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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Blog Day : |
5764 | Post No. : | 18289 |
Today’s song is from the film Ek Roz-1947.
How many readers will know that a record number of films were made in 1947 in Hindi till then ? 181 Films ! It took another almost 40 years to cross this number. In the year 1985, the number of films made was 185.
Why was it that in 1947 alone such a high number of Hindi films were made ? The answer is – Partition of India in 1947 and the subsequent migration of Muslim film artistes to the newly created nation on the basis of Religion – Pakistan. Partition of India was the biggest blow to India, which had remained One Nation for thousands of years, despite having many religions thriving in it. Anyway, that is not the topic here.
Once the date for Partition was announced on 3rd June 1947, after Lord Mountbatten took charge as the Viceroy of India on 24-3-1947 the entire country was shaken. In the film industry actors, directros, MDs and the technical staff, who wanted to migrate started finishing their assignments here. The financers wanted to finish their films before Partition. All this led to a flurry of activities in 1947 and more and more films were completed hurriedly. Thus the record number of films was achieved in 1947. All this at the cost of quality of course. Most or rather many films made in 1947 remained obscure, unheard of and many flopped due to poor quality. Actually only few films were released in 1947, because many films were released in 1948 and 1949, with some films being released in Pakistan too.
Did you ever hear about films Amar Asha, Angoorbala, Attention, Barrister, But Tarash, Chalte Chalte, Chandrahas, Dagabaz Dost, Dehati,Ek kadam,Gaurav,Giribala, Heera, Intezar ke baad, Jhalak,Jurmana, Khaufnak aankhen, Lalaat, Mangalsutra, Moti, Sewa gram, Stage girl, Tohfa or Utho jago ? Of course not all films were below standards. Some of the landmark films were also made in 1947, like Shehnai, Mirza Sahiban, Jugnu, Saajan, Naatak, Meera, Elan,Aap ki sewa mein, Dard, Do Bhai, Neel Kamal or Parwana etc. However by and large the picture was like this only.
Film Ek Roz was a film about twin sisters. Twins are a very popular subject in Hindi films, especially the Twins separated in childhood. Innumerable films are made in almost all languages in India. These ‘ Lost and Found’ stories are very popular. The first Talkie film on twins was ” Awara Shehzada” made in 1933. Young Shahu Modak had done the roles of a Prince and a ZPauper. This was also Master Vithal’s first film as a director. Another notable twin sister story was in the film ‘Muqabala’-1942, in which Fearless Nadia did the role of twin sisters. By the way, she did these roles in which one sister was shown as a typical Indian home-made, obedient and sanskari girl. It was great fun to see Nadia in a Saree, trying very hard to mouth pure Hindi dialogues and dressed as an Indian girl, with Teeka, bangles and pleated hair etc ! One more old film having separated twins was “Chandralekha”-1948, featuring actor Ranjan. Then came a deluge of such films like Ram aur Shyam, seeta aur Geeta, Chaalbaz etc. Man Mohan Desai added fuel to this fire successfully !
Film Ek Roz-1947 was directed by Daud Chand. His name is not known to most people, as his work in India was much less than what he achieved in Pakistan. This was his last film in India,m though one of his earlier delayed films Papiha Re was released only in 1948. Dawood Chand was a prominent film director of 1930’s & 1940’s of Indian cinema. He directed Veer Kesari (1938), Joshe-e-Islam (1939), Sipahee (1941), Jangee jawan (1943), Paraey Bas main (1946), Aaarsee and Aik roze (1947) and Papiha Re-48.
In Pakistan he was director of the first ever released Pakistani film Teri Yaad (1948). Some of his others films were Hichkoley, Mundri (1949), Sassi (1954), Bulbul (1955), Mirza Sahebaan and Hatim (1956), Muraad (1957), Aalam ara (1959), Sapairan (1961), Khyber Pass and Ghazala (1963), Reshma (1970), and Bahadra (1973).RAZA MIR (Producer/Director).
He acted in Indian film Shaher say door (1946) but in Pakistan he chose another profession. He was first Pakistani film Teri yaad’s cinematographer and director of super hit films Lakho mai aik. He also directed some other films like Baiti (1964), Lakhon main aik (1967), Aaasra and Aneela (1969), Parai aag (1971), Naag muni, Vicharya saathi (1973), Professor and Arzoo (1975) Sohni mahiwal (1976) and Dil keey daagh (1978). Asif Raza Mir, film hero of late 1970’s and early 1980’s and a good TV artist is his son. He died on 24-5-1975 at Lahore, Pakistan.
The cast of the film was Al Nasir, Nasreen ( she was the daughter of Rafiq Ghaznavi and actress Anwari. Her name was Zareena Agha, but she worked in the films Shahjehan 1946 and Ek Roz-1947 as Nasreen. Then she settled in London with her husband. Singer actress Salma Agha was her daughter), Asha Posley, Ajmal, Zubeida (jr.) and many others.
There were many actresses with the name Asha. Like the most famous Asha Parekh, not so famous Asha Mathur or Asha Sachdev and in the early era, there was Ashalata ( wife of Anil Biswas), and Marathi actress Asha Wabgaonkar too did few Hindi films. Have you heard of Asha Bhosle ? What a stupid question ! Of course you have heard her name, but she is a singer. OK, then, have you heard the name of ASHA POSLEY who worked in the film Ek Roz-1947 ?
No. I am not joking. There WAS an actress by this name ASHA POSLEY, in the 40s in India and in the period 50s to 80s in Pakistan. Her name has become immortal in the history of Pakistani Films, as the First Heroine of Pakistani film ” Teri Yaad”-1948.
She was born as Sabira Begum on 31-5-1927 at Patiala, Punjab. Her father MD Inayat Ali Nath was working with HMV at Delhi. Sabira was formally trained by experts in music and singing. When her father shifted to Lahore, she was offered a contract by Roop K Shorey, who made films in Lahore those days. It was the popular Composer Ghulam Haider who gave her the screen name of ASHA POSLEY.
Her first film was Punjabi film Govandi-1942 which launched the handsome Hero Shyam. Her role in the film was a minor one. She started as a supporting actress. She got a major role in the film Champa-1945 and her first film as a Heroine was Kamli-46-a Punjabi film. Then came Badnami-46,in which Geeta Bali had a small role. Her other Indian films were Paraye bas mein-46. In the film Arsi-47,her hero was Pran and Meena Shorey had also acted in it. Kamla-46, Aai Bahar-46, Pagdandi-47, Ek Roz-47,Barsaat ki ek raat-48, Papeeha Re-48 and Roop Rekha-48. She worked in 11 Hindi films and sang 1 song in the film Pagdandi-47.
After Partition, she opted for Pakistan and migrated along with her father. The Lahore film industry was in a disarray, because most producers, financiers and leading artistes had shifted to India. However a Hindu producer named Dewan Sardari Lall had stayed back in Lahore and he started a new film in Independent Pakistan ” Teri Yaad “. There were 2 other films under production at the same time. Actually, the first film of Pakistan was Director Luqmaan’s ” Shahida “,which had started shooting immediately after Partition, but it got delayed and finally was released only in 1949. The second film was ” Jihad ” by Zahoor Raja, which too got stuck and was released only in 1950.
Thus the actual Third film, “Teri Yaad ” starring Nasir Khan ( brother of actor Dilip Kumar, who migrated to Pakistan with high hopes but had to return to India as there was no work and also due to ” other ” reasons) and Asha Posley in the lead was completed by Dewan Pictures and became the FIRST released Pakistani Film in 1948 itself. It was released in Prabhat Theatre in Lahore, on the day of EID-7-8-1948. The film was directed by Dawood Chaand and music was by Inayat Ali Nath (father of the Heroine Asha Posley). She sang 4 songs in it. The film was a resounding FLOP.
Asha Posley did Heroine’s role only in 4 Pakistani films and then she turned to supporting, comedy and vamp roles. She acted in 129 films, 76 Urdu and 53 Punjabi films. Her last film was Insaaf-1986. She acted in films, on stage, on TV and also sang on Radio. Famous Pak singer Kausar Parveen, actress Rani Kiran and TV actress Najma Begum were her sisters. Like many migrated artistes, even Asha Posley spent her last days in penury and anonymity. She died on 26-3-1998 at Lahore.
With today’s song, the film Ek Roz-1947 becomes YIPPEED, with all its songs covered here.
Song- Eid aa gayi khushi ka zamaana liye huye(Ek Roz)(1947) Singers- Naseem Akhtar, Dilshad begum, Lyricist- Sarshar Sailani, MD- Shyam Sunder
Lyrics
Eid aa gayi
khushi ka zamaana liye huye
saathh apne rahmaton ka khazaana liye huye
Eid aa gayi
khushi ka zamaana liye huye
gulzaar e aarzu mein
har ik phool khil gaya
wo mil gaye to phir hamen
kya kya na mil gayaa
wo mil gaye to phir hamen
kya kya na mil gayaa
aaye hain wo
khushee ka khazaana liye huye
saathh apne rahmaton ka khazaana liye huye
Eid aa gayi
khushi ka zamaana liye huye
aayee hai Eid
gham ka zamaanaa liye huye
saathh apne bekasi ka fasaana liye huye
ae mere chaand
aa ke mere
dam mein dam nahin
ae mere chaand
aa ke mere
dam mein dam nahin
tere baghair Eid muharram se kam nahin
pehloo mein dil hai
gham ka khazaanaa liye huye
aayee hai Eid
gham ka zamaanaa liye huye
mastee
mastee hamaare dil pe
mastee hamaare dil pe
ghata ban ke chhaa gayee
fasl e bahaar
baagh e tamanna mein aa gayee ee ee
fasl e bahaar
baagh e tamanna mein aa gayee ee ee
bulbul hai mast
lab pe taraana liye huye
saath apne rahmaton ka khazaana liye huye
Eid aa gayee
Eid aa gayi
khushi ka zamaana liye huye
saathh apne rahmaton ka khazaana liye huye
Eid aa gayi
khushi ka zamaana liye huye
ye subah e Eid mere liye
gham ki shaam hai
ye subah e Eid mere liye
gham ki shaam hai
duniya ko hai khushee
mujhe rone se kaam hai
baithhee hoon dard e dil ka fasaanaa liye huye
aayee hai Eid
gham ka zamaanaa liye huye ae
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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5758 | Post No. : | 18283 |
Today’s song is from the film Romeo and Juliet-1947, which the HFGK mentioned as ” शास्त्रीय संगीत प्रधान ” (Classical music based) film. However, hearing songs from this film, I wondered why this film was labelled so. After hearing today’s song, you may also wonder likewise, I am sure.
This was a film made by Nargis Art Concern. It was directed by Akhtar Hussain, with music by Husnlal- Bhagatram. The cast of the film was Nargis, Sapru, Anwar hussain, Nissar, John Cavas, Hamid Ali Murad, Violet Cooper and others. This film was unique in many ways. Firstly, it was based on the famous English play ” Romeo and Juliet”, written by William Shakespeare and staged for the first time in 1597. Important point is that the story was attributed to Shakespeare in the film’s credits, posters and the booklet. Secondly, this was the only Hindi film made on this famous tragic Love-story. And the most important point is that this film was made by Jaddan Bai. This was the only film in which all her 3 children were involved. All the children had different fathers but one common mother- Jaddan Bai.
Jaddanbai had 3 husbands and 1 child each from every one.
First she married Narottamdas Khatri,the financer of her first film.He converted to Islam and became Bachhi Babu to marry her.She got Akhtar Hussain from him.
Her second husband was Ustad Irshaad Meer Khan,from whom she got Anwar Hussain.
Her third husband was Mohan Babu. This Uttamchand Mohanchand was an orthodox Mohyal Brahmin from Rawalpindi.He was going to London for studying Medicine.He heard Jaddanbai’s singing and fell for her.Against all resistance from his family,he converted to Islam,became Abdul Rashid and married her.They had atlast found true love and till the end,they loved each others.He was known as Mohan Babu.He was handsome,rich and good natured.From him Jaddanbai got a girl child called Fatima Rashid or Baby Rani or NARGIS.
Her elder son Akhtar kept away from the family,became a Director,but later started his own business away from these people.Anwar Hussain and Nargis entered films.
Jaddanbai was very well read,cultured and a social person.
Romeo Juliet and Laila Majnu were famous Love-stories, but they were not from India. India also had its own folk tales of love from different states. India is a unique country in the world. ” Vividhata mein ekta” (विविधता में एकता ). A country which has 28 states and 9 UTs, 22 languages mentioned in its Constitution, 30 languages spoken by 30 lakh people each, 122 languages spoken by more than 10000 people each and 1652 languages spoken in all the country. So many religions are living amicably for thousands of years and still the country is ONE unit, when the Nation needs it. Disproving all the Pundits of the world saying that India will break into pieces after independence, we are stronger and more developed by the day. So, what is the secret ?
The secret is its Culture, which keeps all faiths and languages bound together. In India, Culture is greater than and a bigger influence than individual religions. The flexibility, adaptability and readiness to make changes by the majority section, is the secret. This makes India the biggest Democracy in the world today. The entire world looks up to us as a final Saviour. Culture and Folklore have bound Indians together. In every state there are its own Folk tales, Folk Dances and Folk Music. Still, some common Folklore is all over the country. Though every region has its own Folklores, Lovers’ Folk lore from Punjab and Sind have been traditionally well known throughout India, e.g. Heer-Ranjha or Sohni-Mahiwal etc etc. Our films have a great contribution in keeping the country United and Together,despite calamities and aggressions. Some of the Folk tales of Love from Punjab and Sindh became well known due to films made on them.
There are 9 Tragic Love stories from Punjab and Sindh,in which both the lovers die without getting united. These 9 Love stories are-
Mirza-Sahiban
Heer – Ranjha
Sassi-Punnu
Momal-Rano
Umar-marvi
Sohni-Mahiwal
Lila-Chanesar
Noorie-Tamchi
Dhaj-Rorkumar (Unlike most pairs,in Mirza Sahiban,the Male name comes First !)
Indian film producers have helped spread these Immortal Love stories by making movies on them,as under-
Heer-Ranjha… Films made in 1931,32,48, 1970 and 1992
Mirza-Sahiban… In 1933,35,47 and 1957
Sassi-Punnu… In 1932,33 and 1946
Sohni-Mahiwal…In 1933,46,58 and 1984
Umar-Marvi…in 1942
Noorie-Tamchi…In 1934
There is one folk tale of love from Gujarat, but it is claimed by Rajasthan and Chhattisgarh, with their versions. It is the story of Dhola- Maru. A film on them was made in 1956.
Anyway, the film Romeo and Juliet is not available and is considered lost. Only HFGK has some details. From the bits of information, it seems this film was very true to the original story of Shakespeare.
In the cast, we find some odd names like Master Nissar, who was a famous actor since the silent and early Talkie era. John Cavas, an actor from the stable of Wadia Movietone and one who was generally seen only in stunt and action films. Then there was Violet Cooper, yet another old time actress. Her two sisters (out of total 7 sisters) were also actresses. They were Patience Cooper and Pearl Cooper. The film’s Hero was Sapru aka D.K.Sapru aka Daya Kishen Sapru. Let’s know more about him….
This young boy had come all the way from Jalandhar to Prabhat Studios Poona, in 1942, for an interview. . Shantaram , Babu Rao Patel and Sheikh Fatehlal were the partners of Prabhat Studios at that point of time.
Looking at his face and after the usual introduction ,V Shantaram signed the actual blue eyed handsome Daya kishen Sapru aka Sapru, for a role in his next movie RAM SHASTRI-44. Meanwhile, Shantaram and others left Prabhat and the film was directed by Gajanan Jahagirdar. The character of a Peshwa played by him was well noticed and the movie turned out a big hit. He was signed as lead hero by the Company on a monthly salary of Rs 3000/-, one of the highest ever, paid to any hero during those days . It was a hefty sum that enabled him to live a princely life during those days . He did films Chand-44 and Lakharani-45 for Prabhat. It was somewhere around 1945-46.
Films started pouring in later. He acted in Romeo and Juliet ( opposite Nargis). Nargis’s Mother Jaddan Bai was all praise for Sapru. The film was produced by Nargis’s brother Akhtar Hussain . ) ,Jhansi Ki Rani ,Kalapaani , Hum Hindustani , Sahib Bibi Aur Ghulam, Mujhe Jeene Do , Leader and Shaheed. Who does not remember his role as Majhale Sarkar ( Chaudhary ) in Sahib Bibi Aur Ghulam. Again as Zamindar in Mujhe Jeene Do , he became quite popular. We saw him in some wonderful roles in Naya Daur, Prem Pujari, Jewel Thief, Krodhi , Kudrat ,Dharm Veer, Dream Girl, Zanjeer , Pakeezah and many more such films .It was a period when story writers would create a character for him in the story or script. He was seen either as a Zamindaar or a Police commissioner or a Judge in most of his later films .(Murad was another actor fit for similar roles)
In Total, he must have acted in more than 200 films and out of which he played the lead role in more than 50 films. He also played lead roles in some Gujarati and Punjabi films.
Saprus are Sarswat Brahmins from Kashmir known as Kashmiri Pandits who belong to DIPAT SAMAN AUPAMANYAVA Gotra or the lineage of an Aryan Rishi. This clan of kashmiri Pandits actually belong to village SAPREIN in present day Kulgam district of Kashmir and could be safely called as aboriginal Kashmiris. Some other prominent Saprus are Sir Tej Bahadur Sapru , Jagdish Narayan Sapru ( Prominent Businessman of the country ) Sahaj Ram Sapru Revenue collector during the rule of Afghan Governor Azim Khan ( 1809-1819 ) and Dr Allama Iqbal Urdu poet and Islamic scholar ( He too belonged to a sapru family from kulgam that had converted to Islam )
Daya kishen Sapru belonged to a well off family from Kashmir and his father was employed in Maharaja’s Treasury . That made the family move to Jammu and Lahore during winters. Daya Krishen was born at Jammu on 16-3-1916 and had his early education at Jammu and Lahore .Fluent in Punjabi, he was also proficient in Hindi, Urdu and English .From his childhood days, he would love music and singing. He could easily play on his Harmonium.
Before moving to PUNE , D K as he was known amongst his numerous friends lived at Jalandhar cantt for some time where he took up the job of a contractor. He had four brothers and two sisters and D K happened to be the fourth child in this joint family.
D K Sapru met Marathi actress and IPTA activist Hemvati and they fell in love. They married in 1948. Hemvati was a noted Marathi actress who also worked at PRITHVI Theatres. She acted in SANGRAM with Ashok Kumar and Nalini Jaywant in lead roles. She had also worked with Dev Anand in MOHAN ,Mubarak and Renuka in Ghar Ghar Ki Kahaani and Raj Kapoor in Jail Yatra. (It was rumoured that Raj Kapoor wanted to marry her). A play named Deewar had Hemvati and Raj kapoor in lead roles and the play became quite popular on stage during those days.
After marriage, Hemvati played the role of a caring wife and an affectionate mother in her family. After marriage, she possibly acted only in one movie PATIT PAVAN a home production of Sapru family.
Sapru children are also in films. To quote their elder daughter REEMA is a well known script writer while second daughter PREETI is a successful Punjabi actress while their son Tej is a noted film and TV actor. The brother and sisters are closely attached to each other. They too live by the family values that they inherited from their father.
D K Sapru also acquired good and working knowledge of Homeopathy and was seen reading Homeopathic books quite often during his spare time. He then started practicing this school of medicine and would treat everybody without any charge, often Buying medicines and distributing them free.
Sapru also committed a folly of producing films. One can say that he was misguided by some selfish friends .Though he had learnt some lessons from his first home production Patit pavan, a movie that earned him a few thousands only yet he took up another production project “Bahadur Shah Zafar” and brought in a large star cast that included Sudesh Kumar, Chand Usmani, Shyama, Rehman, Jeevan, Ulhaas ( M N Kaul ) and Nirupa Roy. He pooled in all his resources and raised loans for the project mortgaging his spacious new Bungalow. The movie did not sell on Box office. That landed the family in great trouble. The house had to be sold to repay debts .
Sapru turned diabetic during his later life. In Spite of his failing health he decided to make a last attempt to produce another film JEEVAN CHALNE KA NAAM. By Now Reema was a trained screenplay / script writer. She wrote the script and the family signed Sanjeev Kumar, Rekha, Shashi Kapoor. DK fell ill suddenly and had to be hospitalized for about a year. The project was abandoned. D K was also operated upon for a malignant growth in his shoulder and finally died of a heart attack at a young age of 63 years on 20-10- 1979. His favourite child Reema was already married at that time. And by then he had also turned into a grandfather .
Today’s song is the last and final song of this film, making it a YIPPEED film.
Song- Kisko khabar thhi dil ki ye duniya (Romeo and Juliet)(1947) Singer- Not known, Lyricist- Manohar Khanna, MD- Husnlal-Bhagatram
Lyrics
kisko khabar thhi
dil ki ye duniya
apne hi haathon barbaad hogi
kisko khabar thhi
dil ki ye duniya
apne hi haathon barbaad hogi
bijli giregi yoon hasraton pe
??zindagaanee naashaad hogee
kisko khabar thhee
o o o o
maaloom kya thha aa aa
o o o
maaloom kya thhaa
milte hi nazren
chhaayegi harsu
gham ki ghataayen
chhaayegi harsu gham ki ghataayen
saaj ae tamanna hoga shikasta
naghmon se paida fariyaad hogi
saaj ae tamanna hoga shikasta
naghmon se paida fariyaad hogi
kisko khabar thhi
dil ki ye duniya
apne hi haathhon barbaad hogi
kisso khabar thhi
dil thhak gaya hai barq e alam(?) se
dil thhak gaya hai barq e alam(?) se
har saans hai kyon gham ki kahaani
har saans hai kyon gham ki kahaani
ujdi hui hai dil ki ye basti
allaah kaise aabaad hogi
ujdi hui hai dil ki ye basti
allaah kaise aabaad hogi
kisko khabar thhi
dil ki ye duniya
apne hi haathon barbaad hogi
kisko khabar thhi
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5713 | Post No. : | 18231 |
After the introduction of playback singing system in Hindi films around 1935, many accredited singers from All India Radio (AIR), especially from Bombay (Mumbai), Lahore, Calcutta (Kolkata), Delhi, Lucknow/Kanpur etc got opportunities as playback singers in Hindi films. Apart from the popularity they got from the songs they sang for the films, the remuneration they received from playback singing was much higher than the fees they got from AIR.
I browsed through ‘The Indian Listeners’, a fortnightly publication of AIR (now Aakaashwaani) for the period 1935 to 1947 and found that Zohrabai Ambalewaali, G M Durrani, Shamshad Begum, Zeenat Begum, Mohammed Rafi, Umrao Zia Begum, Munawwar Sultana, Dilshad Begum, Naseem Akhtar, Sudha Malhotra, Surinder Kaur etc had performed at Lahore/Peshawar stations of AIR during this period. Almost, all of them were staying in the vicinity of Lahore at the time of their accreditation in AIR. With the growth of Hindi films productions in Mumbai, many of them shifted from Lahore to Mumbai or started shuffling between Lahore and Mumbai on the playback singing assignments.
There was one female radio singer who did not leave Lahore for furthering her playback singing career. She was Dilshad Begum about whom not much information of her early days is available except that she was based in Lahore. She started her singing career from AIR, Lahore in early 1940s. She mostly sang Punjabi songs and Urdu ghazals. Her first playback singing assignment was either in the film, ‘Rehana’ (1946) or ‘Kahaan Gaye’ (1946) under the music directions of Qadeer Fareedi and Lachchiram Tamar, respectively. Dilshad Begum got a big break as a playback singer in ‘Ek Roz’ (1947) in which she sang 5 songs out of 11 under the music direction of Shyam Sundar. I have heard all the songs she sang for ‘Ek Roz’ and they are really outstanding. Her next film, ‘Brihan’ (1947) got her 9 songs under the baton of Lachchiram Tamar. Again, the available songs from the film are excellent sounding for the ears.
Dilshad Begum’s playback singing career in Hindi films lasted less than 2 years (1946-48) during which she sang 27 songs in 7 films – ‘Rehana’ (1946), ‘Kahaan Gaye’ (1946), ‘Farz’ (1947), ‘Ek Roz’ (1947), ’Intazaar Ke Baad’ (1947), ‘Nek Dil’ (1948) and ‘Birhan’ (1948). I have listened to all her available songs and they are really good. Unfortunately, she came on the playback singing in films when the country was in verge of partition. The delayed film productions with uncertainty meant that the films were going to be doomed at the box office. All of films for which Dilshad Begum sang, have been lost and so are the songs. Fortunately, in the recent years, some of her songs have surfaced in audio format.
My guess is that Dilshad Begum restricted her playback singing career in films that were produced in Lahore. It is quite possible that her family did not want her to shift or travel to Mumbai. Most of her contemporaries in AIR, Lahore shifted their base to Bombay (Mumbai) and had a good playback singing career. With film industry in Lahore paralysed post-partition for a couple of years probably, Dilshad Begum confined her career as a radio singer in Lahore.
‘Ek Roz’ (1947) was one of the important films for Dilshad Begum in which she rendered 5 songs. The film was produced under the banner of Gupta Art Productions and was directed by Dawood Chand. The cast included Al Nasir, Nasreen, Asha Posley, Ajmal, Saleem Raza, Nafees Begum, Shamlal etc. The film was certified by the Censor Board on March 18, 1947. It appears that ‘Ek Roz’ (1947) was one among many films which became the victim of partition in 1947. From the advertisement of the film which appeared in the November 1948 issue of ‘Filmindia’ magazine, the film may have released in India around September 1948.
The gist of the story of the film as given in Mike Barnum’s Blog (probably taken from the song book of the film) is reproduced below with my few minor edits:
Shaukat and his family with his two twin infant daughters, Nasreen and Parveen, take a holiday in Kashmir. A tragedy strikes when their maid servant, carrying Parveen, accidentally lets the girl slip and fall into a water spring. A search is carried out, but the child is declared lost and presumed drowned. However, Parveen is indeed alive, having been found by a local carpenter who brings her up as his own child.
Years pass and Nasreen is of an age to be married. Shaukat’s best friend, Akbar, has a son named Nasir who is studying in England. It is decided between the two fathers that Nasreen and Nasir would get married. Meanwhile, Murad seeks Nasreen’s hand, but when Nasir comes home from overseas, Murad makes an attempt on his life injuring himself in the process. Nasir is sent to Kashmir to recuperate. Nasir meets Parveen, falls in love and ends up marrying her, not knowing that he has already been promised to be married to Nasreen.
Nasir and Parveen live a happy life in Kashmir until Nasir receives a telegram that his father, Akbar is in poor health. He rushes to Delhi to meet him. Nasir’s father reveals to Nasir that he has to marry Nasreen as per the decision taken by him and Shaukat. But Nasir tells his father that he has already married to Parveen. When Akbar finds out that his daughter-in-law is the child of a poor carpenter, the shock proves fatal.
Due to his father’s death, Nasir is unable to make it back to Kashmir where Parveen, who is pregnant with their child, gives birth. The locals, not believing that she is married, oust Parveen and her father from the village. Nasir, still not able to leave Delhi, sends his best friend, Mahmood to Kashmir to bring Parveen to him, but she is nowhere to be found, and a wicked villager falsely tells Mahmood that Parveen eloped with a rich man from Bombay.
Hearing this news, Nasir is shocked and eventually agrees to marry Nasreen as his late father had wished. By then, Parveen and her foster father arrive in Delhi in search of Nasir.
Of course, the film’s synopsis booklet did not reveal the end of the film as was the practice. But from the story of the film that is known, I can visualise that the foster father of Parveen would have revealed that she was not his biological daughter, but he found her in a stream in Kashmir. The father of Nasreen now remembers that Parveen is one of his twin daughters who was lost in Kashmir. Nasreen’s father is happy that Nasir had married his own daughter. So, the married couple lives happily.
The film had 9 songs all written by Sarshar Sailaani which were set to music by Shyam Sunder. 7 songs have been covered on the Blog. I am presenting the 8th song from the film, ‘ham jisko chaahten hain ……ye kaisaa dard hai’ which is rendered by Dilshad Begum.
Audio Clip:
Song-Ye kaisa dard hai jo idhar hai udhar nahin (Ek Roz)(1947) Singer-Dilshad Begam, Lyrics-Sarshar Sailaani, MD-Shyam Sundar
Lyrics:
ham jisko chaahte hain usey
kuchh khabar nahin een
ye kaisaa dard hai
ye kaisaa dard hai
jo idhar hai udhar nahin ee ee
ye kaisaa dard hai
masti bhari nazar kaa asar
kuchh naa poochhiye…ae
masti bhari nazar kaa asar
kuchh naa poochhiye….ae ae
itnaa saroor hai
itnaa saroor hai
ki hamein kuchh khabar nahin ee ee
ye kaisaa dard hai
jo idhar hai udhar nahin
ye kaisaa dard hai
ye ae khud kahegaa
unse mohabbat kaa maajraa
dil ke siwaa hamaara
koi naamawar nahin ee ee
ye kaisaa dard hai
jo idhar hai udhar nahin ee ee
ye kaisaa dard hai
poori kabhi to hogi mere
dil ki aarzoo oo
poori kabhi to hogi mere
dil ki aarzoo oo
wo shaam kaun si
wo shaam kaun si hai ke
jiski sahar hai ee ee
ye kaisa dard hai
jo idhar hai udhar nahin
ye kaisaa dard hai
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 : |
5605 | Post No. : | 18082 |
“Rasta”(1947) was directed by Har Prasad for Fazli Brothers, Bombay. This obscure “social” movie had a starcast of Mayadevi, Abdul Latif, Shahida, Ameena, Razi, Zaki, Wazir Mohammad Khan, Anwar, Anwari, Ismat sultana, Abbas, Sharbat Ali etc. Most of these names ring no bells.
According to HFGK, there are six songs in the movie. Singers of these songs are not mentioned. One song (which appears to be a two version song, going by the similarity of mukhda in two entries viz song number 1 and song number 6) has been covered in the past.
Here is another song from the movie. As mentioned above, singers are not mentioned for any of the songs. But we can clearly notice that the song under discussion, a melancholic song, is sung by Geeta Dutt. Zafar Khursheed was the music dirrector. Raziuddin and Arsh Haideri were the two lyricists in the movie but distribution of songs among them is not mentioned.
I request our knowledgeable readers to throw light on the picturisation of this movie as well as on the movie itself.
Song-Aayi nazar andhere mein ik raushni mujhe (Rasta)(1947) Singer-Geeta Dutt, Lyrics-Raziuddin/ Arsh Haideri, MD-Zafar Khursheed
Lyrics
Aayi nazar andhere mein
ik raushni mujhe ae ae
raushni mujhe
aayi nazar andhere mein
ik raushni mujhe ae ae
raushni mujhe
duniya mein gham ke saath milee
hai khushi mujhe ae ae
hai khushi mujhe
main so rahi thhi
aur meri duniya ujad gayi ee
duniya ujad gayi
main so rahi thhi
aur meri duniya ujad gayi ee
duniya ujad gayi
main bhi naseeb ko roti hoon
aur bekasi mujhe ae ae
bekasi mujhe
duniya hazaar rang badalti rahi yahaan aan aan
duniya hazaar rang badalti rahi yahaan aan aan
us raat se ye chhod gayi zindagi mujhe ae
zindagi mujhe
aayi nazar andhere mein
ek raushni mujhe ae ae
raushni mujhe
So jaa mere dulaare
Posted on: September 10, 2023
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 : |
5532 | Post No. : | 17988 |
“Shanti”(1947) was directed by S U Sunny for Firdaus Art Productions, Bombay. The movie had Vijayalaxmi, Jeevan, Afzal, Latika, Sunalini Devi, Pratima Devi,Sharada, Shabnam, Munees Begum, Mustafa, Amir, A.R.Kashmiri, Master Ratan, Suleman etc in it.
“Shanti”(1947) had ten songs in it. Five songs have been covered so far in the blog.
Here is the sixth song from the movie to appear here. HFGK mentions this song as sung by B S Thakur, but we can notice that the song is in the voice of female voice (parul Ghosh). Likewise, another song from the movie is mentions as sung by Parul Ghosh but that is in a male voice (B S Thakur). So we guess that there was a clerical error that led to singer credit getting switched for two songs in the movie.
The song is a sad lullaby. Shakeel Badayuni is the lyricist. Music is composed by B S Thakur.
Only audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song.
Lyrics of the song were sent to me by Prakashchandra.
Song-So jaa mere dulaare (Shaanti)(1947) Singer-Parul Ghosh, Lyrics-Shakeel Badayuni, MD-B S Thakur
Lyrics(Provided by Prakashchandra)
so jaa aaa aaa
so jaa aaa aaa
soo jaa aaa aaa
so jaa aaaa mere ae dulaare ae
chamkein tere ae sitaarey ae
so jaa aaa
so jaa
so jaa aaa
so jaa aa aaa aa
so jaa aaa
jis tarhaa mere dil mein
toofaan so rahe hain
jis tarhaa gham ke maarey ae
armaan so rahey hain aen
jis tarhaa mujhse gaafil
bhagwaan so rahey hain aen
tu bhee usee tarah se
bin roye na pukaarey ae
so jaa aa mere dulaarey ae
chamken ae tere sitaarey ae
so jaa
so jaa
so jaa aa
soyee huyee hai duniyaa aa
kaun apnaa gham uthhaaye ae
soyee huyee hai duniyaa
kaun apnaa gham uthhaaye aey ae
so jaa aaa
so jaa aaaa
so jaa aa ke mere mohsin(?)
kuchch aasraa lagaaye aey ae ae
jab tu uthhey to meree
qismat bhi jaag jaaye
kab tak koyee jahaan mein
ro ro ke din guzaarey aey ae
so jaa aa mere dulaarey ae
chamkein tere sitaarey ae
so jaa
so jaa
so jaa aa
Jaam uthhaa le peene waale
Posted on: September 2, 2023
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 : |
5524 | Post No. : | 17973 |
Today’s song is from the film Aaj aur Kal (1947).
This was actually an unique film having an unusual storyline in which was shown a City Of Future i.e. a city of the year 2047 ! Hindi film industry is not known to make films based on scientific or science fiction stories. 99.99 % filmmakers did not dare make such films for fear of losing money if the film fails. However, its not that such films were not made at all, but their number would not fill even the number of fingers on both hands !
As far as I remember offhand, there was a film ” Wahan” made by Prabhat Films in 1937, in which the story was set on another planet. The only novelty was some imaginary scenes and dresses/costumes of another planet, otherwise the story was the usual Love triangle and such things. Then there was the film ” Khwab ki duniya”-(1937), which was based on the famous novel ” The invisible Man ” by H.G.Wells. (Much later a film on this story was made as “Mr. X “(1957) and a spoof of this story as ” Mr. X in Bombay”(1964) ). In 1938, a film called “Professor Waman, M.Sc.” was based on a scientist doing some research roughly like ” Dr. Jekyll and Mr. Hyde”.
During the late 50’s and early 60’s, I used to be a fan of films made by Republic Serial from Hollywood, which were shown as a Morning Show on Friday, Saturday and Sundays. I do remember having seen at least 2 films which had stories of space travel and life on other Planets, showing aliens etc. The films were ” The Forbidden Planet” and ” Trip to the Moon”.
The only film made in Hindi, so far as my Knowledge goes, which actually showed Space travel and landing on the Moon was ” Trip to Moon” aka ” चांद पर चढाई “, made in 1967 by a Madras based filmmaker. By coincidence, just 2 years later, in 1969, Apollo 11 landed on the Moon and Neil Armstrong actually stepped on the Moon. Surprisingly wrestler Dara Sing did the role of an Astronaut in this film. Recently on 23rd August 2023, Dara Singh’s son Vindu, wrote in his memoirs about this film in an E Times issue. One can see Dara Singh’s photo in Astronaut’s suit in this article. The film is not available as far as I know. If it is available, the readers are requested to inform me please. Although this film had an unusual story, its timing was unfortunately not right. 1947 was an year of turmoil in India.
In olden days, there were 3 major film centres-Bombvay, Lahore and Calcutta. After 1947, all the Hindi film activity at Lahore shifted to Bombay. By mid 50’s even Calcutta almost stopped making Hindi films. Many Hindi speaking artistes in various disciplines of film making shifted to Bombay and finally Bombay became the only and the main Hindi film making Centre.
The year 1947 is a reminder not only for the Independence of India, but also for the upheaval that took place in the film industry that time. More than in any other industry in India, Muslims were plentiful, working in different sections and departments of the Hindi film industry. majority of them migrated to the newly formed Muslim Nation of Pakistan. This did create a lot of disturbance in the film industry. Right from the beginning of 1947, there were signs that soon the British would leave India – after dividing it into two Nations, India and Pakistan. When the month and date became known for the Partition, there was a great hurry among the filmmakers to complete their projects on hand and in process, compromising many factors like quality of the film, number of songs and such other things.
This resulted in the record number of films made in 1947 alone – 181 Hindi films and about 100 films in other languages in India. This was a record which remained unbroken till 1985, when 187 Hindi films were made. Thus from 1931 to 1985, this record remained unbroken for more than 50 years ! Obviously, this resulted in a big compromise on quality to achieve quantity with many films produced half heartedly. Most or rather many films made in 1947 remained obscure, unheard of and many flopped due to poor quality. Actually only few films were released in 1947, because many films were released in 1948 and 1949, with some films being released in Pakistan too.
Did you ever hear about films Amar Asha, Angoorbala, Attention, Barrister, But Tarash, Chalte Chalte, Chandrahas, Dagabaz Dost, Dehati,Ek kadam,Gaurav,Giribala, Heera, Intezar ke baad, Jhalak,Jurmana, Khaufnak aankhen, Lalaat, Mangalsutra, Moti, Sewa gram, Stage girl, Tohfa or Utho jago ? Of course not all films were below standards. Some of the landmark films were also made in 1947, like Shehnai, Mirza Sahiban, Jugnu, Saajan, Naatak, Meera, Elan,Aap ki sewa mein, Dard, Do Bhai, Neel Kamal or Parwana etc. However by and large the picture was like this only.
When I decided on a song from this film Aaj aur kal (1947), I was keen to know the details of the film like the producer, the story etc. For many days, I tried all possible sources but I could not get any information. The HFGK gave only the usual details without even the names of the Lyricists. My urge for getting the storyline was so strong that finally I decided to do what I had never done to get the story of a film.
I wrote directly to Shri Harmandir Singh Hamraz ji and requested him to send me the photos of the film booklet if he has it. To my joy, within an hour’s time he sent me the film booklet’s photos on my WA number. How nice of him ! I sincerely thank him for his prompt action and help rendered to me.
As per the film booklet, the film was produced by Dewan Khushi Ram and the Banner was Chitra productions, Lahore. Story, screenplay and dialogues were by the Director Khwaja Ahmed Abbas himself. The Music Director was Khwaja Khurshid Anwar and lyrics were by Zahir Kashmiri and Sohanlal Sahir. The film was shot at Pancholi and Shorey studios in Lahore. The cast was Nayantara ( a Heroine borrowed from Rajkamal of V.Shantaram, as per the film booklet), Shyam, Nita, Rashid Ahmed (Rasheed Khan) Arif and others. The story, in short, as per the booklet was….
A poet, a millionaire, his servant, a priest, a society lady, a mysterious foreigner-JohnPardesi and Ram Mohan-a well dressed gentleman thief, crew of 2 pilots and Air Hostess Lily travel to Calcutta in a plane. On the way, they get into a storm and their plane lands, mysteriously, inthe future India of 2047 !
In this country all those who do labour, get all good things and indolent parasites starve. Even the Millionaire and the society lady are made to work here. Ram Mohan, seeing all this, gets converted to fruitful labour. He is helped by Bharti – a local Doctor general. They fall in love. However, the council of New India forbids Bharti to marry Ram, due to his past.
Meanwhile John Pardesi with the help of the Sonachand, the millionaire tries the ” wine, women and songs” formula with the people to enslave them Ram warns Bharti and others but they ignore. Lily, who also loves Ram, warns him about their plan to kill him, but he does not believe her. She steals a secret document as a proof, but she is killed.
John tries to kill Ram by firing bullets at close range, but he is not killed as he is armed with Non Violence and Truth (Gandhi Formula), in this city. John and Sonachand are arrested and sent back to the old world and Ram is allowed to marry Bharti.But Ram decides to go back to the old world so that he can protect his world against people like John and Sonachand. He promises Bharti to come back in future and marry her, when his work in old world is over. The End.
The Music Director K.K.Anwar was a respected composer in India and Pakistan. Today we will talk about a Giant among the Pakistan film industry, post Partition- KHAWAJA KHURSHID ANWAR ji. He is probably the only composer on whom plenty of information is available here and in Pakistan. One of the major sources of his information is Dr.Surjit Singh ji’s site and the other is Cineplot. Additionally, there are many Pakistani sites and Blogs where information is available on him.
Khwaja Khurshid Anwar (21 March 1912 – 30 October 1984) was a filmmaker, writer, director and music composer who gained extreme popularity both in India and Pakistan. He is widely credited as being one of the most original and inventive music directors of his generation.
Khwaja Khurshid Anwar was born into a Kashmiri family on 21 March 1912 in Mianwali (now in Pakistan) where his maternal grandfather Khan Bahadur Dr.Sheikh Atta Mohammad (who’s daughter married philosopher-poet Muhammad Iqbal, to whom he was thus a nephew) held the post of civil surgeon. His father Khawaja Ferozuddin Ahmad was a well-known Barrister settled in Lahore. The ace jurist had a love for music so much so that he had a huge collection of gramophone records of Indian classical and neo-classical music and his precocious son had an unhindered access to them all. Moreover, in the weekly soirees of music which were held in the lawyer’s house, renowned masters used to perform, and it was here that the young Khurshid Anwar developed a taste for classical music. Viewing Khrshid Anwar’s keen interest, Khansahib Tawakkal Hussain took him under his tutelage in 1934.
Khurshid Anwar was also a brilliant student at Government College, Lahore, the renowned seat of learning. Having topped in the Masters in Philosophy (1935), he appeared in the examination for Indian Civil Service (ICS) but due to his political and anti-Raj activities, the colonial masters would not let him share power. Interestingly, he had also absented himself from the prize-distribution ceremony of the Punjab University held to honour the students with distinctions. When his name was called to receive the Gold Medal in Philosophy, nobody turned up. The British Chancellor of the University who was awarding medals remarked that the student having forgotten to receive the medal is a true philosopher. Actually,he was busy listening to music in his home.
In 1939 Khurshid Anwar joined All-India Radio, Delhi as Programme Producer/Music. It was from here that he acceded to the requests of A.R. Kardar, the renowned film producer, to join Bombay filmdom as Music director. He made his debut as a music director in Kardar’s Punjabi venture “Kudmai” (1941]. His first Hindi film was “Ishara”(1943]. The film gained much popularity from its songs which included “Panghat pe muraliya baje” by Suraiya, “Shabnam kyon neer bahaye” by Gauhar Sultana, and “Dil deke dagha nahin dena” by Vatsala Kumathekar. Some of his other Hindi films were Parakh (1944, with Saraswati Devi), Yateem (1945, with K. Dutta), Aaj Aur Kal (1947), Pagdandi(1947), and Parwaana(1947) which was the last movie in which K. L. Saigal acted and sang. For “Singaar” (1949) he got the Clare Award for Best Music Director. His later films “Nishaana” (1950) and “Neelam Pari” (1952) added new feathers to his cap. He remained an inspiration to many later day music directors in both India and Pakistan. For many years, Roshan was a disciple of his, as was Shankar of Shankar Jaikishan. He was regularly praised by his contemporary Naushad Ali, who considered him to be one of the finest composers in the subcontinent.In one of the interviews,however,he said that Naushad’s knowledge of Classical music was not good,but he manged to churn out melodious songs.
Khurshid Anwar migrated to Pakistan in 1952. It was in fact his arrival in a newly independent land where the nation was in search of its expressions in arts especially in music. And it was here in 1956 that Khurshid Anwar gave Pakistani film music its identity through his magnum opus “Intezar”. The film also gave a new lease of life to Noor Jehan, his lead singer for the years to come. After, “Intezar”, Khurshid Anwar continued with his stylistic creations in films such as, Mirza Sahiban (1956), Zehre Ishq (1958), Jhoomer (1959), Koel(1959), Ayyaz (1961), Ghunghat (1962), Haveli (1964) Chingari (1964), Sarhad (1966), Hamraz (1967), Guddo (1970),Heer Ranjha (1970), Salam E Mohabat (1971), Parai Aag(1971), Shireen Farhad (1975), Haider Ali (1979) and Mirza Jat (1982).
Khurshid Anwar died on 30 October 1984 in Lahore after a protracted illness. In recognition of his contribution in enrichment film music, the Bombay film industry awarded him the coveted Mortal-Men-Immortal-melodies Award (1982). Great Urdu poet of the 20th century, Faiz Ahmad Faiz was a lifelong friend of Khurshid Anwar. During an interview, in reply to a query of Anwar Maqsood, Faiz acknowledged that he was inspired by Khurshid Anwar.
He has also been praised for his efforts to keep Classical music alive not only through his compositions but also through his unique collection of classical Music performances recorded by EMI Pakistan, known as Aahang-e-Khusravi in two parts(1978). Raag Mala has ten volumes including 90 Raags in ten Thaats. Each Raga has a short introduction in the voice of Khurshid Anwar explaining the characteristics of the Raag followed by its audio performance by renowned Classical singers of Pakistan. The second part of Aahang-e-Khusravi is Gharon Ki Gayaki in 20 volumes which consists of audio recording of representatives of the main Gharanas of Classical singers in Pakistan. In recognition of his services for the cause of music, he was awarded the coveted ‘Sitara-e-Imtiaz’ by the Government of Pakistan in 1980.
He got Nigar awards 3 times. He also got the President’s award for Best Music and Best story for the film Intezar-56. Film Intezaar-56 was released on 12-5-1956 at Lahore.It was produced by Sultan Jilani and directed by Masood Parvaiz.Thecast consisted of Noorjehan,Santosh kumar ( real name Syed Moosa Raza ),Asha Posley and others. Film Intezar was so famous and a Hit film that in India,Dilip Kumar,K.Asif and financer Seth Palan ji wanted to release the film in India. The south Giant producer S S Wasan of Gemini studios contacted him and asked for the rights of the film and enquired how much will be his fees. Khursheed Anwar replied that his works are open for all those who will join him in the crusade against vulgar music. He said there will be no fees and the film was remade in Tamil subsequently.
He had great respect for S.D.Burman, followed by Salil Chaudhari for their musical genius in India.
He made one Punjabi and 9 Hindi films in India and 18 films in Pakistan. As a producer and also writer he made 6 films and directed 3 films in Pakistan. In India, he has composed 72 songs, but not even onesong is by Lata Mangeshkar. He used Geeta, Asha etc, but not Lata. There was a story circulating that Lata was called for rehearsals for a song composed for film Neelampari-52. She came but did not wait for the composer to come after hearing that the composer can neither sing nor play a single instrument ! In an interview, on asking about this, his brother Khawaja Sultan Ahmed ji said that it was not true. She was tied up with HMV for consecutive 5 days for recording and so could not come for rehearsals. He also said that Khurshid Anwar ji could sing well and played instruments too.
Today’s song is sung by Naseem Akhtar and chorus. The song is written by Zahir Kashmiri as per the film booklet.
Song-Jaam uthha le peene waale (Aaj Aur Kal)(1947) Singer-Naseem Akhtar, Lyricist-Zahir Kashmiri, MD-Khursheed Anwar
Naseem Akhtar + chorus
Lyrics
jaam uthha le peene waale
o peene waale
jaam uthha le o
jaam uthha le o
rut hai suhaani aayi
peene ka sandesa layi
pee matwaale
jaam uthha le oy
jaam uthha le o
kyun kal pe aas lagaaye
yoonhi murjhaaye
samaa hai suhaana
dil seene mein machla jaaye
jawaani lehraaye uthha paimaana
rut hai suhaani aayi
peene ka sandesa layi
aish manaale
jaam uthha le o
jaam uthha le o
jaam uthha le peene waale
o peene waale
jaam uthha le oy
jaam uthha le o
jab bichhad ke jee ghabraaye
ae ae
jab bichhad ke jee ghabraaye
koi yaad aaye to kya gham khaana
aa man ki lagi bujhaayen
aen aen
aa man ki lagi bujhaaye
suraahi chhalkaayen
chale paimaana
rut hai suhaani aayi
peene ka sandesha laayi
pee matwaale jaam uthha le o
jaam uthha le o
jaam uthha le peene waale
o peene waale
jaam uthha le oy
jaam uthha le o
Taqdeer mein rona hai
Posted on: August 17, 2023
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 : |
5508 | Post No. : | 17952 |
‘Shanti’ (1947) was directed by SU Sunny for Firdaus Art Productions, Bombay. The movie had Vijayalaxmi, Jeevan, Afzal, Lathika, Sunalini Devi, Prathima Devi, Sharada, Shabnam, Munees Begum, Mustafa, Amir, AR Kashmiri, Master Ratan, Suleman etc in it.
‘Shanti’ (1947) had ten songs in it. Four songs have been covered so far.
Here is the fifth song from the movie to appear in the blog. This song is sung by Parul Ghosh (credited as Shrimati Ghosh). Shakeel Badayuni is the lyricist. Music is composed by BS Thakur.
Audio of the song is not very clear. The lyrics as sung appear a bit amiss. It appears to me that the lyricist Shakeel Badayuni handed over the lyrics and he was not called upon to explain the meaning of words and their pronunciations to the singer when the song was to be recorded. As a result, the song appears to me to be sung without much feeling. May be it is just my observation and others may differ with me.
Only audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song.
Lyrics of the song were sent to me by Prakashchandra.
audio link:
Song-Taqdeer mein rona hai (Shanti)(1947) Singer-Parul Ghosh, Lyrics-Shakeel Badyuni, MD-BS Thakur
Lyrics (Provided by Prakashchandra)
taqdeer mein rona hai ae
taqdeer mein rona hai ae
daaman ko bhigona aaa hai
taqdeer mein rona hai ae
kyun tootey huye dil ko o
ye duniya sataatee hai ae
kyun tootey huye dil ko o
ye duniya sataatee ee hai ae
jaltee ee huyee aasha ko o
rah rah ke jalaatee ee hai
jaltee ee huyee aasha ko o
rah rah ke jalaatee ee hai
sab khel hai jeevan ke
paanaa hai naa khonaa aa hai
taqdeer mein ronaa hai ae
dagmag hai meri naiyyaa aaa
ab kya mujhe saahil se
dagmag hai meri naiyyaa aaa
ab kya mujhe saahil se
jalti hain tamannayein aen
uska hai gumaan dil pe
jalti hain tamannayein aen
uska hai gumaan dil pe
maaloom hai is dil ko
anjaam jo honaa hai
taqdeer mein ronaa hai ae
————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————
तक़दीर में रोना है
तक़दीर में रोना है
दामन को भिगोना है
तक़दीर में रोना है
क्यों टूटे हुये दिल को
ये दुनिया सताती है
क्यों टूटे हुये दिल को
ये दुनिया सताती है
जलती हुई आशा को
रह रह के जलाती है
जलती हुई आशा को
रह रह के जलाती है
सब खेल है जीवन के
पाना है ना खोना है
तक़दीर में रोना है
डगमग है मेरी नैया
अब क्या मुझे साहिल से
डगमग है मेरी नैया
अब क्या मुझे साहिल से
जलती हैं तमन्नाएं
उसका है गुमां दिल पे
जलती हैं तमन्नाएं
उसका है गुमां दिल पे
मालूम है इस दिल को
अंजाम जो होना है
तक़दीर में रोना है
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 : |
5502 | Post No. : | 17944 |
Today’s song is from the film ‘Samaj Ko Badal Dalo’ (1947).
1947 was an year when it was known to everyone in India that their country is going to be divided on the basis of religion and a new entity – Pakistan will be carved out of this nation.The people had no choice and this was accepted by everyone as inevitable. What next? This question was solved partly, unknown to the common man, by the Hindi film makers. In the few succeeding years many films were made on the Independence struggle as well as films stressing the need to revive and consolidate the social structure of India by strengthening the joint family tradition, raising voice against the unjust and antisocial customs and the need to honor the elders of the family.
Film ‘Samaj Ko Badal Dalo’ was also one such film which had a story emphasizing the need to facilitate divorce process for the Hindus. In India, the Parsis, Muslims and the Christians had their personal laws for divorce, but it was not easily available to the Hindus, who had to follow the age old laws made in 1869, which practically made it impossible to get a divorce. This was leading to forced living together of mismatched couples. The system of child marriages and the dowry system was abundantly in practice still.
Consistent social movements to have laws for divorce, banning of dowry and fixing of legitimate age for marriage were going on. Hindi films made their contribution by making films based on these topics. Readers will be surprised to know that The Hindu Marriage Act was finally amended only in 1955, to provide divorce facility to Hindus, on 8 new counts. Bigamy (2 marriages) was banned in 1961 and Child Marriage Act of 1929 was amended only in 1978, making the age of marriage for Girls as 18 and for Boys as 21. I am not saying that all these changes took place by making films alone, but surely films on these issues made public opinion stronger to fight for justice.
Prakash Pictures produced the film ‘Samaj Ko Badal Dalo’ in 1947, with story, screenplay and dialogues by Pt. Girish. The MD was Khemchand Prakash and the film was directed by Vijay Bhatt. The story of this film was. . .
Kishore (Arun) and Manorama (Mridula) are in love with each others but unable to get married. Mridula’s father is a clerk, who can’t afford to pay the dowry demanded by Arun’s family. Jayant (Yakub) is a widower, and Mridula is married off to him. His cruel behaviour becomes apparent when he starts torturing Mridula soon after their marriage. Arun’s parents get him married to the rich Champa (Leela Pawar) who is in love with someone else. Arun helps her get married to Naresh, the man she loves, by giving her a divorce. Arun watches the torture inflicted on Mridula and the story then continues through tense scenes where eventually Arun kills Jayant and unwittingly Mridula too, following which he’s sent to a mental asylum having been declared insane.
The cast of the film was Arun Ahuja (actor Govinda’s father), Mridula (first heroine of Dilip Kumar), Umakant (a popular actor as Lakshaman in Ramayan), Yaqub, Leela Pawar, Shantarin, Teekaram and others. Actress Mridula was a victim of ‘studios-spoiling-careers-of-actors’ syndrome. Let us see how. Right from 1931 onward the studio system was very common and actors, directors and composers were hired under contract, on monthly pay rolls by the studios. There was a competition among major studios as to who has got more famous stars on their rolls. Studios also had regional inclinations. For example, Prabhat studios had maximum Marathi artistes, Prakash, Sagar and Imperial had mostly Gujaratis, whereas new Theatres in Calcutta and Bombay Talkies in Bombay promoted Bangla artistes. Studios like Pancholi in Lahore or Minerva or Ranjit in Bombay had a cosmopolitan mix. Ranjit had the biggest fleet of more than 300 people on their payrolls at one time ! They even advertised “There are more stars in Ranjit than there are in the sky” !!!
In general contracts with artistes went off smoothly, but at times, due to the stubbornness of the owners, the careers of some artistes were almost destroyed or were stuck for a long time plunging them into bleak prospects for their future. Notable cases of such sufferers were that of Meena Shorey of Minerva Movietone, Shanta Apte, Manju and Chandramohan with Prabhat Films/V.Shantaram, Uma Devi with Kardar Studios, Sitara Kanpuri with Shalimar Films etc. Among these, the worst case was that of Meena Shorey.
Khursheed Jehan (later Meena Shorey) was a find of Sohrab Modi. She was illiterate. He signed a contract with her, telling her that it was for one year and that she can not work anywhere else in this period. Uneducated Khursheed signed blindly. She worked in 2 films and then the films stopped. She lost many outside offers, like Mehboob Khan for the film ‘Humayun’ (1945) etc., because of her contract. After one year, when she was called to Lahore by Pancholi and was offered 2 films there, she received a legal notice from Sohrab Modi for breach of contract. She went to Bombay to inquire. To her dismay, she found that taking advantage of her illiteracy, Modi had made the contract for 3 years and NOT one year. When she pleaded, he asked for 60,000 rupees. Finally she was released when Modi’s wife Mehtab intervened and settled the matter for 30,000 rupees.
Chandramohan became a drunkard when V Shantaram did not release him and kept him without work. He died penniless in 1949. Sitara Kanpuri was also cheated by WZ Ahmed of Shalimar films. Kardar destroyed the singing career of Uma Devi because she went to Madras to sing for ‘Chandralekha’ (1948) while under contract but without work for one year.
Similarly Mridula was also a victim of her contract with Bombay Talkies. It destroyed her career as a heroine forever. Devika Rani was her mentor in Bombay Talkies. However, after Himanshu Rai’s death, no one was listening to her in the company due to groupism. Disgusted, Devika Rani left Bombay Talkies, having sold all the shares. Mridula got stuck in the company without work, due to her 5 year contract. It was Vijay Bhatt of Prakash Pictures who somehow convinced Bombay Talkies to loan her to him and she got roles in 2 of their films. In the film ‘Bhakta Dhruva’ (1947), she played mother to 16 year old Shashi Kapoor (Sr) when she herself was about 23 year old only ! But she had no choice. The film and her role became famous, but she lost her chances of becoming heroine in any film thereafter.
In the film cast you must have seen the name UMAKANT DESAI. I am sure most people would not know anything about him. People remember Dilip Kumar for his double role in ‘Ram Aur Shyam’ (1967) and triple role in ‘Bairaag’ (1976). You also remember Sanjeev Kumar for his 9 roles in ‘Naya Din Nayi Raat’ (1974) or Kamal Hassan for his 10 roles in ‘Dashavtar’ (2008). But hardly anyone knows that Umakant Desai was the FIRST actor to do 3 roles in film ‘Hukum Ka Ikka’ (1939) (Rajkumar, Madari and Common Man).
Umakant Desai was born in Sankheda, near Vadodara (Baroda), Gujarat on 13-6-1908. After matriculation, he came to Bombay and did a job in BB&CI Railways (Bombay, Baroda and Central India Railways, a private railway company of pre Independence period). He used to do roles in local dramas. One day Director Chimanlal Desai saw him in a drama called ‘Jaya Aur Jayant’. He was so impressed with him that he took him to act in Gujarat’s first talkie ‘Narsi Mehta’ (1932). In this film Umakant did the role of Krishna.
So,the son of a landlord Himmatbhai Jagubhai Desai became a film actor.He joined Prakash Pictures on a salary of Rs.150/- pm,but when he left Prakash, he was drawing Rs. 3,000/- p.m.. In 1934, he worked in Gujarati film ‘Sansar Leela’. He sang 2 duets with Rajkumari in this film. The film was a hit and was remade in Hindi as ‘Nai Duniya’. He worked in ‘Bharat Milap’ (1942). His best remembered role was as Laxman in the film ‘Ram Rajya’ (1943), which created several records, including that it was the first and the only Hindi film Mahatma Gandhi ever saw in his lifetime !
Umakant worked in 59 Hindi films and 15 Gujarati films. ‘Anmol Moti’ (1948) was his last film as a hero. Then he shifted to doing character roles. He had worked with Durga Khote, Shobhana Samarth, Pramila, Ratnamala, Ranjana, Sitara, Snehprabha Pradhan, Meena Kumari, Amita, Vyjayantimala, Nalini Jaywant, Kamini Kaushal etc. For fluency in Hindi and Urdu, he was appointed a teacher also.
He worked in 26 films of Prakash, in which 8 films were directed by Vijay Bhatt. He mostly worked in mythological and social films. Some of his films were ‘Miss Mala’, ‘Chhote Babu’, ‘Station Master’, ‘Amar Asha’, ‘Poornima’, ‘Anmol Moti’, ‘Kavita’, Hamara Ghar’ etc . He did Laxman’s role in 7 films.
Umakant’s son and daughter in law died a tragic death in a snow blizzard in the USA in 1975. His wife Kaumudi Ben died in 2006 and Umakant died on 25-1-2007. He was awarded Dadasaheb Phalke Academy Award in 2004. [Adapted from Gujarati article on Umakant by Shri Harish Raghuvanshi ji, famous film historian, compiler and writer].
Today’s song is sung by Shamshad Begum as mentioned by the uploader. HFGK does not mention any name as a singer.
[Editor’s Note: Yesterday, 10th August, was the 53rd remembrance day for music director Khemchand Prakash.]
Song- Bikhar gayee asha ki badri bikhar gayee (Samaaj Ko Badal Daalo)(1947) Singer- Shamshad Begum (as per the uploader), Lyricist- Roopdas, MD- Khemchand Prakash
Lyrics
bikhar gayee ee ee
bikhar gayee ee
aasha ki badaree bikhar gayee ee ee
aasha ki badree ee
bikhar gayee
ghor niraasha chhaayee ho raama
ghor niraasha chhaayee ho raama
aasha ki badree bikhar gayee ee
aasha ki badree bikhar gayee
beet gayo saawan bin barse
beet gayo o o saawan bin barse
bhaadon ne agan lagaayee ho raama
bhaadon ne agan lagaayee ho raama
aasha ki badree bikhar gayee ee
aasha ki badree bikhar gayee
barkha tore chaar din
jhoothhi toree aas
tose ye naina aa bhale ae ae
jo barse baarho maas
bhaadon ne agan lagaayee ho raama
bhaadon ne agan laagaayee ho raama
aasha ki badree bikhar gayi ee
aasha ki badree bikhar gayi
————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————
बिखर गई
बिखर गई
आशा की बदरी बिखर गई
आशा की बदरी
बिखर गई
घोर निराशा छाई हो रामा
घोर निराशा छाई हो रामा
आशा की बदरी बिखर गई
आशा की बदरी बिखर गई
बीत गयो सावन बिन बरसे
बीत गयो सावन बिन बरसे
भादों ने अगन लगाई हो रामा
भादों ने अगन लगाई हो रामा
आशा की बदरी बिखर गई
आशा की बदरी बिखर गई
बरखा तोरे चार दिन
झूठी तोरी आस
तो से ये नैना भले
जो बरसे बारहो मास
भादों ने अगन लगाई हो रामा
भादों ने अगन लगाई हो रामा
आशा की बदरी बिखर गई
आशा की बदरी बिखर गई
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 : |
5460 | Post No. : | 17877 |
“Renuka”(1947) was directed by Ramesh Sahgal for Jayant Desai Productions, Bombay. The movie had Mubarak, Hemavati, Afzal, Srimati Vijaydas, Shashi Kapoor (senior), Baby Vimla, Chanda Bai, Kesar Bai, Sati Devi, Dhaarpure etc in it.
“Renuka”(1947) had 12 songs in it. Six songs have been covered in the past.
Here is the seventh song from the movie to appear in the blog. This song is sung by Vanita Amladi. Qamar Jalalabadi is the lyricist. Music is composed by Sardar Malik.
Only audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song.
Vanita Amladi is a new name for the blog (unless she is represented in the blog by some other name).
PS-It has been pointed out in comments by our knowledgeable regulars (M/s Sadanand Kamath and Arunkumar Deshmukh jee) that the singer, whose maiden name was Vinita (not Vanita) Amladi, was known as Binota Chakraborty after her marriage with a Bangla speaking gentleman. Five of her songs are already available in the blog, including the famous song Dilli se aaya bhai Tingu (Ek Thi Ladki) .
Lyrics of the song were sent to me by Prakashchandra.
audio link:
Song-Main dil ki baat sunaa loon to phir chale jaanaa (Renuka)(1947) Singer-Vanita Amladi(Binota Chakraborty), Lyrics-Qamar Jalalabadi, MD-Sardar Malik
Lyrics(Provided by Prakashchandra)
o o o o
main aen dil kee
baat sunaa aa loon oon oon
to o phir chaley jaanaa aa aa
chale aey ae jaanaa
main dil ki baat sunaa
loon to phir chaley jaanaa
chale ae jaanaa
chale ae jaanaa
main aansoo`on ko manaa loon
to phir chale jaanaa aan
chale aey jaanaa
tumhaari yaad se ik aag hai ae lagee dil mein
tumhaari yaad se ik aag hai ae lagee dil mein
lagee dil mein ae
lagee dil mein
main aansoo`on se bujhaa aaa
loon to phir chale ae jaanaa
chale jaanaa
main dil kee baat sunaa aa aa
loon to phir chaley jaanaa aa
chale ae jaanaa aan
chale jaanaa aa
tumhaarey charnon mein
aabaad hai meree duniyaa aa
tumhaarey charnon mein
aabaad hai meree duniyaa
main inko haath lagaa loon
to phir chale jaanaa
main inko haath lagaa loon
to phir chale jaanaa
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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