisive extremist right wingers in India, chanting ”Hindustan for Hindus” could never achieve. When Hindi film singers sang, nobody cared that Mohd Rafi was a Muslim or Lata was a Hindu Brahmin. Its great music bridged the gap between Hindus and Muslims, much better than any Politician (including Gandhi and Nehru) ever could achieve.” -World Music-The Rough Guide,Vol II,pp 106,pub.1990 by Harper.
Like many top class composers who migrated to Pakistan, there were some small time or recently started composers who also left, like Inayat Hussain (only 1 Punjabi film ‘Kamli’), Fateh Ali Khan (2 films – ‘Aaina’ (1944) and ‘Director’ (1947), Tufail Farooqi (2 films – ‘Sona Chandi’ (1946) and ‘Dekho Jee’ (1947)). Inayat Hussain of course became a legend in Pakistan.
Today we will talk about TUFAIL FAROOQI.
Tufail was born in Taran Taaran, Amritsar, Punjab, on 10-7-1918. After taking musical lessons from Ustad Abdul Waheed Khan for several years, he joined AIR, Lahore. He also worked with many composers. Finally, he got his first film, ‘Sona Chaandi‘ in 1946. Out of 12 songs of the film, he composed 10 songs and 2 were composed by DC Dutt. In this film Tufail gave an opportunity to a young but promising newcomer, who was struggling to get established as a playback singer – Mohammed Rafi. Rafi got 4 songs in this film and he was overjoyed at this break.
Later Tufail gave music to his second film- ‘Dekho Jee’ (1947). Here too he composed 6 songs and the other 5 were composed by composer Sabir Hussain. Actually, Sabir Hussain was his assistant and just to encourage him, Tufail credited these songs to him.
After partition,Tufail migrated to Pakistan along with family, with Sabir Hussain in tow, but had to struggle hard there too. His first film was ‘Barkha’ in 1953. Tufail gave music to 37 films, mostly Punjabi films and less Urdu. His film, ‘Bahadur Kissan’ (1970) had a song – ”Mera Sona Des Kisaan Da”, sung by singer Masood Rana. This tune was a blatant direct copy of the song ”Ye Desh Hai Veer Jawaanon Ka” from ‘Naya Daur’ (1957). The Pakistani song became a tremendous hit, not only with the Punjab farmers but also was played on Radio and TV often.
Tufail Farooqi’s sister was Master Ghulam Haider’s first wife (Umrao Zia Begum was his second wife), from whom he had a son – Saleem Haider. Later Saleem joined Pakistan Army and rose upto the rank of Lt. General. He retired in 2000.
Tufail worked till early 80s. He married the famous Pak singer Pappu Pukhraj in 1953. He died in Lahore on 25-3-1988.
Another actor in the cast, who was quite a popular comedian those days was A Shah aka Aziz Shah. He was born in 1910, at Sialkot. He did not have much schooling, except primary education at Lyallpur and at Islamia High School, Lahore. Due to his rich and sweet voice, he used to recite Holy Quran, on farmaish. He wrote poetry also.
He joined Saroj Movietone in 1930, under Mohan Bhavnani as an artiste at Rs. 40 per month. He acted in ‘Shakuntala’ (1931) and ‘Gul Bakavli’ (1932). He had to take a 2 year break, due to an illness. Back in Bombay, he worked in the film ‘Fidai Tohid’ (1934) as a hero. He gave music to the film ‘Gunehgar’ (1936). He wrote dialogues for ‘Mother India’ (1938) and ‘Daughters of India’ (1939). His first comic role was in Ranjit’s ‘Mirza Sahiban’ (1935). He became famous with his role in Punjabi film ‘Kurmai’ (1941).
His best role came in ‘Sharada’ (1942), as Munshi Udharchand Shikarpuri. This was repeated by him in the film ‘Keemat’ (1946). Some of his 11 films were, ‘Dhandora’ (1941), ‘Armaan’ (1942), ‘Sukh Dukh’ (1942), ‘Kanoon’ (1943), ‘Sanjog’ (1943), ‘Geet’ (1944) and ‘Ek Din Ka Sultan’ (1945). After 1947, he stopped acting and wrote lyrics in films like ‘Raat Ki Rani’ (1949), ‘Namoona’ (1949) and ‘Ek Teri Nishani’ (1949). After this he migrated to Pakistan and we have no further information about him anymore. Baburao Patel of ‘Film India’ magazine was his fan.
We do not know who sang today’s song, since the HFGK does not mention name of the singer.
Song- Mela mela mela jawaani chaar dinon ka mela (Dekho Jee)(1947) Singer- Unknown female singer, Lyricist-Wali Sahib, MD- Tufail Faruqui
Lyrics
mela mela mela
mela mela mela
jawaani chaar dinon ka mela
haaye jawaani chaar dinon ka mela aa aa
haaye jawaani chaar dinon ka mela aa aa
mela mela mela
jawaani chaar dinon ka mela
chaar dinon ke mele mein
kyun phire akelaa
chaar dinon ke mele mein
kyun phire akelaa aa aa aa
haaye jawaani chaar dinon ka mela aa aa
hoye jawaani chaar dinon ka mela aa
mela mela mela
Jawaani chaar dinon ka mela
joban par mat jaiyyo o o
joban par mat jaiyyo
ye harjaai re ae ae
dukh se mat ghabraiyyo
dukh se mat ghabraiyyo
ye parchhaai re
jyon paani ka rela rela rela
mela mela mela
jawaani chaar dinon ka mela
jab tak phool mein rang roop hai
jab tak phool mein rang roop hai
tab tak
tab tak bhanwra doley ae ae
ab tak ambuwan daal hari hai
ab tak ambuwan daal hari hai
tab tak koyal boley
tab tak koyal boley
kaun kisi se khela khela khela
mela mela mela
jawaani chaar dinon ka mela aa
haaye jawaani chaar dinon ka mela aa
hoy jawaani chaar dinon ka mela aa
mela mela mela
jawaani chaar dinon ka mela aa
————————————————
Hindi script lyrics (Provided by Sudhir Kapur)
————————————————
मेला मेला मेला
मेला मेला मेला
जवानी चार दिनों का मेला
हाए जवानी चार दिनों का मेला॰ ॰ ॰
हाए जवानी चार दिनों का मेला॰ ॰ ॰
मेला मेला मेला
जवानी चार दिनों का मेला
चार दिनों के मेले में क्यों फिरे अकेला
चार दिनों के मेले में क्यों फिरे अकेला॰ ॰ ॰
हाए जवानी चार दिनों का मेला॰ ॰ ॰
ओए जवानी चार दिनों का मेला॰ ॰ ॰
मेला मेला मेला
जवानी चार दिनों का मेला
जोबन पर मत जईओ
जोबन पर मत जईओ
ये हरजाई रे
दुख से मत घबरईओ
दुख से मत घबरईओ
ये परछाई रे
ज्यों पानी का रेला रेला रेला
मेला मेला मेला
जवानी चार दिनों का मेला
जब तक फूल पे रंग रूप है
जब तक फूल पे रंग रूप है
तब तक
तब तक भँवरा डोले
जब तक अम्बुवन डाल हरी है
जब तक अम्बुवन डाल हरी है
तब तक कोयल बोले
तब तक कोयल बोले
कौन किसी से खेला खेला खेला
मेला मेला मेला
जवानी चार दिनों का मेला
हाए जवानी चार दिनों का मेला॰ ॰ ॰
ओए जवानी चार दिनों का मेला॰ ॰ ॰
मेला मेला मेला
जवानी चार दिनों का मेला॰ ॰ ॰
Balma patwaari ho gaye
Posted on: December 15, 2021
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 article is the 16700th article in the blog.
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4898 | Post No. : | 16700 |
Publishing the blog century post brings some anxious moments. One has to worry about the song that should be used for the occasion. It also calls for more efforts than usual as far as writeup is concerned.
But once the century post is published, one tends to relax for the next 99 songs. The next century post occasion will not arrive for many months, so I can relax- this is the usual feeling. But sooner or later, even those “many months” are over and yet another blog century occasion presents itself. 🙂
That occasion is upon us. And this post is post number 16700th for the blog.
I have discussed it in the past that I begin to worry about the century post only at the eleventh hour and 59th minute. When the time for worrying arrived, I found that I had no idea what song to discuss. Then I remembered that I sometimes come across rare songs and I note down their details, hoping to use these songs at special occasions. These details are stored away in text files titled “rare songs”, “rare songs latest”, “rarest songs” etc.
I located these files and realised that I had several songs in these files. I checked them up and finalised a song. Just when I sat down to prepare a writeup, I found out that the song had already been used up on a past occasion. So I had to switch over to another song.
The song that I have chosen as the 16700th song for the blog is from “Pagdandi”(1947). This movie was directed by Ramnarayan Dube. The movie had Akhtar, Padma, Gyani, Kalawati, G N Butt, Om Prakash, Shyam Lal, Durga Mota Sudarshan, Raza Meer etc in it.
The movie had ten rare songs in it. HFGK does not contain details of the singers for any songs. Only the record numbers of the songs are available. That is how rare these songs are.
However, the blog has so far covered as many as eight songs from the movie.
This song, the ninth song from “Pagdandi”(1947), like other songs does not give details of the singer. But the uploader mentions the singer as Munawwar Sultana. Lyrics are by D N Madhok. Music is composed by Khursheed Anwar.
The song is a fun song to listen to. It is a “Sainyya bhaye kotwal ab dar kaahe ka” genre of song, which was fairly popular in Hindi movies those days. I remember “Daroga jee”(1949) containing several songs of this genre. In these songs, the lady would tell everyone that her beau had become a big shot government employee and now others better start paying respect and tributes to the lady. Sainyya becoming “kotwal” (read policeman) was preferred the most. Next preference was for sainyya to become patwaari (which is the case here).
In all these songs, others would be warned to behave themselves, else “thhaane mein rapat” may follow. 🙂 In this case, one is threatened with “bhaari jurmaana”. 🙂 Such misuse of powers vested with officials was considered normal those days. 🙂
In small remote places, even today small time policemen and government officials wieid considerable influence over public. If they go to the local market, the shopkeepers treat them as VIPs. Some of them, mainly policemen do not even pay for stuff they take from shops. Kids who watch all this dream of becoming policemen. People who are a bit more aware dream of becoming IAS or IPS, but such people are not found in these remote places.
Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this song.
Only one more song from the movie is left to be covered. But that record number of that song “Rukhsat hua jo god ka paala” is not mentioned, which suggests that this song was only there in the movie and its records were not issued. So unless the prints of the movie miraculously become available, this tenth and final song from the movie is not available and has been lost.
With this song, we reach blog post number 16700. This is the 167th blog century for the blog. Now we are just three centuries away from 17000 mark. At the present rate, we should be there in another six months or so.
I take this opportunity to thank one and all. The continous support, patronage and encouragemnent that we get from one and all is the fuel that drives this musical bandwagon. I take this opportunity to thank one and all. I take this opportunity to especially thank our regulars whose contributions are enriching the blog and taking it to newer heights. Here is hoping that we keep reaching many more landmarks in the times to come.
Song-Balma patwaari ho gaye (Pagdandi)(1947) Singer-Munawwar Sultana, Lyrics-D N Madhok, MD-Khursheed Anwar
Lyrics
balma patwaaree ho gaye
naukar sarkaaree ho gaye
balma
balma patwaaree ho gaye
naukar sarkaaree ho gaye
arre o dagar chalne waale
are o
are o dagar chalne waale
meree matkee dhulkee jaaye
uthha le
meree matkee dhulkee jaaye
uthha le
mat ghoor ghoor ke dekho hamen
jis jis ne yoon dekha hamko
jurmaane bhaaree ho gaye
mat ghoor ghoor ke dekho hamen
jis jis ne yoon dekha hamko
jurmaane bhaaree ho gaye
balma
balma patwaaree ho gaye
naukar sarkaaree ho gaye
arre o gaanv waalon aawo
arre o
arre o gaanv waalon aawo
khud jahaan dekh lo ghus ghus jaao
khud jahaan dekh lo ghus ghus jaao
patwaaree sabka afsar hai
yeh bade saab kaa kehna hai
aardar bhee jaaree ho gaye
patwaaree sabka afsar hai
yeh bade saab kaa kehna hai
aardar bhee jaaree ho gaye
balma
balma patwaaree ho gaye
naukar sarkaaree ho gaye
arre o dagar chalne waale
arre o
arre o dagar chalne waale
meree matkee dhulkee jaaye
uthha le
meree matkee dhulkee jaaye
uthha le
mat ghoor ghoor ke dekho hamen
jis jis ne yoon dekha hamko
jurmaane bhaaree ho gaye
mat ghoor ghoor ke dekho hamen
jis jis ne yoon dekha hamko
jurmaane bhaaree ho gaye
balma
balma patwaaree ho gaye
naukar sarkaaree ho gaye
Piya kaisa milaa hamen haay
Posted on: October 23, 2021
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4845 | Post No. : | 16633 |
Today’s song is from the film Leela-1947. The film was made by Filmistan. The film was directed by Dattaram Pai. He was essentially a film editor and did editing in several films including Achhut Kanya,Jagriti,Nastik,Kismet,Samadhi,Sargam,Woh kaun thi,Chingari etc.He did editing in 24 films from 1936 to 1998-a span of 62 years.He died in 2000. He had earlier directed the film Eight Days-1946, which was actually directed by Ashok Kumar, but Pai’s name was advertised as a Director. In the case of the film Leela -47, he tried on his own but the result was not so good. He went back to his job of Editing quietly.
Lyricists were Qamar Jalalabadi and G.S.Nepali. The music was by C.Ramchandra. For C Ramchandra, finding Filmistan was a goal achievement, because those days he had left Jayant Desai’s company and was looking for another film company.His good old friend Kavi Pradeep, who was close to S.Mukherjee from their Bombay Talkies days, brought in a very lucrative offer from Filmistan and C Ramchandra joined it with pleasure.
Though C Ramchandra had begun his career in 1942 with Sukhi Jeevan, his first Hindi film as a MD, his music had not flourished till he joined Filmistan. The 5 films he had made with Jayant Desai were reasonably good but they were not Hits. It was only in Filmistan he achieved what one would call-Success. Out of the 11 films that he made here. His success rate was more than 50%. Especially, the music of films like Shehnai-1947, Saajan-1947, Khidki-1948, Nadiya ke paar-1948, Patanga-1949, Samadhi-1950 and Anarkali-1953 created songs which are remembered even today. To make songs whose popularity lasted for more than 70++ years, is surely an achievement.
It was also when he was with Filmistan that people were comparing him and Naushad and a discussion always circulated who was the Numero Uno as an MD. Though I am a C Ramchandra Fan, I am of the opinion that in the race of creating everlasting Hit songs, C Ramchandra was no match to Naushad. The strike rate of Naushad’s Hit films was much much more than that of C Ramchandra.
In the year 1946, C Ramchandra gave music to 4 films(1 for Filmistan), in 1947 it was 7 films (4 for Filmistan) and in 48 films were 8 (2 for Filmistan). So, in these 3 years, he did 19 films (7 for Filmistan). The rest consisted of stunt films of Master Bhagwan and other social films. Hit films were -5, all for Filmistan. If you see data for Naushad in the same period i.e. 1946,1947 and 1948, Naushad did only 8 films, but in these, 6 celebrated Silver Jubilee and 1 Golden Jubilee. Only Elan-1947 did not do well musically, though it was a hit film by Mehboob khan. The record of Naushad in success is unique. Out of the 64 films of Naushad (I am not counting Pakiza), there were 3 Diamond Jubilee films, 6 Golden Jubilee films and 23 Silver jubilee films ! I am sure no one can surpass the success of Naushad. His average number of songs per film comes to 10 songs, while for CR it is 8.4 only.
In the 40’s and 50’s decades many films were made on the background of play theatres and dance theatres. There were 2 possible reasons. One- prior to the advent of Silent and Talkie films, the main entertainment source for common people was Stage dramas. Despite the films, the stage dramas and dance troupes thrived. Hence it was used as a base for film stories. Secondly, this automatically provided plenty of scope for songs in the film. The last such film, in which a Drama company was the base of the film story I remember having seen was ” Hum sab chor hain ”-1956. After this film, at least I have not seen any such other film.
So, according to this norm, the film Leela-47 was about Drama companies and their artistes etc. The story was by Uma Devi-the singer, s/play by producer Gyan Mukherjee and Dialogues by Rajendra Shankar.
LEELA is a story of Naresh(Kanu Roy) and Leela(Shobha),their love,separation and union.
Naresh runs “Vidya Mandir” an institute where Mahabharat is made in several languages. Mrs Lal(Sunalini Devi) is the owner of “Kala bhavan”.She has a daughter Indira(Veera),whom she wants to marry Naresh.Once she arranges a show in aid of Vidya Mandir-Shakuntala.
Leela who is aspiring starlet approches Naresh who recommends her to the show and she is taken,but when Mrs.Lal knows that she came thru Naresh,Leela is not only removed from the show but also thrown out of the hostel.
Naresh, through his friend Shastriji(Agha) brings her to Vidya Mandir and gets her into another show.They fall in love and decide to marry.Naresh goes to his village and tells his mother(Leela Mishra) about Leela,but she wants only Indira.Feeling unwanted and rejected,Leela goes away.
Shatriji finds her and explains the love of Naresh for her and brings her back and the lovers are united forever.
The Heroine of this film, Shobha, unfortunately remains an actress about whom no information is available. On going through the HFGK, I find her name in at least 20++ films. Sometimes she is listed as Shobha Devi. Another bit of information about Shobha was that the actress Lata Sinha, who started as a child star (as Baby Lata) in Riyasat-55 and Nau Do Gyarah-1957 etc. was her daughter. Lata did a good role in Bees saal baad-1962. She mainly acted in action/stunt, costume and other B and C grade films only. She was also in the film Bhoot Bungla-1965.
The Hero of this film was Kanu Roy. The name KANU ROY is another instance of ” Same name confusion “. There was a composer also by the name Kanu Roy who gave music in a few films, in the same period. Most people and many internet sites, including IMDB,consider these two different persons as one and claim films for acting and music together,as if he was an actor and a composer. In Hindi films this happened routinely, but in the early era of Talkie films. Master Krishnarao, Vinayakrao Patwardhan, Master Mohammed, Badriprasad, Vithaldas Panchotiya etc can be quoted as actors/composers. Lately only the name of Kishore Kumar comes to mind in this category. Let us see who these two Kanu Roys were…..
Kanu Roy (the Actor) was in reality a name for Nalini Ranjan Roy, born at Jabalpur. He was very fond of acting and so landed at Bombay Talkies,a company started by 2 Benagalese- Himanshu Roy and Devika Rani. Those days many people from Bengal used to come to Bombay Talkies, but only the capable ones like Amiya Chakravarty, Shashadhar Mukherjee or Ashok Kumar etc could make their careers here. Kanu Roy started his acting career with the film Basant-1942. His name Nalini was sounding like a Girl’s name in Bombay ( there were already half a dozen Nalini’s working in films those days), so it was changed and he opted for Kanu, his pet name in the house. Thus Kanu Roy came into films. Due to his good looks, he even became a lead actor in a few films. Nazrana-46 (UR) was one such film where he was working opposite Kamini Kaushal. Kanu Roy worked in about 46 films from 42 to 83 ( kisi se naa kehna). Kanu Roy also left Bombay Talkies along with S.Mukherjee and others and joined Filmistan. He was in many Filmistan films like, Munim ji, Nastik, Naagin, Jagriti etc. He acted in a Bangla film ‘Samar’too in 1950. ( I have his full Filmography.)
Kanu Roy (the Composer) gave music to very few films like Uski Kahaani-66, Anubhav-71, Avishkar-74, Tumhara Kallu-76, Grih pravesh-79, Mayuri-81 and Shyamla-79 which was re-censored in 1981 as Woh phir na aayee. Some people and sites describe him as Geeta Dutt’s brother, but he was not her brother. Her brother was Mukul Roy. Kanu Roy, the composer died in Bombay on 20-12-1981.
Today’s song is a very good song, sung by Shamshad begum. Somehow I get reminded of another 1947 film song ” maari katari mar jaana” after listening to today’s song. That song is also composed by CR only- from film Shehnayi-47. There were 9 songs in the film. 8 songs were already discussed. Today’s song is the 9th and the last song of this film. The film gets YIPPEED !
Song- Piya kaisa mila hamein haay (Leela)(1947) Singer- Shamshad Begum, Lyricist- Qamar Jalalabadi, MD- C Ramchandra
Lyrics
Piya kaisa mila hamein haay
mila hamein haay
ke jisko pyaar na karna aaye
haaye re haaye
Piya kaisa mila hamein haay
Piya kaisa mila hamein haay
mila hamein haay
ke jisko pyaar na karna aaye
haaye re haaye
Piya kaisa mila hamein haay
Main usey pyaar karna sikhaaun
Main usey pyaar karna sikhaaun
dil ki baaten nazar se sunaaun
dil ki baaten nazar se sunaaun
wo dulhan ki tarah sharmaaye
haan wo sharmaaye
haaye re haaye
Piya kaisa mila hamein haay
kar ke apni nazar neechi neechi
kar ke apni nazar neechi neechi
baat karne lage pheeki pheeki
baat karne lage pheeki pheeki
meethhi baaten tujhe kaun sikhaaye
tujhe kaun sikhaaye
haaye re haaye
Piya kaisa mila hamein haay
baat chhedo koi muskuraa ke
baat chhedo koi muskuraa ke
door baithhe ho kyun paas aa ke
door baithhe ho kyun paas aa ke
apna ban kar huye kyun pare
huye kyun pare
haaye re haaye
Piya kaisa mila hamein haay
kya mila humko aankhen milaa ke
kya mila humko aankhen milaa ke
main to keh doongi ghar ghar mein jaa ke
main to keh doongi ghar ghar mein jaa ke
koi aison se dil na lagaaye
haan dil na lagaaye
ke jisko pyaar na karna aaye
haaye re haaye
Piya kaisa mila hamein haay
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws
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Blog Day : |
4774 | Post No. : | 16524 |
Today, August 13, 2021 is the 44th Remembrance Day of a playback singer who was associated with the historic moment in the Indian film industry when for the first time, a system of playback singing was introduced in the film ‘Dhoop Chhaaon’ (1935)/’Bhaagya Chakra’ (Bangla). Yes, the playback singer is Parul Ghosh, one of the first three female playback singers – other two being Suporva Sarkar and Harimati Dua.
I am not sure as to how many of the Hindi film music lovers of the present generation have heard of Parul Ghosh as a playback singer. Or how many are aware that she was the sister of Anil Biswas, the ‘Bhishma Pitamaha’ among the Hindi film music directors and the wife of Flute maestro, Pandit Pannalal Ghosh. The main reason for her name being not known to the present generation is that Parul Ghosh had a short stint as a playback singer and that too in the 1940s during which time, she sang very close to 100 songs.
Parul Ghosh (1915 – 13/08/1977) was born in Barisal (now in Bangla Desh). She was the second child among three in the family, the first being Anil Biswas and the last being Sunil Biswas. Her mother, Satyabhama Biswas was a classical singer and a kirtankar. In 1924, Parul Ghosh got married to Pannalal Ghosh, a close friend of Anil Biswas. At the time of the marriage, Parul Ghosh was 9 and Pannalal Ghosh was 13.
Sometime in 1930, Anil Biswas shifted his base to Kolkata. Pannalal Ghosh and Parul Ghosh also fallowed him. While Anil Biswas was employed in Hindustan Recording Company as a singer and composer, both Pannalal Ghosh and Parul Ghosh were employed in New Theatres (NT) as the musician and singer, respectively. It is said that while working with NT, Parul Ghosh sang some Bangla film songs. To devote more time on his first love, flute, Pannalal Ghosh shifted to Mumbai along with his family in 1940. At that time, Bombay Talkies was conducting audition for new playback singers. Parul Ghosh also went for audition and got selected.
In Mumbai, the playback singing career of Parul Ghosh started in the right earnest. At that time, the top-most female playback singers like Amirbai Karnataki, Shamshad Begum, Zohrabai Ambalewaali, Zeenat Begum etc came from the family of professional singers. On the other hand, Parul Ghosh was first a house-wife then a playback singer. It took some time for her to create a space for herself in the midst of the top playback singers of that time.
After singing a couple of songs in ‘Kanchan’ (1941) and ‘Mala’ (1941) which failed at the box office front, Parul Ghosh sang as many as 8 songs in Bombay Talkies’ ‘Basant’ (1942) under the music direction of her brother, Anil Biswas. {For the reason of the contractual obligation, Pannalal Ghosh was credited as the music director for the film). The film was a hit and its songs became very popular.
In ‘Basant’ (1942), Shanti Sudha Ghosh, the elder daughter of Parul Ghosh also sang two solo songs for Baby Mumtaz (Madhubala) thus making her probably the first female child play-back singer of Hindi films. Also, this may probably be for the first time that two mother-daughter version songs were sung in the film. Shanti Sudha Ghosh rendered two songs for Baby Mumtaz which were also rendered by her mother, Parul Ghosh for Mumtaz Shanti in the film. These two songs are hamko hai pyaari hamaari galiyaan and mere chhote se man mein chhoti si duniya re.
Following the success of ‘Basant; (1942), Parul Ghosh sang 5 songs for Devika Rani in ‘Hamaari Baat’ (1943) under the music direction of Anil Biswas and 5 songs for Protima Dasgupta in ‘Namaste’ (1943) under the music direction of Naushad. In musical blockbuster film, ‘Kismet’ (1943) in which songs of Amirbai Karnataki dominated, Parul Ghosh sang only one song, papeeha re mere piyaa se kahiyo jaaye which became very popular.
In ‘Sawaal’ (1944). Parul Ghosh sang 5 songs under the music direction of her husband, Pannalal Ghosh. In this film, I liked the ghazal, aaj pehlu mein dard sa kya hai, rendered by her. In ‘Jwaar Bhaata’ (1944), Parul Ghosh sang as many as 8 songs under the music direction of Anil Biswas. One of her best songs in this film was bhool jaana chaahti hoon. In ‘Milan’ (1946) she rendered a beautifully raaga-based song, suhaani beriyaan beeti jaayen. Parul Ghosh rendered 4 songs for ‘Tohfa’ (1947) under the music direction of M. A. Rauf Osmania. She has beautifully rendered an emotion-filled ghazal, hamne tumne kiyaa thha jo aabaad.
Sometime in 1947, due to domestic compulsion, Parul Ghosh reduced her playback singing assignments and chose the life of a house-wife looking after her two daughters and her husband. She sang for the last time as a playback singer in ‘Andolan’ (1951) under the music direction of her husband, Pandit Pannalal Ghosh. This was also the last film for Pannalal Ghosh as a music director. From 1955-60, the family stayed in Delhi after Pannalal Ghosh took up the job as a Composer and Director of All India Radio, Delhi Vadhya Vrinda (Orchestra).
I have been able to collate songs rendered by Parul Ghosh, from the various sources which works out to 95 songs in 33 films. As expected, she sang the maximum number of her songs (30) in 7 films under the music direction of her brother, Anil Biswas.
Parul Ghosh faced a series of tragedies after she withdrew from playback singing. In 1951, her second daughter, Noopur died of small pox when she was around 2 years. In 1960, her husband, Pandit Pannalal Ghosh suddenly died of heart attack at the age of 48. Shanti Sudha, her elder daughter who got married to Devendra Murdeshwar, one of the senior disciples of Pandit Pannalal Ghosh died of cancer in January 1975. All these tragic events had led to deterioration in the health of Parul Ghosh who became bedridden after her elder daughter’s death. During this period, she was looked after by her two nieces (her younger brother, Sunil Biswas’s daughters) and some of the disciples of Pandit Pannalal Ghosh to whom she was the ‘Guru Maa’. Parul Ghosh died on August 13, 1977 at Malad.
On the occasion of the 44th Remembrance Day of Parul Ghosh, I am presenting one of my favourite songs of her from the film ‘Seedha Rasta’ (1947). The song is ‘tum jhooth na jaano saajan mera pyaar’, written by Amar Verma and set to music by S K Pal. The song is picturised on Kamala Kotnis. The video clip of the song end abruptly while the audio clip which I have uploaded has the full song.
In a Radio interview some years back, Anil Biswas had said that his mother’s voice had the melody of a flute and the texture of a shehnai and Parul Ghosh inherited the same quality of voice from her mother. This song reaffirms what Anil Biswas had said about Parul Ghosh’s voice.
——————————————————————————————————————————————————————-
Note: Some of the personal information about Parul Ghosh have been sourced from
(1) the interviews of V G Karnad and Anand Murdeshwar, disciple and grandson, respectivey of Pandit Pannalal Ghosh which are available on http://www.pannalalghosh.com and (2) an article ‘Sublime Genius – Pannalal Ghosh’ written by the late Mohan Nadkarni which is available on his website, https://mohannadkarni.org
Audio Clip:
Video Clip:
Song-Tum jhooth na jaano saajan mera pyaar (Seedha Raasta)(1947) Singe-Parul Ghosh, Lyrics-Amar Verma, MD-S K Pal
Lyrics (Based on Audio Clip)
tum jhooth na jaano saajan mera pyaar
tumhen kaise samjhaaun
tumhen kaise samjhaaun
tum jhooth na jaano saajan mera pyaar
tumhen kaise samjhaaun
tumhen kaise samjhaaun
beete din ki hai yaad
beete din ki hai yaad
jab kabhi aati
dil jalta hai
jyun jale diye ki baati
aankhon se bahti hai aansoo ki dhaa..aa.aar
jiya kaise bahlaaun
jiya kaise bahlaaun
kal tak jo thhe wo aaj rahe na hamaare
ek jhalak dikha kar toot gaye do taare
maine na jaana ulfat ke din chaa…aar
ro ro ke pachhtaaun
ro ro ke pachhtaaun
tumhre haathhon haay mit gayi anjaani
tumhre haathhon haay mit gayi anjaani
ab roti hai..ae ae
ab roti hai
meri barbaad kahaani
badnaam huye
chhoda hamne gharbaar
gharbaar
kise fariyaad sunaaun
kise fariyaad sunaaun
tum jhoothh na jaano saajan mera pyaar
tumhen kaise samjhaaun
tumhen kaise samjhaaun
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws
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Blog Day : |
4769 | Post No. : | 16518 |
Today’s song is from an obscure film-Paaro-1947. It was made by Navyug Film co. One of the partners of this film company was Marathi’s famous writer, novelist and journalist Acharya Atre. By coincidence, the name of the Music Director of film Paaro-47 was Rasheed Atre. He, of course, was Muslim and Acharya Atre was a Hindu Bramhin.
The film was directed by one Shorey Daulatlavi, who was originally a Cinematographer with Minerva Movietone. His first film as a Director was Pathron ke saudagar-44, made by Minerva Movietone. Sohrab Modi was not known for recognising talents of his staff and encouraging them or rewarding them. He must have secured the services of Daulatlavi as a director for a negligible fee. Fed up with his attitude, Dalatlavi left Minerva and joined Navyug. Here he directed 3 more films namely, Din Raat-45, Paaro-47 and Sajan ka ghar-48. After this film, his name became traceless. Possibly he took up cinematography again.
Music Director Rasheed Atre was one of the 10 MDs I wrote about in my series ” Gems from the Migrators” in November 2014, about 7 years ago, on this Blog. This was about MDs, who started their careers in India and migrated to Pakistan after Partition. Many Muslim artistes had migrated to Pakistan. Let us take a look at the scenario of those times.
In undivided India, Lahore (then in the Punjab) was important as a showbiz centre. It had an established film-making centre. The first Talkie film ever to be made in a Lahore studio was Heer Ranjha-1932 and thereafter many Urdu and Punjabi films were produced from Lahore every year. The partition of India into two independent states – India and Pakistan, caused irreparable damage to film production in Lahore. Most of Lahore’s film producers were Hindus and as the city fell on the side of the Islamic state of Pakistan, they migrated to India. This deprived Lollywood, as Lahore is referred to in film circles, of much needed investment and expertise in film production and distribution.
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 artiste’s dream to go to Bombay and shine there.
The film activity at Lahore increased considerably in the early 40s in terms of film production and Music. Those days many actors and musicians shifted their base to Bombay from there. The list of such people is very long, but it will suffice to mention some well known names-
Noorjehan, Pran, Saigal, Prithwiraj 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), A R Kardar, M Sadiq, Suresh(Nazim Ahmed), Amar, Chetan Anand, Zande Khan, Ghulam Hyder, Pt.Amarnath and his brothers Husnlal-Bhagatram, Hansraj Behl, S.Mohinder, Firoz Nizami, Khursheed Anwar, Khayyam, Vinod, Shyamsunder, Kidar Sharma, Krishna Chander, O P Dutta, Saadat Hasan Manto, Qamar Jalalabadi, D N Madhok, Tanvir Naqvi, Prem Dhawan etc etc. Many of the actors and producers used to shuttle between Lahore and Bombay for their work.
And when the PARTITION took place in 1947, in the communal frenzy, polarisation of artistes took place. Some Hindus shifted to Bombay and Some Muslims left for Lahore.
At the actual time of Partition some artists were in Lahore for film work. They were B R Chopra, Ramanand Sagar, I S Johar, Gulshan Rai, Omprakash, Jeevan, O P Nayyar, Rajinder Singh Bedi, Naqsh Lyallpuri, Surinder and Prakash Kaur Manorama and Pushpa Huns. They all left Lahore hurriedly and reached Bombay Safely.
Same way many artists from Bombay left for Lahore and ALL of them reached safely. some of the Directors who migrated to Pakistan were-
Syed Shaukat Hussain Rizvi, S M Yousuf, Najam Naqvi, Munshi Dil, Nakshab Jarachavi, M Sadiq, Zia Sarhadi, Sibtain Fazli(of Fazli Brothers), S T Zaidi , Zahoor Raja, Wali saheb, A R Kardar,Nazir,W Z Ahmed,Masood Pervez, Shareef Nayyar,Luqmaan,Dawood Chaand,Rakhan,Nusrat Mansoori,M H Qasim,Roop K Shorey,Butt Kasher,Barkat Mehra and Manto.
Some of the Actors/actresses were- Nazeer, Sadiq Ali, Masood, Sudhir, Santosh, Ratan Kumar, Najmul Hussain, Suresh and Nasir khan(both came back to India later), Sh.Mukhtar, M.Ismail, Ajmal, Gulam Mohd, Kumar, Ghori, Majeed, Shahnawaz, Himalayawala, Shyam Kumar, Allauddin, Shah Shikarpuri, Charlie, Nazar Faizi 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, G A Chisti, Ghulam Hyder, Firoz Nizami, Nissar Bazmi, Nashaad, Tufail Faruqi, Tanvir Naqvi, Faiyaz Hasmi, Iqbal Bano, Premlata,Khursheed,Zeenat Begum,Shevan Rizvi,Rasheed Atre,Fateh Ali khan,Babul etc.
With so many people migrating to Pakistan at a time and given the condition of the Pakistan Film Industry then, it is a moot question, whether all these migrants could get work there and shine ?
(Notes- 1.All lists are only indicative and not exhaustive
2.Migrants means between 1947 to 1970 period.)
After partition,this turmoil subsided after a short period in India and it was business was as usual here, while in Lahore, Pakistan had to build up from scratch, but the Film Industry there too stabilised in a few years’ time. The base of Film industry in Pakistan was built by people who migrated from India. Migration from India to Pakistan continued till about 1970 for the pre-partition artistes. In fact till about 1965 there was an exchange of artistes from both sides to work in other countries, but after the 65 war, this working stopped completely.
Music Directors who left India after Partition had done a very good job here. Composers like Nissar Bazmi, Rasheed Atre and Feroz Nizami became exceptionally successful in Pakistan, but Nashad, Rafiq Ghaznavi and others were not successful to that extent. Khursheed Anwar, a very highly respected composer here remained a father figure even in Pakistan.
I always wondered, how some composers, who were found mediocre here, without much spark, giving music only to B and C grade films, became extremely popular and successful in Pakistan, winning accolades ? examples are is Nisar Bazmi, Rasheed Atre etc.. To understand this strange phenomena, one must consider the state of affairs in Pakistan Film Industry for 5-6 years post Partition. Here is a part of an article on this issue that I found on a Pakistani site, filmbirth.com
” Pakistan has been a part of India up until 1947. Up to that point Lahore was one of the thriving cinema producing centers in India. The first film made in a Lahore studio was “Delhi Express” (1935) and Urdu and Punjabi films were to follow. The partition of India into two independent states – India and Pakistan, caused the demise of the Lahore film industry. Most Hindu filmmakers in Pakistan fled the region when the Islamic Pakistani government became independent. Without the Indian funding and production facilities, the migration of many renowned filmmakers and stars and a lack of proper distribution channels, Lahore (Lollywood) soon became less than a footnote in the regional cinematic landscape.
Fortunately, the outflow from Lahore was accompanied by an inflow into the city. Affected by the same political change, a number of talented Muslims who have established themselves in Bombay’s (now Mumbai) film circles, moved back to Lahore. Prominent among them were film producer Syed Shaukat Hussain Rizvi, his wife actress and singer Noor Jehan, actress Swarn Lata, actor Nazeer, director W. Z. Ahmad, director Luqman, director Sabtain Fazli, music director Feroze Nizami and music director Khwaja Khursheed Anwar. These creative artists laid the foundation of the Pakistani film industry. They were also responsible for producing some of the best films ever made in Lollywood.
The creative energy of Lahore’s film people began to express itself as soon as the partition frenzy subsided. Lollywood became alive again and Teri Yaad was the first film released after partition. Featuring Nasir Khan, brother of film icon Dileep Kumar and Asha Posle, it was released at Lahore Parbhat Cinema on Sept 2, 1948. Its producer was a Hindu named Diwan Sardari Lal, Daud Chand was the director while Nath was the music director. The following year, Anis Productions released a Punjabi film Pheray. Featuring Nazeer (who was also its director) and Swarn Lata, the film proved to be a success and became the first Pakistani film to complete a 25-week run at cinema houses. Another important film was Naubahar Films’ Do Ansoo which was released in 1950. Produced by Sheikh Latif and directed by Anwar Kamal Pasha, it won popularity and became first Urdu film to complete its silver jubilee. “
Due to a shortage of composers, all were welcomed with open arms. Those who had talents did extremely well here. Unfortunately the second generation of composers of calibre were not prepared and once these migrants disappeared from the scene,the musical fields of Pakistan dried up. According to an article on Wiki, there are 7 ages in Pakistan Film music –
| S No | Phase | Period |
|---|---|---|
| 1 | Independence and growth | 1947-1958 |
| 2 | The Golden Age of Pak Film Music | 1959-77 |
| 3 | The age of Disaster (Onslought of VCR and brain Drain to Bangladesh) | 1977-88 |
| 4 | Politics,Islamisation and downfall | 1979-87 |
| 5 | Collapse | 1988-2002 |
| 6 | Decline | 2002-2009 |
| 7 | New wave and Hopes | 2010 onwards |
Anyway, Nisar Bazmi and Rasheed Atre prospered during the Golden Age period and got all the benefits.
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 R.C.Boral. During his stay in Calcutta he is presumed to have composed songs for films “Pardanasheen”-1942 and “Mamta”-1942, under the name R.A.Atra. After coming back to Bombay he joined Jhande Khan and Gobindram in composing songs for “Pagli”-43. He was assistant to composer Amir ali in “Panna”-44. With Pt.Amarnath,he composed songs for “Shirin Farhad”-45. Then came Room No.9-46,Nateeja-47,Paro-47 and Shikayat-48. From 43 to 48 he gave music to 6(confirmed) films. Not much, but then he did not get much time either.
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 9-46,he worked in Navyug Chitrapat co. where one of the owners was P K Atre, a noted Marathi writer and Dramatist. P K 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 Akbar ” was composed by Rasheed Atre. The first Pakistani film for which Rasheed Attre lent 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 . Attre’s music for director W.Z. Ahmed’s 1954 family-friendly film Roohi (1954) was a huge success.
Rasheed Attre’s music is all very praise-worthy in director Nazir Ahmed Khan’s film Khatoon, which was popular for its thumri. Attre’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). Attre was, indeed, a powerhouse of a musician and a case in point is director W.Z. 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, Attre 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 Sulochana Kadam and M.Aslam. There is also a solo by M.Aslam of the same song in the film.
Song- Zakhmi ko naya zakhm lagaata hai zamaana (Paaro)(1947)Singers- Sulochana Kadam, M Aslam, Lyricist- Not known, MD- Rasheed Atre
Both
Lyrics
Zakhmi ko naya zakhm lagaata hai zamaana
Zakhmi ko naya zakhm lagaata hai zamaana
har tarah gareebon ko sataata hai zamaana
har tarah gareebon ko sataata hai zamaana
Zakhmi ko naya zakhm lagaata hai zamaana
kya hamne zamaane mein bigaaa hai kisi ka
kya hamne zamaane mein bigaaa hai kisi ka
kyun hamko nigaahon se giraata hai zamaana
Zakhmi ko naya zakhm lagaata hai zamaana
tadbeer kisi kee ee ee ee ee
tadbeer kisi ke ke
muhabbat mein hansenge
tadbeer to ki thhi ki
muhabbat mein hansenge
taqdeer to roti hai
rulaata hai zamaana
Zakhmi ko naya zakhm lagaata hai zamaana
muflis ki tamanna kabhi
poori nahin hoti
poori nahin hoti
muflis ki tamanna kabhi
poori nahin hoti
poori nahin hoti
?? har naaz uthhaata hai zamaaana
Zakhmi ko naya zakhm lagaata hai zamaana
jiska nahin ee eeduniya mein koi
ee ee ee ee ee ee ee ee
uska khuda hai
uska khuda hai
jiska nahin duniya mein koi
uska khuda hai
jiska nahin duniya mein koi
uska khuda hai
ye baat magar bhoolta jaata hai zamaana
Zakhmi ko naya zakhm lagaata hai zamaana
har tarah gareebon ko sataata hai zamaana
Zakhmi ko naya zakhm lagaata hai zamaana
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws
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Blog Day : |
4767 | Post No. : | 16516 | Movie Count : |
4492 |
Today’s song is from film Pehla Pyar-1947. Pehla pyar means First Love. Pehla is Pehla. I could never understand why it has to be called Pehla Pehla Pyar (1958 & 1994). Does it not make it Doosra Pyar ?
Everything First time in life is memorable. This is reflected in the film titles of Hindi cinema too. Pehla Pyar, Pehli Nazar, Pehli Jhalak, Pehli Pehchan, Pehli Shaadi, Pehli Mulaqat and even Pehli Raat. Pehli Tareekh, Pehla Aadmi, Pehla Aashiq, Pehla Qadam, Pehla Aadhyaya and Pehla Paisa is acceptable, but Pehla Nashaa and Pehla Qatil ? Then there was Pehli Bhool, Pehli Shaadi, Pehli Aurat and even Pehla Aadmi !
Funniest thing is there were also Doosra Aadmi, Doosri Aurat, Doosri Shaadi, Doosra Pati, Doosri Bibi etc.etc. I did not check if there was Teesra….something something ! Hamraz ji’s book of Film Index can be a good Time Pass, really ! But I know there was a film Teesra Kaun ?
Coming back to today’s film Pehla Pyar-47, HFGK mentions it as a film made under the banner of ” Sagar Movietone co. Bombay “. Actually, Sagar was closed in 1940, then came National Studio and finally it was Amar Pictures from 1942 onwards. This also closed in 1946 with their last film ” Gwalan”-46 (of Baburao Patel and Susheela Rani). Then, from where did this filmcame and how it claims to be from an extinct ‘ Sagar movietone Co.’ ?
I rummaged through the entire book “Sagar Movietone” written by Biren Kothari ji, but nowhere could I find any reference or information on this film. Finally, I spoke directly to Biren kothariji today to ask about this film. Here too the door was closed. According to Biren ji, it is difficult to say anything about this film. He was , however, sure to say that it had no connection whatsoever with the original ‘Sagar Movietone’.
At the moment it is an unsolved mystery. Maybe in future, some explanation or information on this film will appear to clarify this issue. This is not impossible. In last few years, several such ‘ riddles ‘ have been successfully solved with new evidence, when it cropped up. Some of the riddles which were solved with such new evidence were-
1. Who sang” Bharat ki ek sannari ki katha” from film ‘Ram Rajya’-1943
2. Who sang ‘ Dilli se aaya bhai Tingu’ from film ‘Ek thi Ladki’-1949
3. If Shashi Kapoor acted as a child artiste in 20 films and
4. Is Arjun-Hero fof film ‘Malhar ‘-50 the same as MD C.Arjun
The list is too big to be given here fully, but the point is proved with these examples.
Film Pehla Pyar-47 was directed by A.P. aka Anand prasad Kapoor. he was a well known director of early cinema. He had directed 14 silent before trying his hand at a Talkie film. He was born in 1892 at benares. After matriculation, he came to Bombay and joined film industry doing all odd jobs. His first silent film as a director was Fairy of the Flute-1927 made by Sharda Film Co. His first talkie film as a director was Radhesham-1932, jointly directed by R.L.Shorey. This was a film made in Lahore.
He directed 18 talkie films. He acted also in 2 films. He wrote 32 songs in 3 films as a Lyricist. He also sang 6 songs in 5 films. His last film as a director was Chor-1950. At this stage he realised that his old style was no more acceptable with the new set up. So he retired. A.P.Kapoor died on 16-9-1966 at Bombay.
The cast of the film was Vanmala, Aghajan, Sulochana Chaterjee, K.N.Singh, Sunalini Devi etc etc. Agha or Aghajaan (21-3-1914 to 30-4-1992) was a popular hero in his early career period In film Jwar Bhata-1944, he was the Hero and the Debutante Dilip Kumar was the side Hero ! His career spanned over 50 years-1935 to 1989. He worked in 328 films Pehla pyar was his last film as a hero.
The music was composed by Premnath. This is a case of Same name Confusion. many people think that the actor Premnath had also given music as a MD. Both were different.
PREMNATH the Music Director was born on 5-7-1918 in Gujranwala, Punjab. He learnt music from experts in Amritsar,Multan and Lahore.He acted in films like Shahr-e-khamoshi and also sang in Sohni Mahiwal-1938.
After marriage, he moved to Bombay. His first film as a Music Director was Rangbhoomi-1946. In this film, a novice Mohd. Rafi sang many songs for him. His other films were Dharti-47, Chandrahas-47, Sagar’s Pehla pyar-47. He then produced a film “Chand sitare”-48 under the banner of Ravindra Art productions. Mukesh, Lata and Geeta Roy sang in it. In film ‘Alakh Niranjan’-50,he used Mohd. Faruqi, Sulochana Kadam and Rajkumari.
Premnath gave music to many films of Super pictures of Aspy Irani like Bade Bhaiya-51 and Maya Machhindra-51, in which Surendra, Geeta,Rafi and Shamshad sang. His another film ‘Qatil kaun’ in late 50s was not released. For this film, Rafi, Asha, Manna Dey, Mubarak Begum and Shamshad had given songs.
His films diminished. Sati Vaishalini-59,Main hoon jaadugar-65 and Tarzan in Fairyland-68 were his last films.
After he stopped work as MD,he devoted his time for the welfare of Cine Artists as a trade union leader. As a Secretary,he served the music Directors Assn. for 30 years.
He died on 27-4-1993 at the age of 75 years.
I find that many people mistakenly credit actor Premnath as a MD for his films. Some sites include these films to the filmography of actor Premnath.
It is now clear that actor Premnath and MD Premnath were 2 different persons.
Today’s song is sung by Shamshad Begum. With this song, film Pehla Pyar-47 makes its Debut on this Blog.
Song- Haay re ghir ke baadal aaye jiya ghabraaye (Pehla Pyaar)(1947) Singer- Shamshad begum, Lyricist- I.C.Kapoor, MD- Premnath
Lyrics
haay re ghir ke baadal aaye ae
jiya ghabraaye
haay re ghir ke baadal aaye
jiya ghabraaye
naina maane na kehnaa aa
kaaboo mein nahin hai mera haay dil
naina maane na kehnaa aa
kaaboo mein nahin hai mera haay dil
jhoom ke lehraaye jiya
doley re boley re
aa mil
aa mil
jhoom ke lehraaye jiya
doley re boley re
aa mil
aa mil
birha mein yaad jalaaye
jiya ghabraaye
haay re ghir ke baadal aaye
jiya ghabraaye
ghanghor ghataayen chhaayin
laut aayin phir jawaaniyaan
ghanghor ghataayen chhaayin
laut aayin phir jawaaniyaan
aao jee sunaayen tumhen
meethi meethi dil ki kahaaniyaan
kahaaniyaan
aao jee sunaayen tumhen
meethi meethi dil ki kahaaniyaan
kahaaniyaan
haay teri yaad sataaye
jiya ghabraaye
haay re ghir ke baadal aaye
jiya ghabraaye
sapnon mein aane waale
dekh dekh haari teri raahen
sapnon mein aane waale
dekh dekh haari teri raahen
aao galey aan milo
poochh rahin dil mera aane
haay aane
aao galey aan milo
poochh rahin dil mera aane
haay aane
tere bin jiya nahin jaaye
jiya ghabraaye
haay re ghir ke baadal aaye
jiya ghabraaye
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4749 | Post No. : | 16482 | Movie Count : |
4477 |
HAPPY BIRTHDAY TO ASAD BLOG !
HEARTIEST CONGRATULATIONS TO ATUL JI FOR COMPLETING 13 YEARS OF HIS BLOG !!
CONGRATULATIONS TO ALL TEAM MEMBERS ON THIS OCCASION !!!
Today the Blog completes 13 years. Now that it is in its Teens, a lot of activity is expected. We are all with Atul ji in maintaining the lead position of this Blog in the Cyber world of HFM lovers.
I first came to know about this Blog somewhere in 2011. I do not remember the date or month. I had newly learnt how to operate the computer and I had the enthusiasm of a Novice to surf and find various sites and Blogs. I had completely retired from my work and was thinking of reverting to and rediscovering my old hobby of old films and music thereof. I had unpacked my old diaries and notebooks, wherein I had made notes about every film that I had seen from my childhood. I was thrilled when I saw this Blog while surfing.
I kept on visiting it often to read all the posts and enjoy familiar old songs. I found that the Blog is dedicated to film songs from the beginning to modern times. I was also impressed with the comments by its readers from almost every corner of the world. In those days, a lot of readers used to express their views by commenting. This gave additional information, a focus on improvement and understanding the choices of the visitors.
I also started making comments, armed with the information from my diaries and notebooks. These information pieces were authentic and unique because these were not to be found anywhere on the internet. I specialised in providing stories of films made in the period from the 30’s to the 60’s. On a rough estimate I posted around 600 film stories and almost the same number of information comments on films, music, starts etc etc. The other members of the Blog now started recognising me. On the prodding and encouragement of Atul ji, my first post came up on the Blog on 1-10-2012 and after that there was no looking back.
What is the speciality of this Blog ? I would unhesitatingly say – CREDIBILITY. This Blog is famous all over the Cyber world of old HFM lovers, as a place where correct Lyrics and information that is trustworthy and reliable, is available. I am very active on Social media and I feel very happy when excerpts from this Blog are produced as a proof of something in a dispute. I see people quoting from the Blog. This proves that the Blog has earned the honour of being a Reference Point for many people. This is the result of Atul ji’s strong conviction that information here must be beyond doubts, reliable and trustworthy.
Today, the Blog can boast of (till 17th July 2021)
| No. of Song Posts | 16474 |
| No. of films represented | 4470 |
| No. of films with all songs covered | 1271 |
| No. of visitors till date | 1,45,91,249 |
If you break up the number of visitors so far, everyday about 3118 people visited the Blog, i.e. 130 persons every hour. With this kind of statistics, no doubt, this Blog must be the No. 1 Blog, catering to the HFM lovers all over the world. (WordPress claims that it is read in 198 countries worldwide).
I feel honoured and proud to be a member of this team. Once again, I congratulate Atul ji and wish the Blog many more Anniversaries in future.
Today’s song is from an obscure film “Manager”-1947. The film was made by Tiwari productions and was directed by I.P.Tiwari. Obviously he seems to be the owner of the banner. His name is found only for this one film. Possibly he was one of those “novo rich” financers who cropped up due to the war period activities, who tried their hand at making and directing films. This social film had 7 songs written by lyricist Kumar Sharma and music was by a Debutant Music Director Ramkrishna Shinde.
Have you ever heard the name of a composer called HEMANT KEDAR ? No, it is not a pair like S-J,K-A or L-P. It is a misleading one name( like another such single name Shyamji Ghanshyamji, for example). OK, did you ever know about R.K.Shinde or Ram Shinde ? I am sure most of the readers may not have heard these names. These are the names of Ramkrishna Shinde. This reminds me of composer Snehal Bhatkar who used 5 different names as composer.
Ramkrishna Shinde was a multi talented composer, who could not shine, though he had talents. Further he started his career at a time when India’s big composers like C.Ramchandra,Naushad, Husnlal-Bhagatram, Shankar-Jaikishan etc were in their best performing period and had hogged almost all the major production houses as their Patrons. In this flood of Musical Tsunami, smaller composers remained smaller due to non availability of exposure and good banners, waning into oblivion ! Those who had talents plus good luck survived, but composers with talents without Luck were soon forgotten.
Ramkrishna Shinde was born on 19-4-1918 in Malvan area of Maharashtra Coastal Belt. He was the eldest amongst 2 brothers and 2 sisters When he was 9 yr. old, his father died and the family was shifted to Bombay, by aunt and uncle. His interest in music was unusual. He took training in vocals from Pt.Sitaram and learnt Sitar from Pt. Madhav rao. For survival, he took up a job in Dawn Mills. In 1944, he got married. Same time, he met Dancer Parvati Kumar and Tabla player Ramakant. He soon left the job and started giving music to Marathi stage plays. He was a very popular composer.
His first Hindi film as a composer was Manager-47, followed by Kiski Jeet-48 and then Bihari-48, with Naresh Bhattacharya. Not getting films anymore,he turned to giving music to Dance Ballets. He became so famous that 27 of his ballets went abroad with his music. He was called by Amiya Chakrawarty for giving Dance Music in Usha kiran’s film Gauna-50.
He returned to Hindi films again. This time as Hemant Kedar. Reason for this name- his favourite Ragas were Hemant and Kedar. He gave music to
Khaufnak Jungle-55, Police Station-59 and Captain India-60.
Hemant Kedar ( Like Daan singh and Jaidev) must be one whose unreleased films numbered many or more than his released films. Some of his Unreleased films were
1. Hamari kahani
2. Avinash
3. Sati mahananda
4. Jannat ki Hoor
5. Peeli kothi
6. Paataal Devta ( This was the film in which actress Mumtaz had Debuted, but not released)
Hemant Kedar gave music to 2 Marathi films. Side by side, he did 5-6 programmes on All India Radio. After the advent of Television, he started giving music to TV Ballets and was in great demand for it. He did about 15 Ballets on TV. He became ill and expired on 14-9-1985, leaving behind his wife and two daughters. Luckily, his wife had a good job. (Thanks to http://www.beetehuedin.blogspot.com and book ” मराठी चित्रपट संगीतकार कोष ” by Madhu Potdar, HFGK, muVyz and my notes for this information.)
I am not aware of the story of this film. However, on scanning the Film India issue, I found a remark about this film. According to that, it was a film about mill workers and their relations with its Manager. The cast of the film consisted of Purnima, Jai prakash, Sarla, Aziz, Tiwari, Ameenabai etc.etc. The Heroine Purnima made her Debut with this film. I do not know anything about actor Jai Prakash.
Today’s song is a duet by Amirbai Karnataki and A R Oza. It is a good song. With this song, film Manager-1947 makes its Debut on the Blog.
Song-Rut rangeeli aayi sajaniya rut rangeeli aayi (Manager)(1947) Singers-Amirbai Karnataki, A R Oza, Lyrics-Kumar Sharma, MD-Ramkrishna Shinde
Both
Lyrics
Rut rangeeli aayee sajaniya
Rut rangeeli aayee ee ee
Rut rangeeli aayee sajaniya
Rut rangeeli aayee ee ee
masti chaaron oar hai chhaayee
masti chaaron oar hai chhaayee
Rut rangeeli aayee ee ee
Rut rangeeli aayee sajaniya
Rut rangeeli aayee ee ee
dil ki kaliyaan dol rahi hain
dil ki kaliyaan dol rahi hain
aasha man mein bol(?) rahi hai
aasha man mein bol(?) rahi hai
?? angdaai
?? angdaai
Rut rangeeli aayee ee ee
Rut rangeeli aayee sajaniya
Rut rangeeli aayee ee ee
mera bichhda meet mila hai ae ae
mera bichhda meet mila hai ae ae
jeevan ka sangeet mila hai
jeevan ka sangeet mila hai
teri hi thhi aag lagaai
teri hi thhi aag lagaai
Rut rangeeli aayee ee ee
Rut rangeeli aayee sajaniya
Rut rangeeli aayee ee ee
Rut rangeeli aayee sajaniya
Rut rangeeli aayee ee ee
yaad dilaa do ??
jawaani ki koi
kahaani suna do
itni hai
itni hai bedard jawaani
laut ke phir nahin aayi
laut ke phir nahin aayi
Rut rangeeli aayee ee ee
Rut rangeeli aayee sajaniya
Rut rangeeli aayee ee ee
Rut rangeeli aayee sajaniya
Rut rangeeli aayee ee ee
tum hi ho meri kaaya maaya
tum hi ho meri kaaya maaya
tumhi ne hai sansaar basaaya
tumhi ne hai sansaar basaaya
?? tumhri kamaai
?? tumhri kamaai
Rut rangeeli aayee ee ee
Rut rangeeli aayee sajaniya
Rut rangeeli aayee ee ee
Rut rangeeli aayee sajaniya
Rut rangeeli aayee ee ee
ghar mein joru ?? na jaata
?? fakat hai Ishwar se naata
ghar mein joru ?? na jaata
?? fakat hai Ishwar se naata
nahin mili hai koi lugaai
nahin mili hai koi lugaai
Rut rangeeli aayee ee ee
Rut rangeeli aayee sajaniya
Rut rangeeli aayee ee ee
masti chaaron oar hai chhaayee
masti chaaron oar hai chhaayee
Rut rangeeli aayee ee ee
Rut rangeeli aayee sajaniya
Rut rangeeli aayee ee ee
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 : |
4740 | Post No. : | 16466 |
“Leela”(1947) was produced by Gyan Mukherjee and directed by Dattaram N Pai for Filmistan, Bombay. The movie had Shobha, Kanu Roy, Veera, V.H.Desai, Aga Jan, Leela Misra, Krishnan kutty, B.M.Dixit, Satyanarayan, Sharma, Sunalini devi, Roshan, Radha, Roma etc in it.
The movie had nine songs in it. Seven songs have been covered in the past.
Here is the eighth song from “Leela”(1947) to appear in the blog. This song is sung by Binapani Mukherjee. Qamar Jalalabadi is the lyricist. Music is composed by C Ramchandra.
Only the audio of the song is available. I request our knowledgeable readers to thro light on the picturisation of the song.
Lyrics of this song were sent to me by Prakashchandra.
Audio link:
Song-Duniya se hamein kya mila hai pyaar kisi ka (Leela)(1947) Singers-Binapani Mukherjee, Lyrics-Qamar Jalalabadi, MD-C Ramchandra
Lyrics (Provided by Prakashchandra)
duniyaa se hamein kyaa
duniyaa se hamein kya
milaa hai pyaar kisee kaa
duniyaa se hai pyaaraa
hamein iqraar kisee kaa aa aa
pyaar kisee kaa
duniya se hamein kyaa
duniyaa se hamein kya
milaa hai pyaar kisee kaa
duniyaa se hai pyaaraa
hamein iqraar kisee kaa aa aa
pyaar kisee kaa
do raahey pe meri jawaani khadee hai
do raahey pe meri jawaani khadee hai
ye soch rahee hai
idhar duniya khadee hai ae
udhar pi ki gaali hai
jaaoon pee ke gali mein
jaaoon pee ke gali mein
sunaa hai daur kisee kaa
duniyaa se hai pyaaraa
hamein iqraar kisee kaa aa aa
pyaar kisee kaa
duniya se hamein kyaa
duniyaa se hamein kyaa
milaa hai pyaar kisee kaa
duniyaa se hai pyaaraa
hamein iqraar kisee kaa aa aa
pyaar kisee kaa
tu aaye to main dil ke
armaan nikaal loon
paaon ki sunn`ke aahat
dil ko sambhaal loon
baahon ka haar banaa ke
tere galey mein daal doon
baahon ka haar banaa ke
tere galey mein daal doon
tu poochh ye hai kyaa
tu poochh ye hai kyaa
main kahoon pyaar kisee kaa
duniyaa se hai pyaaraa
hamein iqraar kisee kaa aa aa
pyaar kisee kaa
duniya se hamein kyaa
duniyaa se hamein kya
milaa hai pyaar kisee kaa
duniyaa se hai pyaaraa
hamein iqraar kisee kaa aa aa
pyaar kisee kaa aa
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws
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Today’s song is from the film Farz-1947. This is an absolutely unknown and obscure film, made in the melee of the Partition blues. No information about this film is available anywhere. Even information in HFGK is also not complete.
When I first saw the name Farz, I remembered the 1967 film of Jeetendra and Babita. In those days, Jeetendra had become famous as ‘Jumping Jack’ and his trademark was White T-Shirt and White shoes. Farz was his just the 5th film, but the overwhelming success of this film catapulted him to the Top of the league. He became the young girls’ heartthrob.
In the film Farz he played the role of Secret Agent 116. This film was a remake of the Telugu film ” Goodachari 116″ made in 1966. A very interesting feature of the film Farz was that 2 sequels were made on this film – Keemat-73 with Dharmendra and Rakhsha-82 with Jeetendra himself. In all the 3 films, the Hero’s name was Gopal Krishna Pandey- Secret Agent 116 !
Film Farz-67 and its ” original” Goodachari 116 were actually based on Hollywood films of Agent OSS 117. French author Jean Bruce wrote 88 novels describing the adventures of Agent OSS-117. After the author’s death in an accident, his wife Jesette wrote 143 novels on OSS-117 and after her death, their daughter wrote 23 novels on OSS-117. This must be a World Record, surely ! Several movies too were made on these books, till the end of the 80’s.
But the film Farz-1947 may not have been of this type, looking at the cast and the director and in any case that was not the period of such films. HFGK does not mention the film’s Genre. The film was made by New Hindusthan Pictures Ltd, Bombay. It was the second film of writer-Director Niranjan. He had already directed the film Kahan Gaye in 1946. Later he also directed the film Sajan ka Ghar-1948. Then his name disappeared, till it appeared in 1954 in the case of his divorce.
As per HFGK, the cast of the film was Ragini, Chand Burke, Sudhir, Agha, Fareeda and Leela. No names of lyricists or the singers of the 9 songs were given. The MD was K.S.Sagar. He seems to have given music to one more film Sajan ka Ghar-1948. One song from this film is already discussed here.
As far as the actors were concerned, this was the First and the Last film of the Hero Sudhir-in India- before he migrated to Pakistan and made a name there. Sudhir ‘s real name was Shah Zaman Khan Afridi. He was born on January 25, 1921 and died on January 19, 1997 in Lahore. Sudhir was married thrice, first in his own family, second was actress Shammi and the third actress Zeba for a while. Sudhir’s son from his first wife, Shah Zaman (film name) was seen in the film Dushman ki Talash (1978).
Sudhir was a legendary film hero in both Urdu and Punjabi films. He had a long film career of 38 years and appeared mainly in main roles. Almost all main heroes were seen in side roles with Sudhir. His first film was before partition, New Hindustan Film’s release Farz (1947). It was directed by Niranjan and the heroine was Ragini.
In Pakistan, he was the hero of the third released film Hichkolay in 1949. Daud Chand was the director and Najma was the heroine. He got huge success as action hero in the film Baghi in 1956 and his last film was a Pashto film Pat Khamar in 1989.
Sudhir was a highly respected film personality. He was known as Lala Sudhir – Lala means Uncle in Pashto language and Elder Brother in Punjabi language. He was of Pashton origin but he spent all his life in Lahore. He had only a single Pashto film in his career and that was actually a Punjabi film Puttar da Pyar (1972) which was released in Pashto version.
Secondly, the Heroine Ragini, who had acted in 14 Hindi films- for her this was the last film in India, before she migrated to Pakistan. Ragini was born as Shamshad Begum, in 1923, at Gujranwala, in a bazaar, where, to quote that great sage, Agha Hashr, “Days are dormant and nights wide awake.” Her mother named her Shamshad Begum, and her father, Seth Diwan Parmanand, happily allowed a Muslim name. But, her mother died during her childhood, and Diwan took this young girl from Gujranwala to Lahore.
Even this early, Ragini had the looks that made her noticeable. In those days, the classical sense of beauty was quite different. Large, sparkling eyes and a fair complexion was enough for any girl in the films to be termed beautiful. Aahoo Chashm Ragni and Pari Chehra Naseem (Saira Bano’s mother) were both considered the epitome of beauty, although young people question those attributes today as “just average”.
Ragini was not able to go to school for undisclosed reasons, although she had a happy childhood. Diwan Sahab’s good friend, Roop K. Shorey was a well known film maker, and one day, while visiting his house, he noticed the girl child. “Isn’t she cute?” he said. “She has the looks of a fine film actress.” Although Diwanjee had some reservations about allowing the girl to join the industry, Shorey pledged that he would look after her at every step of the shoot. In those days, there were very few girls in the industry. To find a seventeen year old girl as the heroine meant that you had hit the jackpot.
Shorey cast Shamshad as Ragini, in Kamla Movietones’ Punjabi film, Dulla Bhatti in 1940. M.D. Kunwar was the hero, while Ragini played Nooran in the film. It was a hit and people were spellbound by her charm. Her next film, Sehti Murad did not make such a bang. She also did ‘himmat’ and ‘Raavipaar’. Later, she worked in many films before Partition, including her first Hindi film,Nishani-42,,Naila,Anarkali,Poonji, Kaise Kahoon, Dasi, Shirin Farhad,farz and others. In A.R. Kardar’s film, Shahjahan, Ragini played Mumtaz Mahal, while her first hero, M. D. Kunwar, who had done Dulla Bhatt’s role, characterized Shahjahan with great aplomb. Kunwar was so enamoured of Ragini that he had requested Kardar for the role, to be close to Ragini. Unfortunately, Ragini did not respond to his romantic advances, and Kunwar sank himself in perpetual drunkenness, which led to his getting infected by tuberculosis and his death soon after that.
Ragini was invited to India to do two films,Chamkee-52 and Insaan-52. She did this and went back to Pakistan. Later she divorced her first husband and married producer Gul. Her last days in Pakistan were very sad. She was thrown out of her house by her Son in Law,as he did not want an actress in his house. She spent her last days in a small room in Lahore and died unsung on 27-2-2007 at the age of 85 years.
In this film, the director’s wife Chand Burke was also acting. Chand Burke was born in a Punjabi Christian family in Lahore. She made her debut in Maheshwari Productions’ Kahan Gaye (1946), which Niranjan wrote and directed. They fell in love on the sets and got married in 1945. Thereafter, Chand appeared in a number of Punjabi films made in Lahore, and was widely known as “the Dancing Lily of the Punjab.”
Partition and her subsequent migration to Bombay adversely affected her career. After “Hamari Manzil,” which was released in 1949, Chand Burke went into complete oblivion. It was Raj Kapoor who selected her for that important role as children’s tormentor in “Boot Polish-53,” over 200 other contestants, her screen-test convincing Raj Kapoor that she was a talented actress. Some of her well known films were Ferry-54, Basant Bahar-56, yahudi ki beti-56, Adalat-58 and Lajwanti-58.
Chand was the only one in a family of twelve brothers and sisters to have joined the films. Her brother S. M. Burke, I.C.S., was a Minister to the Scandinavian countries for Pakistan. Chand obtained judicial separation by mutual consent from her husband, writer-director Niranjan in 1954.
She was also married to Sunder Singh Bhavnani- grandfather of superstar Ranveer Singh. She is also related to Suneeta Kapoor.
She acted in 32 films. Her last film was Pehchan-72.
Today’s song is a duet sung by Zeenat Begum and Dilshad Begum, as per the uploader-our own Sadanand Kamath ji, who also says that the Lyricist is also the Music Director. Enjoy….
Song- Hawa aa rahi ghata chha rahi naach rahi hai jawaaniyaan (Farz)(1947) Singers- Zeenat begum, Dilshad begum, Lyricist -K.S.Sagar, MD- K.S.Sagar
Lyrics
Hawa aa rahi ghata chha rahi
naach rahi hai jawaaniyaan
hoy
Hawa aa rahi ghata chha rahi
naach rahi hai jawaanniyaan
ye piya milan ki nishaaniyaan
ye piya milan ki nishaaniyaan
nishaaniyaan nishaaniyaan
hoy Hawa aa rahi ghata chha rahi
naach rahi hai jawaaniyaan
baagh mein jab khile chameli
baagh mein
haay baagh mein jab khile chameli
kyun dhadke mera jiya saheli
ho jaaun chanchal albeli
ho jaaun chanchal albeli
kyun abkhiyaan banin nishaaniyaan
ye piya milan ki nishaaniyaan
nishaaniyaan nishaaniyaan
hoy Hawa aa rahi ghata chha rahi
naach rahi hai jawaaniyaan
solah baras teri umariyaa baali
solah baras haaye
solah baras teri umariyaa baali
hirni si teri chaal niraali
chaal niraali teri
chaal niraali
honthon pe hansi
gaalon pe laali
honthon pe hansi
gaalon pe laali
teri ankhiyaan kahen kahaaniyaan
hmm
hmm
ye piya milan ki nishaaniyaan
nishaaniyaan nishaaniyaan
hoy Hawa aa rahi ghata chha rahi
naach rahi hai jawaaniyaan
mori atariya kaaga boley
mori atariya
mori atariya kaaga boley
mast jawaani meri dagmag doley
kaliyon ne jab ghoonghat kholey
kaliyon ne jab ghoonghat kholey
arre bhanwron ko soojhi shaitaaniyaan
ye piya milan ki nishaaniyaan
nishaaniyaan nishaaniyaan
hoy Hawa aa rahi ghata chha rahi
naach rahi hai jawaaniyaan
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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