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

Posts Tagged ‘1951


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.

This article is the 17400th song post for the blog.

Blog Day :

5307 Post No. : 17400

That moment is here again with us. The moment when we reach a century of songs in the blog and post a special song to mark the occasion.

What is so special, one may ask. We already have 173 such occasions in the blog.

Indeed we had 173 such occasions and this is the 174th century for the blog.

Still, I find this century somewhat different vis a vis other centuries in general, and with other recent centuries in particular.

If we look at the rate at which we have been clocked our centuries, here is what we observe

Time taken for century Number of occasions Date of First occasion (century number) Date of final occasion (Century number) Remarks
upto twenty days (Fast centuries) 65 5 January 2009 (5th century) 31 January 2015 (108th century) Fastest century in 11 days- 46th century on 9 september 2011)
from 21 to 40 days (Medium Fast centuries) 68 25 November 2008 (3rd century) 21 September 2020 (160th century)
from 41 to 60 days (Slow centuries) 26 5 November 2008 (2nd century) 27 March 2022 (169th century)
from 61 to 80 days (Very Slow centuries) 14 17 September 2008 (1st century) 31 December 2022 (173rd century) Slowest century in 77 days- 170th century on 12 June 2022
Total 173

We can observe that the last time we had a fast century (in 20 days or less) was on 31 January 2015, viz 8 years ago ! Even our last medium fast century (scored between 21 to 40 days) was more than two years ago. In other words, the centuries that we are scoring continuously for more than two years are all slow centuries that are taking between 41 to 77 days.

This century, which is achieved in 28 days becomes the fastest century in the blog since 23 march 2018, when century number 142 was scored in 26 days.

In addition, we achieve 100 posts in a month in a long long time. The last time it was achieved was in March 2018 (113 posts). Hopefully, this century will be just the shift in momentum and the shot in the arm for this blog that was badly overdue.

One can notice that majority of posts in this latest century are guest posts. Bulk of guest posts are by one single overenthusiastic contributor Avinash Scrapwala who contribured a whopping 53 posts out of 100 ! One fellow contributor jokingly commented that he has set up a post writing factory. 😄

There are 22 other guest posts as well. That makes it 75 guest posts out of 100 ! My own contributions were mainly in the form of Blog Ten Year Challenge posts.

As many as 29 posts introduced new movies to the blog ! Five movies got YIPPEED during this century. 14 posts were Blog Ten Year Challenge posts. Lyrics for most of these songs were sent by Prakashchandra.

As we add songs, the background work needed to manage them has increased considerably. That is one major reason that has prevented me to post more of my articles. Articles where I discuss some topics of interest have also dried up. Hopefully I will be able to restore them soon.

In all this discussion, I was almost forgetting about the song. It is a song that I had discovered a while back and I had earmarked it for some special occasion. Then I forgot all about this song. When Prakashchandra sent this song as blog Ten Year Challenge then I got reacquinted with this song. I resisted the temptation to post this song as part of Blog Ten Year Challenge.

This song is a joie de vivre genre of song that is bound to cheer up the listeners. This song is not by well known artists. Rather, this song is acreation of unknown artists. The singer is totally unknown,. She recently made her debut in the blog when another song from this movie was taken up as part of Blog Ten Year Challenge.

The music director and lyricists are also less known. That is how rare this song and its details are.

This song is from “Bulbul”(1951). This obscure movie was directed by A Rashid for Hindustan Productions, Bombay. This movie had Majnu, Rukhsaana, Dilaawar, Sarla Devi, Jyotsna, Maqbool, Mannan, Sheikh etc in it.

“Bulbul”(1951) had five songs in it. Three songs have been covered in the blog so far. This fourth song from “Bulbul”(1951) is sung by Suman Purohit, a singer about whom I know nothing. For that matter even the lyricist A Rashid is an unknown name. Music is composed by K S Ragi who is relatively better known since we had had a few of his compositions already represented in the blog.

Here is this wonderful song from “Bulbul”(1951). Rare it may be, but it has the effect of cheering up the listener every time one listens to it. It is a forgotten gem created by forgotten artists.

This post is the ninth post of thed day. That is yet another record for the blog for quite some time. The last time nine songs were covered in one day was on 31 july 2020. It is only the 43rdday (out of 5307 days) that nine songs have been posted in the blog. The record for a day is 13, however.

The lyrics of this song were sent to me by Prakashchandra.

This year has begun well for the blog. Let us hope that we sustain this momentum throuyghout the year.

I take this opportunity to thank all our contributors, visitors, well wishers and music lovers who keep supporting this blog in one way or the other and keep providing the fuel to drive this musical bandwagon.


Song-Preet bhare geet gaayen preet bhare (Bulbul)(1951) Singer-Suman Purohit, Lyrics-A Rashid, MD-K S Ragi

Lyrics (Providede by Prakashchandra)

preet bhare geet gaayen
preet bhare
preet bhare geet gaayen
preet bhare geet gaayen
aa aa
hil mil ke ik nayi duniya basaayen
ho duniya basaayen
preet bhare
preet bhare geet gaayen
preet bhare geet gaayen

nadiya ka shor
ghata ghan ghor
chhaayi chaaron oar
nadiya ka shor
ghata ghan ghor
chhaayi chaaron oar
aa aa
aise mein do dil chhip chhip ke aayen
ho chhip chhip ke aayen
preet bhare
preet bhare geet gaayen
preet bhare geet gaayen

haathon mein haath
chaandni ho raat
nayi nayi baat
haathon mein haath
chaandni ho raat
nayi nayi baat
aa aa
ek ek ko dekhen chheden
sharmaa hi jaayen
ho sharmaa hi jaayen
preet bhare
preet bhare geet gaayen
preet bhare geet gaayen

bhool na jaana
mera fasaana
jo tumko sunaana
bhool na jaana
mera fasaana
jo tumko sunaana
aa aa
pyaar ki naiyya mein kahin door jaayen
ho kahin door jaayen
preet bhare
preet bhare geet gaayen
preet bhare geet gaayen
aa aa
hil mil ke ik nayi duniya basayen
ho duniya basaayen
preet bhare
preet bhare geet gaayen
preet bhare geet gaayen
preet bhare geet gaayen
preet bhare geet gaayen


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 :

5303 Post No. : 17378

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Blog 10-Year Challenge (2013-2023) – Song No. 11
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On this date ten years back viz on 24 January 2013, six songs from six movies were covered in the blog. Here are the details:-

Blog post number Song Movie (Year) Remarks
7395 Manmohan mukhda mod gaye Kashinath(1943) Movie YIPPEED in the blog by now
7396 Chal chameli baag mein kauwwe udaayenge Bulbul(1951) 2 songs covered out of 5 by now
7397 Ho rasa saayang re Singapore (1960) Movie YIPPEED in the blog with this song
7398 Khat likh de sanwariya ke naam babu Aaye Din Bahaar Ke(1966) Movie YIPPEED in the blog by now
7399 Jaa re jaa o harjaayee dekhi teri dildaari Kallicharan(1976) Movie YIPPEED by now
7400 The she I love Rafi NFS(1967) Century song for the blog

We observe that six songs were covered in the blog ten years ago on this date. The day culminated with a Rafi NFS which was the 7400th song for the blog. The previous century post was published on 31 December 2012. So it is easy to calculate that this century came in 24 days, which was slow by the then standards of the blog. 🙂 Well, well.

We also observe that four movies (out of five) whose songs were covered on that day have since been YIPPEED. That leaves us with only one movie that is eligible for Blog Ten Year Challenge today.

That movie is “Bulbul”(1951). This movie was directed by A Rashid for Hindustan Productions, Bombay. This obscure movie had Majnu, Rukhsaana, Dilaawar, Sarla Devi, Jyotsna, Maqbool, Mannan, Sheikh etc in it.

“Bulbul”(1951) had five songs in it. Two songs have been covered in the blog so far.

Here is the third song from the movie to appear in the blog. HFGK and every other online source, including the youtuber uploaders mention singers as Rajkumari and Suman Purohit. Do they not apply their own mind or do they not listen to the song themselves ? It is clearly a duet sung by a male and a female voice. Secondly the voice of Rajkumari is not there in the song. Thirdly, if one listens to the other songs of this movie and then compare those voices with the voices in this song, then it would appear that this song is sung by K S Ragi and Suman Purohit.

A Rashid is the lyricist. Music is composed by K S Ragi.

Lyrics of the song were sent to me by Prakashchandra.


Song-Hans le mauj udaa le (Bulbul)(1951) Singers-K S Raagi, Suman Purohit, Lyrics-A Rashid, MD-K S Raagi
Both

Lyrics(Provided by Prakashchandra)

hans le mauj uda le
ye duniyaa do din ki
ye duniyaa do din ki
hans le mauj uda le
ye duniyaa do din ki
ye duniyaa do din ki

jeevan hai ek pal ka mela
jeevan hai ek pal ka mela
aaj hai aur kal kuchh bhi nahin een
aaj hai aur kal kuchh bhi nahin een

geet khushi ke ga le
o ga le
ga le
geet khushi ke ga le
ye duniyaa do din ki
ye duniyaa do din ki
hans le mauj uda le
ye duniyaa do din ki
ye duniyaa do din ki

pal bhar ki zindagaani
ho zindagani
pal bhar ki zindagaani
ho zindagani
pal bhar ka ye mel el el
pal bhar ka ye mel el el

karna ho so kar le
o kar le
kar le
karna ho so kar le
ye duniyaa do din ki
ye duniyaa do din ki
hans le mauj uda le
ye duniyaa do din ki
ye duniyaa do din ki

bichhad gaya jab man ka saathi
bichhad gaya jab man ka saathi
saaj kahin aawaaz kahin
saaj kahin aawaaz kahin

jeewan ka jal bhar le
o bhar le
bhar le
jeewan ka jal bhar le
ye duniyaa do din ki
ye duniyaa do din ki
hans le mauj uda le
ye duniyaa do din ki
ye duniyaa do din ki
hans le mauj uda le
ye duniyaa do din ki
ye duniyaa do din ki


This article is written by Avinash Scrapwala, 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 :

5300 Post No. : 17360

#the Decade of Fifties – 1951 – 1960 #
————————————————————————

Today’s song is from the ‘1951’ movie ‘Maalti Maadhav’ or ‘Malti Madhav’.

Here is the brief about this movie.

“Malti Madhav-1951’ was directed by M. Nilkanth for ‘Prasann Pictures’.

It was produced by Bhalerao-Shriniwas Joshi.

The cast of this movie included Durga Khote, Anand Marathe, Baby Shakuntala, Indu Pal, Pittu, Sushant, Vasant Shinde, Indu Kulkarni, Ganpat Rao, Gauri, Kelkar, Subodhini, Takalkar, Kumud Lele, Bargir, Suman, Raj Kishore, Sulochana and others.

This movie was passed by Censor Board on 10.04.1951.

“Malti Madhav” is based on the famous ‘Sanskrit Play’ of the same name by the great poet Bhavbhuti.

Here is the brief about Bhavbhuti and the story of this movie as mentioned on ‘Wikipedia’ and quoted by our Respected Arunkumar ji in his post with a song from this movie presented on the blog on 15.09.2020.

Bhavabhuti was an 8th-century scholar of India noted for his plays and poetry, written in Sanskrit. His plays are considered the equal of the works of Kalidasa. Bhavabhuti was born in Padampura, Vidarbha, in Gondia district, on the Maharashtra and Madhya Pradesh border. His real name was Srikantha Nilakantha, and he was the son of Nilakantha and Jatukarni. He received his education at ‘Padmapawaya’, a place some 42 km South-West of Gwalior. Dayananidhi Paramahansa is known to be his guru. He composed his historical plays at ‘Kalpi’, a place on the banks of river Yamuna.

He is believed to have been the court poet of king Yashovarman of Kannauj. Kalhana, the 12th-century historian, places him in the entourage of the king, who was defeated by Lalitaditya Muktapida, king of Kashmir, in 736 AD.

The play is set in the city of Padmavati. The king desires that his minister’s daughter Malati marry a youth called Nandana. Malati has been in love with Madhava ever since she saw him and drew his portrait. Madhava reciprocates, and draws a portrait of her in turn. Malati suspects her father’s motives in falling in with the King’s plans for her. A side plot involves the lovers’ friends Makaranda and Madayantika. The latter is attacked by a tiger, and Makaranda rescues her, getting wounded in the process. After numerous travails, all ends well, with the two couples uniting. According to the renowned Sanskritist Daniel H.H. Ingalls, the Malatimadhava is a work that combines love and horror with a felicity never again equaled in Sanskrit literature.

This movie has nine songs as mentioned in HFGK Vol-III (1951-1960). Lyrics for all the songs have been written by Pt. Narendra Sharma.

Music for this movie has been composed by Sudhir Phadke.

Lata Mangeshkar, Malti Pande, Sudhir Phadke have given their voices to the songs in this movie. Though singer’s name for three songs has not been identified and mentioned in the list of songs in HFGK.

However as per the footnote given at the end for this movie in HFGK it is mentioned that as told by Sudhir Phadke, the voice of Lalita Phadke also appears in one of the songs of this movie.

So far, four songs from this movie have been posted on the blog as per following details. (In order they were posted)

SNo Song Title Singer/s Posted On
01 Baandh preet phool dor Lata Mangeshkar 25.07.2011
02 Man mein mere angaarey hain Lata Mangeshkar 28.07.2011
03 Man saunp diya anjaane mein Lata Mangeshkar 08.08.2018
04 Motiyon se maang bhare sundari suhaaye re Malti Pande 15.09.2020

We can see from the above table that this movie made its debut on the blog on 25.07.2011 and the second song also followed within three days on 28.07.2011. However, the third song from this movie took another seven years and it was posted on 08.08.2018. The fourth song appeared after a gap of two years thereafter.

Today we are going to listen to the fifth song from this movie more than two years after the fourth song was posted on the blog.

Today’s song is a ‘sweet’ song in the voice of Lata Mangeshkar with beautiful verses by Pt. Narendra Sharma.

Music is composed Sudhir Phadke.

Lyrics for the today’s song were sent by Prakashchandra.

Editor’s note:-This song is the 100th song by Pt Narendra Sharma in the blog as a lyricist.

Let us listen to this beautiful song …


Song-Ho o main yauwan ban ki kali (Malti Madhav)(1951) Singer-Lata, Lyrics-Pt Narendra Sharma, MD-Sudhir Phadke

Lyrics (Provided by Prakashchandra)

ho o o o o o
main yauwan ban ki kali
ho ho o o o o o
main yauwan ban ki kali
mujhe kali se phool banaane ae
preeti pawan bah chali ee ee ee
o o o
main yauwan ban ki kali
ho o o ho o o
main yauwan ban ki kali

ulajh ulajh jaataa kyun anchlaa aa aa aa aa
ulajh ulajh jaataa kyon anchlaa
charan shithil par chitwan chaplaa
o o o o o o o
charan shithil par chitwan chaplaa
chupke se aakar lajjaa ne
mukh par roli mali ee ee ee
o o o o o o
main yauwan ban ki kali
ho o o o o o o o
main yauwan ban ki kali

poochh rahe panchhi kit jaati
kis ke hit varmaal banaati
ho ho o o
poochh rahe panchhi kit jaati
kis ke hit varmaal banaati
kaise keh doon main apne
priy se milne nikli ee ee ee
o o o o
main yauwan ban ki kali
ho o o o o o
main yauwan ban ki kali

jab main un ki ho jaaoongi ee ee ee
ee ee
jab main un ki ho jaaoongi
dhan aanand mein kho jaaoongi
dhan aanand mein kho jaaoongi
luk chhup kheloongi badli mein
ban ban kar bijlee ee ee ee ee
o o o
main yauwan ban ki kali
ho ho o o o o o
main yauwan ban ki kali


This article is written by Avinash Scrapwala, 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 :

5293 Post No. : 17331

#the Decade of Fifties – 1951 – 1960 #
————————————————————————

Nowadays whenever I browse the blog, specially the list of movies, I also look at the list of yearwise movies already represented on the blog. Music lovers and readers associated with this blog and Hindi Film Music must be aware that only there are over 40,000 songs created in the history of HFM between 1931 till 1980. Of course there are many creations lost in the oblivion whose records or audio have been lost with time and there is no possibility of getting them.

When this blog was in its initial years Atul ji had mentioned in one of his posts that according to an estimate there might be 25000 songs available for us for songs upto 1980.

However I presume that many songs have since become available online during the last decade or so. So, the actual number of songs may go above 25000.
(Thanks to the passionate and enthusiastic music lovers and sources who upload songs on the digital platform.).

If someone regularly browses this blog, internet, HFGK and/or other sources where the list of all songs from a movie is available can notice such songs which are still to be posted here on this blog.

Today I present one such song whose audio was not available till a few years back.

This song is from the movie ‘Saagar-1951’.

I came across this song when I was looking for a Manna Dey song from the year ‘1951’.

This movie ‘Saagar-1951’ had made its debut on the blog on 15.01.2014. Two more songs were added in the blog subsequently –one on 04.02.2014 and another on 11.02.2017.

Today’s song is the fourth song from this movie to be posted on the blog.

“Saagar-1951” was directed by P. Jairaj for ‘P.J. Films Unit’ his home productions. It had Nargis, Jairaj, Bharat Bhushan, K.N. Singh, Veera, David, Durga Khote, Banke, Rajni, Krishna, Vimla, Neelam, Cecil, Bindu and others.

As mentioned in HFGK Vol-III (1951-1960) this movie was passed by Censor Board on 02.06.1951.

This movie has ten songs written by Pt. Narendra Sharma. Music for this movie is composed by S.K. Pal.

Geeta Dutt, Sulochana Kadam, Asha Bhonsle, Manna Dey and Rajkumari are the voices who have sung songs in this movie.

(we will have the detailed list of songs of this movie in future post with a song from this movie).

As mentioned above today’s song is sung by Manna Dey. Pt. Narendra Sharma is the lyricist and music is composed by S.K. Pal.

I am not able to note down correct words at many places where I have marked (?). I would request readers with keener ears to help to provide these missing words.

Let us move over to the song now…


Song-Tere man ki manzil peechhe chhooti bhaiyya (Saagar)(1951) Singer-Manna Dey, Lyrics-Pt Narendra Sharma, MD-S K Pal

Lyrics

are o o o
tere man ki manzil
peechhe chhooti bhaiyya
kare ishaare falak ke taare
baithha tu ? bhaiyya?
aare o o o

jeewan ke din beet rahe
jaise chal kar naiyya phirti
naiyya phirti
doob chuke ?? par
Ye naiyya ghoomti phirti
naiyya phirti
aati lehren
jaati lehren
paanv samay ke
kabhi na thhehre ae ae ae
phailaa hai sansaar ??
doley jeewan naiyya aa aa
are o o o
tere man ki manzil
peechhe chhooti bhaiyya
kare ishaare falak ke taare
baithha tu chup bhaiyya
aare o o o

bhai kismat ki ?? hai ye
hey hey hey
hey hey hey
dhhoop chhaaon ka naata
koi aata koi jaata
wahi banaata
wahi mitaata
maalik khel khilaata aa aa
koyi aata
koyi jaata

kab tak taanta
kab tak naata aa aa
tan ka pinjra
?
koyi naa jaane
andhaa jaane
paglaa Raam bachaiyya(??)
are o o o
tere man ki manzil
peechhe chhooti bhaiyya
kare ishaare falak ke taare
baithha tu ??? bhaiyya
aare o o o
ho re o o o
ho re o o o


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 :

5267 Post No. : 17273

Today’s song is from a dubbed Tamil film bearing the name in Hindi as Ek Tha Raja-1951.

It is merely a coincidence that in a span of only few days, I am writing again on a dubbed film from south. That too, featuring 2 of the most influential, ambitious and successful actors who turned into equally successful politicians, formed new political parties and became Chief Ministers of Andhra Pradesh and Tamil Nadu respectively – N.T.Rama Rao and M.G Ramachandran.

I remember once our Atul ji had mentioned in one of his posts on this Blog that ” Indians are fond of only 3 things on which they can talk incessantly for hours, namely Films, Politics and Cricket ” How true his words are, we all know. Among the friends, it is always one of the above subjects which is invariably discussed – nay, the conversions are not complete without touching these. We all know how these 3 topics influence social media or the people in India. And when films and politics are the subject matters for a single personality, then the emotions become very strong ! At least, this was the case till a few years back. The points of interest might have changed for the new generation and I am blissfully ignorant about the topics that interest the new generation.

However, there is a difference between the influence of Cinema in South India and the rest of the world. While cinema is a matter of entertainment in the rest of the world, In south India, cinema not only influences the social life, but also the politics in a major way. Popular Hero and Heroines in south are nothing less than Gods and Goddesses. The influence of cinema on politics in south can be proved by a simple fact that since last 50 years, the Chief Ministers of Madras/Tamil Nadu have been from the film world. Even in Andhra Pradesh ( the erstwhile A.P.) the C M was a leading Film star for some years. The film personalities wield considerable influence in Politics even In Karnataka and Kerala.

In Madras state and later in Tamil Nadu ( from 1969), right from Chief minister Anna Durai to Jayalalitha ( except Kamraj, for a brief period), the state politics was controlled by film artists like MGR, Karunanidhi etc. All of them invariably used the medium of Cinema to further their ideals and party agendas-of DMK or AIADMK.

Of all the CMs, M G Ramchandran or just MGR (Hero of today’s film Ek Tha Raja-1951), was the most ambitious person. He was keen that he should be well known all over India, especially North India. But his biggest problem was Hindi language. Modern technology solved this problem to some extent and he decided to make a Hindi film using the dubbing facility. Thus was made the Tamil film “MARMAYOGI” ( Ek Tha Raja-51 in Hindi). Newspaper “Hindu” briefly describes, how and why this film was made, in an article published in 2008. Here is an edited extract from the article…

” Perhaps the most historically significant film of 1951 was K. Ramnoth’s Marmayogi, a Jupiter Pictures’ production made at Central Studios in Coimbatore. This film, a folkloric tale of kings, royal mistresses and rebellious princes was written by A. S. A. Sami who had planned it specially for M. G. Ramachandran.

MGR who made his debut as hero in Sami’s Rajakumari -47, was aware that the success of that film was due to reasons other than himself. It had action, trick scenes, entertainment, sexy dances and the hero was only an auxiliary cause and nothing more. So MGR persuaded Sami to write a script built around him to boost his image as a social rebel, do-gooder, and a fearless fighter for the underprivileged.

MGR was an ardent filmgoer and a fan of Hollywood action heroes such as Douglas Fairbanks and Errol Flynn. Fairbanks fascinated him more and he modelled himself after this famous American idol of the Silent Era. Sami worked on a script, a mix of literary and classical elements, for MGR. Inspiration was drawn from the novel “Vengeance” by Marie Correlli and the legend of Robin Hood! MGR was cast as the younger prince who rebels against a woman who usurps his father’s kingdom and lets loose a reign of terror. The king pushed off a boat by his mistress, and presumed to have drowned, escapes and lives in disguise as a mysterious saint (hence the title Marmayogi) and also parades as a ‘ghost’ at nights. The hero turns into a Robin Hood and leads the masses to victory. The name of the hero — Karikalan –— was deliberately chosen to impress and exploit the new feeling of ‘Tamilness’ among the people.

In films of this genre, names of heroes are mostly Sanskrit derivatives such as Veerasimhan and Pratapan. But Sami went for a typical Tamil name, after the name of the famous Tamil king, Karikala Chozhan.

Initially the title of this film was Karikalan. Later it was changed so that people don’t mistake it for a historical film. Ramnoth revealed his talents with his technically slick direction. Sama as the king, Anjali Devi as the power-crazy mistress and Sahasranamam as the elder prince performed their roles well. But the movie belonged to MGR. Every word of his dialogue was planned and written to build a special image for him and the lines had multi-layered meanings. One of the lines summed up MGR’s ambitions, personal, and political … “Naan kuri vaithaal thavara maatten! Thavarumey aanaal kuri vaikka maatten!”( It means- when I aim, I don’t miss. If it is to miss, I don’t aim !) This dialogue became popular and was greeted with gleeful screams in cinema houses. Strangely the Censors gave Marmayogi an ‘Adults Only’ certificate. Why? The film had a ‘ghost’ and hence the ‘A’ certificate!

Marmayogi’ received a warm welcome from the masses, especially the rapidly increasing rank and file of the MK party. With this film MGR’s image brightened and his career as a political figure was established. Soon he acquired a prefix to his name “Puratchi Nadigar”!( Revolutionary Actor ). “

The film was made in Hindi simultaneously, with dubbing of dialogues, but it did not evoke any enthusiastic response from the Hindi audience, perhaps due to the artistes being new and unfamiliar to them and the different style of acting of southern actors-dramatic- which was alien to Hindi viewers. MGR could not get what he wanted, but it was well compensated with extraordinary success of the Tamil film. The film was dubbed in Telugu, Kannada, Malayalam and Sinhalese languages and was successful everywhere-except the Hindi belt.

Let us now take the opportunity to know more about M.G.Ramachandran (MGR), like we did with N.T. Rama Rao (NTR) some time back. In case of these actors we can not separate their film life and political life. Maruthur Gopalan Ramachandran (17 January 1917 – 24 December 1987), was born in Kandy, Ceylon, in a migrated Keralite family. His mother tongue was Malyalam. Also popularly known as M.G.R., he was a politician, actor, philanthropist, and filmmaker who served as the Chief Minister of Tamil Nadu from 1977 until his death in 1987. He was the AIADMK’s founder and J. Jayalalithaa’s mentor. On 19 March 1988, M.G.R. was posthumously awarded the Bharat Ratna, India’s highest civilian honour.

In his youth, M.G.R. and his elder brother M. G. Chakrapani became members of a drama troupe to support their family. Influenced by Gandhian ideals, M.G.R. joined the Indian National Congress. After a few years of acting in plays, he made his film debut in the 1936 film Sathi Leelavathi in a supporting role. By the late 1940s, he had graduated to lead roles.

M.G.R. became a member of the C. N. Annadurai-led Dravida Munnetra Kazhagam (DMK party) and rose through its ranks, using his popularity as a film star to build a political base. In 1972, three years after Annadurai’s death, he left the DMK, then led by M. Karunanidhi to form his own party—the All India Anna Dravida Munnetra Kazhagam (AIADMK). Five years later, M.G.R. steered an AIADMK-led alliance to victory in the 1977 election, routing the DMK in the process. He became Chief Minister of Tamil Nadu, the first film actor to become a chief minister in India. Except for a four-month interregnum in 1980, when his government was overthrown by the Union government, he remained as chief minister till his death in 1987, leading the AIADMK to two more electoral wins in 1980 and 1984.

In October 1984, M.G.R. was diagnosed with kidney failure as a result of diabetes. He died on 24 December 1987 in his Ramavaram Gardens residence in Manapakkam after a prolonged illness. M.G.R. is regarded as a cultural icon in Tamil Nadu and is regarded as one of the most influential actors of Tamil cinema. His autobiography Naan Yaen Piranthaen (Why I was Born) was published in 2003.

MGR, dominated like no other, the films and politics of India’s Tamil Nadu state. A charismatic actor and philanthropist, he commanded the idolatrous adulation of millions of Tamilians and became Tamil Nadu’s chief minister. His achievements in 3 fields, namely films, philanthropy and politics were remarkable considering his humble origins in Sri Lanka. Raised in poverty by a widowed single mother, he had nothing more than his good looks when he got his first break in “Sati Lilavati”, a Tamil film of the late 1930s. In the 1940s and 50s, the Tamil film industry was being transformed by screenwriters like Annadurai, Karunanidhi and others belonging to the Dravidian movement. MGR starred in many of the movies they helped make.

Annadurai became his mentor and MGR joined the DMK, Annadurai’s new Dravidian party. His films made MGR a matinee idol among Tamilians. He also started monetarily helping people in need, sowing the seeds for his reputation as a philanthropist. When Annadurai died as Tamil Nadu’s chief minister, MGR’s rival Karunanidhi assumed office. MGR accused him of defalcation and was kicked out of the DMK.

In 1977, MGR’s ADMK (later renamed AIADMK) party was swept into power. In his first term, MGR cleaned up corruption and carried out reforms like having an income limit for backward class people to be eligible for the reserved seats in government colleges and jobs. His reforms proved unpopular, so MGR became another corrupt Indian politician having learned not to rock the boat. Tamil Nadu stagnated during the rest of his reign. Yet his mesmerized legions of fans continued to vote him into power. His death in 1987 created a power vacuum that soon brought his old nemesis, the corrupt Karunanidhi, back into power. MGR was a complex man who triumphed over poverty and tried to improve the lot of the people who revered him. However, in the end, he was a God that failed.

As far as his appearance in dubbed Hindi films is concerned, MGR appeared in 11 films in Hindi. The first film was Ek tha Raja-1951 and the last film was Love in Kashmir-1976. These 11 films also included 2 films directed by him. They were Hamen bhi jeene do-1962 and Rangeen Duniya-1975. Compared to NT Ramarao with 23 films, MGR fell behind with just 11 Hindi films. Only initially he was keen and anxious to be popular in the Hindi land, but as the years passed by, his interest increased in politics and he was not keen on Hindi audience. Both NTR and MGR started with films and ended with politics enjoying the Chief minister ship of respective states. Except Jayalalita, no other artistes has achieved this anywhere else, so far. (Thanks to The Hindu, wiki, IMDB, nett4u,muVys, HFGK and my notes, for this ).

Today’s song is sung by Jikki, Zohrabai Ambalawali, a male voice and chorus. Jikki is an interesting Pseudonym used by the southern singer P.G.Krishnaveni. Though she was born on 3-11-1935 in Madras, her family belonged to Andhra Pradesh, who moved to Tamil Nadu. Her mother tongue was Telugu. Her uncle was a musician. She started her career by doing small roles in films. Her first Tamil film song became a super hit and then there was no looking back. She got married with A.M.Rajah, singer and M.D. They had 6 children.

In 1989, her husband died in a Railway accident on platform, before her eyes. After this shock, she took a long break and started again. She formed a Musical Troupe and did shows all over the world. She is supposed to have sung over 10,000 songs in Telugu, Tamil, Kannada, Malyalam, Simhalese and Hindi. She sang 9 songs in 5 Hindi films, namely Ek tha Raja-51, Patal Bhairavi-52, Mr. Sampat-52, Gul E Bakavali-56 and Ram aur Rahim-68.

Enjoy this song now, composed by C.R.Subbaraman, who had also composed music for film Chandirani-1953.


Song- Do din ki bahaar hai phir kya intezaar hai (Ek Thha Raaja)(1951) Singers- Jikki, Zohrabai, unidentified male voice, Lyricist- J.S.Kashyap, MD- C.R.Subbaraman
chorus

Lyrics

aa
aa aa aa
aa aa aa aa(bumchik bumchik bumbum
bumchik bumchik bumbum
)
aa
aa aa aa
aa aa aa aa aa

Do din ki bahaar hai
phir kya intezaar hai
Do din ki bahaar hai
phir kya intezaar hai
dukhiyon pe luta de pyaare
jitna dil mein pyaar hai
ho jitna dil mein pyaar hai
bum chik bum chik bum bum
bum chik bum chik bum bum
mazloomon ki raksha ko ye
dhaal hai talwaar hai
mazloomon ki raksha ko ye
dhaal hai talwaar hai
?? inki gardan ko
ye khanjar hain kataar hain
?? inki gardan ko
ye khanjar hain kataar hain

belan bhi taiyyaar hai
hey
Do din ki bahaar hai
phir kya intezaar hai
dukhiyon pe luta de pyaare
jitna dil mein pyaar hai
ho jitna dil mein pyaar hai

bum chik bum chik bum bum
bum chik bum chik bum bum

albeli naweli akeli hoon ??
koi karna na pyaar
teri soorat badi hai mazedaar
teri soorat hai jaada bukhaar
gori aao idhar
mori baari umar
abhi bachpan ne daaman hai chhoda nahin
abhi rishta jawaani ka joda nahin
yoon hi kachchi ho
yoonhi kachchi ho
itna main bhola nahin
dil mein ulfat hai
bheje mein khola(??) nahin
lo milaao nazar

unhoon

jhoothha iska pyaar hai
sachcha sewa?? hai
dukhiya maa bahnon ko doongi
jitna dil mein pyaar hai
ho jitna dil mein pyaar hai
hey
Do din ki bahaar hai
phir kya intezaar hai
dukhiyon pe luta de pyaare
jitna dil mein pyaar hai
ho jitna dil mein pyaar hai
bum chik bum chik bum bum
bum chik bum chik bum bum
bum chik bum chik bum bum
bum chik bum chik bum bum


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 :

5264 Post No. : 17270

Today’s song is an interesting Trio from an old film Ghayal-1951.

The cast of the film was Sulochana Chaterjee, Shaikh Mukhtar, Geeta Bali, Jawahar Kaul, Ramsingh, p.Kailash, pesi Patel, Honey O’Brien, Yeshwant Dave, Rewa Shankar Marwadi and many more. There were 7 Lyricists for 11 songs of the film (one of them is a 2 part song). Likewise there were 6 singers. The M.D. was Gyan Dutt. All the singers were well known, except the singer ‘ Bhola’.

Many people think that Bhola was Bhola Shreshtha, the M.D., but it’s not true. This Bhola was Bulo C Rani,M.D. He joined the industry to be a singer. Khemchand Prakash gave him an opportunity to sing in the film Mehmaan-1942. Later, the same year,Gyan Dutt also gave him songs.Bulo C Rani sang 34 songs in 19 films – initial in his own name, and from 1944 onwards as ‘Bhola’, as he had become a Music Director himself by then, from film Moorti-1944.

Bulo C Rani was a Science graduate. In those days of early cinema, most people who joined the film line were less educated and mostly from lower middle class or poor families. Not ALL of course. There were few highly educated actors, directors, MDs etc but their number was much less. Actresses like Renuka Devi, Vanmala, Nalini Tarkhad etc. were graduates. Actors like Ashok kumar and Ranjan were graduates. Artistes like Dewan Sharar, Devika rani and Shakuntala Paranjpye had International experience, they wrote books also. Director Nanubhai Vakil and actor Surendra were BA,LL.B.

Ramchandra Thakur, Producer and Director of film Ghayal-51, was also from Elite and highly educated class. He also wrote articles in magazines – before and after his film career. Ramchandra Thakur was one such scholarly person who was a Postgraduate and a prolific writer on films in English, Hindi and Gujarati, before joining films. Ramchandra Thakur was born in Suver of Sabarkantha district in Gujarat, on 17-12-1908. He moved to Bombay when he was just 9 year old. He pursued his higher education in Bombay and emerged as a scholar of Pali language. When he gave his M.A. final exam, he wanted to become a teacher in a college, if he got First class. If not, he would join the film industry as a director. During his college years he had written many articles on films. He had translated Sound Recordist Minu Katrak’s English works in Hindi and Gujarati.

When he did not get First class, he joined Sagar Movietone, in its Marketing department. After a few months, Baburao Patel took over from him and he became an assistant director to Chimanlal Luhar for the film Dynamite-38. Next, along with Virendra Desai ( Nalini Jaywant’s first husband), he became a co-director of the film The Gramophone Singer-38. His first film, as an independent Director was the Debut film of Snehprabha Pradhan – Civil marriage-40. Then he joined Ranjit Movietone. He directed mythological, Social and Comedy films. Art Director Kanu Desai’s film Geet Govind was directed by him. Thakur directed 20 films. He also wrote the script for the popular film Baiju Bawra-52. He produced 5 films. He directed 2 Gujarati films and wrote stories and screenplays for several Gujarati films.

He was an accomplished writer. He wrote 4 novels – Amrapali, Budhidhan Birbal, Prem Diwani and Urmila. He wrote several satirical commentaries too. He wrote a detailed article on Sagar Movietone and Chimanlal Desai in Gujarati magazine ” Jee”. His last Hindi film as a director was Nawab Sirajuddaula-67, which he had produced also. He died on 31-10-1992.

I do not know about the storyline of the film Ghayal-51. One of my favourite actors – Jawahar Kaul – acted in this film. He was a very handsome fellow and had an unique style of acting. It was his bad luck that he could not prosper or become “A” grade actor, as in his period the competition was severe and there were many better actors operating then.

Jawahar Kaul was born in a Nehru family on the 27th of September in the year 1927 in the place 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 portray 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 efficiently 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 Chakravarti. It took a long time to finally release in 2000. Not only was it a flop, it also gave a heavy financial burden on him. However, his only son and producer daughter Shabanam Kapoor repaid everything. He died peacefully in Andheri,Mumbai, on 15-4-2019. Till the end, he looked after his school and college ‘ Children’s welfare Centre’, nearby.

Jawahr Kaul acted in 31 films starting from a small role inGeet Govind-1947. I remember his role in my favourite film Dekh kabira Roya-1957.(Thanks to Beete Hue din Blog).

Like most artistes, the music Directors of the early cinema had a tough time in their later life. Music of their era and style was no longer saleable due to the changing tastes of the people. Newer and younger MDs had a tough competition themselves. Thus these oldies were helpless. Damodar Sharma became assistant to Laxmikant Pyarelal, Madholal Master started his business of making Puppets (His Joker’s puppet was used by Raj kapoor in his film ” Mera Naam Joker”), Vithaldas Panchotiya, Krishnarao Chonkar, Badri prasad, Rewa shankar Marwadi etc. started doing small roles in films to sustain life. B.R.Deodhar opened a Music school.

Rewashankar Marwadi had acted in today’s film Ghayal-1951. I tried very hard to get some information about Rewa Shankar Marwadi, who was an actor, lyricist, singer and also music director in the 1930s and 1940s. However I could not get anything concrete. Anyway I found a note on this multi talented artist of the early era, written by Shri Dhananjay Naniwadekar aka Nani, on the old RMIM forum, some 15 years ago and adapted by me for this article.

Some of Ranjit Movietone’s earliest talkie films had music by Ustad Jhande Khan. Next came the trio of Banne Khan, Ganga Prasad Pathak and Rewa Shankar Marwari. None of that music was ever released on 78 rpm records. From 1938-39, the great duo of Gyan Dutt and Khemchand Prakash took over the charge of Ranjit’s music, later to be joined by Bulo C Rani. It was only around 1938 that Ranjit started releasing its film music on 78-rpm records.

Rewa Shankar Marwari’s association with Ranjit Films and films produced or directed by ex-Ranjit hand Jayant Desai continued in the
1940s. While it is a pleasant surprise that imdb.com has a page for an obscure name like ‘Rewashankar Marwadi’ at all, it is not surprising
that his filmography has been put together for the site by people who are far from competent at that sort of thing. He acted in 27 films, till 1955, sang 12 songs in 9 films and gave music to 21 films from ‘Veer Babruwahan’ (1934) to ‘Matrubhoomi’ (1949). After 1949 only, he started acting in films.

Rewashankar Marwadi and Gangaprasad Pathak gave music together for Gunsundari- 1934 as well as the film Raat ki Raani-35. Rewashankar Marwadi then made a pucca pair with composer Banne Khan and this pair gave music to 12 films, as a pair. ( Barrister’s wife-35, College girl-35, Qeemati aansoo-35, Noor-e-watan-35, Chalaak chor-36, Raj Ramani-36, Dil ka daaku-36, Sipahi ki sajani-36, Matlabi Duniya-36, Lehri lala-36, Ghazi Diler-36 and Mitti ka putla-37 ). In my opinion, they should be considered the first pair of MDs as well as Trend setters and NOT Husnlal-Bhagatram. Of course the number of films the H-B team did was more ( 52), but that is because after 1935, the speed of making films increased. More films were made in the 40s and the 50s than in the 30s. Moreover many composers left for Pakistan in the late 40s, so more films for less composers were available. Numbers aside, but lack of enough knowledge about the early films and artistes has led to much injustice to the Pioneers, for sure !

Today’s song is a Trio, sung by G M Durrani, Geeta Roy and Meena Kapoor along with Chorus. The song is in 2 parts recorded on one single record-on both sides. HFGK mentions it as 2 separate songs, but today’s song is the combined version running for more than 6 minutes. Durrani’s voice was suitable for soulful songs- like Talat. However personally I feel he was better than Talat, though Talat got more popular songs than him. Durrani acted in 16 films, wrote songs for 1 film (Nazare-49), gave music to 8 films composing 48 songs and sang 305 songs in 168 films.


Song- O Rani Mainavati sun mera sandesh (Ghaayal)(1951) Singer-G.M.Durrani, Geeta Roy, Meena Kapoor, Lyricist- Saraswati Kumar Deepak, MD- Gyan Dutt

Lyrics

madan janak mrug manimay
hararararara daude
manjul vachan vilohit
?? kaaya
ahahahaha
latan tatan mrug manimay
?? sunil ??
??
?? sunil ??
??
?? sunil ??
??

O Rani Mainawati
sun mera sandesh
O raja pyaar kiya
bisra do ye des

Dil ko tod ke chalo jee
mukhda mod ke chalo jee
duniya milne na degi
milne na degi
o duniya milne na degi
milne na degi
dil ko tod ke chalo jee
mukhda mod ke chalo jee
duniya milne na degi
milne na degi

chalo doon khanjar barchha teer
mitaa doon duniya ki tasweer
chalo doon khanjar barchha
chalo doon khanjar barchha teer
mitaa doon duniya ki tasweer
jo apna rasta rokegi
jo apna rasta rokegi
milne na degi
Dil ko tod ke chalo jee
mukhda mod ke chalo jee
duniya milne na degi
milne na degi

dil dhadak dhadak dhadkaiyya leta
lahar lahar lahraiyyaan
dil dhadak dhadak dhadkaiyya leta
lahar lahar lahraiyyaan
sainyya padoon tumhaare painyyaan
sainyya padoon tumhaare painyyaan
padoon tumhaare painyyaan
sainyya padoon tumhaare painyyaan
hamaari chalne na degi
hamaari chalne na degi
milne na degi
Dil ko tod ke chalo jee
mukhda mod ke chalo jee
duniya milne na degi
milne na degi

bhes badal kar naar naweli
chali yaar ke sang
naak kataa kar kahaan jaayegi
?? karoon ??
daiyya o daiyya
o daiyya daiyya daiyya

jaane ki taiyyaariyaan
jaane ki taiyyaariyaan
jaane ki taiyyaariyaan
jaane ki taiyyaariyaan

aao aao kaafilon
aa jaao ??
jaane ki taiyyaariyaan
jaane ki taiyyaariyaan
aao aao kaafilon
aa jaao ??
jaane ki taiyyaariyaan

laal ?? mein chali chhabeeli
Thakur chala ??
laal ?? mein chali chhabeeli
Thakur chala ??

yaar ke tukde kar de chaar
uthha le ?? sardaar
teri ?? hai makkaar
dekh raha kya soorat bhola
?? tera pyaar
?? tera pyaar
dekh raha kya soorat bhola
?? tera pyaar
?? tera pyaar
Dil ko tod ke chalo jee
mukhda mod ke chalo jee
duniya milne na degi
milne na degi

o o paaji raajkumaar
aa aa aa aa aa aa
arre o paaji raajkumaar
meri dulhan ka ??
arre o paaji raajkumaar
meri dulhan ka ??
saamne aa le kar talwaar
saamne aa le kar talwaar
teri gardan doon abhi utaar
teri gardan doon abhi utaar

Thakur chhod de ae
pardesi ko kar le mera haath
Thakur chhod de ae ae
pardesi ko kar le mera haath
duniya hansne na degi
duniya rone na degi
duniya hansne na degi
duniya rone na degi
chain se marne na degi
kisi ko milne na degi
chain se marne na degi
kisi ko milne na degi
Thakur chhod de ae ae
pardesi ko kar le mera haath
Thakur chhod de

o raani
main na ??
aa gaya main aaj
sachcha tera yaar hai
tera Rajkumaar

dekh do tukde hai talwaar
malaniya kar inka singaar
dekh do tukde hai talwaar
malaniya kar inka singaar
mera ghoda sar se taiyyar
basaa lo tum apna sansaar
mera ghoda sar se hai taiyyar
basa lo tum apna sansaar
dekh do tukde hai talwaar
malaniya kar inka singaar

is ghode par baithh ke
jaao donon door
Raja Rani ek hain
?? ??
Siyawar Ramchandra ki jai
Siyawar Ramchandra ki jai
Siyawar Ramchandra ki jai


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 :

5210 Post No. : 17195

Today’s song is a song in praise of Lord Vishnu from the film Laxmi Narayan-1951.

I have been a fan of Religious and Mythological films right from my childhood and I have seen hundreds of such films. Maybe, since the family atmosphere was conducive to religious matters, I developed this liking. I also used to read a lot of religious stories and books, which was very uncommon for children of my age and many times I was the centre of ridicule and fun for other peers.

These days not many films are made on religious stories, but it is compensated for by TV serials. Older people spend their time seeing these serials. During the 80’s when Ramayan and later Mahabharat serials were aired on TV, millions of people all over India saw them and the serials earned unprecedented popularity.

Nowadays, of course, even talking about religion is considered ‘ out of fashion ‘. Today’s generation is grossly unaware of our legacy. Not their fault, because they are not exposed properly to our culture and religion. Additionally, being a ‘ secular Nation ‘, teaching does not include lessons about culture and religion.

Secularism does not mean Anti Hindu or against any other religion. The definition says ” separation of religion from civic affairs and the state. ‘ Today, however, secularism is the most misunderstood word in India. So be it. Let us not dwell on this point about which we can not do anything.

When I say Religious films, they are of two types-
1.Stories from Ramayana and Mahabharat and
2. stories from Puranas.

What is a Puran ? It is a vast Genre of literature about legends and other traditional lores. There are 18 major Puranas and 18 Up Puranas (sub puranas). Purans unveil our glorious past encapsulated with great soul stories and provide Life Morales.
The Film Laxmi Narayan-1951 was based on a story from Vishnu Puran. It is about how Laxmi and Narayan met and got united. It has the background of ‘Samudra Manthan’ or Churning of the ocean. In our Puranas, there are stories about the SAMUDRA MANTHAN. It is believed that Kamala or Laxmi emerged from this churning and Narayan married her. In all, 14 unique, magical and invaluable things came out of the ocean after this Samudra Manthan or Churning of the Ocean.
For your information here are these 14 objects-

1. Halahal-The Poison 2.Varuni-The wine 3.Kamdhenu-Magical Cow 4. Airawat-The Flying Elephant 5. Uchhaiswas-The 6 Headed Horse 6. Apsaras like Rambha,Urvashi, Menaka etc. 7. Kaustubh Mani- A powerful Diamond 8. Kalpavriksha-The Magical Tree 9. a Divine Bow 10. Chandra-The Moon 11. Ratnas or Gems 12. Laxmi or Kamala 13. Dhanwantari-The Gods’ Physician,with a book on Ayurved and 14. The Amrit- the drink that makes one immortal.

There are few variations in the list depending on its sources. Here is some information on Samudra Manthan-

The great sage, Durvasa Muni, once offered a garland to Indra, who ignored it and put it on the tusk of his elephant, which trampled it. Seeing Indra’s disregard, the revered sage became furious. He cursed Indra saying that he and the other gods would lose all their powers. In due course, Indra and the other gods began losing all battles against the demons, and the demons led by Bali took control of the universe. Seeing no other way, the helpless Indra rushed to Vishnu for help.

Vishnu had a plan. He said that to get back their powers the gods would have to churn the oceans and bring out the magical nectar-amrita. Only after consuming it could they regain their powers. This great churning is known as samudra manthan. But as the gods were powerless now, they sought the help of the demons to accomplish this huge task.

The gods and demons got together for the herculean task. The huge mountain, Mandara, was used as the pole to stir the waters. But as the pole entered the water it kept sliding into the depths of the ocean. To stop this, Vishnu quickly transformed himself into a tortoise and supported the mountain on his back. This image of Vishnu as the tortoise was his second avatar called ‘Kurma.’

Once the pole was balanced, it was tied to the gigantic snake, Vasuki, and the gods and demons started pulling it from either side. As the churning began and the massive waves whirled, an extremely poisonous drink called Halahal came out. The gods became scared because this blue drink could destroy creation.

They all got together and prayed to the powerful Shiva to help them. Shiva appeared before all and gulped the entire poison. But, he did not swallow it. He kept the poison in his throat. Since then, Shiva’s throat became blue, and he became known as Neelkantha or the blue-throated one.

The story of the film tells us the details of how Laxmi took another Birth to become Narayani or wife of Narayan. Here is the film’s story….

Arishtanemi, the king of Danavas was ruining Mother Earth for his own sadistic enjoyment. He had polluted the waters of the rivers. All the Gems were thrown away in the sea and everywhere there was a tale of suffering. At the same time Bhuwanmohini, daughter of Bhrigu Rishi was in the bloom of her youth and many Kings and Gods were aspiring to marry her. Indra, the King of Gods and Arishtanemi were two aspirants competing with each other, while Bhuwanmohini herself wished to marry Lord Vishnu, thanks to the praise of the Lord by Narad. Indra took away Bhuwan with him against her wishes.

To take advantage of this situation, Arishtanemi started a Yagna with Bhrigu as his Purohit. From the holy fire of the Yagna emerged Vritasur with whose help Arishtanemi conquered the kingdom of Gods. There Arishtanemi searched for Bhuwan but she had left Indra’s palace and sat alone on the top of a mountain and prayed to the Lord to come to her rescue. Having lost his kingdom Indra prayed to God Shankar for help to conquer Arishtanemi.

God Shankar told him that only one weapon could kill Vritasur and that it was to be made from the bones of Sage Dadhichi. Indra went to Dadhichi and served him while power-mad Arshtanemi attacked Sage Dadhichi only to be burnt down by the Sage. Indra got the weapon he wanted and won the battle with Vritasur. Indra then went in search of Bhuwanmohini but unwilling to surrender to Indra she jumped down to the sea.

When Bhrigu learnt about this mishap he went to Lord Vishnu who was asleep and kicked him in the chest to wake him up. In anger he called out “How can you sleep sound when my daughter died crying out ” lord Vishnu said,” dont worry, Oh Sage She will come to me when time is ripe for the same. In the meanwhile let me massage your foot which must have been hurt when you struck me”. Later the Gods and the Danavas churned the great sea when Bhuwanmohini emerged as Laxmi radiant with wealth and Lord Vishnu accepted her as his consort. This union is famous in the Hindu mythology by the name LAXMI NARAYAN.

The film was made by Basant Pictures of Homi Wadia, by now a specialist in making Mythological films along with Stunt films featuring Fearless Nadia. The film was directed by an expert- Nanabhai Bhatt. The cast of the film was Mahipal, Meena Kumari, Dalpat, Urmila, S.N.Tripathi, Amarnath, Sulochana and a host of other artistes. Music was provided by S.N.Tripathi and the songs were written by Ramesh Pandey and B.D.Mishra.

This is the 3rd song from this film I am presenting. By coincidence a song from this film was the first song of my series ” Bhajan Mala” from 22-5-2014 to 10-6-2014. Then another song was also the first song of my another series ” Mahashivratri-Mini Series” from 13-2-2015 to 17-2-2015. Today’s song is the first song from a religious film after almost 2 years.

I have great regard for S.N.Tripathi, composer of this film. He always provided very sweet and melodious songs to religious films which became an additional attraction for its success. Another such composer was Chitragupt.

The song is very good and its video is very interesting. Enjoy….


Song-O jag ke paalanhaar tera khel hai niraala (Laxmi Narayan)(1951) Singer-S N Tripathi, Lyrics-B D Mishra, MD-S N Tripathi
All Chorus
Female chorus
S N Tripathi + Male chorus

Lyrics

om
om
om

o jag ke paalanhaar tera khel hai niraala
tera khel hai niraala
o jag ke paalanhaar
tera khel hai niraala
tera khel hai niraala

o chakr sudarshandhaari
teri leela sabko pyaari
o chakr sudarshandhaari
teri leela sabko pyaari

tere roop anekon bhagwan
tu hazar naamon waala
tera khel hai niraala
tera khel hai niraala
o jag ke paalanhaar
tera khel hai niraala
tera khel hai niraala

jo tera sumiran karte
bhavsaagar paar utarte

jo tera sumiran karte
bhavsaagar paar utarte

tumne kitne hi dukhiyon ko prabhu dukh se nikaala
tera khel hai niraala
tera khel hai niraala
o jag ke paalanhaar
tera khel hai niraala
tera khel hai niraala

tu teen lok ka swaami
avinaashi antaryaami
tu teen lok ka swaami
avinaashi antaryaami

milta hai sab lokon ko prabhu tujhse hi ujaala
tera khel hai niraala
tera khel hai niraala
o jag ke paalanhaar
tera khel hai niraala
tera khel hai niraala

shaantaakaram bhujangshayanam padanaabham suresham
vishvadhaaram gagansadrisham meghvarnam shubhaangam
laxmikaantam kamalnayanam yogibhidhyarnagamyam
vande vishnum bhavbhayharam
sarvlokaikanatham


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.

The blog completes 14 years of its existence today (19 july 2008-19 july 2022).

Blog Day :

5114 Post No. : 17057

HEARTIEST CONGRATULATIONS to atulsongaday.me for completing 14 successful years. By the time the Blog entered its ‘Teens’, it was already a famous and well known centre for rare songs with lyrics and credible information on the song, MD, Lyricists,the cast of that film and the related matters. Today it can proudly boast of being “The Point Of Reference” for dependable anecdotes, confirmations and detailed bios of less known/unknown old film artistes. The credit for all this goes to just one man, who single handedly managed and made this Blog a well known name in Cyberspace. It is our dear leader ATUL ji. Atul ji,thanks for making this Blog available for showcasing our information-wares to the world.

Here is wishing the Blog a more successful journey into the future, crossing many more milestones. And a big THANK YOU !

Today’s song is from the film Phoolon ke Haar-1951. I fail to understand why this film was titled Phoolon ke haar. I have seen this film, but I did not find any justifiable answer to this title.

The film was made by Shrikant Studio, Bombay. It was directed by G.P.Pawar, a veteran from Silent films. His first silent film as a director was Mysterious Prince-1929. He directed 10 silent films and then started directing Talkie films with Qatil kataar-1935. He directed 18 talkie films. His last film was Jang bahadur-1958. Pawar was the second husband of Lalita pawar, who was the heroine of many of his Silent films. Later they were divorced. She, however, continued using the surname Pawar till the end, although she got married to Shri Omprakash Gupta, who started the Ambika Studio, in the name of Lalita Pawar-whose real name was Ambu , a short form of Ambika.

The film had music by Hansraj Behl. He, in my opinion,was one of those composers in the film world, who composed lots of melodious songs. Unfortunately, he was also one of those composers who never got Big banners to work for. He and his brother, Gulshan Behl founded N.C.Films, on their father’s name-Nihal Chand- and produced B and C grade movies to which Hansraj gave his music. Hansraj was known as Master ji, in the industry. Only two people were known as Master ji…one was Ghulam Haider and the other was Hansraj Behl. Hansraj usually worked alone and rarely used any assistant while giving music.

Hansraj is remembered for giving initial playback singing breaks to Asha Bhonsle and Madhubala Jhaveri. He also gave a chance to his own friend Verma Malik-Lyricist. Malik used to live with him initially, in Bombay. He composed music for 62 films from Pujari-46 to Badmashon ka Badmash-79. One film “Insaaf ka Khoon” was released after his death,in 1988.

Hansraj Behl was one of the music directors who became successful in the post-independence era. He composed music for not only Hindi films but also for Punjabi films. Hansraj was born on 19 November 1916 in Punjab. He got his basic education in music from Pt. Chunnilal. Then he opened his music school in Lahore and he had some non-film records released under the label of HMV. In 1944 Hansraj came to Bombay to try his luck in the Hindi film industry as a music director.

After one year of struggle he got his first film Pujari, made by Ardeshir Irani, in 1946. He got films like Gwaalan and Phulwari in the same year, but all these films could not do well at the box office. Behl tasted success in 1947 with the release of Lakhon Mein Ek and Chheen Le Azadi. ‘Moti Chugne Gayi Re Hansi..’ sung by Shamshad Begum and Mukesh from the film Chheen Le Azadi became very popular. In 1948 he came up with four films – Chunariya, Mitti Ke Khilone, Pardesi Mehmaan and Satya Narayan, of which Chunariya’s music was a hit especially the song ‘Dil-e-Nashaad Ko Jeene Ki Hasrat Ho Gayi..’ sung by Lata Mangeshkar. The song which placed him among high class music directors was ‘Sab Kuchh Lutaya Hamne Aakar Teri Gali Me..’ sung by Mohammed Rafi and written by Mulk Raj Bhaakri.

In the year 1949, he came out with Chakori, Raat Ki Raani, Zevraat and few more films. Lata sang one of her favourite songs, ‘Haye Chanda Gaye Pardes Chakori Yahan Ro Ro Mare..’ in Chakori, which became very popular and it helped Hansraj to gain popularity among music lovers. ‘Jin Raaton Mein Neend Ud Jaati Hai..’ sung by Mohammed Rafi in Raat Ki Raani was a nationwide hit.

In 1950-51 he gave many hit songs with Lata Mangeshkar, Geeta Dutt and Suraiyya. Songs of Kisi Ki Yaad became very popular soon after the release of the film. ‘Koi Mujhko Na Bulaye..’ and ‘Tadapta Chhod Kar Mujhko Kahaan Tum Reh Gaye..’ both sung by Geeta Dutt and ‘O Jaane Wale Ye Kya Kiya..’ by Mohammed Rafi gained immense popularity. In 1952 he introduced Madhubala Jhaveri as a playback singer in Apni Izzat and Jaggu. Madhubala sang ‘Dil Mere Tera Diwaana..’ with Talat Mehmood and ‘Meethi Meethi Loriyaan Main Dheere Dheere Gaoon..’ (both Apni Izzat) featured her solo voice. In 1954, he again came out with musical films like Dost and Khaiber. ‘Aaye Bhi Akela Jaye Bhi Akela..’ from Dost -1954 sung by Talat Mehmood was among one of his memorable compositions.

He continued to give his best in films like Rajdhani, Milan, Miss Bombay, Changez Khan and Saawan. Songs like ‘Bhool Ja Sapne Suhane..’ from Rajdhan- 1956, ‘Mohabbat Zinda rehti Hai..’ from Changez Khan -1957, ‘ Jab Raat Nahi Katti..’ from Changez Khan -1957, ‘Zindagi Bhar Gham Judaai Ka..’ from Miss Bombay -1957, ‘Haseen Ho Khuda To Nahi..’ from Mud Mud Ke Na Dekh -1960, ‘Bheega Bheega Pyar Ka Sama..’ from Saawan -1959 and ‘Tujhko Dhoondhu To Dhoondhu Kahaan..’ from Milan -1959 crossed all the barriers of success and Hansraj Behl’s name was on the lips of every music lover.

After all these successful films he continued to give music till 1969 but failed to give any hit because his later films were either stunts or fantasy films with little scope for having good music. His last hit song was an all time great creation ‘Jahan Daal Daal Pe Sone Ki Chidiya Karti Hai Basera..’ which was sung by Mohammed Rafi for the film Sikandar-e-Aazam in 1965.

Hansraj Behl died of Cancer in Bombay on 20-5-1984.

The cast of the film Phoolon ke Haar-1951 was Nigar Sultana, Geeta Bali, Nasir khan, Yashodhara katju, Sundar, Madhav kale, Rani, Shakuntala, heeralal etc. The 11 songs of this film were written by Bharat Vyas, Indivar, Kaif irfani, D.N.Madhok and Varma malik. In the last so many years- till 1980 – I must have seen hundreds of Films- Hindi, Marathi, English, Tamil, Telugu, and Kannada. In the Hindi films, I can not forget 3 actresses, who were Bubbly, playful, with innocent looks and with Natural acting talent. They were Meena Shorey, Nalini Jaywant and Geeta Bali. I enjoyed every film of these actresses, which I saw. It is difficult to forget the role and acting of Meena Shorey in film ” Ek thi Ladki-49″, or Nalini Jaywant in film ” Hum sab chor hain-56″, or Geeta Bali in film ” Aji Bas Shukriya-58″. These were all my favourite actresses. It is very unfortunate that they all met their deaths in very tragic circumstances.

Geeta Bali’s dancing eyes and her animated, expressive face which mirrored her soul were her most outstanding features. Yet life was snatched away from this vibrant personality at an achingly young age of 35.It is some consolation that Geeta crammed a lot into her short life: 80 odd films in a ten-year career. She married struggling actor-turned-megastar Shammi Kapoor and mothered two children: a son and a daughter. Today, she is remembered as a wonderfully natural actress and a fabulous human being.She was quite close to her sisters and brother. Her childhood pet name was KEETA.
True, Geeta’s reputation as an actress rests more on her performances than her roles. Natural, spontaneous and gifted with a spot-on sense of comic timing, she never really found a vehicle worthy of her talent. Largely a shade better than the movies she starred in, she frittered away her talents in B-grade films. Probably the fact that she was born into a family that had to struggle for sheer survival and the fact that she reached the top through sheer grit had Geeta stress on quantity rather than quality. Film lore has it that when mentor [filmmaker] Kidar Sharma first met Geeta, she was living with her family in somebody’s bathroom!

Geeta Bali (real name Harkirtan kaur) was born in Amritsar on 30-11-1930, in a Sikh family, known for its religious and Scholarly traditions. Her father was a Sikh Missionary Preacher and travelled not only all over India, but also to Burma, Ceylon and Malaya. Due to frequent change of place, Geeta’s education was not consistent and it ended after 6th standard. When the family was in Kashmir, she joined the dancing and music classes. Keeta (her family nickname) did dance performances on stage in her schools.

When she was about 9-10 year old, she gave a public performance of her Dance in Lucknow. The puritans in their society objected, made a hue and cry and the pendal was burnt, to stop her show. Such experiences made her very bold in life. While at Lahore, Geeta directly entered the A.I.R. office to get a music contract. She got it also. She used to participate in Children’s programmes.

Through her Dance Director in A.I.R., she got into a documentary ” Cobbler” made by Shorey pictures. Impressed, she got a dance performance in film ” Badnami”-46 as well as Kahan Gaye-46 and Pancholi’s Patjhad-47, before moving to Mumbai. Impressed by her off-screen vivacity, Sharma cast Geeta in his Suhaag Raat (1948). Audiences related to her instantly and watched wide-eyed as she nonchalantly tossed her unconscious hero, Bharat Bhushan over her shoulder in a scene.

Soon, Geeta was inundated with contracts (that’s what they called film offers then). She accepted most. She won raves even in supporting roles like in the 1949 Suraiya starrer Badi Behan and the Madhubala starrer Dulari. In 1951, she became a major star with Guru Dutt’s first hit, Baazi (she went on to do three other films under his direction). Geeta played a gangster’s moll with a golden heart to Kalpana Kartik’s conventional heroine. But Geeta played her role with such gay abandon that hero Dev Anand divulges, “People came repeatedly to theatres to see Geeta’s spirited dancing to Tadbeer se bigdi hui taqdeer bana de.

Next she worked with Raj Kapoor in Bawre Nain-50, Bhagwan’s Albela-51 and Navketan’s Baazi-52. Now there was no looking back. Geeta Bali went on to act in 80 films in her short career of just 14 years. She even sang a few lines in a song from the film Rangeen Raaten-56, with Shamshad Begum and Uma Devi. She worked with Prithviraj Kapoor in Anand math-52 and his sons Raj kapoor in Bawre nain and in many films with Shammi kapoor. With Dev Anand she did Baazi, Faraar, Milap, Jaal, Zalzala, Ferry and Pocket Maar. She worked opposite Ashok Kumar, Motilal, Balraj Sahani, Prem Adib, Jairaj, Rehman, Bharat Bhushan, Abhi Bhattacharya, Kamal Kapoor, Karan Dewan, Shekhar, Sajjan, Amarnath, Jaswant and Suresh.

Some of her notable films were, Girls’ School-49, Dulari-49, Badi bahen-49, Nishana-550,Bawre Nain-50, Baazi-51, Albela-51, Zalzala-52, Raag Rang-52, Anand Math-52, Jhamela-53, Baaz-53, Daaku ki Ladki-54, Vachan-55, Miss Coca Cola-55, Jawab-55, Faraar-55, Bara Dari-55, Albeli-55, Pocket Maar-56, inspector-56, Coffee House-57, Mujrim-58, Jailor-58, Aji Bas Shukriya-58, Mr. India-61 etc etc.
Geeta proved she could do tragedy (Sharma’s Raj Kapoor starrer Bawre Nain) or and play the lighthearted heroine to comedian Bhagwan in the super successful Albela. Albela’s swinging C Ramchandra composed songs like Shola jo bhadke and Sham dhale mere khidki tale made front-benchers dance with the stars and even fling coins on screen. Pug-nosed Geeta was no conventional beauty, but that transparent face and that smile constantly flirting on her lips made sure you couldn’t tear your eyes away from her.

Watch Geeta Bali in the Guru Dutt-directed Jaal (1952). Dev Anand, a cigarette-smoking smuggler on the run from the police, tries to entice morally upstanding heroine Geeta into his web. Geeta evocatively communicates her struggle against, and her eventual surrender to, handsome Dev’s seduction call Yeh raat, yeh chandni phir kahan Famously down-to-earth despite her star status, Geeta was the antithesis of the coy 1950s’ heroine. She often drove herself to her premieres in an open jeep. Those who knew her claim she was a Samaritan who touched the lives of whoever she met. She is said to have personally groomed Mala Sinha, then a newcomer.

To date, so many years after her death, her secretary Surinder Kapoor’s (Boney Kapoor’s father) productions begin with a shraddhanjali to Geeta Bali.

Shammi Kapoor entered her life when they worked in the quaintly named Miss Coca Cola and Coffee House together. On an impulse, Geeta played a small role of a man in Sharma’s Shammi Kapoor starrer Rangeen Raatein. On the film’s Ranikhet outdoor, Shammi and Geeta fell in love. Kapoor was a year younger to her and was not yet a star, but the twosome were hell bent on marrying each other. Geeta had worked with Shammi’s eldest brother, Raj Kapoor in Bawre Nain, and with his father, Prithviraj Kapoor in Anand Math, Shammi was unsure about their reaction to this match. But on August 23, 1955, with producer-director Hari Walia and friend Johnny Walker as witness, the couple were married at the Banganga Temple at 4 am.

Geeta continued to work after marriage in a few films like Sohrab Modi’s Jailor (1958), where she won raves as a blind girl. With Shammi Kapoor turning into a huge star and the birth of her two children Aditya (nicknamed Mickey) and Kanchan, she eased her workload.

The desire to do that one fulfilling role she would be remembered for prompted Geeta to attempt the production of a classic for herself. She started Rano, based on Rajinder Singh Bedi’s famous novel, Ek Chadar Maili Si, based on a widow’s remarriage to her brother-in-law. Upcoming star Dharmendra played her hero.

Geeta, had not been vaccinated for smallpox, despite the fact her father too had died of Smallpox. She had ignored repeated warnings in her childhood. She contracted the dreaded disease while shooting the film. The best care was rushed to her, but her fever apparently reached 107 degrees. Her doctor saw a picture by his patient’s bedside and asked who the pretty lady was. The disease had so wracked Geeta’s frail frame that he didn’t recognise her as the same person!

Geeta Bali passed away on January 21, 1965, leaving behind eight-year-old Aditya and three-year-old Kanchan in the care of a devastated Shammi Kapoor.

Ironically, she was cremated in Banganga, not far from where she was married. ( adapted from Rediffmail.com, books Star Portraits by Harish Booch and Stars of the Indian Screen by Baburao Patel, India Today, Yaadon ki Baaraat by Shirish Kanekar and my notes – with thanks.)

Today’s song is sung by Shamshad Begum in her inimitable typical unique voice. Let us enjoy this song.


Song- Mohobbat chikni chikni hai ke baabu phisal na jaana (Phoolon Ke Haar)(1951) Singer- Shamshad Begum, Lyricist- Bharat Vyas, MD- Hansraj Behl

Lyrics

mohabbat chikni chikni hai
ke baabu phisal na jaana
mohabbat chikni chikni hai
ke baabu phisal na jaana
ho o o
zamaana re zamaana haaye zamaana hoy
zamaana naazuk naazuk hai
kisi se dil na lagaana
mohabbat chikni chikni hai
ke baabu phisal na jaana

kaabu mein rakhna baabu
ye dil hai bada mawaali
kaabu mein rakhna baabu
ye dil hai bada mawaali
beech bajariya bik jaayenge
lota bartan thhaali
bich bajariya bik jaayenge
lota bartan thhaali
ho o o
ye dhanda re ye dhandha haaye ye dhandha hoy
ye dhadna ulta pulta hai
ke ulte latak na jaana
mohabbat chikni chikni hai
ke baabu phisal na jaana

ye powder aur surkhi waale
gore gore mukhde
ye powder aur surkhi waale
gore gore mukhde
le jaate hain nakad naaraayan
de jaate hain dukhde
le jaate hain nakad naaraayan
de jaate hain dukhde
ho o o
ye galiyaan re ye galiyaan haaye ye galiyaan hoy
ye galiyaan uljhi uljhi hain
na aage kadam badhaana
mohabbat chikni chikni hai
ke baabu phisal na jaana

raaton ko jaagoge bhaiya
din mein so jaaoge
raaton ko jaagoge bhaiya
din mein so jaaoge
kise dhoondhhne nikle ho tum
khud hi kho jaaoge
aejee
kise dhoondhhne nikle ho tum
khud hi kho jaaoge
ho o o
dagariya re dagariya haaye dagariya hoy
dagariya oonchi neechi hai
musaafir bhatak na jaana
mohabbat chikni chikni hai
ke baabu phisal na jaana
zamaana naazuk naazuk hai
kisi se dil na lagaana


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 :

5063 Post No. : 16977

Today’s song is from the film Simba-1951.

The film was made by Comedy Pictures. The director was Mohammed Hussain and the music was by D C Dutt. The cast of the film was Baburao, Krishnakumari, Shaikh, Bimla, Indira, habib and others. I have not seen this film but from the photos and the posters of this film it appears to be a kind of a distorted take on a Tarzan-like story.

Hindi films have been making attempts to bring films on this ever popular story worldwide, since the first decade of the Talkie films. Films were made like Zambo-The Ape man-1937 and Zambo ka Beta-1939. Tarzan has been masqueraded in Hindi as Zambo, Zimbo, Zingaro, Simba etc and also films were made using Tarzan name directly. As many as 21 films were made with the name Tarzan. True to Indian generosity and tradition, Tarzan has been gifted with a son, a daughter, a Mehbooba and a Jalpari ! He is combined with Gorilla, King Kong, Delialah, Hercules, Magic lamp and what not. I am sure the original Tarzan would have jumped with pleasure with so many companions ! Such films came mostly in the 60’s decade and the usual heroes were Azaad and Dara Singh, in the main role. Heroines were immaterial.

These C grade action and stunt films are truly 100 % entertainment. Only condition was that you must lock up your brain and forget any body part above your shoulders, before seeing these films. The greatest misuse of ” Cinematic Liberty” was to be found in those films. But honestly, the current New generation has really missed out on something out of this world !

Entertainment at best was provided by these C grade stunt and action films of the 40’s, 50’s and the 60’s. I know, because my childhood was nurtured on the full dose of such films. I was seeing films from the age of 9-10 years or so. That was around 1949-50. I was the officially appointed chaperone or the chies guide and guard of the older generation group when they went to see Mythological films in a theatre. Other times, I used to see action films and musical or social films etc. Old films of the 40’s were shown at reduced rates of 4 annas, 6 annas etc. in theatres screening them as ” Morning Shows” from 10 to 1 pm. I had no qualms seeing any film -be it Marathi, Hindi English, Telugu, Kannada or even Bangla. I was lucky to see films of the 40’s, because later on they simply disappeared !

Some people feel seeing and enjoying C grade films is below dignity and childish. It was neither, in my opinion. Sense and cause of enjoyment is as different to individuals as are the natures of all the people. You can’t find similarity exactly. It is like the definition of Beauty. Shakespeare had said ” Beauty lies in the beholder’s eyes “. To each his own. There are millions of people worldwide who like such films and that is why such films were made. Without demand would such films be made ?

Nowadays ofcourse, such films- C grade stunt and action films are not made. Due to advanced techniques and SFX science, one can show any unimaginable trick or scene in seconds, so who needs Fight masters and DareDevil action heroes like master Bhagwan, Baburao pehelwan, Kamran, Ranjan, Fearless Nadia and their ilk ? Furthermore, action on the screen is now diversified and branched into several stereotypes.

An American – Mr. Michel aka Mike Barnum runs 2 Blogs on the Internet, namely Pedro the Ape and cinemajadoo. Most people are totally unaware of such Blogs run by an American-Mike Barnum ji. On his Blog Mike has written on at least 100+ only C grade action and stunt films alone. He has made classification by different Generes also, like Jungle films, Mystery films, Murder films, Horror films etc etc. There are Photos, posters, cast details, film stories and short Bios of unknown C grade artistes. Once you go to his Blog, you get lost for a long time. It is a great work, involving a neglected Genre of Hindi films, which was once upon a time, a very popular film variety for certain audiences. I thank him profusely for this service. Thanks, Mike Barnum ji.

The decade of the 40s and the 50s was the period when stunt and Action films were made in plenty. There were specialised actors,producers, directors,composers and even specialised audiences too for such films. Stunt and Action films was a very sweeping name for a Genre which included several types of sub-categories. When I started studying these films, I found this kind soul – Mike Burnum -who identified and classified stunt/Action films made in India, into sub categories. For the information of our esteemed readers, the different types within the generalised Stunt/Action films are…(in descending order of number of films made….)

1. Fantasy and Arabian Nights-92 films
2. Horror – 67
3. Jungle Thrillers (Tarzan/Zimbo/Zambo/Zangbo/Zingara etc)
4. New Century Horror films ( Horror films made after 2000)
5. Science Fiction
6. Chillers
7. Spies and Detective
8. Super heroes/ Heroines
9. Murder and Mystery
10. Sword Fighting and
11. Naag Films. etc etc.

In today’s film cast you will find the name Baburao. Now this is not a complete name. There were several Baburaos in the film industry like Baburao Painter, Baburao Patel, Baburao Apte, Baburao Pendharkar, Baburao Pehelwan etc. But a regular fan of action films knew that in such films Baburao means Baburao Pehelwan.

Baburao Pehelwan, hailed from Kolhapur – famous for wrestlers due to royal patronage from King Shahu Maharaj. He started his career with the Wadias as an extra doing small roles and as a duplicate for Fearless Nadia. Master Bhagwan picked him up from there and made him a hero in his stunt pictures like, ‘Badla’ (1943), ‘Madadgaar’ (1947), ‘Laalach’ (1948), ‘Jalan’ (1948), ‘Bhedi Bungla’ (1949) etc. After the eclipse of stunt and action films, by the 60s, he joined fight master Azeem Khan’s team as a fighter and a duplicate. In the film ‘Howrah Bridge’ (1958) he was Ashok Kumar’s duplicate in the final scene, where he is to climb the Howrah Bridge.

Baburao Pehelwan operated in an era when there was a spate of actors calling themselves “pehelwan”. They were in great demand in stunt and action films. At one time there were actors like Baburao Pehelwan, Vasantrao Pehelwan, Sadiq Pehelwan, Nandram Pehelwan, Maane Pehelwan, Amir Khan Pehelwan. There was one more actor in the 30s named Marutirao Pehelwan. He was a handsome person. He was the hero in the first Gujarati talkie film, ‘Narsi Mehta’ (1932). He married his co-star of many films Tara, elder sister of dancer Sitara Devi. After retirement, Marutirao Pehelwan settled in Dhule in Maharashtra and opened a dairy. World famous dancer Gopi Krishna was their son.

Today’s song seems to be a dance number. It is sung by harish, Shaikh and chorus.. Sheikh was a Comedy actor in the 40s,50s and the 60s. He has acted in 170 films,as per Muvyz stats. He sang 10 songs in 8 films as per HFGK (Daulat ki duniya-47, Fifty Fifty-UR, Nakli Baap-49, Jiya Raja-49, Dushman-50, Simba-51, Hatimtai-56 and Naagmani-57).

He was essentially a B and C grade film comedian, so his name is not known to most people. Sanjeev Narvekar’s book, “Eena meena deeka” gives very little information about him. In his hey-days, he was popular in a class of people who were regulars of stunt, fantasy and action films. He was a fixture in almost all Wadia films. He was the main on screen singer in the iconic qawali, “Humen to loot liya milke husn walon ne” from the film Al Hilal-58. (It was the 5000th song on this Blog)

He directed 2 films, Shahnaaz-48 and Mr.Toofan-63. He started his career in Hindi films with Pakke badmash-39. Before that he had acted in a Marathi film “Netaji Palkar-39″by Bhalji Pendharkar (info from CITWF). His last film was Aadamkhor-85. No information is available on his life anywhere.


Song- O Sheena o Sheena (Simbaa)(1951) Singers- Harish, Shaikh, Lyricist- Farukh Qaisar, MD- D C Dutt

Lyrics

Ding ding o gola
ding ding o gola

gori gori
pyaari pyaari
o sheena
gori gori
pyaaree pyaaree
o sheena

pahle loota thha tirchhi nazar ne
bal khaati hui is kamar ne
pahle loota thha tirchhi nazar ne
bal khaati hui is kamar ne
dil bhi junglee ada ne chheena
dil bhi junglee ada ne chheena
o shheena o sheena
o shheena o sheena
o gori pyaari pyaari
o sheena
gori gori
pyaaree pyaaree
o sheena

mere dil ki kothhariya hai chhoti
usmein phir aa basi hai ye moti
mere dil ki kothhariya hai chhoti
usmein phir aa basi hai ye moti
isne mushqil kiya mera jeena
isne mushqil kiya mera jeena
o shheena o sheena
o shheena o sheena
gori gori
pyaaree pyaaree
o sheena
gori gori
pyaaree pyaaree o sheena

aeji kismat kisi ne na paari
jab ladi aankh ??
aeji kismat kisi ne na paari
jab ladi aankh ??
aur miley khaad se khaana peena
aur miley khaad se khaana peena
o shheena o sheena
o shheena o sheena


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 :

5054 Post No. : 16968

Today’s song is from a film called ” Azadi ke Baad “-1951.

HFGK shows 10 songs for this film. It does not give record numbers or singer’s names(except for 2) for the songs. Today’s song is not listed on this page, for whatever reasons. Nevertheless, it is confirmed that this song is from this film only, as the uploader has given the photo of this record on RMIM and also mentioned on YouTube that this song is not listed in HFGK. Possibly, at the time of compilation, the record details with singers’ names etc were not available to Hamraz ji. It happened in some other film cases too.

The film was made in Calcutta by The Great Oriental Pictures. It was directed by D.K.Chatterjee. I found only this one film for this director in HFGK. The music was by K.P. Sen. This name may not be known to most readers.

During the early phase of filmmaking, Bombay was the attraction for people connected with films. Actors, directors and composers used to rush to Bombay from all over India to try their Luck.

Bengal was also not an exception. Initially almost all regional film centres in India were on a smaller scale than Bombay. Therefore more opportunities were available here. Out of the hundreds of aspirants, those with great luck and readiness to do hard work with patience won the race and made their career in Bombay. On Hard work and Luck, I remember a comment by our Atul ji on one of my posts. He commented ” The harder one works, the Luckier one gets ” (31-1-2018). How true ! Cases like composer Naushad who slept on footpaths of Bombay or Sunil Dutt, who lived in Dharavi slum, during their struggle periods are examples of such successes.

During the 1930s and the 40’s decades many Bangla composers came to Bombay and gave music to Hindi films, ranging from 1 film to 5 films. Some of them were…Radhacharan Bhattacharya, N. R. Bhattacharya, Shoolpani Mukherjee, S.P.Mukherjee, V.V.Ganguli, Niren Lahiri, Shivrani Ghosh, Mihir Kiran Bhattachrya, A.C.Biswas, Hiren Bose, Bhishmadev Chatterjee, Ramani Mukherjee, Anath Bose, Kazi nasrul islam, Anil Bagchi, Dakhina Tagore, Dhiuren Mitter, Kartik Chatterjee, Himangshu Dutt Sursagar, Jagmohan Sursagar, Subal Dasgupta, Sailesh duttagupta, Gopen Mullick, Gyanprakash Ghosh, Naresh Bhattacharya, Pratap mukherjee, Khshirodchandra Bhattacharya, Ravi Roychaudhuri, prafull Chaudhuri, T.K.Das etc etc. Some composers who did not succeed here, were real big names in Bengal, like Kazi Nazrul Islam,Niren Lahiri, Hiren Bose, Bhishmadev Chatterjee, Himangshu Dutt Sursagar, Subal Dasgupta, Gopen Mullick, Gyanprakash Ghosh etc etc

K.P.Sen, Music Director of today’s film had given music to 3 more Hindi films- Baap-46, Do Baten-49 and Shadi ke Baad-49. Film Azadi ke baad-51 was his last Hindi film. No more information about him is available. I have always stated that it is extremely difficult to get information on most Bangla artistes in any other language than Bangla.

The cast of the film was Asit Baran, Mira Mishra, Pearl,Parvati, Kalpana, Pannalal Bose, Nripen, Rekha, Sujata etc. Pearl was the sister of Violet Cooper and Patience Cooper among the 7 sisters. Pearl acted in 6 Hindi films – Indra Sabha-32, Anokha prem-34, Khudadad-35, Jahanara-35, Burkhewali-36 and Abla ki Shakti-40. Her sister Violet acted in 5 Hindi films and Patience Cooper acted in 16 Silent and 34 Talkie Hindi films. The hero was Asit Baran.

Asit Baran was born on 19-11-1913 at Calcutta in a middle class family.His pet name was kalo. He was not much interested in schooling. He learnt music and Tabla from Gyanprakash Ghosh. He became an expert in Tabla playing and did few programmes on Calcutta A.I.R. also. In one of the All India Music Conferences,Pahadi Sanyal noticed him and invited him to New Theatres. Impressed with his good looks and singing capability, he got the role of Pahadi sanyal’s younger Brother in the film ” Protisruti ”-42. He acted in severai Hindi and Bangla films of New Theatres.

His first Hindi film- Saugandh-42, was a remake of ‘ Protisruti ‘. He did the same role in Hindi also. His songs became popular.In all,Asit Baran acted and sang in 43 films-Hindi and Bangla together. Some of his Hindi films were Saugandh,Jawab,Wapas,Arabian Nights,Parineeta,Suhag Sindoor,Kashinath,Wasiyatnama,Manzoor,Roop kahani,faraar,Azadi ke baad etc. He left New Theatres in 1952 and came to Bombay on the invitation by Sailesh Mukherjee,to act in Suhag Sindoor. By this time,his voice had deteriorated and he was given playback by Sailesh Mukherjee. Same thing happened to Parineeta also. He acted in 14 Hindi films and sang 24 songs in 10 films. His last film was Babla-53

Asit Baran returned to Calcutta and did some more Bangla films. He founded a Theatre group called “Rangorash” which spread the teachings of Shri Ramkrishna Paramhans ji.

He died on 27-12-1984 at Calcutta.

Today’s song is almost a qawwali – an unusual genre of songs in films coming from Calcutta. By the way, as per an internet site, the film Azadi ke baad-51 was a remake of Bengali film Sahajatri-51, directed by Agradoot (Bibhuti Laha). Today’s song is sung by Pannalal Bose and chorus. Pannalal Bose was a Bangla actor and singer, This is the only song he sang in Hindi and considering that, his pronunciation and diction of Hindi words is very good. Needless to say that no information is available about him anywhere.


Song- Saamne hai yaar ka (Aazaadi Ke Baad)(1951) Singer-Pannalal Bose, Lyricist- M.Razi Banarasi, MD- K.P.Sen
Chorus

Lyrics

Saamne hai yaar ka nakshe ka pepa(?) choom le
hai dile naadaan yahi
jannat ka naqshaa choom le
hai dile naadaan yahi
jannat ka naqshaa choom le

kyun bhatakta hai bata aa aa aa
jairo- ??haram mein khaam khaa
kyun bhatakta hai bata
jairo ??haram mein khaam khaa

hey jairo ??haram mein khaam khaa
jairo ??haram mein khaam khaa
aa aa aa aa
likh ke tu naam e Muhammad
karke sajda choom le
likh ke tu naam e Muhammad
karke sajda
likh ke tu naam e Muhammad
karke sajda
likh ke tu naam e Muhammad
karke sajda
karke sajda choom le

dekhna gar hai tujhe ae ae
jalwa jamaal e yaar ka
dekhna gar hai tujhe
jalwa jamaal e yaar ka

ae jalwa jamaal e yaar ka
jalwa jamaal e yaar ka
karke ?? kar madeene
?? unka roza choom le
karke ?? jaa kar madeene
?? unka roza
karke ?? jaa kar madeene
unka roza?? choom le

jiski hai talaash wo o o o o
parda nasheen parde mein hai ae ae
parda nasheen parde mein hai
parda nasheen parde mein hai
hey
parda nasheen parde mein hai

?? pehle parda choom le
??
ae jee pehle parda
??
aahe pahle parda
?? pahle parda choom le

?? ne ? ne ae ae
?? jaakar choom li
/ ne ? ne ae ae
?? jaakar choom li

hey ?? jaakar choom li
?? jaakar choom li
aa aa aa aa
?? yaar ka
tu ban ke shaida choom le
?? yaar ka
ae jee banke shailda
?? yaar ka
ae jee ban ke shaida
?? yaar ka
tu ban ke shaida choom le
haan saamne hai yaar ka
naqshe ka pepa (??) choom le ae ae ae


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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 FOURTEEN years. This blog has over 17400 song posts by now.

This blog is active and online for over 5000 days since its beginning on 19 july 2008.

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