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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs

Posts Tagged ‘1948


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3908 Post No. : 14965

“Phool Aur Kaante”(1948) was directed by Achyut Ranade for Navyug Chitrapat, Bombay. The movie had Lalita Pawar, Salvi, Saroj Borkar, Mohan Sahgal, Master Ratan, Swaroop Sahgal, Tulsi Bai, Shalini, Chaube etc in it.

The movie had twelve songs in it. Four songs from this movie have been discussed in the past.

Here is the fifth song from “Phool aur Kaante”(1948) to appear in the blog. This song is sung by Meena Kapoor. Vishwamitra Adil is the lyricist. Music is composed by Dada Chandekar.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Ik teer jigar par khaa ke ham(Phool aur Kaante)(1948) Singer-Meena Kapoor, Lyrics- Vishwamitra Adil, MD-Dada Chandekar

Lyrics

ik teer jigar pe khaa kar hum
ik teer jigar pe khaa kar hum
na idhar ke rahe
na udhar ke rahe
na idhar ke rahe
na udhar ke rahe
seene mein aag laga kar hum
na idhar ke rahe
na udhar ke rahe
na idhar ke rahe
na udhar ke rahe

nazron ke bhi takkar khoob rahi
ladti bhi rahin sharma bhi gayin
nazron ke bhi takkar khoob rahi
ladti bhi rahin sharma bhi gayin
par dil se dil takra kar hum
na idhar ke rahe
na udhar ke rahe
na idhar ke rahe
na udhar ke rahe
ik teer jigar pe khaa kar hum
na idhar ke rahe
na udhar ke rahe
na idhar ke rahe
na udhar ke rahe

jab yaad kisi ki aati hai
jab yaad kisi ki aati hai
aankhon se aansu girte hain
dil mein toofaan uthhaa kar hum
na idhar ke rahe
na udhar ke rahe
na idhar ke rahe
na udhar ke rahe
ik teer jigar pe khakar hum
na idhar ke rahe
na udhar ke rahe
na idhar ke rahe
na udhar ke rahe

hain phool aur kaante donon hi
ulfat ki rangeeli raahon mein
hain phool aur kaante donon hi
ulfat ki rangeeli raahon mein
ulfat mein paaon badhaa kar hum
na idhar ke rahe
na udhar ke rahe
na idhar ke rahe
na udhar ke rahe
ik teer jigar pe khaa kar hum
na idhar ke rahe
na udhar ke rahe
na idhar ke rahe
na udhar ke rahe
seene mein aaga laga kar hum
na idhar ke rahe
na udhar ke rahe
na idhar ke rahe
na udhar ke rahe

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This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3907 Post No. : 14963

“Lakhpati”(1948) was directed by Ravindra Jaikar for Fim Chitra Corporation, Bombay. This “social” movie had Sulochana Chatterji, D M Sapru, Rajan Haksar, Om Prakash, Baby Tabassum, LLeela Chitnis, Narmada Shankar, Dharpure, Nagotkar, Satyapal etc in it.

This forgotten movie had eleven obscure songs in it. Three of these songs have been covered in the past.

Here is the fourth song from “Lakhpati”(1948) to appear in the blog. This song is sung by Meena Kapoor. Qamar Jalalabadi is the lyricist. Music is composed by Husnlal Bhagatram.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Kahaan ban thhan ke gudiya hamaari chali (Lakhpati)(1948) Singer-Meena Kapoor, Lyrics-Qamar Jalalabadi, MD-Husnlal Bhagatram

Lyrics

Kahaan ban thhan ke
Kahaan ban thhan ke gudiya hamaari chali
o hamaari chali
Kahaan ban thhan ke
Kahaan ban thhan ke gudiya hamaari chali
o hamaari chali
Kahaan ban thhan ke

roop tera suhaana
nazar na lage
hai bura ye zamaana
nazar na lage
hai bura ye zamaana
nazar na lage
o nazar na lage
Kahaan darr darr ke
Kahaan darr darr ke bahna hamaari chali
o hamaari chali
Kahaan darr darr ke
Kahaan darr darr ke bahna hamaari chali
o hamaari chali
kahaan ban thhan ke

ik nazar dekh kar muskura de zara
hum na rokenge itna bata de zara
hum na rokenge itna bata de zara
o bata de zara
kahaan bach bach ke
kahaan bach bach ke bahna hamaari chali
o hamaari chali
kahaan bach bach ke
kahaan bach bach ke bahna hamaari chali
o hamaari chali
kahaan ban thhan ke
kahaan ban thhan ke gudiya hamaari chali
o hamaari chali
kahaan ban thhan ke


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 :

3888 Post No. : 14919 Movie Count :

4074

Today (11 march 2019) finds myself out of my comfort zone, viz outside my base and away from the familiar routine. Today I am in Lucknow and I will be here for three days.

I thought that it is a capital city and so I would be blessed with good internet connection, namely high speed internet and wi fi, but that is not the case. So I am dependent on my dongle and I am thankful that at least this is working, even if slowly. I hope to at least ensure that my days here are not dot days as far as the blog is concerned.

Here is a song from “Dhanyawad”(1948). This remonstrating with the Almighty genre of song is sung by Meena Kapoor. Lyrics are by Sajjan (the character artist). Music is composed by A R Qureshy.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song.

With this song, “Dhanyawad”(1948) makes its debut in the blog.


Song-Main roti hoon tum hans rahe ho krishn muraari(Dhanywaad)(1948) Singer-Meena Kapoor, Lyrics-Sajjan, MD-A R Qureshi

Lyrics

Main roti hoon tum hans rahe ho
krishn muraari
krishn muraari
Main roti hoon tum hans rahe ho
krishn muraari
krishn muraari
mitti mein mili jaati yahaan
duniya hamaari
krishn muraari
mitti mein mili jaati yahaan
duniya hamaari
krishn muraari

jholi meri khaali hai
aankhon mein andhera
jholi meri khaali hai
aankhon mein andhera
jab roothh gaye tum hi to phir
kaun hai mera
jab roothh gaye tum hi to phir
kaun hai mera
majhdhaar ki naiyya ko hai bas
aas tumhaari
aas tumhaari
aas tumhaari
Main roti hoon tum hans rahe ho
krishn muraari
krishn muraari
mitti mein mili jaati yahaan
duniya hamaari
krishn muraari

bhagwaan ho patthar na bano
ab na sataao
bhagwaan ho patthar na bano
ab na sataao
duniya basaane waale
meri bigdi banaao
duniya basaane waale
meri bigdi banaao
ro ro ke mari jaati hai
ye daasi tumhaari
krishn muraari
krishn muraari


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3883 Post No. : 14909

“Phool Aur Kaante”(1948) was directed by Achyut Ranade for Navyug Chitrapat, Bombay. The movie had Lalita Pawar, Salvi, Saroj Borkar, Mohan Sahgal, Master Ratan, Swaroop Sahgal, Tulsi Bai, Shalini, Chaube etc in it.

Three songs from this movie have been discussed in the past.

Here is the fourth song from “Phool aur Kaante”(1948) to appear in the blog. This pathos filled song is sung by Meena Kapoor. Vishwamitra Adil is the lyricist. . Music is composed by Dada Chandekar.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song.

I have not been able to get one work in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.


Song-Barbaad mohabbat ki chhoti si kahaani hai (Phool Aur Kaante)(1948) Singer-Meena Kapoor, Lyrics-Vishwamitra Adil, MD-Dada Chandekar

Lyrics

barbaad mohabbat ki
chhoti si kahaani hai
barbaad mohabbat ki
chhoti si kahani hai
ik toota hua dil hai
ik teri nishaani hai
ik teri nishaani hai

saawan bhi gaya kab ka
baadal bhi gaye kab ke
phir bhi meri aankhon se
ashqon ki rawaani hai
ashqo ki rawaani hai
barbaad mohabbat ki
chhoti si kahaani hai

taqdeer ki thokar ne ae
wo zakhm lagaaya hai
wo zakhm lagaaya hai
?? umangen hain
khamosh jawaani hai
khamosh jawaani hai
barbaad mohabbat ki
chhoti si kahaani hai

mar jaate to achha tha
par haay re majboori
par haay re majboori
hum mar bhi nahin sakte
wo maut suhaani hai
wo maut suhaani hai
barbaad mohabbat ki
chhoti si kahaani hai


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 : 3808 Post No. : 14804

Today’s song is from film Chand sitare-48. Chand, Chandni, Tare and Sitare are the favourite words of film makers to use in the film titles.As many as 40+ film titles contain these words. The song is sung by Shamshad and chorus, composed by MD-Premnath and written by Lyricist I.C.Kapoor.

My Primary education was in Urdu language. Hyderabad being a Muslim state, learning Urdu had a definite advantage, but there were schools in English, Marathi, Telugu, Kannada and even Hindi mediums as well in Hyderabad and the treatment to all other languages than Urdu, was equal by the Nizam Government. This was because Hyderabad was a Trilingual state, consisting of 8 Telugu speaking Districts, 5 Marathi speaking Districts and 3 Kannada speaking districts, plus the rulers were Urdu speakers. From 5th standard I changed to Marathi Medium and continued till end of schooling. English, Marathi and Hindi were my favourite subjects, but Maths and Geography were my sworn enemies.

Maths particularly, first confused me and then irritated me. I failed to understand a sum like ” If 5 people build a Wall 5 feet X 5 feet in 5 days, how many days 25 people will take to build the same wall. Now, if the wall was already built by 5 people, why should anyone build it again ?

Similarly, A, B and C were hated by me. Sums like ” If A borrows 500 Rupees from B at the rate of 5% interest per month and B borrows 400 rupees from C at the rate of 2% interest per month, what would be A’s loss and B’s profit. I failed to understand, why should A borrow money from B, when C was offering loan at lower rates in the first place ?

Geography was another headache. Size and population of countries, Longitudes and Latitudes, Capitals and Currency of Nations, temperatures in Tundra and Siberia and rainfall in Cherapunjee, were beyond my comprehension. However, in Geography, there used to be some chapters in Astronomy also. I liked them very much. Different Planets ,The Milky Way and Comets fascinated me.

Especially Comets aroused my curiosities no end. I learnt that Comets were Heavenly Bodies, made up of Gases and space debris, which appeared suddenly in the sky, seen for a while and then disappeared. Some Comets created panic by crossing Earth’s passage and such Comets would be featuring in newspapers and on TVs.

Comets are like those friends who walk with us for few years and disappear from this world. Comets are like those personalities who shine for a while and then disappear for ever. In Hindi Music too, there were extraordinarily Talented people, who worked for a short period and then were gone for ever, just like Comets.

Master Madan is a good example in this context. In a short life, he sang immortal Gazals like, ” Yun na rah rah kar hamein tarsaiye” and ” Hairat se tak raha hai “. He was born on 28-12-1927 in Jallunder Dist. and died on 5-6-1942. In a singing career of just 3-4 years he became immortal. He left behind him 3 Bhajans, 3 Gazals and 2 Punjabi song records. He left this world, after shining just like a Comet.

Then there is C. Arjun who composed an eternal song like ” Paas baitho tabiyat bahal jayegi,maut ayee to tal jayegi ” and disappeared like a Comet. There are many such examples in the history of HFM.

In the arena of HFM, there were several such Comets- which came, shone for a while and disappeared. They were small and big Comets. May be good or ordinary too. We do not know. There were few composers who did just 2 or 3 films and some did 15 to 20 films. Still this number was not enough for their hidden talents to showcase. Some names come to mind offhand like Daan singh, Dilip Dholakia, Jamal sen, Chand Pardesi, Sardar Malik, Sailesh Mukherji, Vasant kumar Naidu etc.

One such Comet was Music Director Premnath (Wadhva). Composer Premnath is an ideal case for ” Same Name Confusions’. Since his name coincides with the more well known actor Premnath,operating almost in the same period,people misunderstood that Actor Premnath and composer Premnath were the same persons. Surprisingly,actor Premnath was a good singer himself and had been trained by professional Ustads for classical music,but he could never fulfill his desire of becoming a singer and became an actor instead. However he did a film song,which was posted on this blog by our Sudhir ji,some years back-if I remember right. But the fact remains that both persons were different.

PREMNATH the Music Director was born on 5-7-1918 in Gujranwala,Punjab. He learnt music from experts in Amritsar,Multan and Lahore.He acted in films like Shahr-e-khamoshi and also sang in Sohni Mahiwal-1938.
After marriage,he moved to Bombay. His first film as a Music Director was Rangbhoomi-1946.In this film ,a novice Mohd. Rafi sang many songs for him.His other films were Dehati-47,Chandrahas-47,Sagar’s Pehla pyar-47. He then produced a film ” Chand sitare”-48 under the banner of Ravindra Art productions. Mukesh,Lata and Geeta Roy sang in it. In film ‘Alakh Niranjan’-50,he used Mohd. Faruqi,Sulochana Kadam and Rajkumari.
Premnath gave music to many films of Super pictures of Aspy Irani like bade bhaiya-51 and Maya Machhindra-51,in which surendra, Geeta, Rafi and Shamshad sang. His another film ‘Qatil Kaun’ in late 50s was not released. For this film,Rafi, Asha, Manna Dey, Mubarak Begum and Shamshad had given songs.
His films diminished. Sati vaishalini-59, Main hoon jaadugar-65, Tarzan in Fairyland-68 and Gyani ji-77 were his last films. He composed 99 songs in all.
After he stopped work as MD,he devoted his time for the welfare of Cine Artists as a trade union leader. As a Secretary,he served the music Directors’ Assn. for 30 years.
He died on 27-4-1993 at the age of 75 years.

Film Chand sitare’s star cast was Jeevan, Manorama, Rajan Haksar, Niranjan Sharma, Anita, Satish, Leela etc. In Hindi films two actresses were known as ” Aunty’. One was actress Shammi and the other was ” Manorama aunty “. Both actresses were Heroines in their early career for few films, but soon accepted character roles. Both were seniors and highly respected in the industry.

During the course of last 80 odd years, thousands of actors came to work in films. Most of them wanted to become Hero or Heroine, but all could not make it. What does it take to become a Hero in a film ? ( Talking only for the period 1931 to 1970 please). Is it good looks ? Then how come Shaikh Mukhtar became a Hero ? or Ranjan ? High education ? Then how come Master Bhagwan became a Hero ? A God Father ? Then how come Motilal or Surendra became Heros ? For girls too same logic applies. In the early era, most Heroines were uneducated, like Meena Shorey, for example- who could not even sign her name. All were not Handsome or beautiful. I sincerely feel, it is neither Talent nor the good looks, it is nothing but the Luck Factor, which helps in making a career in films. This explains why good looking, educated 1 or 2 film’s Heros could not sustain themselves for long. Same way, good looking girls like Vijayalaxmi, Bimla kumari, krishnakumari, Tabassum, Yashodhara katju, Shubha Khote, Shashikala etc could not continue beyond 3-4 films as Heroines.

In the 40’s era, Manorama was one such actress. She had good education, beautiful Punjabi looks, fine acting, but she could not go beyond 3 films as Heroine and to contend with side and character roles in all her career. Manorama was born in Lahore on 16-8-1920,as Irene Issac Daniels, from Punjabi father and Irish mother. She took good looks from the father. While a student, she did some child roles in films from 1926 to 1936 and as an adult, she debuted in Pancholi’s Khazanchi-41 ( when Khazanchi was remade in 1958, she was the only actor who featured in this version also. Some other such examples were Kanhaiyalal acting in film Aurat-40 and Mother India-57 and Jayant in film Mala-41 and its remake Amar-54.Naushad was the same MD for both Mala and Amar.) She then acted in Himmat-41, Khandan-42, Zamindar-42, Poonji-43, Panchhi-44, Patwari-45 in Lahore. Here only she did Heroine’s roles in Khamosh Nigahen, Rehana and Shalimar- all in 1946. After partition, she migrated to India, but she got only side and character roles.

Meanwhile, in 1947, she got married to Rajan Haksar. After coming to India, shortly, their marriage broke. She had one daughter-Roopa from this marriage. Roopa tried her luck in films in 1970, without much success. Then she got married and settled.

Manorama grew in weight. Now she got comic or vamp roles. She did films like Ghar ki izzat, Johari, Hanste aansoo, Ek phool do mali, Shor, karvaan etc etc. In all she acted in 161 films. Her last film was Water-2005. She died on 15-2-2008. She perhaps, had the longest career among actresses-from 1926 to 2005, that is a cool 80 years ! Manorama was a highly respected person in the industry. Neetu singh, Madhuri Dixit, Ram Mohan, Ekta kapoor and others were her fans. Her famous films were Jhanak Jhanak….,Half Ticket, Budtameez,and Seeta aur Geeta.

Film Chand sitare-48 had 8 songs. 7 songs have featured already on this Blog and today’s song is the last song of the film. So, with this song, film Chand sitare-48 joins the list of films who have all songs covered. My thanks to Sudhir ji for providing and uploading the full version of this song from his collection.


Song-Phir chaayi hain kaali ghataayen pardes na jaa (Chaand Sitaare)(1948) Singer-Shamshad Begam, Lyrics-Ishwar Chand Kapoor, MD-Premnath
Chorus

Lyrics

phir chhaayin hain kaali ghataayen
pardes na jaa
lo aayin hain mast hawaayen
pardes na jaa

mere sapnon ki duniya basa ke
yoon jaao na ankhiyaan churaa ke
ankhiyaan churaa ke
mere sapnon ki duniya basa ke
yoon jaao na ankhiyaan churaa ke
ankhiyaan churaa ke
hamen aisi adaayen na bhaayen
pardes na jaa
lo aayi hain mast
lo aayi hain mast hawaayen
pardes na jaa

dekho dekho
kisi ne li angdaayi
dekho dekho
kisi ne li angdaayi
haule haule
jawaani kehne aayi
haule haule
jawaani kehne aayi
haaye naa jaa
suhaani raaten bolein
ke jiya mera doley
naina moti ro len
haaye na jaa
suhaani raaten bolein
ke jiya mera doley
naina moti ro len
mere lab pe hai ye hi sadaayen
pardes na jaa
lo aayi hain mast
lo aayin hain mast hawaayen
pardes na jaa

o jee nainon se behta hai paani
raaja do din ki hai zindagaani
zindagaani
o jee nainon se behta hai paani
raaja do din ki hai zindagaani
zindagaani
ab aa jaa
kaleja munh ko aaye
bin tere raha na jaaye
ab aa jaa
kaleja munh ko aaye
bin tere raha na jaaye
ham raah pe akhiyaan bichhaayen
pardes na jaa
lo aaye hai mast
lo aayi hai mast hawaayen
pardes na jaa
phir chhaayin hain kaali ghataayen
pardes na jaa

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

फिर छाईं हैं काली घटाएँ
परदेस ना जा
लो आईं हैं मस्त हवाएँ
परदेस ना जा
मेरे सपनों की दुनिया बसा के
यूं जाओ ना अखियाँ चुरा के
अखियाँ चुरा के
मेरे सपनों की दुनिया बसा के
यूं जाओ ना अखियाँ चुरा के
अखियाँ चुरा के
हमें ऐसी अदायें ना भायें
परदेस ना जा
लो आईं हैं मस्त
लो आईं हैं मस्त हवाएँ
परदेस ना जा

देखो देखो
किसी ने ली अंगड़ाई
देखो देखो
किसी ने ली अंगड़ाई
हौले हौले
जवानी कहने आई
हौले हौले
जवानी कहने आई
हाए ना जा
सुहानी रातें बोलें
के जिया मेरा डोले
नैना मोती रो लें
हाए ना जा
सुहानी रातें बोलें
के जिया मेरा डोले
नैना मोती रो लें
मेरे लब पे हैं ये ही सदाएं
परदेस ना जा
लो आईं हैं मस्त
लो आईं हैं मस्त हवाएँ
परदेस ना जा

ओ जी नैनों से बहता है पानी
राजा दो दिन की ज़िंदगानी
ज़िंदगानी
ओ जी नैनों से बहता है पानी
राजा दो दिन की ज़िंदगानी
ज़िंदगानी
अब आ जा
कलेजा मुंह को आए
बिन तेरे रहा ना जाये
अब आ जा
कलेजा मुंह को आए
बिन तेरे रहा ना जाये
हम राह पे अखियाँ बिछाएं
परदेस ना जा
लो आईं हैं मस्त
लो आईं हैं मस्त हवाएँ
परदेस ना जा
फिर छाईं हैं काली घटाएँ
परदेस ना जा


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.

This article is his 700th writeup in the blog.

Blog Day : 3789 Post No. : 14773

This is my 700th article on this Blog. At this moment, of course, I am very happy. I can not forget the people who helped me reach here. The first is our ATUL ji, who has always been very supportive, helpful and considerate. I have been associated with this Blog for more than 8 years now, but believe it or not, I have yet to meet him ! We have not even talked on Phone anytime. His work is so systematic and perfect that this has never been a hindrance. I do hope to meet him in one of his visits to Mumbai.

The other person is the most popular one on this Blog. You guessed it right. SUDHIR ji. From our first interaction in 2011 on E mail, we are in contact with each others. I had the good fortune to meet him a couple of times. He has been very helpful to me in more than one way. Thank you, Atul ji and Sudhir ji.

Besides these two V.I.P.s, I am fortunate in getting many friends in the Atulite’s group. I find that every one of them has some special characteristic, from which I learnt something. Yes, it is never too late to learn from others.

Sometimes I wonder how the Destiny works. I retired from service in 1998. After being a Pharma Consultant for next 6 years, I left working and enjoyed life with family, visiting various places all over India with my wife. After I crossed 70 years of my age, I learnt working on Computers from my grandchildren on a Laptop gifted by my son in law. At the same time I learnt using the smart Phone and some other gadgets. I, then, found this Blog on the Internet and my life changed. I dug out my old diaries and notebooks in which I used to note down information on every film that I saw. Though some had spoiled with white ants, faded and torn, they were very useful . My first article on this Blog appeared on 1-10-2012 and then there was no looking back. I started writing on various sites and Blogs, but my heart was always with this Blog.

I never imagined in my dreams even, that I would ever write more than 700 articles on old films, that I would write a Book, or that I would be invited to join the Boards of some Pharma companies. But all this did happen, after I crossed my 70 years of age. Looks like, that age is just a number. What matters is your outlook towards life. A positive approach and a will to learn new things makes all the difference.

My First 100th article came on 11-4-2013…..after 6 months

Here is the progress of my writeups in the blog.

Century article Number Song Date Period taken
100th article Meri aankhen banin deewaani (Jagmohan Sursagar NFS) 10-4-2013 7 months
200th article Bhagwaan ye de vardaan mujhe (Tulsi Vivaah)(1971) 16-11-2013 7 months
300th article Hey Satyanaraya swaami (Maha Pooja)(1954) 10-6-2014 7 months
400th article Tu mi piaci caara(Bewaqoof)(1960) 21-4-2015 10 months
500th article Bedard tujhko pyaar kiya (Tajmahal)(1941) 6-4-2016 12 months
600th article Main patton mein chhupi kali hoon (Aandhi)(1940) 4-9-2017 17 months
700th article Shehron mein se sheher (Heer Ranjha)(1948) 2-12-2018 15 months

My sincere thanks to everyone.

Today’s song is from film Heer Ranjha-48, the first film in which the great composer Khayyam gave the music, albeit as Sharmaji, along with his colleague Varmaji as a pair Varmaji-Sharma ji. In one of his interviews, Khayyam had said, ” After working with the Batish brothers ( Pt. Amarnath, Pt.Husnlal and Bhagatram), I went to Lahore and joined G.A.Chishti. In 1947, he took me to Calcutta. I assisted him in 2 films- Yehi hai zindagi-47 and Jhuti kasme-48. His other assistant was one Rehman Varma. After these 2 films, Chishti saab went back to Lahore and we two came to Bombay. Those were the Partition times and we were little scared. We met Husnlal-Bhagatram. They not only assured us safety but also encouraged us to start giving music as a pair. They suggested that we call ourselves ” Varma ji-Sharma ji “. On their suggestions we went to Punjab Film Corporation, owned by Wali sahab. He knew me. He heard our tunes. Those days he was making a film Heer Ranjha and wanted some Punjabi type songs. Aziz Hindi, taken by him already was unable to do Punjabi type music. Wali sahab told us to make such songs and Aziz would do other songs. Thus started my music career.”

Today’s song is ” Shehron mein se shehar suna tha Lahore….”. Those who lived in Lahore in pre-partition days were extremely attached to that city. There was a saying ” Jine Lahore nai dekhya, wo te jamiya hi nahin” ( one who has not seen Lahore, has not been born). Everyone is proud of his town, but Lahore wasi people were different.

From my house towards Juhu, there is a building at the corner of Gulmohar Circle which has a board-” Karachi Residents’ Association”. On inquiry I discovered that this was a building owned by ( Sindhi speaking Hindu and Muslims) people who resided in Karachi before Partition. I was told that 5-6 such buildings exist all over Mumbai. On further inquiries, I was informed that there were a few buildings of ” Lahore Residents Association” also( Punjabi speaking Hindus and Muslims). When I met one of the residents of ” Lahore” wala building, that old gentleman was speaking so lovingly about old Lahore that I was surprised. Even after 70 years of Partition, these people had such fondness for Lahore…or Karachi, for that matter.

Lahore had played an important role in India’s film industry till Partition separated us. Lahore had a built in advantage that it was in the midst of Hindi/Urdu speaking population. Bombay was far off and Calcutta and Madras catered mainly to regional aspirations. In the 40s, some really good films like Khazanchi, Khandan, Daasi etc were made in Lahore. All the 3 leading actors, Dilip, Raj and Dev had roots across the border. Shyam, Omprakash, Karan Dewan, Pran, Surendra, Balraj Sahni, Khursheed, Mumtaz Shanti, Veena, Begum Para, Noorjehan, Meena Shorey, Suraiya, Manorama, Kamini Kaushal, Shyama…. a string of artistes who worked in Lahore enriched Indian films. Pancholi, Kardar, Rafi, Shamshad Begum, Jhande Khan, Ghulam Haider, Pt. Amarnath and brothers, Hansraj Behl, Khayyam, Vinod also worked in Lahore.

Lahore city in particular gave us many Gems in Music. They came from HIRA MANDI. (old name ‘ Tibbi’ ). Hira Mandi was an area which was for Tawayafs. For centuries, Hira mandi in Lahore nurtured some outstanding performing artistes. The famous Noorjehan, Khursheed, Shamshad begum, Mumtaz Shanti and many others came from Hira Mandi. Sardar Akhtar and Bahar Akhtar, wives of producer Mehboob khan and A.R.Kardar were also from Hira Mandi.

Most of the early film actresses for pre-partition Lahore cinema came from the Kothas of Hira Mandi. Cine people scouted Hira mandi for fresh new talents. The art of Music was confined to the streets of the courtesans, with Hira Mandi taking the lead as the largest settlement in the cultural capital of the state in the undivided Punjab.

Writer Nirupama Dutt said about Hira Mandi, in her book,’ Half the sky ‘…

Come evening and they would be out in their balconies in the finest of silks and jewels. Their eyes would be lined with kohl and their lips red with dandasa, bark of the walnut tree and the most fragrant of eastern perfumes or itars would fill the air. They were known as diamonds and such was their glitter that the whole street would seem studded with stars. These were the courtesans of Heera Mandi of Lahore in the years before Partition in 1947.

Heera Mandi was to Lahore what Chowk was to Lucknow, Sonagachi to Calcutta, Bhendi Bazar to Bombay and Mehboob ki Mehendi to Hyderabad, before Independence. These forbidden yet most sought-after bazaars where women sold their many talents were known as “kothas”. In these abodes lived women, many of them very talented artists, who were nevertheless social outcasts living on the fringes of the society. Interestingly, this place was first known as Tibbi Bazar. And this name is recorded in a Punjabi “tappa”:

Tibbi waliye la de paan ni teri

Tibbi de vich dukan ni”,

Pran Nevile,a Die hard ” Lahorite” and a retired I.A.S Diplomat of International reputation, says about Lahore,in his book ‘ Lahore ‘ –

Why was Lahore called the gem of India?” I asked. “That it indeed was,” Pran replied, “It was totally different from the rest of India, in every way. It was the educational centre of North India. It had more colleges than any other city of India. The student population of Lahore was lively and wonderful. Co-education came late, but there it was. Lahore was always very prosperous; it was the hub of North India right up to Peshawar. Everything about Lahore was special. If you wanted to see the best-dressed young men in India, they were to be found in Lahore. The best food in India was to be found in Lahore. It was a city of gourmets and it had romance. A popular film song of those days went: Ik shehr ki laundia, nainoon ke teer chala gayee.And this doggerel that we all knew and I to this day remember: Tibbi mein phir ke jalwa-e-Parwardigar dekh: Hai dekhney ki cheez issay baar baar dekh.The great stars, the great movers and shakers of the Bombay movie world were all from Lahore.”

The song mentions not only Lahore, but some other cities of old Punjab( pre-partition) like Multan,Ambala etc. The music and tune has a clear Punjabi style and it is having a fast rhythm too. Considering that it was Khayyam’s first film as an MD, the songs are very catchy.Among the crop of new composers, who began their career after Independence, I rate Khayyam very high. Unlike some others, his name was never heard in any controversy or filmy behaviour. He was always very dignified.

Khayyam did only 69 films composing 381 songs. He wanted to be a singer and actually started his film career by singing a song in film Romeo and Juliet-47. Later he also sang one ore song in film Anjuman-86. His last fil, so far, is Bazaar E Husn-2014.

Let us enjoy this song, obtained from the collection of our Sudhir ji. I am sure you too will like it.


Song- Shehron mein se shehar suna tha (Heer Ranjha)(1948) Singers- Uma Devi,Unknown female voice, Lyrics- Wali Sahab, MD- Varmaji- Sharma ji
chorus

Lyrics

o o
beliyaa
Shehron mein se shehar suna tha
sheher suna Lahore

main mar gayi
sheher suna Lahore
miley jo mera chhail chhabeela
miley jo mera chhail chhabeela
kuchh na maangoon aur
main mar gayi
kuchh na maangoon aur
kuchh na maangoon aur
main mar gayi
kuchh na maangoon aur

ho o
beliyaan

Shehron mein se shehar suna tha
sheher suna thha Dehli
Shehron mein se shehar suna tha
sheher suna thha Dehii
main mar gayi
sheher suna thha Dehli

bina piye wo huye sharaabi
bina piye wo huye sharaabi
dekh ke mujhe akeli

baalam le chal re
le chal re mohe Dehli
baalam le chal re
le chal re mohe Dehli
baalam le chal re ae
ho o

ho o
beliyaan
Shehron mein se shehar suna tha
sheher suna Multan

main mar gayi
sheher suna Multan

aaye jo pardes se baalam
aaye jo pardes se baalam
jaan meri qurbaan beliyaa
jaan meri qurbaan
jaan meri qurbaan beliyaa
jaan meri qurbaan

ho o
beliyaan

Shehron mein se shehar suna tha
sheher suna Kashmir
Shehron mein se shehar suna tha
sheher suna Kashmir
main mar gayi
sheher suna Kashmir

baalam ki mohe yaad sataaye
baalam ki mohe yaad sataaye
uthe ped ke ??

baalam
le chal re
le chal re Kashmir
baalam
le chal re
le chal re Kashmir
baalam
le chal re ae
ha aa

ho o
beliyaan
Shehron mein se shehar suna tha
sheher suna Ambala

main mar gayi
sheher suna Ambala

main chhori hoon gori gori
main chhori hoon gori gori

baalam kaala kaala
main to dekhoongi
dekhoongi Ambala
main to dekhoongi
dekhoongi Ambala
main to dekhoongi
haa


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3787 Post No. : 14771

“Lakhpati”(1948) was directed by Ravindra Jaikar for Fim Chitra Corporation, Bombay. This “social” movie had Sulochana Chatterji, D M Sapru, Rajan Haksar, Om Prakash, Baby Tabassum, LLeela Chitnis, Narmada Shankar, Dharpure, Nagotkar, Satyapal etc in it.

This forgotten movie had eleven obscure songs in it. Two of these songs have been covered in the past

Here is the third song from “Lakhpati”(1948) to appear in the blog. This song is sung by R P Sharma. Qamar Jalalabadi is the lyricist. Music is composed by Husnlal Bhagatram.

Only the audio of the song is available.

The singer R P Sharma appears to be a new name and he makes his debut in the blog with this song. I request our knowledgeable readers to throw light on him.


Song-O bhoolne waale tera iqraar kahaan hai (Lakhpati)(1948) Singer-R P Sharma, Lyrics-Qamar Jalalabadi, MD-Husnlal Bhagatram

Lyrics

Kahaan hai
kahaan hai
kahaan hai ae
o bhoolne waale
tera iqraar kahaan hai
iqraar kahaan hai
o bhoolne waale
tera iqraar kahaan hai
iqraar kahaan hai
khwaabon ne jise paala thha
wo pyaar kahaan hai
wo pyaar kahaan hai
khwaabon ne jise paala thha
wo pyaar kahaan hai
wo pyaar kahaan hai

o jaane waale
tujhko mubaarak nayi duniya
o jaane waale
tujhko mubaarak nayi duniya
mubaarak nayi duniya
hamne jo basaaya thha
wo sansaar kahaan hai
sansaar kahaan hai
hamne jo basaaya thha
wo sansaar kahaan hai
sansaar kahaan hai
kahaan hai ae
kahaan hai
kahaan hai ae
o bhoolne waale
tera iqraar kahaan hai
iqraar kahaan hai

ae aansuon ke haar
mujhe itna bata de
ae aansuon ke haar
mujhe itna bata de
itna bata de
phoolon ka banaaya hua
wo haar kahaan hai
wo haar kahaan hai
phoolon ka banaaya hua
wo haar kahaan hai
wo haar kahaan hai
kahaan hai ae
kahaan hai
kahaan hai ae
o bhoolne waale
tera iqraar kahaan hai
iqraar kahaan hai


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3782 Post No. : 14762

Today’s song is from the film Gunsundari(1948). It was a bilingual movie in Gujarati and Hindi, made by Ajit Films-a cover company of Ranjit Movietone.

This film was the third Avatar of the same story with same title. First time, Chandulal Shah wrote the story of the film, based on a famous Gujarati drama,”Sangeet Leelavati”, which had appeared in the first decade of the twentieth century. It was written by Keshavlal Bhojak. Chandulal Shah directed the silent film Gunsundari-1927, made by Kohinoor Film company. The cast included Miss Gohar, Raja Sandow and Rampyari in the lead. This silent film was remade in 1934 as a Talkie film ” Gunsundari’-1934, with the same story and same cast. Like the first silent film, even this edition was a hit film.

In the initial stage of Ranjit Movietone, Gunsundari-34 was a Milestone and gave the company the much needed money and stability. Incidentally, after this film, Chandulal and Gohar Mamajiwala came closer and stayed together till Chandulal’s death.

In 1946-47, when Ranjit Movietone came into financial difficulties ( Chandulal Shah had lost 1.25 Crores in one day in Satta Bazar ), it was ‘Gunsundari’ again which was thought of as a saviour. This time, however, the film was made by a cover company of Ranjit- Ajit Chitra, and was directed by Ratilal Punatar, nephew of Chandulal Shah. The set of actors also changed as Gohar had not only stopped acting, but had passed the age and glamour of a Heroine, by now.

A new Heroine- Kokila Balsara was selected as Heroine. She was renamed as Nirupa Roy. This was her first film as a Heroine. The Hero was Manhar Desai. He was actually a Christian- Malcolm Alfredo D’souza. This was his first film with Nirupa Roy. Later, the pair featured in many films-mostly Mythologicals. In Hindi films, it is a miracle that two Christian actors- Manhar Desai and Shahu Modak, became famous by doing Hindu God’s roles in Hindi films. This also confirms that our Film industry was truly a Secular one.

Due to the Partition, Independence etc, film Gunsundari got delayed. Meanwhile Chandulal started another film Lakhon mein ek-47, with Nirupa Roy as the Heroine. This film was released first and for Nirupa Roy, it was on record as her Debut film as a Heroine. As expected, Gunsundari-48 which was made in Gujarati and Hindi, became a hit film in both languages. Nirupa Roy’s acting was appreciated by one and all…including the impossible Baburao Patel of Film India. Gujarati people spread all over India loved the film, as it was shown to be a story happening in a Gujarati family.

The story of Gunsundari was very simple. A simple village girl is married to a rich, educated and modern boy. He does not like this villege belle and keeps off her, spending his time with a professional singer. The film showed how the heroine gets herself educated and becomes modern. At the same time she serves her in laws in traditional ways, winning their hearts and support. In the end, the husband realises his folly and she wins him back completely.

Indian film audience of India is unusual. They are not tired of repetition of popular stories and themes rather they take pleasure in repeat viewing. Therefore a popular theme gets made as a film again and again. This is exactly what happened in case of Gunsundari.

There are several examples of popular films made with same story and same title.

Gunsundari- 1927, 1934 and 1948 ( Gohar in first 2 films)
Devdas- 1934 (Bangla), 1935 (Hindi) and 1955 ( I am not counting Shahrukh’s film)
Anarkali- 1928, 1935 and 1953 ( Sulochana-Ruby Myers- acted in all three. In the first two films, she was Anarkali. In the third, she did a character role.)
Khazanchi-1941 and 1958 ( Manorama acted in both films.)

Off hand, I remember only these films, where the story and Title was same. There may be more such cases.

There are umpteen number of film remakes on the same story, but with different Titles and casts. Some examples I remember at this moment are.

Aurat-40 and Mother India-57 ( Kanhaiyalal acted in both versions).
Mala-41 and Amar-54 (Jayant acted in both. Naushad gave music to both)
Grihasthi-48 and Ghar basake dekho-63
Malkin-53 and Biradari-66
Geeta-40 ( Chandramohan did double role of Father and son) and Ustad-57 (Ashok kumar did the double role) and Karmyogi-78(Rajkumar did double role)
Sangram-50 and Shakti-82
Kismet-43 and Bandhe Haath-73
School Master-59 and Zindagi-76 and Baadbaan-2003

There are many such remakes and the list would be too long. This only proves that a popular theme/story is worth in remaking a film.

Why does this happen. Are there shortage of stories ?

In 2004, a book called “Why we tell stories’, written by Christopher Booker was published. It is a book having more than 700 pages-728 pages to be exact. The book says “There are only 7 (Seven) basic plots in the whole world. They are recycled again and again in Novels, movies, Plays and Operas. These are

1.Overcoming the Monster
2.Rags to riches
3.The quest
4.Voyage and return
5.Rebirth
6.Comedy and
7.Tragedy .

After this book was published, there was a chaos and criticism started. ‘New York Times’ also jumped in. The author coolly replied all points and stuck to his statements. If we look at Hindi films, I personally feel that what the author has said is true in our case. Only thing is that our film stories are always a clever mixture of all or some of the above points.

Coming back to today’s song, it is a lovely song by Amirbai. There were 3 MDs-Bulo C Rani, Hansraj Bahl and Avinash Vyas. For 14 songs, 5 singers were used. Sadly, some of the songs ( including today’s song) are not credited to any of the 3 Music Directors. Also we do not know the lyricist’s full name .

After listening to the song, I find it has lot of similarity to Nurjehan’s song from film ‘Dost’-44- Badnam muhabbat kaun karen, aur ishq ko ruswa kaun kare. Just like Sajjad Hussain used a pause after the word ‘badnaam’, in Nurjehan’s song to get a special effect, in today’s song also there is a pause after the word Ármaan’. However, the same magical effect is not achieved. Afterall original is original !


Song-Tumse muhabbat kaun kare armaan pareshaan kaun kare(Gunsundari)(1948) Singer- Amirbai Karnataki, Lyricist- Sharma

Lyrics

Tumse muhabbat kaun kare
armaan pareshaan kaun kare ae
Tumse muhabbat kaun kare
armaan pareshaan kaun kare
ummeed se hansti duniya ko
ummeed se hansti duniya ko
pal bhar mein biyaanbaan kaun kare ae
tumse muhabbat kaun kare
armaan pareshaan kaun kare

jab jaan ki dushman ulfat hai
jab jaan ki dushman ulfat hai
aur pyaar hai dushman raahat ka
aur pyaar hai dushman raahat ka
aap hi apne haathon se
aap hi apne haathon se
phir maut ka saamaa kaun kare ae
tumse muhabbat kaun kare
armaan pareshaan kaun kare

kyun tumse aankhen chaar kare
kyun tumse aankhen chaar kare
kyun ulfat ka iqraar kare
kyun ulfat ka iqraar kare
chitchor ko dil ki nagri ka
chitchor ko dil ki nagri ka
betaur(??) nigehbaan kaun kare ae
tumse muhabbat kaun kare
armaan pareshan kaun kare

har waqt labon par aahen hon
har waqt labon par aahen hon
aur haath kaleje par hi rahe
aur haath kaleje par hi rahe
din raat lahu ke ashq baha kar
aankhon ko veeraan kaun kare
din raat lahu ke ashq baha kar
aankhon ko veeraan kaun kare ae
tumse muhabbat kaun kare
armaan pareshaan kaun kare ae
tumse muhabbat kaun kare
armaan pareshaan kaun kare


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3780 Post No. : 14760 Movie Count :

4036

Do you like Magic ?

I do.

Most people like magic. Right from our childhood, we have been reading stories of Magic. Good Magicians. Bad Magicians. Most fairy tales are full of magic. Magic is the escape route for the aggrieved and stressed mind. Even when we grew up,how we wished that we could do some magic and achieve what we wanted or solve the distressing problem !

Not only Children’s books, but even Mythological stories are full of Magic. No God is a God if he does not do Magic ! Every adult has a child hidden in him. Magic satiates the child’s desires. Days of real Magic were imaginary, but stage Magicians created sleight of hand shows, Hypnotism, Illusions and clever tricks on the stage to make a smart substitute for real magic.

At the same time, film makers took up interesting magical stories like Alladin to make films for their audience. Alladin, Gul e Bakavli and stories of their ilk entertained not only the children, but also adults, who lapped them up. From the Film Title Index of Hamraz ji, I counted about 36 films with the word Jadu in its titles, Magic in 10, Ram in 25, Krishna in 23, Shree in 36. Add to this, films made with other alphabets on the various saints, Gods, Satis, Matas and Bhagwan etc etc. During the 10 years period from 1950 to 1959 alone, 124 Mythological films were made !

This only shows that films having Magic were a popular brand and so ‘C’ grade films like Jadui Angoothi, Jadui Shehnai, Jadui Chitra, Jadui this and Jadui that etc were made.

One of these magic films was Jadui Bansari-48, made by Mohan Pictures-known for quickies and C grade stunt/action and fantasy films. It was directed by Nanubhai Vakil and the music was by Damodar Sharma. Lyricist was Roopbani and the cast was Amirbai Karnataki, Prakash, Ansari, Master Bachha, Anwari and others.

Talking of C grade Action,Historical, Fantasy and Costume films, in India ( and probably elsewhere in the world), there was a class of people, who not only liked these types of films but also were addicted to them. People went to theatre to forget the daily troubles of living a life and to enjoy few moments. For this purpose some people liked music, some liked emotions, some tragedy and yet some comedy. Films were made to cater to every type of audience. Due to this “speciality” actors were identified and thus we had Comedians, Tragedy Kings and queens,Great actors,Great singers and also Great Fighters.

Normally the shift of any actor from one Genre to the other was not acceptable to the audience. That is why, when the Romantic Hero of the late 30s and the 40s-Ashok Kumar acted as King Humayun and ran ( in a feminine style) with a spear in hand, in the film Humayun-1945, the audience ridiculed and laughed at him in the Theatres ! Even when Master Bhagwan acted in a serious role, the public used to laugh treating it as a comedy. Trilok Kapoor never succeeded in a social film. Of course there were some exceptional cases like actress Meena Kumari who changed over from Mythological films to social films and became No 1 star ultimately. But this was a rare and exceptional case.

Not only actors, even Directors and Producers were known for the specialities of films they made. Those who excelled in C grade films rarely tried their hand at other Genres and when they did try, they failed miserably. Here again is an exception in the form of Master Bhagwan-who transitioned from Action film to social films with his “Albela”-1951 and succeeded with this film but all his subsequent films flopped. This was because “Albela” succeeded due to extraordinary music, which could never be replicated in any of his subsequent films that followed.

There was, however one Director who was comfortable with C grade films of Magic, Action, Costume, Fantasy etc. NANUBHAI VAKIL.

Nanubhai Vakil was born in a Desai family of Valsad in Gujarat in the year 1904. In his family there were many Advocates including his father, so their family name itself became Vakil. Nanubhai came to Bombay to study Law. He completed his B.A. LL.B from Wilson College, Bombay but he did not join his family profession. Instead he was attracted towards the film world.

He joined Sharada films as a screenplay writer and later joined Ranjit films as a Director. He directed 18 silent films for Ranjit studios. However, it was Sagar Movietone which gave him the first opportunity to direct his first Talkie film. It was the First Gujarati Talkie film, “Narsimh Mehto” in 1932. After this there was no looking back. He selected and became expert in directing only Fantasy,Stunt and Costume films.
In his career from 1929 to 1973 period,he directed 20 silent and 70 Talkie films -all stunt and fantasy films, except one social film Kya yeh Bambai hai in 1959.

He was associated with Mohan pictures for a long time and directed 18 films for this company. During this period he also married his Heroine Sarojini ( real name Roshan Jehan alias Ranee). They had one daughter-AZRA, who too became an actress. Sarojini was the sister of Indurani, who was married to Ramnik Shah, owner of Mohan Pictures. Thus Ramnik and Nanubhai were ‘Sadu’s ( Co-Brothers).

Unlike most of his colleagues ,who had no formal school education ,Mr Vakil was highly educated, being B.A.L.L.B. in those days. Since beginning,he was attracted to Fantasy & Arabian Night movies.He believed that,the audience visits the cinema hall,to experience some thing,which he has not seen in his real life.He wants to be entertained & to forget the harsh realities of the outer world.Fantasy/ Costume movies transports him to an imaginary world of King & Queens,where beside the crafty Vazir,he finds gorgeous girls dancing,the handsome,manly & brave hero,rescues the pretty damsel from the clutches of evil magician.The movie come to an end and the viewers come out from the theater,happy & satisfied,since evil doers have been eliminated & brave man living happily with the petite gal,in their fairy land. Bulbul E Bagh,Rashk E Laila,Fakhr E Islam,Gulshan E Alam,Kumud Kumari were his earlier movies.

In 50s & 60s, few of his movies were, Shan E Hatim,Khul Ja Sim Sim,ShanE Khuda, Idd Ka Chand,Noor Mahal,Flying Rani,Alam Ara Ki Beti,Bansri Bala, Hatim Tai Ka Beta etc..He made remakes of many movie like Lal E Yaman, Alam Ara (Twice, in 1956 & !973) & Hatim Tai Ki Beti in 1940 & 1955. During his five decades long career, he made movies with in a small budget, with less paid actors. Nanu Bhai Vakil had two productions Companies viz Desai Films & Vakil Production. All his movies had no connect with the present. Elite & pseudo intellectuals avoided to even discuss his movies, but Vakil Sahab had a dedicated audience consisting of common public,less privileged & so called front benchers,who enjoyed his brand of cinema.

His films included less known stars like Sarojini, Navin chandra, Rafiq, Prakash,Gulnar,Daljit, Chitra etc. He also worked with Zubeida, Yakub, Jal Merchant,Jaddanbai,Shanta Hublikar, Nimmi, Veena, Jairaj, Shakila,Nirupa Roy, Nadira,Mehmood,Shobhana Samarth, Nirmala,her husband Arun Ahuja etc His MDs were also little known. However,Music Director A.R.Qureshi ( the famous Tabla Nawaz Alla Rakha-father of Zakir Hussain) gave music to his 18 films.

He never mixed with film folks and spent his life aloof. He quietly died on 29-12-1980 at Bombay.

Actress Anwari, who acted in film Jadui Bansari-48, was from a Tawayaf family of Lucknow. She started her acting career with film Heer Ranjha-32 and then she acted in film Pooran Bhagat-1932, along with K L Saigal. She joined East India Film co. and worked in films likeAurat ka pyar-33,Night Bird-34, Nagin-34 and Mumtaz Begum-34. She had also acted in another NT film Chandidas-34. She shifted her base to Bombay and worked in several films for next four decades. Her last film was Chaitali-1975. In all she did 140 films. She was known as ‘ Pride of Lucknow’ during her peak period. She was credited variously as Anwari Begum, Anwari, and Anwari bai. She expired somewhere in early 80s.

Among the old era MDs, Damodar Sharma was different, in the sense that his songs were always unlike those of his contemporaries. When you hear today’s song, you will notice that difference. From 1934 to 1948, he gave music to just 41 films. All his films were C grade films made by Paramount, Liberty, Ramnik Productions, Mohan Pictures and others. After 1948, he stopped getting films, so he worked as assistant to MD A.R.Qureshi till 1964. Today’s song is sung by Amirbai Karnataki and A.R.Oza.

Amritlal R. Oza was a Nagar Bramhin from Gujarat. He joined Ranjit when Khemchand Prakash, Gyan Dutt and Bulo C Rani were paid musicians there. His first song came in Pujari-46. He was very friendly with Bulo C Rai and Hansraj behl. He sang maximum songs for them only. At the same time he sang in Gujarati films and he became very famous and popular there.

Some Hindi films in which he sang are, Lakhon mein ek-47, Nanad Bhojai-48, Bichhade Balam-49( he sang with Meenakumari also), Bhool Bhulaiyan-49, Nili-50 etc. He sang 39 songs in 23 Hindi films,but sang much and many more in Gujarati. After retirement he settled in Ahmedabad, where he died on 13-5-1985.

Let us now enjoy this fast paced lovely duet from Film Jadui Bansari-48, which makes its Debut on the Blog.


Song-Ghar ghar yahi prachaar karo (Jaadui Bansari)(1948) Singers- Amirbai Karnataki, A R Oza, Lyrics- Roopvani, MD- Damodar Sharma
Male chorus
All together

Lyrics

Ghar ghar yahi prachaar karo
duniya waalon pyaar karo
Ghar ghar yahi prachaar karo
duniya waalon pyaar karo

pyaar se jab dil milte hain
pyaar se jab dil milte hain

man ke kamal tab khilte hain
man ke kamal tab khilte hain
jeet karo ya haar karo
jeet karo ya haar karo

duniya waalon pyaar karo
duniya waalon pyaar karo
Ghar ghar yahi prachaar karo
duniya waalon pyaar karo

apna kaho to apna jaano
preet ki reet ko tum pehchaano
apna kaho to apna jaano
preet ki reet ko tum pehchaano
sabse naina chaar karo
sabse naina chaar karo

duniya waalon pyaar karo
duniya waalon pyaar karo
Ghar ghar yahi prachaar karo
duniya waalon pyaar karo
Ghar ghar yahi prachaar karo
duniya waalon pyaar karo

hamne dekho
hamne dekho pyaar kiya hai
jooton(?) ka vyapaar kiya hai
hamne dekho pyaar kiya hai
jooton(?) ka vyopaar kiya hai

tum bhi ye vyapaar karo
tum bhi ye vyapaar karo

duniya waalon pyaar karo
duniya waalon pyaar karo
Ghar ghar yahi prachaar karo
duniya waalon pyaar karo
Ghar ghar yahi prachaar karo o


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3771 Post No. : 14746

“Anjna”(1948) was directed by Sam Popat for Alka Pictures, Bombay. The movie had Bharat Bhushan, Shalini, Neelam, Baazid,D. C. Dutt, S. K. Prem, Uma Dutt, Ratan Gaurang, Bismilla, Rosie vairale etc in it.
etc in it.

The movie had eight songs in it. One song is covered in the past.

Here is the second song from “Anjna”(1948). This song is sung by Geeta Dutt. Lyrics are penned by Vishwamitra Adil. Music is composed by D C Dutt.

Only the audio of this song is available. I request our knowledgeable readers to throw light on this movie as well as on the picturisation of this song.


Song-Dil ke geet gaayenge (Anjna)(1948) Singer-Geeta Dutt, Lyrics-Vishwamitra Adil, MD-D C Dutt

Lyrics

dil ke geet gaayenge
mil ke geet gaayenge
aaja dil milaayenge
mil ke geet gaayenge
dil ke geet gaayenge

preet lagaai hai jab tune
aaja preet nibhaayen baalma
aaja preet nibhaayen
preet lagai hai jab toone
aaja preet nibhaye balma
aaja preet nibhaayen
tu veena ban geet banu main
dono ghul mil jaye
o bedardi aaja
aaja dil milayenge
mil ke geet gaayenge
dil ke geet gaayenge

tera jeewan mera jeewan main teri tu mera
tera jeewan mera jeewan main teri tu mera
do din ka hai mela phir to uth jaayega dera
bedardi aaja
aaja dil milaayenge
milke geet gaayenge
dil ke geet gaayenge

jhilmil chamke aas ke tare
virah rain daraye
balma virah rain daraaye
jhilmil chamke aas ke taare
virah rain daraaye
baalma virah rain daraaye
yaad teri ek zehree naagin ban kar dasti jaaye
haaye re haaye bedardi aaja
aaja dil milaayenge
milke geet gaayenge
dil ke geet gaayenge

laane par majboor hoon main
tu jaane par majboor
laane par majboor hoon main
tu jaane par majboor
main to tujhse door nahin hoon
tu kyun mujhse door
bedardi aaja aaja dil milaayenge
milke geet gaayenge
dil ke geet gaayenge


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This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where “new” songs are added every day, and that has been the case for over TEN years. This blog has over 15000 song posts by now.

This blog is active and online for over 3900 days since its beginning on 19 july 2008.

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Movies with all their songs covered =1167
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