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

Posts Tagged ‘1949


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 : 3870 Post No. : 14888

Today’s song is from film Tara-49. The cast of the film was Majnu, Kuldip Kaur, Jawahar kaul, Shyama,Nayantara, Chand Burke etc etc. This is a duet song sung by Satish Batra and Premlata. Aziz Kasmiri’s songs were composed by the melody master Vinod. The film was directed by R D Parinja.

I like to discuss less heard and not so famous films, because it gives me an opportunity to dig out information on the forgotten small time and big time artistes of yore. Some of the names are not even heard by the new generation and no wonder. That way, older film buffs of my age group (75 to 80) are not aware of the new and current Bollywood superstars- even if they are very popular and famous. With films making(rather raking) business in crores these days ( anything between 100 to 200 crores), every alternate actor is a superstar for a period of 2 to 3 years !

TARA-1949 was truly an obscure film,because when it was released,for unknown reasons,it went off the theatres within a week’s time and never came for even a second run,like other movies.
All my efforts to see this film came to a nought. I was keen to see this film,as its MD was VINOD,who had become popular due to the immortal Lara Lappa song from EK THI LADKI-49.

This film had 12 songs. Vinod had a penchant for giving chance to new/less known singers in his films. Thus Vinata Amladi(Dilli se aaya bhai Tingu fame) and Gandhari (Rane),Meenal Wagh, Satish Batra etc got opportunities in film world. In the 12 songs of the film Vinod had used as many as 7 singers-
Gandhari (Rane), Premlata, Uma Devi(Tun Tun), Raj kumari, Geeta Roy, Hameeda Bano and Satish Batra-the only male singer.

Vinod had another(good) habit. He liked to have atleast 1 or 2 fun songs in his films.In this film also there were 2 fun songs.

1. Mithhaai ki dukaan meri Dilli ke baazaar mein(Taara) Gandhari(Rane) and
2. Pyaar karna ho to yaaron kar lo teliphoon(Taara) Satish Batra and Rajkumari.

The director of this film was Mr.R.D.Parinja. He started his career as a Cinematographer in Bombay Talkies in its haydays.
He filmed Izzat, Prem kahani, Jeevan Prabhat,and Savitri-all 37 films, and then Kangan,Azaad,Jhoola,Bandhan,Naya sansar and Kismet.
When he was in Bombay Talkies,the German pair of Director Franz Osten and Cinematographer Joseph Wirsching were also there. He must have learnt a lot from them(or did he ?).

When Parinja left Bombay Talkies in its waning bad times he tired to produce and Direct films on his own.
first it was Sona Chandi-46 and then it was Tara-49.
After Tara,the film and the producer/Director disappeared into obscurity for ever.

Jawahar Kaul was the Hero of the film and the Heroine was not Shyama ( she was still a struggling artiste doing titbit roles) but Kuldip Kaur in this film. This was one of the few films where she was Heroine. Otherwise she was a perfect Vamp in films. Her life story is different . Saadat Hasan Manto has written several pages on her in his book ” Dastavez”-Volume 5 and as his wont was, it was not a flattering description of Kuldip.

Kuldip Kaur was born sometime in 1927 and brought up like a princess. Her spoiled Sardar husband wanted his wife to be like a modern westernized lady. He wanted his wife to learn swimming and rub shoulders with the club-going English elite based in Lahore and Amritsar.Once exposed to the club culture, Kuldip Kaur also started getting a taste of its dark side.

Since Lahore was a film city, Kuldip Kaur started dreaming about becoming a film actress. According to one story, Kuldip Kaur started admiring the professional qualities of actor Pran Nath, who was in film acting in Lahore since 1940, when he successfully performed the role of a hero in Punjabi film “Yamla Jutt” (The Simple Peasant).

By July and August of 1947, communal violence erupted into a full-fledged exercise in ethnic cleansing, with Muslims on one side and Sikhs and Hindus on the other. Both Lahore and Amritsar were engulfed in the worst sectarian violence in recent history.

Both Pran and Kuldip Kaur were made to leave Lahore in a jiffy, leaving virtually every belonging behind. Her own village being right on the border was also not peaceful. So Kuldip Kaur left straight for Bombay. According to one story, in order to impress Pran, Kuldip Kaur
decided to bring Pran’s stranded car from Lahore to Bombay. In a gesture of unprecedented daredevilry, she travelled from the safety of Amritsar to Lahore and drove Pran’s car first to Amritsar and then all the way to Bombay, where she handed over
the keys to a surprised but grateful Pran.

After leaving for Bombay, Kuldip Kaur’s contact with her parents and in-laws got diminished. On arrival in Bombay, Kuldip Kaur made up her mind to plunge headlong into the film industry. She was prepared to act in Hindi/Urdu as well as Punjabi films. The experts of film industry were of the opinion that her large piercing eyes and her flat chin made her an ideal choice for the role of a vamp.
The first ranking heroines of the time included Naseem Bano, Madhubala, Nargis, Suraiya and Nutan. Other heroines included Binarai, Shyama, Nimmi, Nirupa Roy, Meena Shori, Nigar Sultana, Veena and Kamini Kaushal. There was a shortage of ladies willing to perform the role of vamps.
One of Kuldip Kaur’s first films was a Punjabi blockbuster “Chaman” (1948). Within the same year Kuldip Kaur acted in two Hindi/Urdu films “Ziddi” and “Grahasthi“. All her 1948 films did well. After that she never looked back and went from strength to strength. At one stage Kuldip
Kaur was so busy in her film roles that for a long duration she did not visit Punjab.

In 1949, Kuldip Kaur worked in at least two films “Ek Thi Ladki” and “Kaneez”. “Ek Thi Ladki” was a blockbuster. Music Director Vinod composed some great tunes for this movie. “Kaneez” did not do too well.In 1950, Kuldip Kaur acted in two great musical Hindi movies “Samadhi” and “Adhi Raat” and did two Punjabi movies “Madaari” and “Chhai”. 1951 was a great year for her: she played the roles of vamps in six movies – “Stage”, “Rajput”, “Nai Zindagi”, “Ek Nazar”, “Afsana” and “Mukhra”. Her role in film “Afsana” received critical acclaim.
1952 was another great year for Kuldip Kaur. She worked in four movies – “Shisham”, “Nau Bahar”, “Baiju Bawra” and “Anjaam”. Again her role was highly praised in what became an all-time classic, “Baiju Bawra”. In 1953 again, Kuldip Kaur had four films – “Mashooka”, “Baaz”, “Anarkali” and “Aabshar”. Of these, “Anarkali” was a super hit and her role stole the limelight. 1954 proved another great year. She was featured in three movies – “Lal Pari”, “Gul Bahar” and “Daak Babu”. 1955 was one of her busiest professional years. She played the bad girl’s role in “Teer Andaz”, “Miss Coca Cola”, “Mast Qalandar” and “Jashan”.

In 1956, things slowed down a bit. She worked in two films, but none was released. Two of Kuldip Kaur starrers spilled over into the new year and were released in 1957. These were “Sheroo” and “Ek Saal”. In 1958 Kuldip Kaur had her roles in two films “Sahara” and “Panchyat”. In 1959, she did three films – “Pyaar Ka Rishta”, “Mohar” and “Jagir”. Out of these, one film, “Mohar,” was a great musical. Its music composed by Madan Mohan was simply outstanding. When Kuldip had fewer Hindi films in hand, she worked in Punjabi films.
1960 started as a reasonably good year for Kuldip Kaur. She had a Hindi film, “Maa Baap,” and a Punjabi film, “Yamla Jutt”.But during this very year, her life was cut short when she got some thorns in her feet and legs and she pulled those out by herself. True to her character of a daredevil woman, she did not seek medical advice immediately. Her sores became not only septic, but she contracted tetanus too, which was then incurable.

Kuldip Kaur died on 3rd February 1960. She worked in 69 films.

Jawahar kaul was one Hero, about whom not much is written about. That is because hardly any of his film was famous, nor was he known for his acting prowess or good looks like say Karan Dewan or Bharat Bhushan. I remember him in films like Khidki-48, Dekh kabira roya-57 and Bhabhi-57. Jawahar Kaul was born into a Nehru family on the 27th of September in the year 1927 in the place once revered as the heaven of India – Srinagar, Kashmir. When Jawahar was six days old, his grandfather’s sister adopted him, and his surname was subsequently changed to Kaul. Kaul did his Intermediate from the Punjab University and then went to the town of Rawalpindi. After spending some time there, he decided to go to Mumbai. His parents were not in favour of it and hence he convinced them that he would complete his graduation from the Pune University. He had a deep attraction for films from an early age and hence wanted to try his luck in the industry. In the 1940s, Dadar had three studios – Ranjit, Shri Sound and Supreme and hence was the epicenter of Indian cinema. Jawahar made Dadar his address.
He was always short on money as his family wasn’t aware of his venture into cinema. He often slept at the studio of Prabha Pictures. Due to his Kashmiri background – his looks, complexion, height were impressive, and he started getting work soon. Jawahar started his career doing minor roles. He used to potray supporting characters in big films. He made his debut while playing actor Kishor Sahu’s younger brother in the 1945’s ‘Veer Kunal’. In this year, he was seen in the role of ‘Humayun Mahawat’ in ‘Ek Din Ka Sultan’ which was made by Sohrab Modi. His first main lead role was in the flick ‘Khidki’ which was made in 1948. He was paired with Rehana for the same.

In Dadar, he became good friends with Radhakishan Mehra. Mehra used to live in the Lallubhai Mansion where Dada Bhagwan and Prabha Shankar Yagnik, ( brother of stunt film actor Navin Yagnik), the production managers of films used to stay too. It wasn’t long when Prabha Shankar and Kaul became good friends and started sharing their apartment. Their trio and friendship became popular in the film circle. Pyarelal Satoshi was friends with Radhakrishnan, and when he became a producer, he cast Kaul in his first movie. Kaul’s debut did average business, but the songs were a hit. Soon Kaul was seen in films like Azadi Ki Raah Par, Apni Chhaya, Kathputli, Pehli Jhalak, Laal Batti, Sahib Biwi Aur Ghulam, etc. He was a legend of the Black and White Cinema. He was a superstar in the films made in the 1960s. Throughout his career, he worked only in a few selected flicks, but he was able to efficaciously enrapture the audience’s attention.

Jawahar was never happy about his career- the way it went. he had wanted it to be more successful. Anyway after his last film Zalim-1980, he left acting and joined as a Production Manager with Jwala Pictures of Sandeep Sethi. After two years he became his Secretary for the next 17 years. Meanwhile he produced a film-” Agniputra “, with Mithun Chakrawarty. It took a long time to release finally in 2000. Not only it was a flop, it also gave a heavy financial burden on him. However, his only son and producer daughter Shabanam Kapoor repaid everything. Today Jawahar is about 92 years and lives peacefully in Andheri,Mumbai. He looks after his school and college ‘ Children’s welfare Centre, nearby.

Jawahr Kaul acted in 31 films starting from a small role in Geet Govind-1947. I remember his role in my favourite film Dekh kabira Roya-1957.

In film Tara-49, there were two names which need a spotlight on them, because they are not a very popular or well known names. Sometimes a memorable role in a film becomes totally identified with the actor doing it. Many times the role name gets attached to him and he is known by that name popularly. off hand I know atleast two such names. One is ofcourse Gabbar singh. Amjad Khan did that role so intensely that this name became his identity. Second example is Meena Shorey. In her entire life time she was always known as the Lara Lappa Girl…that song from film Ek thi ladki-49 became her second name. There was also a name Bajarbattu, which many readers must have seen in the cast of old films of B and C grades. This was the name of actor Anant Apte, who did the role of Bajarbattu in film Amar jyoti-1936. The name stuck to him and till his last film he was billed as Bajarbattu in every subsequent film.

Similarly actor Majnu’s real name was Harold Lewis, but due to his role in his first film as Hero-Laila Majnu-1935, he became popular as Majnu only, till end of his career. MAJNU-Harold Lewis – was a Punjabi Christian.He was the childhood friend of Roop K.Shorey. When Shorey wanted to make his second film, he chose Harold as a Hero. The film was MAJNU-1935,which was a satirical spoof on the old Laila-Majnu story. There were many stunts and in one scene Majnu is tied up on railway track by the villain. The film became a hit and Harold was renamed MANJU for his film career.

He appeared in almost all of Shorey’s films.He was also doing films with other producers.In 1942 he did a double role in Nishani and in 1943 he directed his first film Paapi. Shorey also gave him a film Badnami-1946 for direction and it was here that Majnu met I.S.Johar who wrote the story and Dialogues of Badnami.

Majnu paired with I.S.Johar in EK THI LADKI-1949,the debut film of Johar.Later they made a comedy pair in 10 films,including the hit HUM SAB CHOR HAIN-1956.

Majnu acted in 77 films,from 1935 to 1966 film Akalmand-also with Johar for the last time.
Majnu directed 8 films including,Paapi-43,Badnami-46,Son of Alibaba-55,Tatar ka chor-55 baghi sardar-56,Chandu-58 etc.

The other less known name was Chand Burke. Chand Burke made her debut in Maheshwari Productions’ Kahan Gaye (1946), which Niranjan wrote and directed. They fell in love on the sets and got married in 1945. Thereafter, Chand appeared in a number of films made in Lahore, and was widely known as “the Dancing Lily of the Punjab.”

Partition and her subsequent migration to Bombay adversely affected her career. After “Hamari Manzil,” which was released in 1949, Chand Burke went into complete oblivion. It was Raj Kapoor who selected her for that important role as children’s tormentor in “Boot Polish,” over 200 other contestants, her screen-test convincing Raj Kapoor that she was a talented actress. Some of her well known films were Basant Bahar-56, yahudi ki beti-56, Adalat-58 and Lajwanti-58.

Chand was the only one in a family of twelve brothers and sisters to have joined the films (her brother S. M. Burke, I.C.S., was a Minister to the Scandina­vian countries for Pakistan). Chand ob­tained judicial separation by mutual consent from her husband, writer-director Niranjan in 1954.

She was also married to Sunder Singh Bhavnani- grandfather of superstar Ranveer Singh. She is also related to Suneeta Kapoor.

She acted in about 30 films. Her last film was Pehchan-72.

Let us now listen to the well tuned duet of Premlata and Satish Batra. this will be the 9th song from this film.

( Thanks to apnaorg, cineplot, netttv4u.com, beetehuedin.com, film directory 1946, HFGK, cinerang by Isak Mujawar, MuVyz and my notes, for information used and adapted in this post.)


Song- Duniya se nyaare hain khel hamaare (Taara)(1949) Singers- Satish Batra, Premlata, Lyrics- Aziz Kashmiri
MD- Vinod
Both

Lyrics

Duniya se nyaare hain khel hamaare
ho o khel hamaare
Duniya se nyaare hain khel hamaare
ho khel hamaare
khelo praan pyaare
khelo preetam pyaare ae ae
khelo praan pyaare
khelo preetam pyaare ae ae
duniya hamko
dekhe aate jaate saanjh sakhaare
duniya hamko
dekhe aate jaate saanjh sakhaare

hum duniya se aankh bacha kar
hum duniya se aankh bacha kar
karen ishaare ae
karen ishaare
karen ishaare ae
karen ishaare

Duniya se nyaare hain khel hamaare
ho o khel hamaare

isko duniya kahe muhabbat
hum isko ik khel kahen
aankh michauli aankhon ki
dil ka dil se mel kahen

haan aan aan
ye mel kabhi na chhoot sake
ye mel kabhi na chhoot sake
koi laakh jatan kar haare
Duniya se nyaare hain khel hamaare
ho o khel hamaare

deepak par jal gaya patanga
bol gaya hai duniya waalon
haan haan ae duniya waalon
bol gaya
jeewan hai ek khel
khel mein
apne sab armaan nikaalo
haan haan
armaan nikaalo
bol gaya
aas paas chanda se khele ae ae
aas paas chanda se khele ae ae

taare ban armaan hamaare
taare ban armaan hamaare
Duniya se nyaare hain khel hamaare
ho o khel hamaare
Duniya se nyaare hain khel hamaare

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This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3850 Post No. : 14862

I am sure, many of us have gone through this experience in our lives. Some song heard sometime, somewhere haunts you so much that you can not simply forget it. In due course of time, this disappears, but at a later time, may be after many years when you hear that song again, all your memories come back and you are lost in Nostalgia.

Same thing has happened to me about today’s song, which is from an old film Raaz-1949. It is sung by Mohd. Rafi- who was just beginning to make a mark for him in Hindi film music. When I heard this song after almost 65-70 years, all old memories flashed before my eyes.

It was early 1950 or so. Our house in Hyderabad was second in a lane. Just outside the lane, on the main road and on the opposite side, was a Hotel- Hotel Madina. This hotel was famous in our area, because the owner used to play all latest Hindi film songs on his Gramophone from 7 am to 7 pm. A reasonable crowd of music lovers sat there for hours. In fact the Hotel had become a meeting point for friends. Many ‘ latest ‘ songs were introduced to me this way. I had first heard this Rafi song from film Raaz-49 here only and I fell in love with this song. I remember, I forced my father to buy this record so that I could hear it more often.

Like many other songs, this too went at the backstage and I was swayed by some other lilting songs. That was a period when ” ek se badh kar ek ” songs were rolled out. As the time went and years passed by, I never heard this song again till last week. I was searching for some other song on You Tube, and my eyes fell on this song. Feeling something familiar, I played the song and my God !, I can not describe how many times I must have heard this song till now. I felt as if I met a long lost friend. I remembered my childhood ( I might be about 10-12 years old that time, my friends and the evenings spent clustering near that hotel, so that we could hear the songs.
Now all facilities are available at beck and call, but where are those days, those friends and those songs ?

Coming to today’s film Raaz-49, as many as 6 films with same title are made so far, add to that a few more with the word Raaz in its titles. This film was produced by Neelkamal Kalamandir and was directed by Emmanuel. The 10 songs written by Mirazi and Gulzar Nadeem were composed by the talented but unlucky Sardar Malik (HFGK mentions his name as Malik Sardar). For 10 songs 7 singers were used. One song from this film is already discussed here. I have noticed a peculiar thing about this film and that is, that for its director Emmanuel, Lyricist Mirazi and one singer Shaila, this was the only film they contributed.

The Hero of the film was Mohan Sehgal. Born in Jallundhar, Punjab, on 1-12-1921, Mohan came to to the films to become an actor-preferably a Hero. He acted in 7 films- Neecha Nagar and Chalis Karod in 1946,Phool aur kante-48, Raaz-49, Afsar-50, Humsafar-53 and Suhana Geet-63. But he was known more as a Producer/Director. He directed 18 films- from Aulad-54 to Kasam suhag ki-89. Some of his well known films were, New Delhi-56,Kanyadan-63, Sawan Bhadon-70, and Raja Jaani-72. His favourite actors were Kishore kumar, Dharmendra, Rekha and Hema Malini as well as Navin Nischol. Mohan Sehgal died on 19-10-2005 in Mumbai.

In this film there are two names which are not well known to many. One of them was Maya Devi. Maya Devi was from Bombay and started her career from silent films in 1928 with Anarkali by imperial. Her first Talkie film was Kunwari ya widhva-35. Her real name was Leela. She became a favourite of Bombay Talkies and she did 6 films with them in 37 and 38. In all she did 5 silent films and 31 Talkie films till 1949. Her last film in India was Raaz-49. She got married with a Muslim and then migrated to Pakistan, where she did 19 films and then retired in 1964. Her first film in Pakistan was Phere-1949. She died in Lahore on 1-2-67. She did films in Gujarati and Punjabi also.

The second name is S.B.Nayampalli, who was a popular Villain in his films. S.B.Nayampalli was born in south Karnataka. In 1915,his family shifted to Bombay. His personality was imposing with fair colour, six feet height and solid physique. Due to father’s death, he did a job in P and T department, but soon he left it and joined as a clerk in Killick Nixon company. He was a commerce graduate and was fond of playing Cricket, representing his company at Club cricket championships.

S.B. Nayampally (or Nayampalli) was working at the firm of Killick, Nixon and Company when he was discovered by film director P.Y. Altekar at a gym where Nayampally regularly exercised. Altekar felt that Nayampally very much resembled the famous French boxer Georges Carpenter and would be perfect for the stunt films that had become popular at the time. At Altekar’s urging, Nayampally joined Imperial Studios and was quickly cast in his first film, Wedding Night(1929), opposite the popular actress Jilloo. When he arrived at Imperial to begin his first day of filming he was amused to find that the building now used for the studio had formerly housed the school he’d attended as a child.“Wedding Night was a stunt film of the Robin Hood type,” Nayampally explained in a 1964 interview. “It had a little more of a plot to it than many films of the same class. My next film, Hell’s Paradise (1929), I remember for three reasons. One, it was based on a real-life episode involving an Indian prince and a foreign girl, described as an adventuress. Two, Mama Warerekar, the noted writer, did the story. Three, the film had a kissing scene, probably the first ever in an Indian film.”

Nayampalli was cast in Imperial’s Noorjehan (1931), which was initially to be a silent picture, but because of the success of their film Alam Ara (1931), which was India’s first talkie, the studio decided to make Noorjehan partly with sound. Nayampally was not originally cast in Noorjehan, but a chance meeting with the film’s director, Ezra Mir, got him the role of Prince Salim in the film.Nayampally then played Karna in Imperial’s next sound film, the mythological Draupadi (1931), but the actor considered his best mythological role to be that of the wily Shakuni in Mahatma Vidur (1943), a part that was appreciated by critics and the public, alike.

As sound films came in, silent actors were being discarded in favor of those with stage backgrounds and could not sing, so Nayampalli joined the Grant Anderson Theatrical Company which specialized in Shakespearean plays. After gaining some experience he tried to rejoin films, but without much luck. His previous roles had been leads, so he decided if he wanted to work regularly, maybe he should take a different approach and he offered himself up for character parts.His break came in the role of a hunchback in love with the heroine in Ezra Mir’s Zarina which starred Jal Merchant and Zubeida. The dentures he wore for the role were created specially by a dentist named Jimmy Gheista who had trained abroad with the dentist who had made similar dentures for Lon Chaney.

Nayampally had learned early on how to apply make-up for his roles and, in fact, he became so good at it he eventually came to specialize in horror make-up, which earned him the nickname “The Indian Lon Chaney.” Indeed, Chaney, Erich von Stroheim, Emil Jannings, and John Barrymore were the actors that Nayampally most tried to emulate. Boris Karloff was another of his role models. He was able to put his make-up expertise to good use for the film Sair-e-Paristan (1934), where he was a vampire-like devil, and in Zingaro(1935), in which he played a monster created by a mad scientist, and then as a the hairy “missing link” in Zambo (1937) and its sequel Zambo Ka Beta (1938). For Kalkoot (1935) he created a make-up to resemble the wrinkled effect that Karloff had used in The Mummy(1932).

Nayampally continued working in films throughout the 1940s and 50s, particularly in mythologicals and costume pictures including Raj Nartaki (1941), Nagad Narayan (1943), Vishwas 1943), Taramati(1945), Urvashi (1946), Jhansi-Ki-Rani (1953), Durgesh Nandini (1956), Basant Bahar (1956) and Shiv Parvati (1962) His last credited film appearance was in 1970’s Priya.

After the career in films ended, he started making Documentaries. He made about 35 documentaries. He won ‘ Silver Dolphin’ award for his documentary in the International Film Festival at Teheran in 1970.

He died on 7-5-1994, in Mumbai.

Sardar Malik today is a lesser known composer compared to other giants of the film industry, but he has created some golden melodies.

Born on 13-1- 1925, Sardar Malik had learned classical music from Ustad Alauddin Khan. He also learned a variety of dancing skills from Pt.Uday Shankar. Some other stars like Guru Dutt and Mohan Sehgal too were part of the troop under Pt. Uday Shankar, same time.

Sardar Malik got his break as a Music Director in a movie called ‘Renuka’ which released in 1947. Sardar Malik also sang 4 songs in this movie – 2 solo songs and also 2 duets with Zohrabai. But the movie was not a big success and he remained unrecognized. In the same year, he also composed music for a movie ‘Rain Basera’, but that movie too was not successful. In 1949, only one movie released of Sardar Malik and that was ‘Raaz’. The movie had some wonderful numbers from Rafi, Amirbai and Binapani Mukherjee.

In 1951, Sardar Malik shared the credits with Husnalal Bhagatram and composed a few songs for a movie ‘Stage’, which had lovely numbers sung by Asha Bhosle like ‘Dil Machalne Laga’. Asha Bhosle had excellent control in her voice in the early 50s and her association with Sardar Malik was very special in this era when Lata and Geeta Dutt were at the top.

His next movie was ‘Laila Majnu’ which was a huge success. Sardar Malik composed only 3 songs for this movie ‘Baharon Ki Duniya Pukare’, ‘Tere Dar Pe Aaya Hoon’ and ‘Dekh Li Ae Ishq’. All the other songs were composed by Ghulam Mohammed but the songs showed his versatility and he gained recognition in the film industry. Thokar (1953) established Sardar Malik as a successful composer. Songs like ‘Ae Gham-e-Dil Kya Karoon’ by Talat and Asha Bhosle and ‘Hawa Ghungunayee Fiza Muskayee’ are evergreen numbers.

‘Aulad’ (1954) showed Sardar Malik’s overall class through his magical compositions. This movie had some great numbers like ‘Duniya Tasveer Ha’i (Talat Mahmood) and ‘Tum Salamat Raho Hazar Baras’ (Asha). The same year saw the release of ‘Chor Bazar’ (1954), which had some of the best songs rendered by Lata Mangeshkar. She sang 3 beautiful songs in this movie ‘Chalta Rahe Yeh Karvan’, ‘Huyi Yeh Humse Yeh Nadani’ and ‘Dar Dar Ki Thokrein Hain’.

In the mid-50’s Sardar Malik composed music for few movies like Ab-e-Hayat-55, Taxi-555-58, Chamak Chandni-57 and Maa Ke Aansoo-59. All these movies had some nice songs. If we observe the decade of 50s, Asha Bhosle, Talat Mahmood and Rafi sang some of the best songs of Sardar Malik.

The decade of 60’s saw the release of ‘Saranga’ (1960), which can be considered as one of the best movies of Indian Cinema. The title song of the movie sung by Mukesh and the sad version of the same sung by Rafi is still as popular as it was 60 yrs ago. Many veteran music composers consider this movie as the best movie composed by Sardar Malik ever. The same year saw the release of ‘Mera Ghar Mere Bachche’ which contained some great songs sung by Mukesh, my favorite song being the duet of Mukesh with Suman Kalyanpur ‘Baharon Se Poochho’.

Sardar Malik remained active in the first half of the 1960s and composed some outstanding music for second rung movies like Madan Manjari, Bachpan, Pick Pocket, Naag Mohini, Jantar Mantar, Maharani Padmini, Roop Sundari and Main Hoon Jadugar. It was destiny that most of the films he composed for were not box-office successes, but he never compromised on the quality of his music. His career appears to come to an abrupt halt in the mid-60s. The last movie of Sardar Malik was Gynaaniji which released in 1977. This movie had songs sung by Rafi, Asha, Jaspal Singh and Jagat Singh Jagga.

Sardar Malik had huge knowledge on all forms of Indian Music. He always depended on light background orchestration in many of his songs. He made the use of accordion and flute in many of his songs. As he was classically trained, he had excellent knowledge on various raagas too.

Married to noted lyricist Hasrat Jaipuri’s sister, Kausar Jahan (Bilqis), Sardar Malik had three sons – Anu, Abu and Dabbu Malik. Thanks to his father’s blessings, Anu Malik met with a lot of success in the 1990s and 2000s.

Sardar Malik passed away on January 27th 2006, but the legacy he has left behind will always remain with us.

Today’s song is a mesmerising song and i believe, this song has inspired a few songs in Hindi films, in later years. Enjoy….

( Thanks for some information used herein from Beete kal ke sitare by S. Tamrakar, apnaarchieve, Mike Barnum blog, pakmag.com, Filmdom-46 and HFGK along with my notes.)


Song-Samay ka chakkar sau bal khaaye (Raaz)(1949) Singer-Mohd. Rafi, Lyrics- Mirazi, MD- Sardar Malik

Lyrics

samay ka chakkar sau bal khaaye ae
sau bal khaaye
aage jaa kar laut na paaye ae
ghoom ghoom kar badhta jaaye
ghoom ghoom kar badhta jaaye
peechhe sab sansaar
peechhe sab sansaar
bolo
o bolo
chakkoo chhuri dhaar
bolo
chakkoo chhuri dhaar

dhaar bane aur chakkar ghoome
phoot ke har chingaari jhoome ae
dhaar bane aur chakkar ghoome
phoot ke har chingaari jhoome
dekho is ki jyot mein chamke
jag jeewan ka pyaar
jag jeewan ka pyaar
bolo
ho bolo
chakkoo chhuri dhaar
chakkoo chhuri dhaar

baalak samjhe ise khilauna
ye zehri talwaar
baalak samjhe ise khilauna
ye zehri talwaar
moorakh isko haath lagaaye
kar de maaraamaar
kar de maaraamaar

jag mein jeet usi ki pyaare ae
jag mein jeet usi ki pyaare
jiske dil mein pyaar
jiske dil mein pyaar
bolo
ho bolo
chakkoo chhuri dhaar
chakkoo chhuri dhaar

dharti badle roop anjaane
aasmaan aisi reet na jaane ae
dharti badle roop anjaane
aasmaan aisi reet na jaane ae
jab tak apne saath jawaani ee
man dekhe sapne manmaane
jeewan poorampaar
bolo
ho bolo
chakkoo chhuri dhaar
chakkoo chhuri dhaar


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 : 3843 Post No. : 14854

Today’s song is from film ‘Bhedi Bangla’ (1949). This film was produced by Anand Subramanyam, under the banner of Jagriti films, owned by Master Bhagwan. The story, dialogues and songs were by Ehsaan Rizvi and music was by P Ramakant. This was a name used by C Ramchandra, because he was under contract with Filmistan and could not give music in his own name. It started with Raja Nene’s film Shadi Se Pehle’ in 1947, in which he first used his assistant’s name Paingankar (the joint MD was Karnad). His name was Ramakant Paingankar and was assisting Chitalkar for a long time. Later, for Bhagwan’s films like ‘Bhedi Bangla’, ‘Bhole Bhale’ (1949), ‘Babuji’ (1950), and ‘Bakshish’ (1950) also, Chitalkar used the pseudo name P Ramakant as MD (information from Marathi Chitrapat Sangeetkar Kosh by Madhu Potdar).

Master Bhagwan was a very hard working person. In the real sense, he brought in the wave of stunt films in the late 40s. After the films of Master Vithal and Fearless Nadia waned in their popularity by 1944-45, it was Master Bhagwan, who established his own Production house – Jagriti Films, and produced several stunt films. He had a set of actors and actresses, which included Baburao Pehelwan, Vasantrao Pehelwan, Azeembhai, Shanta Patel, Chanchal, Leela Gupte, Usha Shukla and Vitha Lokare.

The storyline for most of his films was also fixed. Two young vagabonds – Baburao Pehelwan and Bhagwan, come to Bombay in search of employment. One Sethji (Azeembhai) appoints them to protect him from the local criminal (Vasantrao Pehelwan). Sethji has a good looking daughter (one of the stock Heroines), who has a maid (another girl from the stock). Baburao loves Seth ji’s daughter and Bhagwan loves the maid. After lot many stunts and fighting scenes, the end would be happy. The same story with changed names and other minor changes was used in almost all his films like ‘Badla’, ‘Bahadur’, ‘Jalan’, ‘Madadgaar’, ‘Dosti’, ‘Shake Hand’, ‘Matlabi’, ‘Bach Ke Rehna’, ‘Bhole Bhale’, ‘Jeete Raho’ or such other films. The audience did not mind . They were happy with the stunts. (Did Nasir Hussain get inspiration from Bhagwan in this matter ?)

Master Bhagwan entered the film world with silent film ‘Bewafa Ashiq’ (1930). His first talkie film was ‘Himmat-e-Marda’ (1934). Initially, like all other heroes, even Bhagwan used to sing his own songs. Once he had gone to Columbia company for rehearsal and recording a song. While entering, he saw a young man sitting under a tree and writing something. After rehearsal, he saw that fellow again and even after recording the man was still writing something. Bhagwan went to him and asked with curiosity what was he writing. The man answered, I am writing songs and stories. He came to know that his name was Ehsaan Rizvi and that he too lives in Dadar like Bhagwan. He took Rizvi’s address and left.

In 1938, Bhagwan got his first film as a director- ‘Bahadur Kisaan’ (1938). He called Ehsan Rizvi and gave him the job of writing the story, dialogues and songs. From that day Ehsaan Rizvi became a part of his team. He wrote for at least 25 films of Bhagwan’s. Born in 1914, Rizvi wrote lyrics for 60 films, but most of them were B or C grade films. He however wrote dialogues and screenplay for some well known films like ‘Do Ustad’ (1959), ‘Mughal e Azam’ (1960), ‘Woh Kaun Thi’ (1964), ‘Aan Milo Sajna’ (1971), ‘Gopichand Jasoos’ (1982) etc. He had shared the Filmfare award for dialogues of ‘Mughal e Azam’, with 3 other writers. He died on 16-1-1983.

Bhagwan and CR got introduced when Bhagwan was directing film ‘Bahadur Kisaan’ for producer Chandrarao Kadam. The MD was Meer Saheb and CR was his assistant. Of course, that time he was just Ram Chitalkar. Their friendship lasted for many more years. For film ‘Bahadur Kisaan’, the background music was composed by Naushad, CR and Sajjad Hussain. Naushad played piano, CR played organ and Sajjad played mandolin. Another person Prem, played clarinet. They were all struggling artistes then.

In 1942 Bhagwan directed ‘Sukhi Jeevan’, for which CR was the MD for the first time. Bhagwan and the producer Harishchandra Rao Kadam had some dispute on payments. Bhagwan decided to start his own production company and he started Jagriti Pictures. His first film was ‘Badla’ (1943). For this film he took 80,000 from a financier, with a condition of repaying one lakh rupees after the film is released. After this film Bhagwan churned out film after film in the stunt genre. In 1949, Bhagwan made film ‘Bhedi Bangla’, which was the first of its kind – a sort of horror cum mystery film. The film was a hit film. With this film Bhagwan had reached the zenith of his stunt films.

In this film, there were several scenes, where Bhagwan sees a ghost and his eyes widen and breath is held up. Due to the strain on the eyes, they became red and swollen and after some time, suddenly, he could not see anything. He thought that he has become blind. He shouted for his brother Shanker. Bhagwan was immediately taken to a hospital in Girgaon. The doctor examined him,gave him an injection and some tablets. That night he slept like a dead man, but after getting up on next day noon, he was happy that his eyesight was normal now.

Bhagwan had noticed that whenever his film’s trial show was arranged, a handsome young man would be present there. When he saw this man at the trial show of ‘Bhedi Bangla’ again, he inquired as to who he was. The young man told him that his name was Raj Kapoor and he was son of the great Prithviraj Kapoor. Bhagwan called him and asked him why he came. Raj kapoor said, “Sir, I like your stunt films. I am your fan. In my films, I copy your dance style. Why don’t you make a social film ?”. Few days later, even CR also pushed him hard to enter the social film genre now, so that CR can openly lend his name to Bhagwan’s films as MD and his film will get the benefit of his fame. Thereafter Bhagwan started thinking about it seriously and then ‘Albela’ happened. The rest is history, as they say! The story of Albela making, some other time. . .

The story of film Bhedi Bangla was,

Shyam (Baburao Pehelwan) and Manglu (Bhagwan) are friends and good for nothing. They come to Bombay to look for easy money. They pretend to be lame and blind and start begging. However, after few days, their secret is out and and the enraged public of Bombay gives them a sound thrashing. An onlooker calls them and asks if they would do a good job, instead of this nonsense. The agree and they are appointed as watchmen for a deserted haveli. It is owned by a Sethani (Tarabai – elder sister of Sitara Devi and mother of dancer Gopi Krishna). Her daughter is beautiful Prema (Leela Gupte). There is an estate manager also (Azeembhai – who later became a famous fight master in Hindi films), who does not like their coming there.

One day the friends find the dead body of the haveli’s maali (gardener) (Inamdar) in the premises of the haveli. The estate manager complains to the police. Police start investigations. Maali had a good looking daughter – Champa (Usha Shukla). While Manglu tries to take care of her, the estate manager tells police that he suspects this duo of murdering the maali. In absence of any proof, police do not arrest them but keep an eye on them.

Suddenly, the friends start seeing ghosts in the haveli. First few days, they are scared, but realise that this is all bogus and they try to reach the bottom of the matter. Finally, they unearth a plan of the estate manager to scare everybody, so that no one will remain there and he can conduct his gold smuggling business from there. He only has murdered the maali. After solid stunts and fighting scenes, the culprits are arrested and Shyam and Prema and Manglu and Champa are united. (658).

The film had 8 songs. Most songs are available on You Tube. 4 songs are already discussed here. Today’s song is the 5th song. It is a duet of Lata and Chitalkar. All in all, ‘Bhedi Bangla’ aka ‘The House of Mystery’ was a ‘paisa vasool‘ entertainment.

(Thanks to ‘Ek Albela’ by Isaq Mujawar and Mike Barnum’s Blog, for some information used here).

 

Song – Aansoo Na Bahaana, Ab Aansoo Na Bahaana  (Bhedi Bangla (aka House of Mystery)) (1949) Singer – Chitalkar, Lata Mangeshkar, Lyrics – Ehsaan Rizvi, Music – P Ramakant (aka C Ramchandra)
Chitalkar + Lata Mangeshkar

Lyrics (Provided by Sudhir)

aansoo na bahaana
ab aansoo na bahaana
kaanton bhari ye raah se hai
muskuraate jaana
aansoo na bahaana
ab aansoo na bahaana
kaanton bhari ye raah se hai
muskuraate jaana

mast pawan is  phulwari mein
kali kali khilaati hai
mast pawan is  phulwari mein
kali kali khilaati hai
usi chaman mein raen andhere
shabnam neer bahaati hai
usi chaman mein raen andhere
shabnam neer bahaati hai
tum kehte ho is jag mein
bas hansna aur hasaana
kaanton bhari ye raah se hai
muskuraate jaana
aansoo na bahaana
ab aansoo na bahaana
kaanton bhari ye raah se hai
muskuraate jaana

sukh mein to hansti hai duniya
sabka yehi haal hai
sukh mein to hansti hai duniya
sabka yehi haal hai
lekin dukh utha kar koi
hanse to phir ye kamaal hai
lekin dukh utha kar koi
hanse to phir ye kamaal hai
jag ki reet badal kar dekho
dukh ko bhi sukh banaana
kaanton bhari ye raah se hai
muskuraate jaana
aansoo na bahaana
ab aansoo na bahaana
kaanton bhari ye raah se hai
muskuraate jaana

sach poocho do dil ka milna
kaanta bhi hai phool bhi
pyaar ko sach maano to sach hai
bhool kaho to bhool bhi
sach poocho do dil ka milna
kaanta bhi hai phool bhi
pyaar ko sach maano to sach hai
bhool kaho to bhool bhi
lekin dil mein himmat ho to
khud badlega zamaana
kaanton bhari ye raah se hai
muskuraate jaana

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

आँसू न बहाना
अब आँसू न बहाना
काँटों भरी ये राह से है
मुसकुराते जाना
आँसू न बहाना
अब आँसू न बहाना
काँटों भरी ये राह से है
मुसकुराते जाना

मस्त पावन इस फुलवारी में
कली कली खिलाती है
मस्त पावन इस फुलवारी में
कली कली खिलाती है
उसी चमन में रैन अंधेरे
शबनम नीर बहाती है
उसी चमन में रैन अंधेरे
शबनम नीर बहाती है
तुम कहते हो इस जग में
बस हँसना और हँसाना
काँटों भरी ये राह से है
मुसकुराते जाना
आँसू न बहाना
अब आँसू न बहाना
काँटों भरी ये राह से है
मुसकुराते जाना

सुख में तो हँसती है दुनिया
सबका येही हाल है
सुख में तो हँसती है दुनिया
सबका येही हाल है
लेकिन दुख उठा कर कोई
हँसे तो फिर ये कमाल है
लेकिन दुख उठा कर कोई
हँसे तो फिर ये कमाल है
जग की रीत बदल कर देखो
दुख को भी सुख बनाना
काँटों भरी ये राह से है
मुसकुराते जाना
आँसू न बहाना
अब आँसू न बहाना
काँटों भरी ये राह से है
मुसकुराते जाना

सच पूछो दो दिल का मिलना
काँटा भी है फूल भी
प्यार को सच मानो तो सच है
भूल कहो तो भूल भी
सच पूछो दो दिल का मिलना
काँटा भी है फूल भी
प्यार को सच मानो तो सच है
भूल कहो तो भूल भी
लेकिन दिल में हिम्मत हो तो
खुद बदलेगा ज़माना
काँटों भरी ये राह से है
मुसकुराते जाना


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 : 3831 Post No. : 14839

Today’s song is from a film Jagriti-1949. This film was made by Veerendra Chitra. The director was Manohar Ghatwai. Music was by K. Narayan Rao and the Lyricist was Indeevar. The cast of the film was Ravikant, Mohana Cabral, Omkar Devaskar, Lalita Rao, Leela, Jal khambata, chemist etc etc.

From the list of 7000 odd actors who worked in Hindi films, during the period 1931 to 2000, if you divide them into grade A, B and C class artistes, you will find that about 350 (5%) actors may come in A grade-i.e. Hero/Heroines- about 1000 (15%) may come in B grade- support actors/ character artistes- and the balalnce 5600 (80%) may fall in C grade- smaller roles. It is true that not all those who join films will shine but the small time actors, who thronged the film cities like Bombay had their own dreams.Most had their dreams shattered and they had to settle for whatever was served to them.

The Mayanagari, sometimes showed its Maya. It picked up unsuspecting souls and bestowed upon them the fame and a name as Leading actors, singers, Directors ,Lyricists or whatever in films. Thus, a scholarly young man, standing in a bus queue in Madras is picked up and made a Hero of more than 40 films as ” Ranjan”. It also made an onlooker of shooting from the crowds of a studio, the famous and rich Hero of more than 50 films as ” Motilal”. An ordinary Motor Mechanic becomes a well known film Director in various languages and is called ” Sarvottam Badami’. A poor motor mechanic working is a garage becomes All India famous poet-Lyricist and Producer Director called ” Gulzar.” The same Maya made a casual singer in Hindu Colony,Dadar in Bombay a famous playback singer of repute, when her singing is heard by a passing Music Director Hanuman prasad, just by chance. She was known as ” Geeta Dutt”. There are many such examples.

There are many such number of ” Accidental Stars’, but the same Maya also scuttled the Golden chances of capable aspiring small timers to become big stars. Atleast two glaring examples are known. one is very well known to many, but the other is hardly known to anyone. Mehboob Khan was almost selected as Hero of India’s First Talkie film ” Aalam Ara”-31. Even suitable costumes for him were also made ready, but then Maya played the trick and his name was pushed back, in favour of the more famous Master Vithal, to cover up the possible risk of the failure of the First talkie, which was an experiment. Nevertheless Mehboob Khan became a significantly notable producer, director and studio owner of India.

The other case how Maya scuttled the chances of fame, name and career of a small time actor who was on the verge of becoming a big star, is not known to most people. Now, take a look at the cast of today’s film ‘ Jagriti’-49, as mentioned above, in the first paragraph of this post. Do you find a name Omkar Devaskar ? Well, this is his story….

Omkar Devaskar was born in 1911 in MP (Central provinces then). After his schooling, he ran away to Bombay to seek employment and got a job as an ‘ Assistant’ in Imperial Film company. His job was to do any work given to him. The salary was Rs.20 pm. When he saw the film shootings, he had an urge to act in films. One day, he asked Ardeshir sheth about it and he started getting uncredited small roles in silent films.

Imperial company decided to make a Talkie First time in India,mainly because of Dadasaheb Torne (Ramchandra Gopal Torne). It was he who prompted Irani to be the first in India to make a Talkie. Torne was his Manager for both Jyoti studio and Imperial Film Company. Torne was also an agent for Cinema Equipment imported from England and Germany. Torne imported Sound recording equipment and the company sent a German Engineer to explain and teach the technique to Indian technicians.

They first wanted to test the sound recording machine by recording and filming a song. Who would sing ? No one was ready to become the sacrificial goat. Irani saw Omkar and asked him to sing before the machine. A terrified Omkar lamely protested, but he had no choice. Ultimately he was ‘ made up’ and the recording and filming started. Omkar sang a Thumri, ‘ Pyare Rasia Bihari’. Everybody present, including Irani, were stunned with the sweet voice and the ease of his singing style. It came off extremely well. About 500 feet film was shot flawlessly. Irani was so much impressed, that he toyed with the idea of giving Omkar the first song in film Aalam Ara. Maya swiftly went to into action. Unfortunately the recording was not saved, otherwise it would have been the first film song to be filmed and Omkar the First ever singer actor to do so. But Alas ! This is called the stroke of misfortune ! Destiny had slated this honour for W.M.Khan.

Missing this chance, anyway, Omkar became an actor and singer. His first talkie film was Imperial’s ” Sati Anusuya “-33. He a sang 3 songs in film ” Noor E Imaan “-33, besides acting in it. Omkar acted in about 30 films in all. His last film was perhaps, Rangeeli-52. He sang 14 songs in 6 films. His last song came in today’s film Jagriti-49. Omkar was a regular actor in many Marathi films too.

Today’s song is sung by Freni Shroff and Yeshwant Bhatt. No information whatsoever is found about this singer Freni. A cursory look at HFGK indicates that possibly she sang only in this film.

YASHWANT BHATT was son of shri Nageshwar Bhatt. He was born at Madhavpur in Gujarat. Since his father was a singer of Haveli Sangeet, Yashwant started singing quite early. His first guru was Kashigar and later on it was Padubhai who actually developed Yashwant as a singer. He always gave credit to his guru Padubhai. Yashwant’s voice was very soft and sweet. It was ideal for singing emotional songs and Bhajans. He was an extremely good natured and helpful person. Soon his name became known for his sweet Bhajans.

He was ambitious to become a Play back singer in Hindi films. He came to Bombay at the age of 20 years. First he got opportunity to sing in chorus in the Circo production film songs. In 1941,he sang Bhajans on Mumbai Radio. Side by side he sang in Hindi films. In all he sang about 25 songs in 13 Hindi films. The films were Khooni Laash-43, Katil-44, Black and white-44, Royal Mail-46, Dhokhebaaz-46, Namak-47, Kismetwali-47, White face-48, Billi-49, Jiyo Raja-49, Jagriti-49, Veer Ghatotkach-49 and Actor -51.

Out of these 13 films, 9 films had music by K. Narayan Rao. Yashwant was his pet singer. Narayan Rao was mainly a composer for C grade and stunt films. His films never became famous, consequently Yashwant too was neglected and never came into limelight. Actually, with other composers, Yashwant had done duets with Naseem, Uma Devi, Sulochana Kadam, Kusum Mantri, Husn Bano, Leela Mehta, Sheela, Rohini Rai, Putlibai, Freni Shroff etc, but in spite of his sweet voice and good singing, he remained neglected by major composers. As a result he could not achieve much success in Hindi films.

This was compensated to a great extent by his Bhajan singing. He lost his father and had to return to Madhavpur. One Mr. Gijubhai was Assistant station Director of Rajkot Radio station. He invited Yashwant to sing bhajans on Rajkot radio. Soon his Bhajans became a rage and he became a very popular Prabhatiya singer. He mainly sang poems of Ganga Sati,Paan bhai and Narsi Mehta etc. He spent a long time singing bhajans. He was made an A class singer on Radio. His name was taken along with famous singers of Gujarat ,like Mohanlal Rayani, Kannubhai Barot, Dula Bhagat etc etc. Due to his good nature he got many friends here. One of them was Ratubhai Adani.

He also sang some songs in Gujarati films. Due to his hectic schedules, he neglected his health and contracted T.B. But he continued his work. when his condition became bad his friend Shri Ratubhai Adani admitted him to Keshod T.B.Hospital.

Yashwant Bhatt died of severe T.B. The news of his death on 27-10-1977 was a shock to his friends, relatives and Bhajan lovers of Gujarat.

His younger brother Harish Bhatt, who was an ardent fan of Saigal also tried to sing in Hindi films. I could trace only one of his songs in the film Kinara-1949. Yashwant Bhatt’s children also carried forward his singing legacy.

There were 9 songs in film Jagriti-49. One song is already discussed. There were all unknown singers like Omkar Devaskar, Lalita Rao, Sanjeevani Pai and Freni Shroff. only Yeshwant Bhatt was a known name. The song is better than average.

( I have used information from Music beyond boundaries by Ashok Ranade and Marathi Cinema in Retrospect by Sanjit Narwekar, MuVyz,HFGK and my own notes, for this write up.)


Song- Nayi nayi pehchaan re (Jaagriti)(1949) Singers- Freni Shroff, Yeshwant Bhatt, Lyrics-Indeewar, MD-K Narayan Rao
Both

Lyrics

ee ee ee
nayi nayi pehchaan re
nayi nayi pehchaan
ee ee ee
nayi nayi pehchaan re
nayi nayi pehchaan

jaan liya aankhon ne tumko
o o
o o o o
jaan liya aankhon ne tumko
dil hai abhi anjaaan
dil hai abhi anjaan
ee ee ee
nayi nayi pehchaan re
nayi nayi pehchaan
ee ee ee
nayi nayi pehchaan re
nayi nayi pehchaan

sama gaye nainon mein naina aa
nigaahon se mil gayin nigaahen aen
sama gaye nainon mein naina aa
nigaahon se mil gayin nigaahen
jaise milti hain do nadiya
jaise milti hain do nadiya
jaise milti hain do raahen
jaise milti hain do raahen

aen aen
aane lage armaan dilon mein
ban kar ke mehmaan
ee ee ee
nayi nayi pehchaan re ae
nayi nayi pehchaan

prem ke path mein bichhe huye hain aen
phool kahin pe
kahin pe kaanten ae

prem ke path pe bichhe huye hain
phool kahi pe
kahin pe kaante

dhoondh lo aisa jiwan sathi
dhoondh lo aisa

jiwan sathi
jo dukh kaate sukh ko baante
jo dukh kaate sukh ko baante

haan aan aan
preet nibhaana bada kathhin hai
hota na aasaan
ee ee ee
nayi nayi pehchaan re
nayi nayi pehchaan


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 : 3824 Post No. : 14827

“Manzoor”(1949) was directed by Subodh Mitra for New Theatres, Bombay. The movie had Asit Baran, Bharati, Chhabi Biswas, Chandrawati, Bhupendra Kapoor, Latika, Aditya Ghosh, Asita Bose, Tulsi Chakravarty, Manorama, Jharna, Master Khurshid, Ram Pyari, RP Kapoor, Prem Kumari, Shaukat Shah etc in it.

The movie had six songs in it. Three of them have been covered in the past.

Here is the fourth song from “Manzoor”(1949) to appear in the blog. This song is sung by Ila Ghosh. Pt Bhushan is the lyricist. Music is composed by Pankaj Mullick.

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 (may be more than one ) word right in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.


Song-Wo din na rahe raaten na rahin (Manzoor)(1949) Singer-Ila Ghosh, Lyrics-Pt Bhushan, MD-Pankaj Mullick

Lyrics

Wo din na rahe ae ae
raaten na rahin
apne bigde begaane
sab sukh ke saathi chhoot gaye
dukh aaya hamen manaane ae ae
armaanon ki ik bagiya thhi ee
armaanon ki ik bagiya thhi
har daal pe sukh ka jhoola thha
har kali madhur muskaati thhi
har phool khushi se phoola thha
ik halki ee ee ee
ik aisi ulti hawa chali
toote sab sapne suhaane
apne bhi huye begaane

aasha thhi
aasha thhi jeewaan saagar se
munh maange moti paayenge
dil dil ii bhaasha samjhega
nainon ko nain lubhaayenge
ab dil ki ee ee
ab dil ki ye dukh bhari kahaani gaaun
?? jise sunaaun
apne bhi huye begaane


This article is written by Bharat Upadhyay, 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 : 3823 Post No. : 14826

Today, Jaunuary 5th is 37th death anniversary of our dear Chitalkar Ramchandra. How can we miss our Anna Saheb today from our musical Blog, ASAD?

So here is a song from 1949 film “Namoona”, sung by the undisputed Gaan Saraswati, Hema Hardikar.

A social film produced by M & T Films, Bombay, (for those who wonder at this name, a little info that the city Mumbai was called ‘Bombaay’ then.) and directed by Heera Singh, the cast included Kamini Kaushal, Dev Aanand, Kishore Sahu, Leela Chitnis, Cuckoo Moray, Gulab, Pratima Devi, Madan Puri, Heera Sinha, Shyama, Shanti Madhok, Sanyal, Narmada Shankar, S Bose, Niranjan, CP Dixit, CL Shah, Gopal Sharma, Madan Shetty, BN Avasthi, Swartha, Malhotra and others.

There were six Lyricist viz, PL Santoshi, Nakhshab, A Shah Shikarpuri, Gulshan Jalalabadi and Raja Mehdi Ali Khan. Music was set by our Anna Saheb Chitalkar Ramchandra. There were nine songs, 4 Hemaji’s solos one duet of Hema-Rafi and 4 songs by Shamshad Begum. Six songs are already present in our Blog.

On the occasion of 37th remembrance anniversary of C Ramachandra, I have selected a pathos filled song of my liking which is a rare song with GOOD taste. The song is ‘mujh ko sazaayen deke kisi ke gunaah ki’ from Namoona 1949. The song is sung by Hema. The lyrics are penned by Raja Mehdi Ali Khan. The composition is melodious.

Editor note-Those who wonder who Hema Hardikar is, that is the original name of Lata Mangeshkar. 🙂

Video (First stanza incomplete)

Audio (Last stanza missing)

Song-Mujhko sazaayen de ke kisi ke gunaah ki (Namoona)(1949) Singer-Lata, Lyrics-Raja Mehdi Ali Khan, MD-C Ramchandra

Lyrics (Provided by Sadanand Kamath)

Mujhko sazaayen de ke kisi ke gunaah ki ee
bhagwaan toone kyun
bhagwaan toone kyun
meri duniya tabaah ki
Mujhko sazaayen de ke kisi ke gunaah ki ee
bhagwaan toone kyun
bhagwaan toone kyun
meri duniya tabaah ki
mujhko sazaayen de ke

nanhe se ek dil ko diye toone gham pe gham
nanhe se ek dil ko diye toone gham pe gham
is zindagi ki raah mein ab thhak gaye kadam
main dhool bhi na ban saki preetam ke raah ki ee
bhagwaan toone kyun
bhagwaan toone kyun
meri duniya tabaah ki
mujhko sazaayen de ke

ab kya kahoon ke dard se main choor choor hoon
ab kya kahoon ke dard se main choor choor hoon
mujhko in aansuon ki kasam bekusoor hoon
tujhko pukaare bebasi meri nigaah ki
bhagwaan toone kyun
bhagwaan toone kyun
meri duniya tabaah ki ee
mujhko sazaayen de ke

duniya mein ab mere liye koi khushi nahin
duniya mein ab mere liye koi khushi nahin
jeene ko jee rahi hoon magar zindagi nahin
ab maut se karoongi main soorat nibaahti(?)
bhagwaan toone kyun
bhagwaan toone kyun
meri duniya tabaah ki
mujhko sazaayen de ke


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.

Blog Day :

3807 Post No. : 14802 Movie Count :

4048

I was not aware tat there was a film titled ‘Maya Dor’ (1949) until two days’ back. On a further scrutiny, I drew almost blank on the details of the film other than what was mentioned in HFGK. The film was produced under the banner of Ram Krishna Films Corporation, Calcutta. Names of actors, director and the genre of the film are not known.

According to HFGK, there were six songs in the film which were released on the gramophone records. Name of the lyricist for all the songs are unattributed. Fortunately, singers of all the songs as well as the name of the music director, Chitta Roy have been mentioned. The names of playback singers – Supriti Ghosh, Bechhu Dutta, Rama Devi, Kala Baran, Anima Dutta and Gauri Mitra are new to me. There was one solo song sung by Angurbala which interested me as I was aware of her name as a classical singers specialising in khayal, thumri, dadra, ghazal, naat and devotional songs.

None of the six songs listed in HFGK was available on video sharing platforms. Fortunately, I could outsource mp3 clips of two songs, one of which happened to be the song rendered by Angurbala. An interesting fact about about the singer and the music director of this song was that both Angurbala and music director, Chitta Roy were actively associated with Kazi Nazrul Islam.

Angurbala (real name, Prabhabati Banerjee) was born in the Indas village of Burdwan district (now in Bankura district), West Bengal in C.1896. Her father was an army officer. Angurbala received primary education in her village. Despite being good at study, she had to quit formal education and had to join the stage at an early age for reasons of poverty. Angurbala’s first guide in music was Amulya Majumder. Later, she took training from Ustad Jeet Prasad. She received training in Khayal and Thumri from Pandit Ram Prasad Mishra and Ustad Zamiruddin Khan.

She entered the stage as a child artist under the guidance of dramatist Nripendra Chandra Basu in dancing and singing roles. Her Dance Master was Lalit Mohan Goswami who gave her name ‘Angurbala’ for the stage. She carried on with the same name as a performing artist as well as a singer. In 1912, she entered into her professional career as a singer-actor in a Bengali drama staged by Cornwallis Theatre, Calcutta. Thereafter, she became a regular stage artist in several plays.

The Gramophone Company of India invited her to record songs. ‘Kaala Tor Tarey Kadamtolay Cheye Thaki’ and ‘Bandho Na Torikhani Amar E Nadikuley’ were her first two Bengali non-film songs to be released on records. Thereafter she became a regular with HMV, cutting innumerable discs.

In the year 1923, her first silent film ‘Indrasabha’ was released. Her first talkie was ‘Jamuna Puliney’ (Bengali, 1933) in which she played the role of Brindey. Indubala and Kamala Jharia were her co-stars in this film. Soon she made her presence felt in singing roles in Hindi films like ‘Radha Krishna’ (1933), ‘Char Darvesh’ (1933), ‘Naseeb Ka Chakkar’ (1936), ‘Maa Ki Mamta’ (1936), and some other films in many different Indian languages like Bengali, Urdu, Tamil and Telugu.

Angurbala was the first singer to sing from All India Radio, Calcutta on the very first day when broadcasting was started in 1927. Her immense popularity as a singing artist drew the attention of the Nizam of Hyderabad who specially invited her to sing in his court. In one of the discs during this period, her photo was printed on one side of a record with the photo of Hyderabad’s Nizam on the other. That was the extent she impressed the Nizam with her songs. Her stage performances continued at the same time and her songs were a source of major attraction for all those who queued up for tickets of the plays.

Angurbala’s association with Kazi Nazrul Islam broadened her music field and she recorded several songs of Nazrul gradually achieving the status of a major exponent of such songs. She was appointed as a music trainer of HMV by Kazi Nazrul Islam. She quit acting to concentrate on singing which was her first love.

Angurbala was popularly known as Sangeet Samragyee (Empress of the Music). Indubala was her close personal friend. A documentary film, titled ‘Teen Kanya’ featuring her along with two other artistes namely Indubala and Kamala Jharia was made in 1972. Apart from a Gold disc from HMV, she was awarded the prestigious Sangeet Natak Academy Award in 1983 and a honorary D.Litt from Kalyani University.

Even in advanced age, Angurbala participated in music functions and gave public performances. Sometime in 1982, she suffered a stroke that caused loss of her memory. After about 18 months, she breathed her last on January 7, 1984 leaving behind her foster son, Amal Banerjee, his wife and a treasure of her music.

I was familiar with the name, Chitta Roy, the music director who had composed a few Hindi non-filmy songs in the 1940s. He was one of the first to use Talat Mehmood for a non-filmy ghazal ‘Gham-e-Zindagi ka ya rab na mila koi kinara’ in early 1940s which was re-recorded in 1963.

Chitta (Chittaranjan) Roy was born on March 2, 1912 in Barisal (now in Bangla Desh). He passed B. Sc. (Physics) from Calcutta University with honours. But his interest was in the music. When he first went to HMV office in Calcutta in 1938 to record his maiden songs as a singer and composer, he was not allowed. Subsequently, on a request from Kazi Nazrul Islam, Chitta Roy was allowed to record his songs under the supervision of Kazi Nazrul Islam. These two songs were Bengali non-filmyl songs – ‘Ekla Ghare Dakbo Na.’ (1938) and ‘Ke jaane maa tobo maya’ (1938). With this gratitude, Chitta Roy got attached to Kazi Nazrul Islam and he became personal assistant to him.

With this association, Chitta Roy composed many Nazrul songs along with folks, modern and devotional songs. Kazi Nazrul Islam gave him a pseudonym name ‘Dilawar Hossain’ for his excellent rendition of Islamic songs. Throughout his life, Chitta Roy remained devoted to his mentor.

Chitta Roy was also associated with composing songs for a few Bengali films like ‘Nishir Dak’, ‘Krishna Kaberi,’ ‘Alibaba’ in the 1940s. He also recorded audios for Bengali plays like ‘Padmini’, ‘Chandrabati’, ‘Harishchandra’ etc. He was the visiting professor of music in Rabindra Bharti University and the Bengal Music College affiliated to the University of Calcutta.

During his last days, Chitta Roy suffered from hypertension but he did not give up his first love, the music. On the night of September 12, 1963, he suffered a heart attack. He was admitted to hospital where he breathed his last in the evening of September 13, 1963. He was 51.

The only Hindi film for which Chitta Roy composed songs was ‘Maya Dor’ (1949). I am presenting one of the rarest song ‘aayi jawaani aayi’ sung by Angurbala for the film. The lyricist is unattributed. This song has a typical Bengali music flavour close to the style of another stalwart, Kamal Dasgupta. Probably both were influenced by the music of Kazi Nazrul Islam.

With this song, ‘Maya Dor’ (1949), Angurbala and Chitta Roy make debut in the Blog.

——————————————————————————————————————————————–

Acknowledgements: The information on Angurbala is mainly based on an article written by Dr. Jyoti Prakash Guha which appeared in the Journal of the Society of Indian Record Collectors, Mumbai – Annual TRN 2008. The information on Chitta Roy was based on a Blog ‘ Chitta Roy – A Name in the World of Music’. I could not locate the name of the author of the Blog but Shibani Basu, one of the daughters of Chitta Roy seems to be associated with the Blog as her name appears as one of the contacts for suggesting the improvement on the information on Chitta Roy.

Audio Clip:

Song-Aayi jawaani aayi aayi (Maaya Dor)(1949) Singer-Angoorbala, MD-Chitta Roy

Lyrics

aayi jawaani aayi
aayi jawaani aayi
aayi
aayi jawaani aayi
armaanon ke taar milaati
jeewan swarag basaati ee ee
jeewan swarag basaati
armaanon ke taar milaati
jeewan swarag basaati ee ee
jeewan swarag basaati
dukh se dil ka dard mitaati
dukh se dil ka dard mitaati
bigdi baat banaati ee ee
bigdi baat banaati

hai anmoli(?) ghoonghat ?? ??
hai anmoli(?) ghoonghat ?? ??
aayi jawaani aayi
aayi
aayi jawaani aayi

veeraanon mein phool khilaati
soone mahal basaati ee ee
soone mahal basaati
veeraanon mein phool khilaati
soone mahal basaati ee ee
soone mahal basaati
naye naye sansaar dikhaati
naye naye sansaar dikhaati
jeewan naya banaati re
jeewan naya banaati
laakh maraz ki ek dawaai
laakh maraz ki ek dawaai
aayi jawaani aayi
aayi
aayi jawaani aayi
aayi jawaani aayi
aayi
aayi jawaani aayi


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 : 3806 Post No. : 14801

Today’s song is a very very special song. It is from film Roomal-49. Four songs from this film are already discussed. Luckily, this song was yet to be discussed, as if waiting for me. It is a duet of Mohd. Rafi and Asha Bhosle. Written by Nazim Panipati, it is composed by Hansraj Behl. HFGK is silent on the MD’s name for all songs, though there were two of them- Hansraj Behl and Aziz Khan. However, there are other references to confirm that Behl was composer for this song, namely 1. The uploader has mentioned his name 2. Rafi’s Excel sheet mentions his name and 3. Behl’s name is mentioned for this song in book ‘ Rafinama’ by Isak Mujawar.

Now, coming to the point why this song is special.The reason is….this is the First ever duet of Rafi and Asha Bhosle. Rafi had started Playback recording from 1944 and Asha started from 1948. Within one year, Asha sang a duet with Rafi in film Roomal-49. Another film Lekh was also made in 1949 and they sang in that film too, but Roomal duet was the First one to be recorded.

Incidentally, Asha and Rafi had the maximum duets in HFM. They sang a total of 806 duets from 1949. Their last duet came on the screen in film Kala Coat-1993 ( 13 years after Rafi had left us.)-MD Iqbal Gill. Asha Bhosle and Rafi created 3 records during their journey together-
1. Maximum duets – 806
2. Maximum duets in one MD’s films – 92 duets in OPN’s films.
3. Rafi-Asha maximum duets in one film- Basant-60 – 11 duets
(Ed note-The blog has 514 Rafi-Asha Duets, including this song.)

Mohd. Rafi was the only singer who sang duets with the 3 major female actor singers of the 40s. He sang with Noorjehan (Jugnu-47), Khurshid ( Aage Badho-47) and Suraiya (Kajal-48 and in 11 more films).

Besides the known and well known female singers, Rafi sang duets with some ‘ not so well known ‘ female singers too. Some of them are Laxmi Rai, Kumudini Dikshit, Lakshmi shankar, Gandhari Rane, Promodini Desai, Razia Begum, Malti Pande, Pushpa Huns, Ramola, Pushpa Pagdhare, Pratibha, Kanchan, Poornima, Meena Patki, Jyoti, Kamla Sista, Kaushi Gidwani, Savita Suman, Sumitra Lahiri, Sagarika Mukherji, Krishna Bose, Krishna Mukherji, etc etc.

Rafi sang maximum songs with Laxmikant-Pyarelal (369), followed by Shankar-Jaikishen – 341, Chitragupt-247, Ravi-235, O P Nayyar-197, Kalyanji – Anandji – 169, Naushad-149, Madan Mohan-169, R D Burman-122, Usha Khanna-114, Sonik- Omi-104 and N Dutta-102. ( all figures from book Rafinama by Isak Mujawar).

Rafi sang only 1 duet with Meena Kapoor in film Aabroo-56. There is another song having voices of Meena, Rafi,Asha and Manna Dey in Tajmahal-63). This is understandable considering Anil da’s opinion about Rafi’s singing !

Film Roomal-49 was directed by Ramchandra Thakur. He was born on 17-12-1908 at Suver ( noe Umedgadh) in Sabarkantha Dist. Gujarat. From his 9th year onwards he was educated in Bombay. He completed his M.A. in Pali language, to become a Teacher but not so good results forced him to join Film industry. He had already written articles on films. He had also translated sound recordist Minoo Katrak’s book in Hindi and Gujarati.
He joined the Marketing department of Sagar Movietone. After Baburao Patel headed that department, he was shifted as asstt. director. He co directed film Gramophone Singer, along with Virendra Desai-the owner’s son-who later married Nalini jaywant despite he being already married.

Thakur’s first film as an independent director was ‘Civil Marriage’-40, in which Snehprabha Pradhan made her debut. He worked for Ranjit, Prakash and other banners. Her directed 20 films. His last film was Nawab Sirajuddoula-67. He mainly directed Mythologicals, social and comedy films.
He was a multifaceted person. He knew and could speak 11 languages. He wrote scripts for film Baiju Bawra-52 and several Gujarati films. He also directed 2 Gujarati films. He wrote 4 research based Novels. His article on Sagar Movietone has become a reference point for researchers.
Ramchandra Thakur died on 31-10-1992. (adapted from ‘ Sagar Movietone’-Biren kothari)

The cast of film Roomal-49 was Nargis, Rehman, Jairaj, Jeevan, Badriprasad, Jillobai, Cuckoo, Jankidas etc etc.

Jillobai (real name Zuleikha Ibrahim), born in 1905, in Bombay, was a Tawayef from Delhi. She started from stage dramas and then silent films. During this period, Master Nissar was attracted towards her, but being a shrewd woman, she spurned his advances, only after lot of money was spent on her by him. She acted in more than 100  Talkie films and also sang 3 songs in 3 films initially. Her first talkie film was  India’s first Talkie film Aalam Ara-1931, in which she sang one song also. She acted in many popular films like Anarkali-35, Kissan Kanya-37, Pukar-39, Sikander-41, Taqdeer-43, Zeenat-45, Jugnu- 47, Mother India-57, Mughal-e-Azam-60 etc etc. Her last film seems to be Suhani Raat-74. (I thank Sudhir ji and Pramod Godbole ji for providing additional information) .

Nazim Panipati, who wrote the songs of film Roomal-49, along with Mulkraj Bhakri and Rupbani, was born in lahore in 1920. His real name was Muhammed Ismail Khan. He was the younger brother of Dirctor/Lyricist Wali sahab. Due to his hobby of writing shairi, he was introduced to Dalsukh Pancholi and Roop k. Shorey. He first wrote songs for Punjabi films. His first film as a Lyricist in Hindi was Zamindar-42. He shifted to Bombay and wrote 80+ songs in 25 films. His last film in India was Sheesham-52. Then he migrated to Pakistan. He wrote more than 120 songs for Pak Television and Punjabi/Urdu films. He died in Lahore on 18-6-1998.

Today’s song by Rafi, Asha and chorus looks to be a fun comedy song. Enjoy this song….


Song-Lo dum daba ke Bhaage….hamen darr kaahe ka(Roomaal)(1949) Singers- Rafi, Asha Bhonsle, Lyrics-Nazim Panipati, MD- Hansraj Bahl
Both
Unidentified Male Voice 1, Unidentified Male Voice 2, Unidentified Male Voice 3
Chorus

Lyrics

aa
ha aa aa aa
aa aa aa
lo dum dabaa ke bhaage
warrant laane waale ae
khud ban gaye hain ulloo
ulloo banaane waale

aji haan aan aan
ulloo banaane waale
haan aan
ulloo banaane waale

haan aan aan aan aan aan aan
ulloo banaane waale
haan aan
ulloo banaane waale

ham sab ke sab
ham sab ke sab
ham sab ke sab
ham sab ke sab
hoshiyaar
hamen darr kaahe ka
hamen darr kaahe ka
hamen darr kaahe ka
hamen hai darr kaahe ka
hamaara beda ho gaya paar
beda ho gaya paar

hamaara beda ho gaya paar
hamen darr kaahe ka
hamen darr kaahe ka
hamen darr kaahe ka
hamen hai darr kaahe ka

paas nahin hai
paisa dhela
babu ji paisa dhela
lala ji paisa dhela
oy hoy hoy hoy
paisa dhela
phir bhi laga hua hai
mela
hai mela
ab to mangal
shukkar hafta
ab to mangal
shukkar hafta
har din hai itwaar
aji haan
har din hai itwaar
laa la
lallalalla
lallalalla laa
hamen darr aah
hamen darr ee
hamen darr ooh
hamen darr kaahe ka
hamen hai darr kaah
e ka

khelo koodo naacho gaao
every thing is happy now
every thing is happy now
kuchh na kuchh to
mil jaata hai
kuchh na kuchh to mil jaata hai
naqd ho ya udhaar aar
naqd ho ya udhaar
mere yaar
khushi mein naach
tu apni maan
mere dildaar
hamen darr
hamen darr
hamen darr
hamen darr kaahe ka
hamen hai darr kaahe ka

ham hain engine
tum ho lorry
dil hai armaanon ka thhaana
ham hain thaanedaar
aji haan
ham hain thaanedaar
aji haan
ham hain thaanedaar

o thhaanedaar
o thhaanedaar
o thhaanedaar
o thhaanedaaaaar
hamen darr
hamen darr
hamen darr
hamen darr kaahe ka
hamen hai darr kaahe ka

ka..ahe ka

ka..ahe ka

 


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 :

3758 Post No. : 14727 Movie Count :

4024

Today’s song is quite a rare song. It is from film Khush Raho-49. This was a C grade stunt film, made by Sushil pictures, Bombay. Directed by Harbans,it had music by Shiv Dayal Batish. I say this is a rare song, for 2 reasons. One- in most cases, producers of stunt films were not interested in making commercial records of songs of their films. Reason – Usually, the composers of such low budget films were also unknown or less known composers. If at all, a well known composer was there, he rarely gave his best shot to stunt film, which attracted a fixed, low class audience. Second – Music or songs were not what attracted the audience of stunt films. So the songs rarely became well known and the records-if brought out at all-did not sell.

Therefore C grade film songs are usually a matter of interest to Collectors. These songs are not even uploaded on sites like U-Tube and that is why such film songs are difficult to be found. Only in extremely rare cases a song from a stunt film is famous and popular. off hand, I can remember one such song , ” Humen to loot liya mil ke husn walon ne” from film Al Hilaal-58. It became famous and had the honour of becoming the 5000 th song on this Blog, with write ups from Raja ji, Sudhir ji and Atul ji, on 13-11-2011. Of course, there could be some more famous songs from stunt films.

The cast of the film Khush Raho-49 was Bhagwan, Baburao (Pehalwan), Vasantrao (Pehalwan), Sarla, Leela Gupte, Ratan Piya and others. In the decade of 40s, the number One stunt film maker, director, producer and actor was undoubtedly Master Bhagwan. Till his first social film ” Albela ” -51 hit the screen and became an Iconic musical film, Bhagwan was into stunt films only.

Famous Film Historian and Author of Marathi, Hindi and English books on old films and artistes, Isak Mujawar ( 22-5-1934 to 26-2-2015 ) has written over 30 books. Mujawar, Master Bhagwan and C Ramchandra were good friends and Mujawar has written about them in his books. He has given first hand information gathered from them. Mujawar has written a book ” Ek Albela ” on Master Bhagwan. Many less known facts and anecdotes about Bhagwan, CR and other artistes are given in this book.

When Bhagwan was directing- and acting in- film Bahadur Kisan-37, he got introduced to CR or Ram Chitalkar,as he was known then.Soon they became thick friends. When Bhagwan got Tamil film ‘ Jaykodi’ to direct in Madras, he took Chitalkar as the Music Director. They did one more film ‘ Van Mohini’ together in Madras and returned to Bombay. Actually Bhagwan had received several offers to direct more films, including one from AVM also, but his brother Shankar Palav came to Madras and forced him to return to Bombay.

Harishchandrarao Kadam, who had floated his own production outfit Harishchandra Pictures, was waiting to offer a Hindi film,” Sukhi Jivan” for Bhagwan to direct. The offer was to act in and direct the film for Rs. 3000 pm salary plus 20% share in the profits of the film. However, the producer wanted to continue with his MD, Naidu for this film too. Naidu was once an assistant to Anil Biswas and Kadam had promissed Anil Biswas to give this film to Naidu. However, Bhagwan flatly refused and said,” only Chitalkar will be the MD or I wont do the film”. Now there was a problem, as both were adamant for their MD. Finally, Anil Biswas came to mediate. Bhagwan told him,” Chitalkar came to Madras with me on my calling and also returned to Bombay with me,though he too had more offers there. Now I can not leave him high and dry. It is with him or no film”

Anil Biswas told the producer, ” OK. you give this film to Chitalkar and next film to Naidu”. The problem was solved and Ram Chitalkar got his first Hindi film ‘ Sukhi Jivan’-42 as an independent MD. He began his career and rose to heights which we all know very well. Harishchandrarao kadam gave film ‘ Watan ki Pukar ‘-43 to Naidu. Like this many interesting anecdotes are described in the book ‘ Ek Albela ‘, about CR and Bhagwan. I intend to weave some stories in my forthcoming posts.

In the cast there is a very romantic name-Ratan Piya. He was born on 5-3-1904 at Lucknow. His father Pt. Madan Mohan was secretary to Motilal Nehru. His father was a theatre lover and so started his own Theatre company at Allahabad. Ratan, after his matriculation started working in it. He was trained to write songs for its dramas. Their company was patronised by the Viceroy, who paid Rs. 20 p.m. as his Patronage !

Ratan debuted as a Lyricist in film Pakke Badmash-1939. For this film, he even wrote an English song. His films as a Lyricist were Zaban-43, Mali-44, Umang-44 Nai Baat-47 and Batohi-48. For sustenance, he even acted in few films like, Shakuntala-43, Umang-44, Meena-44, Mahakavi Kalidas-44, Panna Dai-45, Khush Raho-49, Janam Patrika-49 and Begunah-49. After this Ratan Piya returned to Allahabad to look after their Theatre when his father died.

There were 3 Major Centres for Hindi Film Production in India in the early days. Calcutta,Lahore and Bombay.

From the period of Talkie films, all the 3 centres became very active and many films with lot of songs were produced.Initially,in the Talkie films,even the Dialogues were in poetry type,so it was difficult to demarcate Dialogues and songs separately.Films like Indrasabha-1932 had 71(or 69) songs.Similarly, films from that era had anything between 10-50 songs each.

In the Calcutta centre, film music had a distinct influence of Robindra Sangeet,In the Lahore films,it was Punjabi and folk tunes whereas in the western Bombay centre music was influenced by Marathi stage, Gujarati Dramas and Parsi Theatre. Out of this, Marathi stage music had a pronounced effect on films as many classical Drama artists joined Film industry.As such this music was well developed and its acceptability was taken for granted.

When more films and songs were made in Bombay,there was a need for more singers.The composers were constantly on the lookout for fresh singers.
Prabhat Film Company shifted from Kolhapur to Poona,but there were many connections still left in Kolhapur area.When Prabhat started making the film ” SANT SAKHU ” in 1941,the Music Director Keshav Rao Bhole needed new singers.His assistant that time was a young man from Kolhapur area,named VASANT DESAI. He was entrusted the task of getting new singers. Such Talent Hunters were in Calcutta and Lahore also.

There is a book “The Desai Trio and the movie industry in India” by shri Nilu Gavankar. He describes this episode thus-

Vasant Desai had lot of connections in Kolhapur and Konkan.He had learnt about 2 Desai Sisters of Kolhapur who were very good singers,but he did not know them.He went to Kolhapur and met Mrs.Susheelabai Gavankar,the author’s wife and his family friend.He inquired if she knew these girls.She said, “Yes.Their mother Sharadini Desai is my friend.” They both went to Desai house. Vasant Desai was introduced.There were 2 sisters VINODINI AND PRAMODINI. Vinodini was about 15 yr.old. Vasant Desai proposed that Vinodini sings for a Hindi film. There was a flat refusal as ” girls from good homes do not sing in films”. After a great convincing and a promise of personal protection, it was agreed.

Accordingly, VINODINI sang for her first Hindi film Sant Sakhu in 1941. Later she was given many opportunities to sing in Marathi films, Bhavgeets etc.In 2 years’ time Vinodini got married to Music Director PANDURANG DIKSHIT and became Vinodini Dikshit. She was actually more into classical singing and devoted time in that, so she sang only 15 songs in Hindi films like Sant Sakhu-41, Gwalan -46, Lakhon mein ek-47, Poojya Gandhi ji-48, Sati Narmada-50 and Bhagwan Shrikrishna-50. She gave stage shows for classical singing and was actively involved in Kalyan Gayan Vidyalaya near Bombay.

Her younger sister Pramodini followed suit and started singing in Hindi films, starting with Khush Raho-49. She sang in more films than her sister, 27 songs in 13 films. Her other films include Raaz-49, Dilruba-50 Shokhiyan-51, Kashmir-51, Nand Kishore-51, Sazaa-51 Char chand-53, Fariyadi-53, One two Three-53, Gunah-53, Naulakha Haar-53 and Pehli Tarikh-54 . Later she got married to Ashok Patkar and settled in Bombay as a Housewife.

Today’s song is sung by Promodini Desai and Balbir. There were 9 songs in the film and 6 of them were sung by her. 3 solos and 3 duets. There were also 2 solos of Balbir in it. Except for today’s song, I could not get any other song from this film. So let us enjoy this rare song. With this song film Khush Raho -49 makes its debut in the Blog.


Song-Nishaana bane dil hamaare tumhaare(Khush Raho)(1949) Singers-Pramodini Desai, Balbir, Lyrics- Ehsan Rizvi, MD-S D Batish
Chorus

Lyrics

Nishaana bane dil
nishaana bane dil
hamaare tumhaare
nishaana bane dil
hamaare tumhaare
chamakne lage aaj kismat ke taare
ho kismat ke taare

nishaana bane dil
nishaana bane dil
hamaare tumhaare

khushi jhoom uthhi zindagi muskuraa di
khushi jhoom uthhi zindagi muskuraa di
machalne lage dil mein armaan saare
ho armaan saare

nishaana bane dil
nishaana bane dil
hamaare tumhaare

jidhar dekhti hoon khushi hi khushi hai
jidhar dekhti hoon khushi hi khushi hai
galey lag rahe hain yahaan ke nazaare
ho yahaan ke nazaare

nishaana bane dil
nishaana bane dil
hamaare tumhaare

?hui ?? aankhon ki ??
?hui ?? aankhon ki ??
?? ki baazi mein ham aaj haare
ho ham aaj haare

nishaana bane dil
nishaana bane dil
hamaare tumhaare

ye dil keh raha hai
nazar keh rahi hai
ye dil keh raha hai
nazar keh rahi hai
mohabbat hai kaayam tumhaare sahaare
ho tumhaare sahaare

nishaana bane dil
nishaana bane dil
hamaare tumhaare
nishaana bane dil
hamaare tumhaare


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 : 3731 Post No. : 14675

“Narsimha Avtaar”(1949) was directed by Sohrab Modi for Minerva Movietone, Bombay. This mythological movie had Laxman, Niranjan sharma, Shobhana Samarth, Mahipal, Madan Mohan, Raj Narayan Tiwari, Hari Shivdasani, Kamal, Anant Joshi, Leela Kumari, Kanta Kumari, Sheela Kumari, Pt Amarnath, Sulochana, Saajan, Rajkumar etc in it.

The movie had eleven songs in it. Three of these songs have been covered in the blog. All of them were discussed in 2011 !

Now, after seven years, here is the next song from “Narsimha Avtaar”(1949) to appear in the blog. The song is sung by Lalita DewoolkarLata. Pt Narendra Sharma is the lyricist. Music is composed by Vasant Desai.

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

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


Song-Jagmag taare jhhalke (Narsimha Avtaar)(1949) Singer-Lata, Lyrics-Narendra Sharma, MD-Vasant Desai

Lyrics

jagmag taare jhalke ae ae
jagmag taare jhalke
jagmag taare jhalke ae ae
jagmag taare jhalke

raat andheri
dekh na dar mann
raat andheri
dekh na dar mann
jagmag taare jhalke ae ae
jagmag taare jhalke

prabhu ka dhyaan hriday mein
sir par maa ki aanchal chhaaya
dekh rahin do aankhen
das disi dhan aanand mandraaya
das disi dhan aanand mandraaya
sukh muskaata neeche maa ke
paawan charan kamal ke ae
jagmag taare jhalke

sankat to bhakton ki kasauti
gahna hai dukh sahna aa aa
gahna hai dukh sahna aa aa
hai hari naam adhar ki shobha
hai hari naam adhar ki shobha
keshav kahte rahna aa aa
keshav kahte rahna aa aa
keshav
keshav
keshav


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What is this blog all about

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 14800 song posts by now.

This blog is active and online for over 3800 days since its beginning on 19 july 2008.

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Movies with all their songs covered =1162
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