Posts Tagged ‘1947’
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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Today’s song is from stunt/action film – Kismatwali-47. The director of the film was Behram Mukadam, who was a Cinematographer with Wadia Movietone. This was the only film he directed. The six songs of the film were written by C M Hunar and music was given by Shyam Babu Pathak.
Shyam Babu Pathak is not a very well known name among Music Directors. He is one of those artistes, who had the talent and a will to do hard work, but Luck did not support him. This resulted in his remaining with unknown banners and B and C grade films. His career spanned from 1938 to 1965 – a period of 27 years in which he composed music for just 29 films and one of his film remained unreleased.
Shyam Babu Pathak was born in 1908 at Gwalior. His music tuition started when he was just 7 years old. He studied in Madhav Sangeet Vidyalaya, under Rajabhaiyya Poonchhwale, Narayan Gupte and Bhatkhande etc. He became an excellent singer and was invited by several Royal houses all over India, for singing. Even V D Paluskar had blessed him. Strangely, though a good singer, he never sang a song in any film.
While touring all over India for Music Mehfils, he learnt many folk songs and tunes. This actually prompted him to join films as a composer. His first film was Royal Commander-1938 – a B grade Costume drama film made by Vishnu Cinetone. In his first film, for just 9 songs, he used as many as 6 different singers. Minimum songs had been his specialty. This was a novelty in the 30s, when the norm was of an average of 12 to 15 songs each film.
V M Vyas of Vishnu Cinetone, was impressed with him and he gave him many films. He got Rani saheba-40, Torpedo-40, Samsheerbaz-40, Malan-42 and Ghar sansar-42. He gave good songs sung by Kalyani, Sardar Akhtar and Kajjan. In Lajwanti-42, his songs were light and comedy type. By now, he had become a confirmed Stunt/action and B/C grade composer. Pyara watan-42,Double face-46 were such films. Double face was Indivar’s first film.
Black Market-47, Namak-47, krishna Sudama-47 and Kismatwali-47 were not much helpful. Takdirwale-48 with Ramprasad, Imtihan-49 and Ret Mahal-49 led him to film Jeet-49 with Anil Biswas. Actually,it seems Anil Biswas took over when Pathak left the film halfway.
After Janmashtami-50 and Achha ji-50, came Preet ka geet-50.Famous poet Harikrishna Premi wrote the songs, which were sung by Mukesh, Geeta and Johra. Next film Hamari Duniya-52 had good Lata songs. Meanwhile his film Parda remained unreleased. In the last phase of his career, came Sapna-52, Vanraj-52, Bombay Central-60 and finally, film Mehbooba-65 closed his career. Shyam Babu Pathak died of heart attack in Bombay on 23-11-1980.
Film Kismatwali-47 was a stunt film featuring Fearless Nadia, John Cavas, Sayani Atish, Khurshid Banu, Sultana, Manchi Toothi, Azim, Habib and many others. In the cast you find a name Sultana. Many readers may not know that, Sultana was the elder sister of actress Zubeida, Heroine of Aalam Ara-1931, India’s first Talkie film. Here is some more information on Sultana.
Sultana, also known as Sultana Razaaq, was one of the earliest film actresses from India and acted both in silent movies and later in talkie movies. She was daughter of India’s first female film director, Fatima Begum. Zubeida (leading actress of India’s first talkie film Alam Ara -1931) was younger sister of Sultana. The youngest sister was Shehzadi-also an actress. Actress Mehtab (Sohrab Modi’s wife), whose real name was Najma, was step sister of these girls. Najma was the daughter of Marium, one of the wives of Nawab of Sachin.
Sultana was among the few girls who entered films at a time when it was not considered an appropriate profession for girls from respectable families, let alone Royalty. Born in the Surat city of Gujarat in western India, Sultana was a stunningly beautiful Muslim princess, the daughter of Nawab Siddi Ibrahim Muhammad Yakut Khan III of Sachin State and Fatima Begum. She had two sisters, Zubeida and Shehzadi, both actresses. However, there is no record of a marriage or a contract having taken place between the Nawab and Fatima Bai or of the Nawab having recognised any of her children as his own, a prerequisite for legal paternity in Muslim family law. Actually, the Nawab had 3 wedded wives and Fatima was an ‘ outside’ arrangement.
Sultana was a popular actress in the silent movie era, usually cast in romantic roles. She started her career as actress in Veer Abhimanyu (1922) film in 1920s and later performed in several silent films. Later, she also acted in talkie movies. Sultana did sexy roles in films and earned a name as “Sultry Sultana”. She acted in 20 Silent films. She continued acting after the Talkie films started and worked in 19 Talkie films. Her last film was ‘ Girdhar Gopal ki Meera’-1949.. She came into limelight when she filed a case against Yassir Hussain Lalji, son of the chief of Bombay Municipality, in 1931, claiming to be his wife and demanding a sum of Rs. 5 lakhs in those days !
When India was partitioned in 1947, she migrated to Pakistan with her husband, a wealthy man named Seth Razaaq. Her daughter, Jamila Razaaq, was also encouraged by her to act in Pakistani films and she produced a film in Pakistan, named Hum Ek hain (1961), written by famous scriptwriter, Fayyaz Hashmi. The film was partly shot in colour, which was rare those days, but it failed miserably and Sultana stopped producing any films afterwards.
Sultana’s daughter, Jamila Razaaq, married the well known Pakistani cricketer Waqar Hasan, who is the brother of filmmaker Iqbal Shehzad. He runs a business under the name National Foods at Karachi.
Stunt films in India began with Silent films itself.They continued with greater force when Talkie films started. Contrary to popular belief, silent films did not lose ground to Talkie films – not at least immediately. In fact, there was a steep rise in the number of Silent films- from 88 in 1926 to 172 in 1932. In the first Talkie year itself the number rose to 207 silent films. They continued to be made till 1934. They did not pass away because there was no demand, but because Theatres were not available, as all theatres got equipped with sound machines.
The stunt films in India entered its Golden Period, with the entry of Fearless Nadia in the mid 30’s and ended with Master Bhagwan in the mid 50’s. The initiator of this Golden Period was Wadia Movietone. In 1935, they created a fantastic character and a fascinating actress with Nadia- Fearless Nadia. Their inspiration came from 1914 Hollywood film ” Perils of Pauline’, in which the Heroine played several stunts.
Here Nadia became a Masked Terror. She was modern, bold,frank and used a whip on evil men. She was portrayed as a figure deeply committed to overthrow the oppressive male dominated order. Her stunts, played cleverly on Trains, Horse carriages and with wild animals were widely applauded. She was truly the First Feminist icon of Hindi Cinema.
Wadias had a set of other actors, who would be seen alternatively in Nadia’s stunt films. Heros like Prakash, D and E Bilimoria brothers, John Cavas, Jal Merchant and Jal Khambata, Sayani, Habib, Azeem and a line up of non Human actors like Horse-Punjab ka beta, Dogs-Tiger and Moti, and a rattled Rolls Royce car-Rolls Royce ki Beti. In some films wild animals were used.
The definition of STUNT, according to Oxford Dictionary is “an action displaying spectacular skill and daring”. This has been made possible by thousands of stuntmen and women all over the world. Achievements of stunts in the films of 20’s to 50’s, in India is more praiseworthy, considering the lack of proper equipment and the infrastructure in olden days here.
Nadia, Baburao Pehalwan, Vasantrao Pehalwan, Shankar Vazre, Prakash, Raja Sandow, Master Bhagwan, Ranjan and many unsung and unknown action Heros did thrilling stunts only with their ingenuity and daring. The stunt professionals were first time used in Mehboob’s ” Aan “-52 for the action scenes. Azimbhai handled the horses and Douglas took care of the fights-including Fencing.
From the mid sixties, Hindi cinema saw rise of the He Man or the Hero doing stunts himself. This process began with Dharmendra, where the Hero dared to bare his chest for the first time in film Phool aur Patthar-66. As the time went by, stuntmen became Fight masters and they became Action Directors in turn. Nowadays, almost every action film has SPL FX assistance. However few Bollywood actors and actresses take pride in doing stunts themselves. According to an article by Hema Sanghvi on bookmyshow.com, the following 10 actors have done dangerous stunts in their films, all by themselves, without taking a double. Like me, you too will be surprised to see names of 5 well known actresses in this list. The names are Akshay kr., Amitabh Bachhan, Hritik Roshan, Shahrukh Khan, Tiger Shroff, Katrina Kaif, Priyanka Chopra, Sonakshi Sinha, Taapsee Pannu and Shradha Kapoor.
In older times, there were special stunt films making production houses, like Wadias, Ranjit, Imperial, Kohinoor, Mohan Pictures etc. There were specialist directors like Nanabhai Bhatt, Aspi Irani, R S Chaudhari etc. There were specific actors too. As far as Music was concerned,it had little importance in stunts and anyone would do as MD. In every town, there used to be specific Theatres for stunt films and almost every town had a set of bonded audience for stunt films. I was a part of that audience in Hyderabad in my teens.
Whenever I write about a Nadia film, I always remember my meeting with her in 1982. If only Mobile phones were prevalent that time, my meeting with her would have been captured for ever. Alas !!!
Today’s song is sung by Salma. I do not know who she was. With this song, film Kismatwali-47 and singer Salma make their Debut on this Blog.
Song- Gaa ae muhabbat gaa aakhri naghma gaa (Kismatwaali)(1947) Singer- Salma, Lyrics- C M Hunar, MD- Shyam Babu Pathak
Lyrics
Gaa ae muhobbat gaa
Gaa ae muhobbat gaa
aakhri naghma gaa
aakhri naghma gaa
Gaa ae muhobbat gaa
Gaa ae muhobbat gaa
kitne dinon ki khushi ki lay par
kitne dinon ki khushi ki lay par
aansoo apne ae
gham ka taraana gaa
aansoo apne ae
gham ka taraana gaa
Gaa ae muhobbat gaa
Gaa ae muhobbat gaa
kaale kaale baadalon ko ?? tera
kaale kaale baadalon ko ?? tera
chamcham chamkat bijliyaan
ko o o
hasrat samajh ke gaa
hasrat samajh ke gaa
Gaa ae muhobbat gaa
Gaa ae muhobbat gaa
subah ?? hawa chali hai
aandhi bankar haay
dil apna ?? deepak ke
dil apna ?? deepak ke
bahaar tu na aa
gaaye
shole jo jigar mein bhadke hai
haaye haaye
shole jo jigar mein bhadke hai
haaye haaye
uljha aa aa
uljha hai ?? hawaa aa
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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Today’s song is from a film Mangalsootra-1947.
In Maharashtra, from the 19th century onwards, theatre dramas became popular. They were the sole source of entertainment for the family. The stage dramas developed to a great extent, till about the 20’s decade of the twentieth century, when they faced their first competition – in the form of Silent films. However those films being silent, they could not compete wholly with dramas, which provided dialogues, living people on stage and above all music in the dramas.
However by 1931, the Talkie films arrived and the drama sensed the potential danger. They became alert. Still, the Talkie films were not invading the smaller towns as much as the bigger cities and so dramas survived for some time. As the time passed by and the film industry started inroads into smaller towns and villages, there was real panic. There was a Bee-line of stage actors, directors, singers and music directors to the Cinema world. It offered them name, fame and money. Not all were successful, but many musicians, writers and actors defected to this industry.
Even the big names in Marathi stage, like Bal Gandharva, Deenanath Mangeshkar, Nanasaheb Phatak, Master Avinash, dramatists like P K Atre, Mama Varerkar, Novelists like N S Phadke and V S Khandekar and musicians like Prof. B R Deodhar and Master krishnarao Fulambrikar etc tried their hand at this medium. One such name was a well known and very Popular Chintaman Rao Kolhatkar, who was an actor, director, producer and a playwright of repute in Marathi stage dramas.
He also tried his hand at acting in films as well as directing in both, Marathi and Hindi languages. He acted in 2 Hindi films, namely Andheri Duniya-1936 and Mangalsootra-1947. He also directed a bilingual in Marathi and Hindi film Krishna Arjun Yudha-1934. Here is his short Bio data from netizen.com –
Chintamanrao Ganesh Kolhatkar (12 March 1891 – 23 November 1959) , was a very prominent actor as well as producer, director and playwright of Marathi theatre. He joined the Maharashtra Natak Mandali in 1911, but after a year left for another troupe named as Shri Bharat Natak Mandali. His career took a major turn when he entered the Kirloskar Natak Mandali in 1914. He helped establish the Balwant Sangit Natak Mandali with Dinanath Mangeshkar in 1918. Chintamanrao Ganesh Kolhatkar’s greatest performances came in R. G. Gadkari-s plays, in Punyaprabhav i.e. Force of Virtue’ in 1916, Rajsanyas i.e. ‘Kingdom Renounced’ in 1922, and especially as the villain Ghanashyam in Bhavbandlmn i.e. ‘Bond of Affection’ in 1919. He tried the movie industry in 1933 when Sangitnatak began to decline and acted in two films, notably as the tyrant Shakara in Vasantsena in 1942. This was based on Sudraka, but failed in this medium and returned to theatre. He joined Gangadharpant Londhe’s Rajaram Sangit Mandali, worked with M. G. Rangnekar’s Natyaniketan, and established his own company, Lalit Kala Kunj. This one gave P. L. Deshpande a break. Kolhatkar was a non-singing actor, who took roles in Hindi and Urdu as well.
The Police Commissioner of Bombay felicitated him for his acting in Punyaprabhav. Jawaharlal Nehru once called him Bahurupi i.e. ‘many-formed’. This was a term applied to one-man folk performances, which Kolhatkar used as the title for his autobiography. He also wrote character sketches of several playwrights titled Majhe Natakkar i.e. ‘My Dramatists’, and a five-act play, Purnavatar i.e. ‘Complete Avatar’ in 1924. This was staged in 1996 by the group Antarnatya in Mumbai.
His son Chittaranjan Kolhatkar was also a very prominent , famous and prolific actor, producer and director of Marathi stage and films.
Chintamanrao was awarded Sangeet Natak Akademi Award in 1957, given by the Sangeet Natak Akademi, India’s National Academy of Music, Dance & Drama.
The cast of the film Mangalsootra-47 was Urmila, Anand, Chintaman Kolhatkar, Motibai, Shanta Kunwar, Sheelabai, Mehebano, Dalpat and many others. In the cast, you will find a name Urmila- in some films she is named as Urmila Devi, and Urmila Gupta also. She was not a very good looking actress, but she compensated it with her good acting. Urmila Gupta was born in 1921 at Panja Sahib, Rawalpindi district of United Punjab. Her father, who was a Civil Contractor, died when she was only 5 year old. She did not get much education but could read and write as well as talk fluently, Urdu, Hindi and English.
She started her career with a small uncredited role in film Mirza Sahiban-33. She was the younger sister of Mirza in this film. After some more small roles, she got her major role in film Aasuon ki Duniya-36. After this, she did not look back and did Punjab Lancers-37, Talwar ka Dhani-38, Kahan hai manzil Teri-39, Hurricane special-39, Flying Ranee-39, Desh Bhakt-40, Sasural-41, Sajjan-41, Mere Sajan-41, Naari-42, Das Baje-42, Call of youth-42, Badal -42, Apna Paraya-42, Tamash-42, Kirti-42, Salma-43, Bansari-43 etc etc. Urmila got married to Vinod Talwar, a businessman and stopped working in films, for some time, may be for raising a family. She resumed working in films and acted in another 20 odd films till 1952. She had sung 12 songs. In all, she worked in about 55 films.
I do not know anything about the film Hero Anand. I have seen his name first time in a credit list. The film was made by Golden Pictures, Bombay. It was directed by Dada aka V M Gunjal. Director Vishnupant Mathaji Gunjal or simply Dada Gunjal, was born in Kolhapur in 1904. He was not interested in education, so after passing his Matriculation, he joined the film industry.
Initially he worked in various capacities, but concentrated on Directing the films. He established his own Gunjal Production company at Bombay and directed his first silent film Collegian in 1929. Soon ,realising that producing films was not his cake, he shifted to Directing films for Vishwesh film company, Bombay. Making silent films like Bharati, The Bandit, Vijeta, Bewafa qatil, khabardar, Bhedi khanjar etc.
When Talkie films started, he directed Bhakta ke Bhagwan and Ambarish in 1934. Dada Gunjal directed in all 37 films. Some of his films were, Bhakta dhruv, Panihari,Aparadhi, Ekadashi, Mata, Mamta, Tulsi, Bhakta ke Bhagwan, Noorjehan, Baraat, Kirti, Pati patni, Alakh Niranjan, Mother India -1938 etc.
Dada Gunjal died in 1968.
The film’s Music Director was Ratanlal. He is one of those artistes, about whom hardly any information is available. All that we know about him is what is available in HFGK and books like Dhunon ki Yatra etc. There are only 4 films to his credit. For 2 films- Baraat-42, he gave music with Khemchand Prakash and for film Kismatwala-44 he was with Shanti kumar Desai. Independently he gave music to only Mangalsootra-47 and Parshuram-47.
As per January-1948 issue of magazine Film India, the film was released on 5-12-1947 at Swastik Cinema, Bombay. The review of the film done in this issue, by Baburao Patel is highly critical of every aspect of the film-acting, direction, technical support, story, dialogues etc etc. There is no comment on Music of this film, which means either he was satisfied with it or it was very much below standard to comment even. However, I have listened to some songs of this film and some other films of Ratanlal, I feel he was reasonably good composer. The review only praises the acting by actress Motibai in this film.
The story line of this film, as given in the review is…. Dayal, called popularly Dayal mama (Chintaman Kolhatkar), is a social worker and a Politician in a certain town. He is dragged into a false case and gets jail term of 10 years. After his going to jail, his wife Laxmi (Motibai) and daughter Radha (Urmila) become homeless and helpless. They leave the town and wander.
After 10 years, Dayal comes out of jail and looks for family, but he does not find them. He goes to another city, where, by chance he saves the Zamindar from riding on a Horse, which becomes wild. The Zamindar takes him home, treats him as a friend and appoints him his trusted Manager. Mohan (Anand) is his son, who completes his education. The zamindar dies and Mohan becomes the boss.
Meanwhile Radha grows up as a beautiful and attractive young girl. She and mother move to Mohan’s town, where Radha becomes the village teacher. Radha and Mohan fall in love. But Dayal is against this as Radha’s father is missing.
However, after few reels and may be few Love songs etc, Dayal Mama sees Radha’s mother Laxmi, in the last reel, recognises her. Now, Radha being his own daughter Dayal Mama gives Hari Zandi to Radha- Mohan marriage. All is well. The End. Clap, Clap, Clap.
With such poor and powerless story, what can Vrajendra Gaur, the script and dialogue writer do ? Actually Gaur was a well known and successful writer of many films in 40s and the 50s. He even directed film Kasturi-54. He wrote 59 songs in 13 films. Anyway, all in all, film Mangalsootra-47 was an eminently forgettable film.
With today’s song, this film and Music Director Ratanlal make Debut on the Blog.
Song-Jiya doley Jiya doley Jiya doley re (Mangalsutra)(1947) Singer- Rajkumari, Lyrics- Brijendra Gaud, MD-Ratanlal
Lyrics
Jiya doley
Jiya doley
Jiya doley re ae
Jiya doley
Jiya doley
Jiya doley re
hauley hauley
hauley hauley
khaaye jhakoley
hey hey hey
hauley hauley
khaaye jhakoley
hey hey hey
Jiya doley
Jiya doley
Jiya doley re ae
Jiya doley
Jiya doley
Jiya doley re
neel gagan mein kaale baadal
jhilmil jhilmil ho o
neel gagan mein kaale baadal
jhilmil jhilmil ho
khule chaman mein bhanwra rasiya
kaliyaan choome ho ho o
khule chaman mein bhanwra rasiya
kaliyaan choome ho o
haa aa aa aa
aa aa aa
Jiya doley
Jiya doley
Jiya doley re
Jiya doley
Jiya doley
Jiya doley re ae
hauley hauley
hauley hauley
khaaye jhakoley
hey ae ae
hauley hauley
khaaye jhakoley
hey ae ae
Jiya doley
Jiya doley
Jiya doley re ae
Jiya doley
Jiya doley
Jiya doley re
chanchal lahren magan pawan ke
sang sang bal khaayen
chanchal lahren magan pawan ke
sang sang bal khaayen
jin se meri lagan lagi hai
wo saajan mil jaayen
jin se meri lagan lagi hai
wo saajan mil jaayen
haa aa aa aa aa aa
a aa aa aa
donon mil ke ek nayi duniya basaayen
ho nayi duniya basaayen
Jiya doley
Jiya doley
Jiya doley re
Jiya doley
Jiya doley
Jiya doley re ae
hauley hauley
hauley hauley
khaaye jhakoley
ho ho o
hauley hauley
khaaye jhakoley
hey ae ae
Jiya doley
Jiya doley
Jiya doley re ae
Jiya doley
Jiya doley
Jiya doley re ae ae
Hey ae mulak Kathiawad
Posted on: October 8, 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 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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Today’s song is from a historical film ” Woh Zamana “-47.
In India, importance is rarely given to history and to historical personalities born and bred in the local soil. The so called ‘ Historical Films’ made here are mostly on Mughal Kings or other invaders like Sikander or Changez Khan etc, who can not be called the sons of soil. Many of them came from out of India, stayed here till they benefited and left when they finished looting India. True sons of India or locals like Marathas, Rajputs, Gujars or Sikhs have been rare cases of subject matters for Hindi films.
Films on Vikramaditya, Chandragupta, Shivaji, Rana Pratap and brave kings from other states like Gujarat, Rajasthan, Bengal, Orissa, the UP and the southern states like Andhra, Karnataka, Tamilnadu or Kerala have been rare and can be counted on fingers. Very sad state of affairs indeed. This was the result of wanton and systematic planning by the Britishers in their, about 200 years of rule, to teach a distorted history to last about 5 to 6 generations. This was to suppress any patriotic feelings to rise against them. Our generations learnt only about the valour and generosity of the British and the Mughal kings, thereby totally blacking out the true history of original sons of soil leaders and kings, which was the true Indian History.
For example, can you name one king from any of these Indian kingdoms ? Mauryas, Saatwahans, Guptas, Pandyas, Cholas, Pallavas, Chalukyas, or Ahoms ? Ask any average educated Indian to name the kings of Mughal period (only 250 years) 99 out of 100 will name them in the sequence – Babar, Humayun, Akbar, Jehangir, Shahjehan and Aurangzeb. That is how ill-informed almost everyone is about Indian kings and dynasties. The so called Historical films have not helped either.
I have not seen film “Woh Zamana”, but I know that this film was based on the stories of bravery of a king of Kathiawad and how he saved his kingdom from the invaders from the Middle East. Kathiawad was the main part of Saurashtra, which comprised the districts of Junagadh, Amreli, Bhavnagar, Botad, Jamnagar, Rajkot, Morbi, Surendra nagar, Somnath and Dwaraka. After India’s Independence, the Nawab of Junagadh wanted to merge with Pakistan, but his subjects revolted and Sardar Patel merged Junagadh into India. The Nawab migrated to Pakistan with his entourage.
Film “Woh Zamana” was made by Ranjit Movietone. The owner of Ranjit – Sardar Chandulal Shah was from Kathiawad and so had a special interest in this film. Chandulal was keen that the then well known actor singer of Kathiawad, Rati kumar Vyas should act and sing in this film. Rati kumar declined acting in Hindi, but sang 1 duet (with Mohantara) and 1 solo song in this film. This was his only Hindi film. His duet song is already discussed on the Blog.
The lyricist was Pt. Indra and MD was Bulo C Rani, who had joined Ranjit after his Guru Khemchand left it. The cast of the film was Khurshid junior, Altaf, lalita Pawar, S N Tripathi, Pt. Iqbal, Padma Banerjee, Joshi, Kabuli etc.etc.
Khurshid Jr. – the film’s Heroine – was the eldest daughter of Master Ali Baksh, Music Director and Iqbal Begum, film artiste and one time a famous and popular stage artist of Madon, Alfred and other Drama companies in the Eastern India. The family actually belonged to Sargodha in Punjab, but Khurshid was born in Bombay on 10-4-1930. Being born in a filmi family, the atmosphere was very conducive for Khurshid to join films.
After getting school education upto 12 years of age, she entered films. Her first film was Zameen-43 as a side Heroine. Then came Minerva’s Dr. Kumar-44 and Naghma E Sehra-45 – in which she was the Heroine of Master Vithal. Due to her good acting skill, there was no shortage of film offers. She had to add Jr. to her name , as there was a more famous actress singer Khurshid Bano, already in film line, in the same period.
Khurshid’s younger sisters Baby Meena (later Meena kumari) and Baby Madhuri Later actress Madhu- Mehmood’s wife) were also working in films. Khurshid Jr. married her handsome co-star Altaf. who did few films as a Hero but then shifted to side roles soon. After Partition, the couple considered shifting to Pakistan, but decided to stay here as her both sisters were here and doing better.
As long as Meena kumari was alive, they were comfortable, but after her demise, they became helpless and went down financially. They had to live in smaller tenement and roles also dwindled. Khurshid Jr. acted in 65 films. Her last film was Oh Bewafa-80. Altaf acted in just 21 films from Sipahi-41 to Pakiza-71. Even Khurshid had also acted in it.
One more name seems odd in the cast – Kabuli. Abdul Rehman Kabuli was from Afganistan. An expert stage artiste, he had his own Drama Company-Elphinston Theatre Company in Bombay. He sold the company, went to Calcutta and joined Madon Theatres/studios as an actor and director. He first acted in Shirin Farhad-31, Indrasabha-32,Guluru Zarina-32, Zahri saanp-33 etc etc, in all 39 films, both at Calcutta and Bombay, in the early era. Further he directed 12 films, starting with Shravan Kumar-32 up to Veer Bala-38. He wrote 55 songs in 6 films and sang 15 songs in 7 films. After Partition, he returned to his native country.
Today’s song is sung by Kathiawad’s well known actor singer Rati Kumar Vyas. He used to live in Ahmedabad, but was born in Gondal (Rajkot district) on 10-8-1921. Gondal was his maternal grandfather’s town. Due to his inclination towards singing, he was admitted in Vanita Ashram National School, by his father. He was also trained by Pt. Narayan rao Vyas and learnt Classical singing.
He worked as a Music Teacher in Bombay. He recorded his first song at A.I.R. Bombay on 7-2-1941 and got a fabulous amount of Rs. 5 as fees ! His record was brought out by Young India Record company. he acted and sang in several stage dramas. He got into Gujarati films too. His songs in film Allabeli (Good-Bye) were quite famous.
His role and songs in film Jogidas Khuman-48 and 62, both versions became popular and famous. He acted in films directed by Manhar Raskapoor. He was honoured by Delhi Gujarati Samaj and the Kaag Dhaam award also. Rati kumar Vyas died on 12-5-1991. ( Thanks for information, to shri Rajni kumar Pandya ji and Harish Raghuwanshi ji).
Today’s song is a typical Kathiawadi Folk Tune.
Song –Hey ae mulak Kathiyawad (Woh Zamaana)(1947) Singer – Rati Kumar Vyas, Lyricist – Pt. Indra, MD – Bulo C Rani
Lyrics
hey ae ae ae
ae ae ae ae
ae ae ae ae
ae ae ae
hey ae ae ae
ae ae ae ae
ae ae ae
ae ae ae de
ae de de
ae de de
ae mulak kathiawad
ae mulak kathiawad
dharti par doojo nahin
ae ae ae ae
jaise atal pahaaad
ae toote par na jhuke kabhi ee
ae jaise atal pahaad
ae toote par na jhuke kabhi ee
ae jagat raha gun gaaye
ae jagat raha gun gaaye
baghero ka raat din
hey ae ae ae
sheesh jaaye to jaaye
ae moonch rahe oonchi sada
dushman khele daanv
ae dushman khele daanv
peethh na dekhe mard ki
ae dushman khele daanv
peethh na dekhe mard ki
ae ae ae ae ??
haathhi ghaav
ae hans hans jhele soorma
ae jag mein miley na jod
ae jag mein miley na jod
maan ek kul teri kahi ee
hey ae ae ae ae
ae byaah adhoora chhod
ae mard jaaye rann mein lade
mulak kathiawaad
mulak kathiawaad
dharti par doojo nahin ee
hey ae ae jaise atal pahaad
ae toote par na jhuke kabhi
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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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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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
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This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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
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| 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
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