Posts Tagged ‘1947’
Hum Bharat ki santaan
Posted on: September 3, 2019
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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Blog Day : |
4064 | Post No. : | 15198 | Movie Count : |
4176 |
Today’s song is from an obscure, unknown, ‘Ç’ grade stunt film – Toofani Tirandaz-47. This film was made by Homi Wadia’s Basant Pictures, but, for a change, it was directed by Boman Shroff – who was a regular actor in Wadia’s stable, present in almost every film of Fearless Nadia, including today’s film. The cast of the film was Nadia, Prakash, Sayani Aatish, Boman Shroff, Sona Chatterjee, Mithu miyan, Krishnakant, Rajpoot(horse) and Austin ki Bachhi(a jalopy). The film had 8 songs, all written by Begum Aziz Minai ( her other film was Aabida-47 in which she wrote 3 songs). Music was composed by A.Karim.
Toofani Tirandaz-47 was a routine stunt film from Wadia, having more or less the same story and same actors. Despite this, the films of Fearless Nadia were extremely popular in a certain class of audience in India and in many Arab and Middle east Gulf countries, where there was a great demand for these films. After Partition, even in Pakistan, Wadia stunt films were popular and in demand. In 1948, when Wadia made the film “Shri Ram Bhakta Hanuman”-48, he exported even this film to Muslim countries after changing the Title as “Udta Bandar” ( उडता बंदर ) or The Flying Monkey, converting a Mythological film into an action film ! The film was equally popular there.For Nadia films, additionally, a lady bashing up goons and restoring justice, while at the same time having a love story with the Hero was so thrilling for the audience. They were so enamoured with Nadia, that they did not care, she did not look Indian or her Hindi diction was defective !
There was a difference between Wadia – Nadia stunt films and stunt films made by other film makers. The specialty was, in addition to the regular human star cast, these films were full of thrilling acts by Animals. In most Wadia films,the animals had a distinct role to play- of course without dialogues ! Ha Ha !!
As long as Wadia Movietone was united, there was a roll-call of trained animals like Horse, Dog, Cat, Tiger, Lion, Elephants etc etc. In some films there were Hyenas and pythons too. In addition,Machines also played specific roles, like a Car and a Motor Cycle. In one film, Nadia’s whistle used to make the Motorcycle come to her ! What was most noteworthy was that that all these Non-Human stars had their own names !
The set of actors and actresses working in stunt/Action films in C grade movies were a fixed lot. In a way they ‘specialised‘ in this sort of films. In almost all the stunt films of Nadia( she did few social films too), the fixed crew and cast included the Bilimoria brothers, John Cavas, Jal Khambata, Minoo the mystique(Minu Cooper), Sardar Mansoor, Boman Shroff, Sayani Atish etc. Not everyone was in every film, but they took turns in appearances.
From 1935 onwards stunt films ,including Nadia’s, had a Horse named “Punjab ka Beta”, a Dog named ‘Tiger’, and a motor car name ‘ Rolls Royce ki beti’.
After Wadia brothers split and Homi started his Basant pictures, Nadia joined him and another set of animals like, Rajpoot(Horse), Moti(Dog) and Austin ki bachhi(a motor car) were included. In addition there was a Motor Cycle called ‘Runnio’ as well.
Few years back, in one of my posts, I had written about the animals and Machines in Nadia films, but it was not a detailed information. I was very keen to know more about animals in films. Who trained them, how are they handled and whether the animals are not scared of the strangers and the Arc lights etc were my questions. I did not know how to get this information.
Then suddenly I remembered having read an article-PDF- by some Mala Doshi, on Memsaab’s Blog , some years ago. I tried but could not locate it. As usual the kind hearted Memsaab came to my rescue and she provided me the link to it. I read it completely. However this did not have answers to my questions, though it is also quite informative.
I contacted one of my friends in Pune and he told me that an article giving all this information was published in RASRANG-a Marathi film magazine, years ago. This was a poor clue, but I started searching for it without any result for a long time. My luck smiled on me one day, when I was reading a book RUPERI SMARANYATRA (memories of the silver screen) by Prof. Subhash Savarkar. That article , which I was searching so desperately was reprinted in this book !
The article is written by Mr. Vasant Bhalekar who also holds its copyright. This article must have been published in the late 60s or so. I thank Mr.Bhalekar for this information.
‘Punjab ka beta’ was trained by Agha Mehmood who was in the Film Industry since 1930 onwards supplying trained animals. The Horse was born in Ahmedabad, trained in Surat and worked in Bombay. He was very intelligent. His first film was ‘Ishq ki Laila’-a silent film. In 1935 Punjab ka Beta or PKB joined Wadia movietone. His original name was GAZI which was changed by JBH Wadia to PKB, when he first worked in “Hind kesari”-35
He was expert in running, trotting, falling, sleeping-like dead, jumping, walking on knees, standing on 2 legs etc. Nadia used him first time in ‘Lutaru Lalna’-38 and PKB was her horse till it died. In Diamond queen-40 PKB and Nadia jumped through wild raging fire. Both were burnt, but the shot came off fantastic.
In Jai Bharat-36, PKB carried Master Chhotu in his mouth for a distance and gave close ups too. In Flying Prince there was a shot when the Heroine chases a Train and jumps onto it. PKB was ridden by Hashim, son of Agha, in Heroine’s clothes and boarded the train, but both were a little hurt.
Punjab ka beta died soon after working in Hind ka laal-40. Agha trained another horse Rajpoot just like PKB.
Rajpoot gave a deadly shot in Baabuji-50, where he had to climb and come down stairs of a 30 feet set. Agha first took the horse around the sets and up and down 4-5 times. The horse got the idea of the shot and he gave it superbly, though this shot was very life threatening.
Rajpoot also acted in Darvesh-49 and Cobra Girl-63 in which he had to do some back kicking (like an ass). Actually back kicking is the first thing all trainers make the horse to forget before horse’s training starts. Now Rajpoot had to be taught what he was made to forget. For this Agha used to rap his hind legs and make a sound on the Tin sheet kept behind him. After 2-3 days the horse understood what is to be done and started back kicking.
In film Zabak – 61, the horse was supposed to smile and wink at the Hero. Agha knew that when a Foal (colt or filly- young horse) is brought before a Horse it starts making a laughing face and sounds. Hence be brought a colt and took the shots of Rajput smiling. Then for winking, they used water used after washing crackers. When horse’s eyes are washed with this water, horse winks for one hour ! Thus this shot was also taken.
Agha also trained horse Moti and elephant Ramchandra for film NAVRANG-59. They both were trained to do dancing steps for a month. Sandhya danced with these animals and it has come out wonderfully.
We see many animals ‘acting’ in the films, but we hardly know how much effort of the Trainers has gone behind that. Besides taking care of the animals, the trainers have to tolerate the ‘moods’ of the animals also.
With the the stunt films in “C” grade dwindling, animals which are used nowadays in films are only the pet animals, like Dogs, cats, Birds etc. The use of wild animals like Tigers, Lion, Elephants etc is no more required in the films. Horses are used sometimes.
Jimmy Bharucha, one of the best Horse Trainers in India, had himself been trained in foreign countries. He had opened a Horse Training School in Poona. Yesteryear actor SHYAM was one of his earliest students. For all his films, Shyam used the same horse from Bharucha. Actor Shyam had died while doing a stunt for film Shabistan-51.
Whenever he talked about Shyam, Bharucha got emotional. The truth about Shyam’s death….
That fateful day, Shyam was in a very cheerful mood. He joked with other artists as usual. The film was SHABISTAN. He had to do a stunt scene on a horse. His double was kept ready. However Shyam insisted on doing that dangerous shot himself that day. The scene started and was also completed successfully. There was a round of applauding claps.
Shyam was getting down from the horse and suddenly,the horse started running. Shyam’s foot got stuck in the stirr-up and he was dragged some distance before people ran and stopped the horse. Shyam was unconscious. He was immediately taken to the hospital, but he died-with his make up and costume still on him !( another actor who died on the sets was comedian actor Gope. He finished his shot. His last dialogue was ” Main upar jaa raha hoon”, and he collapsed with a massive heart attack which took his life instantly.)
Bharucha had supplied horses to films like Aan, Anarkali and Mughal e Azam etc. He had supplied Dogs for films like Love in Simla, Hum Hindustani etc. Once when the Producer was not paying in time he stopped the animal’s work. They were paid immediately because the animal’s shots were half done till that time.
Bharucha had trained one beautiful white Horse to dance to the tune of Waltz and Cha Cha. The horse was in great demand by Taj Mahal Hotel to entertain Foreign guests !
So much about the Animals in films. There is much more information , may be some other time. I was also keen to know more about the actors of Wadia films, but it was like searching a needle in a hay stack. One thing – they were seen only in C grade stunt films and hence the so called “Gentleman” magazines and papers etc. paid no heed to them and secondly – they ended their careers in the late 40s or early 50s, as the C grade stunt film Genre died its natural death. When no source works on my own, I turn to one sure point, i.e. Harish Raghuwanshi ji. Though he is not keeping too well these days, he is always prompt in responding and providing help, whenever available.With his help, I got some – only some – information on 2 of the major actors of Wadia – Nadia movies.
Sayani Aatish – his real name was Sayani Abdul Hamid Ahmed. He was born in Bombay. He had a ancestral Timber business, but his intense desire to work in films brought him to this profession in 1925. He started working in Silent stunt films as a villain.By the time Talkie films came, he had perfected his style. He joined Wadia Movietone. His first Talkie film was “Laal-E-Yaman”-33. After this he did 18 films.His last film was Mere Sajan-41. He was considered an outstanding villain of films.He was a writer and composer too.
Boman Shroff was born in Kalyan-Bombay. He joined films in 1922. After doing many silent films, he joined Wadia Movietone. His first Talkie film was “Laal E Yaman-33”. He was known as a Dare Devil stuntman and master of make up. His role was usually of a comedian. His best performance was in Toofani tarzan-37. He worked in 17 films. His last film as an actor was Stunt King-44. Boman Shroff also directed two films. One, today’s film Toofani tirandaz-47 and Sher Dil-54.
Whenever I write on any Fearless Nadia film, I always remember my meeting with her in the early 80s in Bombay. I only regret that I did not take a Photograph with her. If only Mobile Phones were in vogue in those times…….
(Thanks to Harish Raghuwanshi ji, Vasant Bhalekar, Subhash Savarkar, Greta Memsaab, Film Directory-1938 and my notes for information used herein.)
Song – Hum Bharat ki santaan (Toofaani Teerandaaz)(1947) Singers-Unknown Female voice, Unknown male voice, Lyrics – Begum Aziz Minai, MD- A Kareem
Female Chorus
Male chorus
Lyrics
Hum Bharat ki santaan
Hum Bharat ki santaan
aise chamke teer hamaare
jyon Arjun ke baan
aise chamke teer hamaare
jyon Arjun ke baan
jyon Arjun ke baan
Hum Bharat ki santaan
Hum Bharat ki santaan
jaagi hai Bharat ki naari
dekhegi ab duniya saari
jaagi hai Bharat ki naari
dekhegi ab duniya saari
karegi ab ye desh ki sewa
de kar jeewan daan
karegi ab ye desh ki sewa
de kar jeewan daan
de kar jeewan daan
Hum Bharat ki santaan
Hum Bharat ki santaan
ran mein nikle taan ke seena
paap hai kaayar ban ke jeena
ran mein nikle taan ke seena
paap hai kaayar ban ke jeena
himmat ho to ho jaati hai
har mushqil aasaan
himmat ho to ho jaati hai
har mushqil aasaan
har mushqil aasaan
Hum Bharat ki santaan
Hum Bharat ki santaan
aise chamke teer hamare
jyon Arjun ke baan
jyon Arjun ke baan
hum Bharat ki aankh ke taare
le kar ghoda saath hamaare
hum Bharat ki aankh ke taare
le kar ghoda saath hamaare
hum toofaani teer chalaayen
hum bhi hain balwaan
hum toofaani teer chalaayen
hum bhi hain balwaan
hum bhi hain balwaan
toofaanon se kyun ghabraayen
apni naiyya aap chalaayen
toofaanon se kyun ghabraayen
apni naiyya aap chalaayen
jiske seene mein shakti hai
uska hai Bhagwaan
jiske seene mein shakti hai
uska hai Bhagwaan
uska hai Bhagwaan
hum Bharat ki santaan
hum Bharat ki santaan
aise chamke teer hamaare
jyon Arjun ke baan
aise chamke teer hamaare
jyon Arjun ke baan
jyon Arjun ke baan
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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Blog Day : |
4058 | Post No. : | 15191 | Movie Count : |
4173 |
Today’s song is from film Aaj aur kal-47. The film was produced by C R Gwalani and R K Parashar. It was directed by K A Abbas. The music for its 6 songs was composed by Khwaja Khurshid Anwar. The film was made under the banner of Chitra Productions, Lahore.
1947 was a period of political turmoil, both in future Pakistan and existing India. The matters became worse after actual Partition took place. When the entire country was disturbed, no wonder, the film industry too was shaken with uncertainty. There was a flood of rumours. No one was sure as to who is leaving and who is staying. In Lahore, the condition of film people from India was more serious. In order to save their lives, they had to run away to India, leaving everything behind. In film industry in India situation was not that bad, but people were scared.
This automatically resulted in some films remaining incomplete. Most producers had ensured to somehow complete their films, well before actual time of Partition. This was so, on both sides of the border. Film Aaj aur kal was one such film which had started shooting in 1946, censored in 1947 but could not be released same year, due to this commotion. An early issue of Film India magazine announced in 1948 that this film was awaiting its release. However, we do not know,if the film was released actually or not, as there is no information available about its release dates or place etc.
From the advertisements, photos, posters and short newslets available in the film magazine, we know that actor Shyam and actress Nayan Tara were the lead pair. HFGK, however, does not give their names in its cast details. Only the names of Neeta, Rasheed Ahmed (Rashid Khan) and Arif are listed in its cast column. Film Aaaj aur kal aka Today or Tomorrow-47 had a Sci-Fi story in which a city called Gandhi Nagar was shown as a city of future in the year 2048 (100 years later). In the absence of storyline, we can,at best, imagine the story.
Rashid Khan was a new entrant in Hindi films then,having debuted in ‘Dharti ke Lal’-46, this was his just 4th film. Vadodara or Baroda has given many actors to film world. Some of them are Mehboob Khan, Urmila Bhatt, Shabbir kumar, Faruq Shaikh, V H Desai, Dinesh Hingoo etc etc. Add to this, Rashid Ahmed Khan aka Rashid Khan, who was a villain, comedian, character artiste and everything else, except the Hero.
He was born on 5th July 1915. He was a Suleimani Muslim, hence very liberal and secular in nature. He studied upto B.A; LL.B., but without becoming an advocate he came to Bombay to become an actor. He met Jaddan Bai,who gave him titbit roles in films. Then he was employed by Sohrab Modi as a Painter in his studio.Rashid Khan used to copy the acting of Chandra Mohan. After two months this job was also gone. Finally, Rashid Khan got a job in All India Radio, Bombay as an announcer.
One day Balraj Sahni met him. He was directing K.A.Abbas’ drama ‘ Zubeida’ and was looking for an actor for the important role of Munshi Bedil in the drama.He was impressed with Rashid khan and offered him the role. Rashid Khan flatly refused. Next one month, on and off, Balraj Sahni was trying to convince Rashid Khan, but he was adamant in not doing acting. Just one week prior to the staging of the drama, Rashid Khan met Balraj Sahni and accepted his offer.
Rashid Khan’s acting was much appreciated by critics. Balraj gave him a role in film ” Dharti ke lal”-46, which became his Debut film. Many stage stalwarts were acting in that film. Deena(Sanghvi) Pathak had a dance item in it. Later she became a famous character actress in Hindi films in the 70s and 80s. Rashid khan got several films like Hasrat, Gudia, Aaj aur Kal, Anjuman, Aarzu etc. Initially he was credited as Rashid Ahmed,but later on he ensured that he was mentioned as Rashid Khan. In the beginning, he had to improve his Urdu/Hindi diction, as he was a Gujarati person.
Dev Anand cast him as Postmaster in Navketan’s first film ‘ Afsar ‘. Then came Baazi, Jaal Aah, Shri 420 and many others. He acted in most Dev Anand and Guru Dutt films. K.A.Abbas cast him in his 8 films. He was a favourite of Hrishikesh Mukherjee.He worked with Mukherjee in 18 films. Personally, I like his role of a “Body builder and Exercise freak”, in film ” Ek phool chaar Kaante”-1960. In his career, Rashid Khan did acting in 96 films.
In 1953, he married one Suraiya. His son Fazal is a photographer and Daughter Heena married into Fida Hussain family.
Rashid Khan rarely got long and big roles, but he made his small roles also memorable. He was not typecast. He did roles as Villain, Comedian and character artiste as father,brother or friend of the hero. While shooting at Famous studio, on 7-11-1972, he got massive heart attack and died while working, just like Gope. (adapted, with thanks, from Gujarati article by Harish Raghuwanshi ji.)
Music Director Khurshid Anwar (21-3-1912 to 30-10-1984) was a rare case, who was successful both in India as well in Pakistan, after he migrated there. He was also a highly respected personality here and there. A lot has already been written about him on Internet as well as on this Blog-by me, hence I am not repeating it here now.he gave music to 10films in India- including Parwana-47, with Saigal and he composed 77 songs- without a single song by Lata Mangeshkar. For his first film Ishara-43, he had called famous singer of Lucknow, Gohar Sultana, to sing few songs.
The film was directed by Khwaja Ahmed Abbas (7-6-1914 to 1-6-1987), who directed 20films from 46 to 88. He was born in Panipat, Haryana, on 7-6-1916. He was born in the home of celebrated Urdu poet, ‘Khwaja Altaf Husain Hali’, a student of Mirza Ghalib. His grandfather Khwaja Gulam Abbas was one of the chief rebels of the 1857 Rebellion movement, and the first martyr of Panipat to be blown from the mouth of a cannon. Abbas’s father Ghulam-Us-Sibtain graduated from Aligarh Muslim University, was a tutor of a prince and a prosperous businessman, who modernised the preparation of Unani medicines. Abbas’s mother, ‘Masroor Khatoon’, was the daughter of Sajjad Husain, an enlightened educationist. Abbas took his early education in ‘Hali Muslim High School’, which was established by his great grand father Hali. He had his early education till 7th in Panipat. He was instructed to read the Arabic text of the Quran and his childhood dreams swung at the compulsive behest of his father. Abbas completed his matriculation at the age of fifteen. He did his B.A. with English literature in 1933 and LL.B. in 1935 from Aligarh Muslim University
Worked on National Call, a New Delhi paper (1933); started Aligarh Opinion when studying law (1934); obtained law degree in 1935; political correspondent and later film critic for nationalist Bombay Chronicle, Bombay (1935- 47) praising Dieterle, Capra and esp. Shantaram. Wrote Indian journalism’s longest- running weekly political column, Last Page (1941-86), in Chronicle and Blitz. Best-known fiction (Zafran Ke Phool situated in Kashmir, Inquilab on communal violence) places him in younger generation of Urdu and Hindi writers with Ali Sardar Jafri and Ismat Chughtai, whose work followed the PWA? and drew sustenance from Nehruite socialism’s pre- Independence, anti-Fascist and anti-communal commitments. Founder member of IPTA’s all- India front (1943), to which he contributed two seminal plays: Yeh Amrit Hai and Zubeida. Entered film as publicist for Bombay Talkies (1936) to whom he sold his first screenplay, Naya Sansar (1941). First film, Dharti Ke Lal, made under IPTA’s banner and drew on Bijon Bhattacharya’s classic play Nabanna (1944), dealing with the Bengal famine of 1943.
Set up production company Naya Sansar (1951), providing India’s most consistent representation of socialist-realist film (cf. Thoppil Bhasi and Utpal Dutt). Best work is in the scripts for his own films and for those of Raj Kapoor (Awara 1951); Shri 420 (1955), 1955, both co-written with V.P. Sathe; Jagte Raho, 1956; Bobby, 1973) and Shantaram’s Dr. Kotnis Ki Amar Kahani (1946; adapted from his own book, And One Did Not Come Back), which combined aspects of Soviet cinema (Pudovkin) and of Hollywood (e.g. Capra and Upton Sinclair), influencing a new generation of Hindi cineastes (Kapoor, Chetan Anand) and sparking new realist performance idioms (BALRAJ SAHNI). His Munna, without songs or dances, and Shaher Aur Sapna, cheaply made on location in slums, were described as being influenced by neo-realism. Pardesi is the first Indian-Soviet co-production, co- directed by Vassili M. Pronin. The landmark Supreme Court censorship judgement about his Char Shaher Ek Kahani (aka A Tale of Four Cities) curtailed ‘arbitrary’ governmental pre- censorship powers on the grounds that the Indian Constitution guarantees the right to free speech. His constitutional challenge of the Cinematograph Act led to the famous Supreme Court decision upholding the validity of precensorship of cinema.
Published many books including I Am Not An Island and Mad Mad World of Indian Films (both 1977). Other important scripts: Neecha Nagar (1946); Mera Naam Joker (1970); Zindagi Zindagi (1972); Henna (1991). Abbas also brought a number of new talents into the film industry, such as Amitabh Bachchan in Saat Hindustani . K.A.Abbas died on 1-6-1987 at Bombay. ( adapted, with thanks, from The Encyclopedia of Indian Cinema).
With today’s song, film Aaj aur Kal-47, makes its Debut on the Blog. All the 6 songs of this film are very sweet. Today’s song is also very melodious. It is sung by Zeenat Begum. This enchanting tune was again heard, 10 years later , in Rafi’s song “Mubaarak ho dulha dulhan ko ye shaadi“, from film Paak Daaman(1957), composed by Ghulam Mohd.
Song-Pade ishq mein jaan ke hum ko laale (Aaj Aur Kal)(1947) Singer- Zeenat Begum, Lyricist- Not known, MD- Khursheed Anwar
Lyrics
pade ishq mein jaan ke hum ko laale
khuda imtihaan mein kisi ko na daale
pade ishq mein jaan ke humko laale
khuda imtihaan mein kisi ko na daale
ye rukte hain roke na talte hain taale
ye rukte hain roke na talte hain taale
koi kis tarah aansuon ko sambhaale
khuda imtihaan mein kisi ko na daale
pade ishq mein jaan ke hum ko laale
khuda imtihaan mein kisi ko na daale
wahi bebasi hai wahi namuraadi
wahi bebasi hai wahi namuraadi
na kaam aayi aahen na kaam aaye naale
khuda imtihaan mein kisi ko na daale
pade ishq mein jaan ke hum ko laale
khuda imtihaan mein kisi ee ee ko na daale
Mann Mandir Mein Aa Ja Sajanva Aa Ja
Posted on: May 26, 2019
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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Blog Day : |
3964 | Post No. : | 15046 | Movie Count : |
4126 |
Today’s song is from an obscure film ‘Ye hai Zindagi’ from 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 into 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 Di’n, ‘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 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.
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 Hindi playback song of Lata Mangeshkar), ‘Bela’ (all 10 songs by Zohrabai Ambalawali), ‘Dard’ (Debut song of Uma Devi), ‘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), ‘Parwana’ (last film of KL Saigal), ‘Shaadi 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 artiste’s dream to go to Bombay and shine there.
Film ‘Ye Hai Zindagi’ (1947) was made in Lahore by Narang Productions – owned by SD Narang, actor, producer, director, studio owner, writer and lyricist too. The life story of Narang is simply fascinating. To know that such a highly qualified and educated person worked in films is in itself unbelievable. Here is his life story.
Here is a story which is stunning and unbelievable ! A young man was born on 18-6-1918, at Lyallpur, Punjab. He studied hard and got high education. First he did B.Sc., then completed M.B.B.S. and became a medical doctor. Later he submitted a thesis and got his Ph.D. All this from Lahore Medical College. He also wrote some research papers and 2 books. With this sparkling education, he could have had a luxurious living, but he chose to join the uncertain film world. True to his wont, he succeeded here too and became a hero, producer, director, studio owner, a lyricist and a writer.
Yes, in the early era of the late 30s,when educated people were a rarity, this highly qualified young man came into films. His name was SATYA DEV NARANG or simply, SD Narang (18-6-1918 to 25-1-1986 ). Here are some highlights of his life, adapted from site sdnarangsfan.com,
- During his life, from 1918 to 1986, he had served the Indian Film Industry, at three capitals of this industry, Lahore (1936 to 1946), Kolkatta (1947 to 1951) and Bombay (1952 to 1980), as hero, producer, director, writer and studio owner.
- He had the distinction of being the highest educated man in the film industry. He was B.Sc., M.B.B.S and Ph. D from Lahore Medical College.
- He had the credit of being the debut making leading man of ‘Khazaanchi’ which was the first Indian film to celebrate the Platinum Jubilee.
- He was the youngest leading man in Lahore, who played the lead in ‘Khazaanchi’, ‘Raavi Paar’, ‘Zamindar’, ‘Patwaari’, ‘Gawaandi’, ‘Thekedar’, ‘Sahara’, ‘Ye Hai Zindagi’ (his first venture as producer-director) and ‘Kamini’.
- In Kolkotta he produced ‘Chittagong Armoury Raid’, which was India’s ‘First Revolutionary Film’. He also produced ‘Nai Bhabhi’, ‘Ek Raat’, ‘Aprajitha’, and ‘Chiner Putuland’, and also played the leading roles in these films. Apart from his own movies, he played the lead in ‘Iran Ki Ek Raat’ and ‘Kajari’, which were produced by outside producers.
- After partition, he had to leave Lahore, like a refugee, leaving all his assets and immovable property behind him. With his hard work and experience once again he was able to establish himself as the hero, producer, director, writer and studio owner at Delhi. But the studio proved disaster in disguise for him. Being a soft hearted person, he was giving credit to the producers, who used to shoot their films in his studio. They duped him and he had to suffer heavy losses. With this bitter experience he left the city and entered the City of Dreams and the capital of entertainment, Bombay, in 1952.
- Being a passionate movie maker, SD Narang was able to get himself settled in Bombay, within a very short span of time. He had already dedicated himself for the service of silver screen. Once again he arose alive from his own ashes, like a phoenix.
- He made his presence felt in a big way in the big City of Bombay.
He produced and directed many films with big stars. In ‘Tanhaai’ and ‘Darbaan’ he played the leading role himself. Some of the important films produced by him in Mumbai include, ‘Arab Ka Saudagar’, ‘Yahudi Ki Ladki’, ‘Dilli Ka Thug’, ‘Sagaai’, ‘Babul Ki Kaliyan’, ‘Do Thug’, ‘Ram Kasam’, ‘College Girl’, ‘Do Ustad’, ‘Kismatwala’ and ‘Nishaanebaaz’. He had also produced ‘Shehnai’, which was India’s first Air-Force film. - He was also the producer of ‘Bombay Ka Chor’, which was India’s first ‘Holiday-on-Ice’ movie.
- He has also the credit of producing India’s first under-water movie, ‘Anmol Moti’ – a Jeetendra and Rekha starrer.
- The movie maker with Midas touch, Dr. SD Narang, had spent his 50 golden years of his cinematic profession, in the service of Silver Screen (1936-86).
- Before venturing into film industry as the leading man, SD Narang, had an aptitude for research and while studying in Lahore Medical College, he did research on ‘Binocular Theory Of Vision’, which was published in his college Magazine. He bagged the Ph. D and became the Doctor of Philosophy, though he was already a Doctor of Medicine.
- Apart from being the author of a novel ‘Hippy Aur Yogi’ and ‘Human Psychology’, he had written a most praiseworthy book, ‘An Introduction To The Theory Of Bio-Economics’. It was actually a new approach to diagnosis and cure of inflation and poverty. If applied this theory on present global financial crisis, it can change face of fiscal fate of the world.
- In 1960 he got married to actress of his time Smriti Biswas, with whom he had played the lead in many films. After her marriage she stopped to sign new films, and decided to play the roles of faithful wife and caring mother. She preferred to prepare food for his beloved sons Rajiv Narang and Satyajeet Narang.
The cast of this film consisted of M Ismail, Kalavati, Begum Parveen, Roofi, Abu Shah, MA Mirza, Bina, Ibrahim, Narang and others. Most of these migrated to Pakistan. The hero of the film was M Ismail.
M.Ismail was born in 1902 in a jeweller family of Lahore. He was a very good designer and calligrapher.
M. Ismail was a resident of the Inner Bhati Gate in Lahore. Well built and fair complexioned, Ismail had blue eyes, and was quite attractive. Mian Abdul Rasheed Kardar (the famous AR Kardar), also belonged to the same area in Lahore. M Ismail used to work as a golden calligrapher, while Kardar was involved in sketching and illustration.
They went to Bombay in 1927, and according to Ismail, he and Kardar played the role of Kaedoo and side hero respectively, in Imperial Company’s ‘Heer Ranjha’. But conditions weren’t helpful, and the two young men had to return to Lahore. Fortunately, for them, during 1928, Premier Film Company started a film called ‘Daughters Of Today’. Both Kardar and Ismail were inducted into the cast, but the film remained incomplete.
Later, Kardar learned production and became well known as a brilliant technician. Kardar established his own film making firm in 1930, called United Players Corporation, and cast Ismail in his early silent movies like ‘Mysterious Eagle’ aka ‘Husn Ka Daku’, which also had Kardar in a central role. Others in the cast were Gulzar Begum, Ghulam Qadir, Ahmed Deen and an American actress, Aeris Crawford. Ismail also acted in Kardar’s film, ‘Safdar Jang’, and both these early silent films were very successful. This led Kardar to cast him in ‘Shepherd King’ (‘Gadarya’) and ‘Golden Dagger’ (‘Sunehri Khanjar’). In those days, every film used to have an English title and an Urdu one.
After ‘Alam Ara’ (1931) opened the way for talkies, Ismail became even more popular. In Kardar’s ‘Hoor e Punjab’, an adaptation of Heer Ranjha, Ismail again played the role of Kaedoo, the intriguing ice uncle of Heer, which he repeated yet again later, in film ‘Heer Siyal’, with his characteristic style. His other films in India include ‘Alif Laila’, ‘Dekha Jaega’, ‘Mast Faqeer’, ‘Raja Gopi Chand’, ‘Prem Pujari’, ‘Watan Parast’, ‘Sohni Mahiwal’, ‘Laila Majnoon’, ‘Zamindar’ and others.
In 1948, M Ismail came to Pakistan, and immediately got offers from seniors like Nazir, whose films, ‘Pherey’, ‘Laarey’, ‘Anokhi Dastaan’ and ‘Shehri Babu’ included him in their cast. His first film here was ‘Hichkole’ (1949). Observing his work, another promising and experienced director, Anwar Kamal Pasha offered him some good roles. His films – ‘Ghulam’, ‘Gumnaam’, ‘Qatil’, ‘Inteqam’ and others were the earliest hits of Pakistan. Luqman also cast him in ‘Patan’, and ‘Mehbooba’ was another one that was appreciated.
Similarly Nazeer Ajmeri’s ‘Qismat’ and ‘Paigham’, Munshi Dil’s ‘Hasrat’ and ‘Ishq e Laila’ and SM Dar’s ‘Saltanat’ and ‘Dulla Bhatti’ were also amongst his famous movies. His other films were ‘Darwaaza’, ‘Subah Kaheen Sham Kaheen’, ‘Patey Khan’, ‘Piya Milan Kee Aas’, ‘Jameela’, ‘Bada Aadmi’, ‘Zehr e Ishq’ and many others. M Ismail was a charming person, with a rural simplicity and a very forgiving disposition. Endearingly called Bhaiyya jee in the industry, M Ismail’s roles of good hearted, forgetful, careless and sometimes cynical man were the best that he did. But, in many films, he performed a perfect villainish role, including the earlier mentioned, ‘Hoor e Punjab’, which had a historic role of Kaedoo. This one was only bettered later, by that most sterling artiste, Ajmal, who made Kaedoo legendary with his gestures in Khwaja Khurshid Anwar’s ‘Heer Ranjha’.
In ‘Yamla Jat’ and ‘Khazaanchi’, in India, he did very fine title roles, while K Asif’s ‘Phool’ portrayed him as an old hakeem from Turkey, which he did to perfection. As a villain in Indian film, ‘Wamiq Azra’, he presented an individual style, with his full facial expressions. By full facial expressions means that most artistes use the eyes and the forehead, but M Ismail, with a tremendous mobility of his motor mouth, his sagging cheeks and his prominent and protruding jowls, used a tremendous expanse of his face, which aided him in doing old men’s roles very early in his career.
In those days, there was much importance of finding a characteristic face for films and not handsome or beautiful faces, which is the trend today. That was the reason that more such fine artistes were available to the screen. In Nazeer Ajmeri’s ‘Qismat’, he played a unique role of a man, who is too forgetful to even remember his own name. It was a most hilarious performance from a truly talented actor of his times. M Ismail got a Presidential Award for this role in ‘Qismat’.
His last film in Pakistan was ‘Maan Jawaani Da’ (1976) – released after his death. He died on 22-11-1975 at Lahore.
The music was composed by Baba GA Chishti, who too migrated to Pakistan. Unlike many others, he became a successful composer in Pakistan. He spent his last years as a Faqir.
Today’s song is sung by an unknown female voice and chorus. The lyricist is also not known. Actually there were 3 Lyricists in this film, namely Arsh Lakhnavi, GA Chishti and Pandit Madhur. However, HFGK does not provide any information on singer or the Lyricist.
(I am thankful to Narang’s site, Cineplot, Film Directory-1946, and my notes for information used herein.)
Song – Mann Mandir Mein Aa Ja Sajanva Aa Ja (Ye Hai Zindagi) (1947) Singer – Unattributed, Lyrics – Unattributed, MD – GA Chishti
Chorus
Lyrics
mann mandir mein aa ja sajanva aa ja
aa ja
nainan beech samaa ja
sajanva aa ja
aa ja
mann mandir mein aa ja sajanva aa ja
aa ja
nainan beech samaa ja
sajanva aa ja
aa ja
tere bina mann doley
haan doley
tere bina mann doley
bhed na kholey
kachhu na boley
aaa aaa aaa
tere bina mann doley
bhed na kholey
kachhu na boley
mann ki dheer bandha ja
sajanva aa ja
haaaaaan aaaaaaaa
mann ki dheer bandha ja
sajanva aa ja
nainan beech samaa ja
sajanva aa ja
aa ja
mann mandir mein aa ja sajanva aa ja
aa ja
nainan beech samaa ja
sajanva aa ja
aa ja
kyon tu ne mukh moda
haan moda
kyon tu ne mukh moda
mera dil toda
saath kyon chhoda
haaaaaan aaaaaaaa
kyon tu ne mukh moda
mera dil toda
saath kyon chhoda
itni baat bataa jaa
sajanva aa ja
haaaaaan aaaaaaaa
itni baat bataa jaa
sajanva aa ja
nainan beech samaa ja
sajanva aa ja
aa ja
mann mandir mein aa ja sajanva aa ja
aa ja
nainan beech samaa ja
sajanva aa ja
aa ja
joban par din aaye
haan aaye
joban par din aaye
jiya ghabraaye
aap na aaye
haaaaaan aaaaaaaa
joban par din aaye
jiya ghabraaye
aap na aaye
aa ja mere raja
sajanva aa ja
haaaaaan aaaaaaaa
aa ja mere raja
sajanva aa ja
nainan beech samaa ja
sajanva aa ja
aa ja
mann mandir mein aa ja sajanva aa ja
aa ja
nainan beech samaa ja
sajanva aa ja
aa ja
mann mandir mein aa ja sajanva aa ja
aa ja
nainan beech samaa ja
sajanva aa ja
aa ja
———-————————————————
Hindi script lyrics (Provided by Sudhir Kapur)
———————————————————-
मन मंदिर में आजा सजनवा आ जा
आ जा
नैनन बीच समा जा
सजनवा आ जा
आ जा
मन मंदिर में आजा सजनवा आ जा
आ जा
नैनन बीच समा जा
सजनवा आ जा
आ जा
तेरे बिना मन डोले
हाँ डोले
तेरे बिना मन डोले
भेद ना खोले
कछु ना बोले
आ आ आ
तेरे बिना मन डोले
भेद ना खोले
कछु ना बोले
मन की धीर बंधा जा
सजनवा आ जा
हाँ आ
मन की धीर बंधा जा
सजनवा आ जा
नैनन बीच समा जा
सजनवा आ जा
आ जा
मन मंदिर में आजा सजनवा आ जा
आ जा
नैनन बीच समा जा
सजनवा आ जा
आ जा
क्यों तूने मुख मोड़ा
हाँ मोड़ा
क्यों तूने मुख मोड़ा
मेरा दिल तोड़ा
साथ क्यों छोड़ा
हाँ आ
क्यों तूने मुख मोड़ा
मेरा दिल तोड़ा
साथ क्यों छोड़ा
इतनी बात बता जा
सजनवा आ जा
हाँ आ
इतनी बात बता जा
सजनवा आ जा
नैनन बीच समा जा
सजनवा आ जा
आ जा
मन मंदिर में आजा सजनवा आ जा
आ जा
नैनन बीच समा जा
सजनवा आ जा
आ जा
जोबन पर दिन आए
हाँ आए
जोबन पर दिन आए
जिया घबराए
आप ना आए
हाँ आ
जोबन पर दिन आए
जिया घबराए
आप ना आए
आ जा मेरे राजा
सजनवा आ जा
हाँ आ
आ जा मेरे राजा
सजनवा आ जा
नैनन बीच समा जा
सजनवा आ जा
आ जा
मन मंदिर में आजा सजनवा आ जा
आ जा
नैनन बीच समा जा
सजनवा आ जा
आ जा
मन मंदिर में आजा सजनवा आ जा
आ जा
नैनन बीच समा जा
सजनवा आ जा
आ जा
Baalam Pardesia Saajan Pardesia
Posted on: April 5, 2019
- In: Devnagri script lyrics by Sudhir | expression of love | Feelings of heart | Guest posts | Lyrics contributed by readers | Missing the loved ones | Post by Arunkumar Deshmukh | Rare song | sad song | Separation song | Shamshad Begam solo | Shamshad Begam songs | Songs of 1940s (1941 to 1950) | Songs of 1947 | Yearwise breakup of songs
- Leave a Comment
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3913 | Post No. : | 14973 |
Today’s song is from the film Dekho ji-47.
The film was made by Punjab Film Corporation and was produced and directed by its owner Wali Sahab. He also wrote the lyrics. The music was by Tufail Faruqi and his assistant Sabir Hussain ( 5 and 6 songs credited respectively).
This was one of the films of 1947, from which almost everyone- the cast, producer, director, lyricist, composers etc etc all migrated to Pakistan after Partition- some immediately and few after some time. This was of course not unusual. 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, Manmani, mere Bhagwan, Mohan, Nai Baat, Pehla Pyar, Paro, Riwaz, 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 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 M), 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), Parwana (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 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 Lahore was called ” a supply source” for Bombay, as many actors and musicians shifted their base to Bombay from there.
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 first 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 and 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 boarded the train to Bombay. Suddenly a group of mad rioters entered the Lahore station and started killing the travelers. 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 artistes from Bombay left for Lahore and ALL of them reached safely.
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-
1. Those who had achieved their peaks already in India and
2. 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 – Noor jahan, Khursheed Anwar, GA Chisti, Nissar Bazmi, Firoz Nizami, Najam Naqvi, Nakshab Jarachavi, Sibtain Fazli, Wali Saheb, Manto, Rashid Atre, Sudhir, Santosh, Asha Posley, Shameem, Najma, Yasmeen, Ragini, Zahoor Shah, Shaikh Iqbal, Himalaywala, Nazar, Rafiq Gaznavi, Tanvir Naqvi, Iqbal Bano etc.
Some of the unfortunate ones were – Meena Shorey, Ratan Kumar, M Sadiq, Charlie, Ghori, Kumar, Sheikh Mukhtar, Najmul Hussain, Neena, Kalavati, Maya Devi, Ghulam Hyder, 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 the 50s, 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.
Like many top class composers who migrated to Pakistan, there were some small time or recently started composers who also left, like Inaayat Hussain (only 1 Punjabi film Kamli), Fateh Ali Khan (2 films- Aaina-44 and Director-47), Tufail Farooqi (2 films-Sona Chandi-46 and Dekho Ji-47). Inayat Hussain of course became a Legend in Pakistan.
Today we will talk about TUFAIL FAROOQI.
Tufail was born in Taran Taaran, Amritsar, Punjab, in 1918. After taking musical lessons from Ustad Abdul Waheed Khan for several years, he joined All India Radio, Lahore. He also worked with many composers. Finally, he got his first film, ‘Sona Chaandi‘-46. Out of 12 songs of the film, he composed 10 songs and 2 were composed by DC Dutt. In this film Tufail gave opportunity to a young but promising new comer, 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 Ji’-47. Here too he composed 6 songs and the other 6 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 and 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 kissan da”, sung by singer Masood Rana. This tune was a blatant direct copy of the song ”Ye desh hai veer jawanon ka” from ‘Naya Daur’-57. 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 got 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 had married the famous Pak singer Pappu Pukhraj in 1953. He passed away in Lahore on 25-3-1988.
Film ‘Dekho Ji’s cast was Mumtaz Shanti, Anjum, A Shah, Khatoon, Haroon, Afzal, Dilshad, Mintobai, Gulnar etc. Anjum was the hero in this film. From his photos in Film India issues of 1946, he looked to be a very handsome young man. He was also seen in 2 more films-‘Bichhade Balam’ and ‘Rehnuma’, both of 1948. After this, I guess, he migrated to Pakistan like many other artistes, because now his name appears in many films made in Pakistan, during the period 50s to the 80s. Some of his films made there are, ‘Waada’-57, ‘Nai Ladki’-58, ‘Beqasoor’-69, ‘Shami’-89 etc.
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 Lyallpore 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 p.m. He acted in ‘Shakuntala’-31 and ‘Gul Bakavli’-32. He had to take a 2 year break, due to an illness. Back in Bombay, he worked in film ‘Fidai Tohid’-34 as a hero. He gave music to film ‘Gunehgar’-36. He wrote dialogues for ‘Mother India’-38 and ‘Daughters of India’-39. His first comic role was in Ranjit’s ‘Mirza Sahiban’-35. He became famous with his role in Punjabi film ‘Kurmai’-41.
His best role came in ‘Sharada’-42, as Munshi Udharchand Shikarpuri. This was repeated by him in film ‘Keemat’-46. Some of his 11 films were, ‘Dhandora’-41, ‘Armaan’-42, ‘Sukh Dukh’-42, ‘Kanoon’-43, ‘Sanjog’-43, ‘Geet’-44 and ‘Ek Din Ka Sultan’-45. After 1947, he stopped acting and wrote lyrics in films like ‘Raat Ki Rani’-49, ‘Namoona’-49 and ‘Ek Teri Nishani’-49. After this he possibly migrated to Pakistan and we have no further information about him anymore. Baburao Patel of Film India magazine was his fan.
I have no idea whatsoever about the story line of this film. From the various photographs and comments in Film India 1946 issues, the film seemed to be interesting and entertaining with dance, drama and songs. It seems the film was completed in record time, but it was not released in 1947 for sure. Actually, most of the 1947 censored movies got released in 1948, due to the disturbed political atmosphere in the country in 1947.
Here is a very melodious song from this film, sung by Shamshad Begum.
Song-Baalam Pardesia Saajan Pardesia (Dekho Jee)(1947) Singer- Shamshad Begum, Lyrics- Wali sahab, MD-Tufail Farooqui
Lyrics
baalam pardesia
saajan pardesia
kaali ghataayen ghir ghir aayin
ghir aayin
duhaayi re
duhaayi re
baalam pardesia
saajan pardesia
jhool rahi jhoola
saajan sang sajni ee
jhool rahi jhoola
saajan sang sajni
aur main akeli
jaloon bin agni
aur main akeli
jaloon bin agni
haaye raam
kaun sautan man bhaayi re
duhaayi re
duhaayi re
baalam pardesia
saajan pardesia
chhod gaye jab se
baalam harjaai re
chhod gaye jab se
baalam harjaai re
nainon mein tab se hi
nindiya na aayi re
nainon mein tab se hi
nindiya na aayi re
ansuwan se ho gayi
sagaai re
duhaayi re
duhaayi re
baalam pardesia
saajan pardesia
poochh rahi tum se
kadamb ki chhaiyyaan
poochh rahi tum se
kadamb ki chhaiyyaan
akeli ko chhod ke
kahaan gaye sainyya
akeli ko chhod ke
kahaan gaye sainyya
teri khabariya na aayi re
duhaayi re
duhaayi re
baalam pardesia
saajan pardesia aa aa
———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-
बालम परदेसिया
साजन परदेसिया
काली घटाएँ घिर घिर आईं
घिर आईं
दुहाई रे
दुहाई रे
बालम परदेसिया
साजन परदेसिया
झूल रही झूला
साजन संग सजनी
झूल रही झूला
साजन संग सजनी
और मैं अकेली
जलूँ बिन अग्नि
और मैं अकेली
जलूँ बिन अग्नि
हाए राम
कौन सौतन मन भाई रे
दुहाई रे
दुहाई रे
बालम परदेसिया
साजन परदेसिया
छोड़ गए जब से
बालम हरजाई रे
छोड़ गए जब से
बालम हरजाई रे
नैनों में तब से ही
नींदिया ना आई रे
नैनों में तब से ही
नींदिया ना आई रे
अंसुवन से हो गई सगाई रे
दुहाई रे
दुहाई रे
बालम परदेसिया
साजन परदेसिया
पूछ रहीं तुमसे
कदम्ब की छईंयां
पूछ रहीं तुमसे
कदम्ब की छईंयां
अकेली को छोड़ के
कहाँ गए सैंयां
अकेली को छोड़ के
कहाँ गए सैंयां
तेरी खबरिया ना आई रे
दुहाई रे
दुहाई रे
बालम परदेसिया
साजन परदेसिया
O gori kahaan chali us paar
Posted on: March 17, 2019
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3894 | Post No. : | 14930 |
“Jail Yatra”(1947) was produced and directed by Gajanan Jageerdaar for Jaageerdaar productions, Bombay. This “Social” movie had Gajanan Jageerdaar, Kamini Kaushal, Raj Kapoor, Harish, Bikram Kapoor, Badri Prasad, Sunalini Devi, Dixit, Ramlal, Hemavati, Pratima Devi , Sagar, Munawwar Khan, Rammurty, Satyanarayan, Ramlal, Shamlal etc in it.
The movie had eight songs in it. Two songs have been covered in the past.
Here is the third song from “Jail Yatra”(1947) to appear in the blog. This song is sung by Ninu Majumdar and Meena Kapoor. Sajjan is the lyricist. Music is composed by Ninu Majumdar.
Only the audio of the song is available. From the sounds of it, the song appears to be a dance song. Gajanan Jageerdaar , the hero of the movie, most probably lip synced in Ninu Majumdar’s voice. I am less sure about the lady lip syncing in Meena Kapoor’s voice. I request our knowledgeable readers to throw light on the picturisation of this song.
Song-O gori kahaan chali us paar (Jail Yaatra)(1947) Singers-Ninu Majumdar, Meena Kapoor, Lyrics-Sajjan, MD-Ninu Majumdar
Lyrics
o gori kahaan chali us paar
o gori kahaan chali us paar
chhod ke gaanvon ki bahaar
arri sun
mor bole ho
aeji mor bole
mor bole mor bole ho
rasiya jaaungi us paar
bulaate hain jagmag baazaar
rasiya jaaungi us paar
bulaate hain jagmag baazaar
man hamaar dole ho
man hamaar dole ho
gori rum jhum rum jhum baaje
saawan ki bauchhaar
gori rum jhum rum jhum baaje
saawan ki bauchhaar
rasiya chhoom chhananchhan baaje
rasiya chhoom chhananchhan baaje
paayal ki jhankaar
rasiya chhoom chhananchhan baaje
paayal ki jhankaar
hamaara hara bhara hai gaanv
hamaara hara bhara hai gaanv
aam ki thhandi thhandi chhaanv
arri sun mor bole ho
aeji more bole
mor bole mor bole ho
Mhaane chaakar raakho jee
Posted on: December 23, 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 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 : |
3810 | Post No. : | 14806 | Movie Count : |
4049 |
My first article was posted on this Blog on 1-10-2012. Before that, for almost an year and a half, I used to post my comments on the songs posted on the Blog. In those comments, I used to give information about not only the songs, but also about the film, the cast, story. MD, Lyricist and in general any matter connected with the film or the song. For example, while commenting on a song from film Chandralekha-48, I had mentioned how Vasan made more than 100 prints of the film for its All India release and how the famous ‘ Nagara’ dance was choreographed etc etc.
Other readers gave me lot of support by liking and appreciating my informative comments. This and Atul ji encouraged me and I started writing posts on the Blog with great enthusiasm. I have always believed that Knowledge increases by sharing and indeed it did. Within a week’s time I brought up my first series on ” Less Known Singers”. Looking at the welcome it received from people in the Blog and the visitors, I continuously ran as many as 26 series of songs on selected themes.
Some themes were my favourites, like ‘ Flavour of the 30’s ‘, ‘ The vibrant 40’s ‘, ‘ Vintage Naushad “, ‘ Bhajan Mala ‘, ‘Gems from the Migrators’, and ” songs from the Artiste name films”.
One of the series was ” The Great souls of India”, which ran from 1-11-2013 to 15-11-2013, covering 10 songs. In this series I had selected songs from films on Sant Kabir, Sant Tulsidas, Sant Surdas, Sant Tukaram, Sant Dnyaneshwar, Bhakt Dhruv, Bhakt Prahlad, Narsi Bhagat, Sri Chaitanya Mahaprabhu and Jagadguru Shankaracharya.
That time I regretted that I could only include 10 ‘ Great souls ‘ in the series, when another 8 to 10 were left out. I felt particularly sad that Sant Meerabai was left out. I am making amends to that lapse now. DER AAYE DURUST AAYE. It is never too late to repair the damage. So, today’s song is from a film ” Meerabai”-47. There was yet another film ” Meera’ in 1947. Two songs from that film were already discussed here, therefore I have selected this film, which makes a Debut here.
There was one thing common in these two films on Meerabai. Both films had songs predominantly sung by just One Singer. In the film ‘Meera’-47, 17 songs out of the 18 songs were sung by its Heroine M.S.Subbulakshmi. In the film ‘ Meerabai’-47, all the 13 songs were sung by Sitarabai Kanpuri. While Meera was originally a Tamil film of 1945, dubbed in Hindi in 1947, Meerabai was a fresh film made in Hindi only. In Meera, it was a feast and delight to listen to M.S. in Hindi. Her conspicuous Hindi pronunciations were never a barrier in savouring her divine rendering. Most bhajans in her film had the traditional tunes, but in film Meerabai, the MD S.K.Pal had tried newer tunes to these Bhajans. To his credit, I must say that his attempts were praiseworthy. Just listen to today’s song and you will agree with me.
Mirabai was a great saint and a devotee of Sri Krishna. Despite facing criticism and hostility from her own family, she lived an exemplary saintly life and composed many devotional bhajans. Historical information about the life of Mirabai is a matter of some scholarly debate. The oldest biographical account was Priyadas’s commentary in Nabhadas’ Sri Bhaktammal in 1712. Nevertheless, there are many oral histories, which give an insight into this unique poet and saint of India.
Mira was born around the start of the 16th Century in the Chaukari village in Merta, Rajasthan. Her father was Ratan Singh a descendant of Rao Rathor, the founder of Jodhpur. When Mirabai was only three years old, a wandering Sadhu came to her family’s home and gave a doll of Sri Krishna to her father. Her father saw this as a special blessing but was initially unwilling to give it to his daughter, because he felt she would not appreciate it. However, Mira had, at first sight, become deeply enamoured with this depiction of Lord Krishna. She refused to eat until the doll of Sri Krishna was given to her. To Mira, this figure of Sri Krishna embodied his living presence. She resolved to make Krishna her lifelong friend, lover, and husband. Throughout her turbulent life, she never wavered from her youthful commitment.
On one occasion, when Mira was still young, she saw a wedding procession going down the street. Turning to her mother, she asked in innocence, “Who will be my husband?” Her mother replied, half in jest, half in seriousness. “You already have your husband, Sri Krishna.” Mira’s mother was supportive of her daughter’s blossoming religious tendencies, but she passed away when Meera was only young.
At an early age, Mira’s father arranged for her to be married to Prince Bhoj Raj, who was the eldest son of Rana Sanga of Chittor. They were an influential Hindu family and the marriage significantly elevated Mira’s social position. However, Mira was not enamoured of the luxuries of the palace. She served her husband dutifully, but in the evening she would spend her time in devotion and singing to her beloved Sri Krishna. While singing devotional bhajans, she would frequently lose awareness of the world, entering into states of ecstasy and trance.
Her new family did not approve of her piety and devotion to Krishna. To make things worse, Mira refused to worship their family deity Durga. She said she had already committed herself to Sri Krishna. Her family became increasingly disproving of her actions, but the fame and saintly reputation of Mirabai spread throughout the region. Often she would spend time discussing spiritual issues with Sadhus, and people would join in the singing of her bhajans. However, this just made her family even more jealous. Mira’s sister-in-law Udabai started to spread false gossip and defamatory remarks about Mirabai. She said Mira was entertaining men in her room. Her husband, believing these stories to be true, tore into her room with sword in hand. However, he saw Mira only playing with a doll. No man was there at all. Throughout these hysterical slanders, Mirabai remained unmoved by both the criticism and praise of the world.
After this experience, her family continued to torture her. They restricted her movements and sought to make her life as uncomfortable as possible. In the face of all these trials and tribulations, she remained detached from her physical suffering. There was nothing that could disturb her inner connection to Giridhara (epithet of Sri Krishna as young cowherd boy). It is said that twice her family tried to kill her, once through a venomous snake and once through poisonous drink. On both occasions, it is said Mirabai, protected by the Grace of Sri Krishna, came to no ill harm.
However, the relentless torments and hostility interfered with her life of devotion and contemplation on Krishna. She sought the advice of learned men and saints. They advised her to leave the palace and return to Brindaban. Secretly, with some followers, she slipped out of the palace and escaped to the holy city of Brindaban. In Brindaban Mirabai was free to worship Giridhara to her heart’s content. She would spend her time in singing bhajans and in ecstatic communion with Krishna. Like a true Bhakti, she worshipped God wholeheartedly. The riches of the world offered no attraction to Mirabai; her only satisfaction came from her single-minded devotion to Sri Krishna. Her soul was ever yearning for Krishna. She considered herself to be a Gopi of Vrindaban, mad only with pure love for Sri Krishna.Her devotion and spiritual magnetism were infectious.
Even learned Sadhus would come to her for inspiration. There is a story of one respected Spiritual Master, who refused to speak to Mirabai because she was a woman. Mirabai replied there was only one real man in Brindaban, Sri Krishna; everyone else was a Gopi of Krishna. On hearing this, the spiritual Master accepted the wisdom of Mirabai and agreed to talk to her. Later, Mirabai would become his student.
Much of what we know about Mirabai comes from her poetry. Her poetry expresses the longing and seeking of her soul for union with Sri Krishna. At times, she expresses the pain of separation and at other times the ecstasy of divine union. Her devotional poems were designed to be sung as bhajans, and many are still sung today.
Mirabai was a devotee of the highest order. She was immune to the criticism and suffering of the world. She was born a princess but forsook the pleasures of a palace for begging on the streets of Brindaban. She lived during a time of war and spiritual decline, but her life offered a shining example of the purest devotion. Many were inspired by her infectious devotion and spontaneous love for Sri Krishna. Mirabai showed how a seeker could attain union with God, only through love. Her only message was that Krishna was her all.
It is said in her death she melted into the heart of Krishna. Tradition relates how one day she was singing in a temple when Sri Krishna appeared in his subtle form. Sri Krishna was so pleased with his dearest devotee that he opened up his heart centre, and Mirabai entered leaving her body while in the highest state of Krishna consciousness. (free adaptation from biographyonline.net, with thanks)
Film Meerabai-47 was made by Shalimar Pictures, Poona. Its direcor was W.Z.Ahmed. Lyrics were by Meerabai and MD was Suryakant aka S.K.Pal ( he was the nephew of another MD Ramchandra Pal of Bombay Talkies). The cast of the film consisted of Neena, Masood Pervez, Neelam, Tiwari, Shyama (Dulari), Ramavtar, Noorjehan sr. etc etc.
There is a general and wrong feeling among some movie buffs in India that, artistes who opted to migrate to Pakistan after partition had failed there and died in penury and misery. While some such cases indeed were there unfortunately, but not ALL had failed. On the contrary, I feel most of the Directors, Music composers and Heros succeeded in Pakistan. This was because they were all ready made available to Pakistan industry. Many of them like Khursheed Anwar, Inayat Hussain or G.A.Chisti were regarded as pioneers of Pak film industry. Same case with directors like Dawood Chand, M Sadiq, Shaukat Husaain Rizvi etc who became pillars of Pak film industry. unfortunately, once the crop of artistes who migrated from India ended their careers, their film industry had a premature death. This was because, there was no second line of artistes to take over.
The Hero of the film Meerabai-47, Masood Pervez was also one such migrant who succeeded in Pakistan. He was born in 1918 in Amritsar, Punjab, India. He passed his M.Sc. and joined films. His first film as a Hero was Punjabi film ” Mangati “-42, which became a Golden Jubilee film. He further worked in film Gulami-45 and Meerabai-47. After Partition, he went to Pakistan.
His first film as a Director in Pakistan was ‘ Beli’-50 It had a moderate success. His big breakthrough came with film ‘ Intezar ‘-56, which was a colossal hit. He directed 23 films between 1950 and 1982. he is considered to be one of the pioneers of Pak films. He directed 3 Folk stories Mirza Jat-67, Heer Ranjha-70 and again Mirza Jat-82, all very successful. he died on 11-3-2001 in Lahore. He was the nephew of Saadat Hassan Manto.
Film Meerabai-47 had 13 songs, most of them quite good. The original Meera Bhajans were translated in plain Hindi by Pt. Bharat Vyas. With this song the film makes its Debut on this Blog.
Song-Mhaane chaakar raakho jee (Meera Bai)(1947) Singer-Sitarabai Kanpuri, Lyrics-Meera bai, MD-S K Pal
Lyrics
mhaane chaakar raakho ji ee
chaakar raakho ji
sanwariyaa aa
mhaane chaakar raakho ji
mhaane chaakar raakho ji ee
chaakar raakho ji
saanwariyaa
mhaane chaakar raakho ji
chaakar rah toon baag lagaa doon
nis-din darshan paa toon
brindaawan ki kunj-galin mein
brindaawan ki kunj-galin mein
teri leelaa gaa toon
teri leelaa gaa toon
maane chaakar raakho ji
chaakar raakho ji
saanwariyaa
mhaane chaakar raakho ji
unche unche mahal banaaun
jis bich raakhoon baari
saanwariyaa ke darshan paaun
saanwariyaa ke darshan paaun
jaaun tan man vaari
jaaun tan man vaari
mhaane chaakar raakho ji
chaakar raakho ji
saanwariyaa
mhaane chaakar raakho ji
jogi aayaa jog karan koon
jogi aayaa jog karan koon
tap karne sanyaasi
hari-bhajan ko saadhu aayaa
bindraaban ke waasi
kaahe neer jhare nainan se
kaahe neer jhare nainan se
dheer dharo ji meeraa
aadhi raat prabhu darshan de hai
aadhi raat prabhu darshan de hai
prem nadi ke teeraa aa
prem nadi ke teeraa
mhaane chaakar raakho ji
chaakar raakho ji
saanwariyaa
mhaane chaakar raakho ji
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.
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Blog Day : |
3792 | Post No. : | 14777 | Movie Count : |
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Recently, I came across one of the interesting topics of discussion about the ‘ghost’ singers of Hindi film industry in an editorial in October 1945 issue of ‘Filmindia’ magazine. I reproduce below some relevant portion of the discussion for the purpose of the article:
Outside the film industry, very few people seem to know what the ‘ghost’ singers of the screen earn per month. Many people are under the impression that music is still a cheap commodity in the motion picture world and can be purchased with paltry payments. Whatever be the actual quality of the film music from purely classical point of view, the silly, insipid music which Indian film producers usually give, cost them anything from Rs,400/- to Rs.1000/- per song and very often merely for the singing voice apart from the cost of orchestration and recording.
Amir Karnataki, a popular ‘ghost’ singer charges Rs.1000/- per song which require an hour for the rehearsal and two hours for recording the song. India’s best musicians (singers) – man or women – never earned so much money even during 24 hours of non-stop singing. There are many ‘ghost’ singers in the film industry. Some of the prominent ones like Zohra Jaan (Ambalawaali), Shamshad, Zeenat, Naseem Akhtar and Rajkumari should be earning Rs.8000/- to Rs.10000/- per month in good season. Amir Karnataki’s monthly earning should be colossal the way we find selling her voice to all and sundry pairs of lips on the screen.
The editorial has further estimated that with the number of films produced in a year, assuming an average of 9 songs per films, the total cost of music during a year comes to about Rs.6,50,000 with an average payment of Rs.500/- per song. This amount is shared by a dozen female playback singers and about half a dozen male playback singers, most of whom, according to the editorial, are rotten singers.
The editorial smacks of the jealous attitude towards the popular playback singers of that time. I have, however, brought this out for a different reason. If the producers thought that these were the popular playback singer those days and deserved such kind of payments, then why did producers refrain from giving them publicity to add value to their films in terms of creating the audience’s interest ?. Names of playback singers did not appear in the credit titles of the films until sometime early 1950s. Based on a few cases which I had come across, I guess, the song pamphlets of the films of the 1930s and the 40s may have mentioned mostly the names of the actors on whom the songs were picturised. So the playback singers during these times remained really the ‘ghost singers’ without any official identity with the films’ music. But why did they remain ‘ghost singers’?
The concept of ‘ghost singers’ has to be seen in the background of how the music in sound films evolved in its early stages. During this stage, actors were required to sing the songs on themselves in the films. Although the playback system was introduced in 1935 in Calcutta and in 1937 in Bombay, the system got well-established only in the early 1940s. However, the convention of giving credit to the actors as singers either in their own names or in the names of the roles they performed on the screen continued in most cases well into the end of the 1940s. The convention created a lot of problems in the latter years in identifying the so called ‘ghost singers’ especially for those who had interest in listening to the songs of pre-golden era period of Hindi film music. It was only after Lata Mangeshkar became a force to reckon with in the sphere of playback singing in early 1950s, the system of giving credit to playback singers both in the credit titles of the films as well as on the gramophone record labels was put in place.
It is in the context of identifying the playback singers and also music directors/lyricists that Har Mandir Singh ‘Hamraaz’ of Hindi Film Geet Kosh has rendered yeoman service in documenting the Hindi film music up to 1985. The process of documenting the Hindi film music – especially of 1930s and 1940s are an on-going process as we still come across many songs of these periods where playback singers, lyricists and music directors have not been identified.
Recently, I came across 4 rare songs of an obscure film ‘Mohini’ (1947). All the songs are very melodious. However singers for the songs have not been identified. There were three lyricists – Bekal, Sarshar Sailani and Raj Hashmi and two music directors – Lachhiram Tamar and Bhai Lal. But the individual songs were not identified with any one of the lyricists and music directors.
It was so frustrating for me for not being able to formally identify those associated with four melodious songs of the film. So I contacted Sudhir ji for help in identifying at least the singers of the songs. Though he had all the four songs in his collections, none of them were tagged. So he contacted one of his collector-friends who identified not only Munawwar Sultana as singer for all the four songs, but also confirmed that all the four songs were composed by Lachhiram Tamar. I am thankful to Sudhir ji and his friend for the help.
‘Mohini’ (1947) was produced under the banner of Mahindra Pictures, Lahore and was directed by Mahindra Gill. The star cast included Chand Kumar, Mahapara, Pran, Roofi, Nazar, Niranjan, Baby Shamshad etc. The film had 7 songs.
I am presenting the first song from the film,’meri mast aankhon se aa pee bhi le’ sung by Munawwar Sultana to appear in the Blog. As mentioned earlier, there were three lyricists and the song writer for this song has not been identified. The song was set to music by Lachhiram Tamar. The prelude music of the song would give an impression that the song belongs to the music style of early 1950s.
Enjoy this ‘Aankh’ song with ‘masti’.
With this song, ‘Mohini’ (1947) makes a debut in the Blog.
Audio Clip:
Song-Meri mast aankhon se aa pi bhi le (Mohini)(1947) Singer-Munawwar Sultana, MD-Pt Lachchiram
Lyrics
o o o
jeenewaale
pee bhi le
pee bhi le
pee bhi le
o o o
jeenewaale
pee bhi le
pee bhi le
pee bhi le
meri mast aankhon se
aa pee bhi le
aa pee bhi le
aa pee bhi le
meri mast aankhon se
aa pee bhi le
aa pee bhi le
aa pee bhi le
lutaayi huyi zindagi laayi hoon
lutaayi huyi zindagi laayi hoon
laayi hoon
bebasi ki hansi
laayi hoon
laayi hoon
bebasi ki hansi
laayi hoon
bol kar aaj saahab mein tere liye
bol kar aaj saahab mein tere liye
ye aahon bhari zindagi laayi hoon
ye aahon bhari zindagi laayi hoon
zindagi ka sahaara hai hi kya
zindagi ka sahaara hai hi kya
aa pee bhi le
aa pee bhi le
aa pee bhi le
meri mast aankhon se
aa pee bhi le
aa pee bhi le
aa pee bhi le
meri yaad dil ko sataati thhi jab
kya tujhe
yaad hai
yaad hai
aankhon(?) ke baat
yaad aati thhi jab
kya tujhe yaad hai
yaad hai
yaad ho ya na ho
ab aa bhi jaa
aa pee bhi le
aa pee bhi le
aa pee bhi le
meri mast aankhon se
aa pee bhi le
aa pee bhi le
aa pee bhi le
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 : |
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“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
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