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.

Blog Day :

5665 Post No. : 18167

‘Phoolon Ke Haar’ (1951) was directed by GP Pawar for Shreekant Studio, Bombay. This ‘social’ movie had Nigar Sultana, Geeta Bali, Nasir Khan, Heeralal, Mangla, Sundar, Yashodhara Katju, Kamal, Bhupen Kapoor, Rani Shakuntala, Natyal, Rammurty, Madhav Kale etc in it.

The movie had eleven songs in it that were penned by five lyricists. Five songs from the movie have been covered in the past.

Here is the sixth song from ‘Phoolon Ke Haar’ to appear in the blog. This song is sung by Shamshad Begam and chorus. Bharat Vyas is the lyricist. Music is composed by Hansraj Bahl.

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

Lyrics of this song were sent to me by Prakashchandra.

audio link:

Song-Phoolon ka haar mere man ka singaar hai (Phoolon Ke Haar)(1951) Singer-Shamshad Begam, Lyrics-Bharat Vyas, MD-Hansraj Bahl
Chorus

Lyrics(Provided by Prakashchandra)

phoolon ka haar mere
mann ka singaar hai ae
mann ka singaar hai ae
phoolon ka haar mere
mann ka singaar hai ae
mann ka singaar hai
ho o ho o o ho
un se mera pyaar hai jee
un se mera pyaar hai
jhanak jhanak chhupp chhupp chhupp
chhupp laa laa laa laaa hhaaa
chhupp laa laa laa laaa hhaaa
(ho oooo ooo)
chhupp laa laa laa laaa hhaaa (ho oooo ooo)
chhupp laa laa laa laaa hhaaa (ho oooo ooo)
chhupp laa laa laa laaa hhaaa (ho oooo ooo)
phoolon ka haar mere
mann ka singaar hai ae
mann ka singaar hai
ho o ho o o ho o
un se mera pyaar hai jee
un se mera pyaar hai
jhanak jhanak chhupp chhupp chhupp
chhupp laa laa laa laaa hhaaa
chhupp laa laa laa laaa hhaaa
(ho oooo ooo)
chhupp laa laa laa laaa hhaaa (ho oooo ooo)
chhupp laa laa laa laaa hhaaa (ho oooo ooo)
chhupp laa laa laa laaa hhaaa (ho oooo ooo)

mann mein umang hai
naach raha ang hai
dol raha unka jiyaa
jin ka piya sang hai jee
jin ka piya sang hai
jin ka piya sang hai jee
jin ka piya sang hai
jin ka piya sang hai jee
jin ka piya sang hai

mann mein umang hai
naach raha ang hai
dol raha unka jiyaa
jinka piya sang hai jee
jinka piya sang hai
chhaaye rahi aaj dekho
ban ban bahaar hai ae
ban ban bahaar hai
ho o ho o ho o
un se mera pyaar hai jee
un se mera pyaar hai
jhanak jhanak chhupp chhupp chhupp
chhupp laa laa laa laaa hhaaa
chhupp laa laa laa laaa hhaaa
(ho oooo ooo)
chhupp laa laa laa laaa hhaaa(ho oooo ooo)
chhupp laa laa laa laaa hhaaa (ho oooo ooo)
chhupp laa laa laa laaa hhaaa (ho oooo ooo)

dukhda gaya
gayeen raatein woh kaali
angna mein naach rahi jagmag deewaali
hoyye jagmag deewaali
jagmag jagmag deewaali hho jagmag jagmag deewaali
jagmag jagmag deewaali hho jagmag jagmag deewaali

dukhda na gaya
gayeen raathein woh kaali
angnaa mein naach rahi jagmag deewaali
hoyye jagmag deewaali
tan mann mein naach raha
jhaan jhan sitaar hai ae
jhaan jhan sitaar hai
ho o ho o ho o ho oooo
un se mera pyaar hai jee
un se mera pyaar hai
jhanak jhanak chhupp chhupp chhupp
chhupp laa laa laa laaa hhaaa
chhupp laa laa laa laaa hhaaa
(ho oooo ooo)
chhupp laa laa laa laaa hhaaa (ho oooo ooo)
chhupp laa laa laa laaa hhaaa (ho oooo ooo)
chhupp laa laa laa laaa hhaaa (ho oooo ooo)
chhupp laa laa laa laaa hhaaa (ho oooo ooo)
chhupp laa laa laa laaa hhaaa (ho oooo ooo)
chhupp laa laa laa laaa hhaaa (ho oooo ooo)
chhupp laa laa laa laaa hhaaa (ho oooo ooo)

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

फूलों का हार मेरे मन का सिंगार है
मन का सिंगार है
फूलों का हार मेरे मन का सिंगार है
मन का सिंगार है
हो ओ हो ओ ओ हो
उनसे मेरा प्यार है जी
उनसे मेरा प्यार है
झनक झनक छुप छुप छुप
छुप ला ला ला ला हा
छुप ला ला ला ला हा
(हो ओ ओ)
छुप ला ला ला ला हा
(हो ओ ओ)
छुप ला ला ला ला हा
(हो ओ ओ)
छुप ला ला ला ला हा
(हो ओ ओ)
फूलों का हार मेरे मन का सिंगार है
मन का सिंगार है
हो ओ हो ओ ओ हो
उनसे मेरा प्यार है जी
उनसे मेरा प्यार है
झनक झनक छुप छुप छुप
छुप ला ला ला ला हा
छुप ला ला ला ला हा
(हो ओ ओ)
छुप ला ला ला ला हा
(हो ओ ओ)
छुप ला ला ला ला हा
(हो ओ ओ)
छुप ला ला ला ला हा
(हो ओ ओ)

मन में उमंग है
नाच रहा अंग है
डोल रहा उनका जिया
जिनका पिया संग है जी
जिनका पिया संग है
जिनका पिया संग है जी
जिनका पिया संग है
जिनका पिया संग है जी
जिनका पिया संग है
मन में उमंग है
नाच रहा अंग है
डोल रहा उनका जिया
जिनका पिया संग है जी
जिनका पिया संग है
छाए रही आज देखो
बन बन बाहर है
बन बन बाहर है
हो  ओ हो ओ हो ओ
उनसे मेरा प्यार है जी
उनसे मेरा प्यार है
झनक झनक छुप छुप छुप
छुप ला ला ला ला हा
छुप ला ला ला ला हा
(हो ओ ओ)
छुप ला ला ला ला हा
(हो ओ ओ)
छुप ला ला ला ला हा
(हो ओ ओ)
छुप ला ला ला ला हा
(हो ओ ओ)

दुखड़ा गया
गईं रातें वो काली
आँगन में नाच रही जगमग दिवाली
होय्ये जगमग दिवाली
जगमग जगमग दिवाली हो जगमग जगमग दिवाली
जगमग जगमग दिवाली हो जगमग जगमग दिवाली
दुखड़ा गया
गईं रातें वो काली
आँगन में नाच रही जगमग दिवाली
होये जगमग दिवाली
तन में नाच रहा झन झन सितार है
झन झन सितार है
हो ओ हो ओ ओ हो
उनसे मेरा प्यार है जी
उनसे मेरा प्यार है
झनक झनक छुप छुप छुप
छुप ला ला ला ला हा
छुप ला ला ला ला हा
(हो ओ ओ)


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 :

5615 Post No. : 18094

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

There were 2 films with the title Ghayal. One in 1951 and the other was in 1990. In addition, there were 8 films with titles having the word Ghayal as its beginning. These 8 films were made in 8 years, from 2006 to 2014. Ghayal -1951 was produced and directed by Ramchandra Thakur ( 17-12-1908 to 31-12-1992), who started his career as a director , with Sagar Movietone’s film ” Gramophone Singer”-1938. He was an educated person, an author and a thorough gentleman. His last film as a director was ” Nawab Sirazuddaula-1967″.

The cast of this social film was Shaikh Mukhtar, Sulochana Chatterjee, Jawahar kaul, Geeta Bali, Ram singh, P.Kailash and many others, which included big names of the Silent and early Talkie films-like Pesi Patel, Rewa shankar Marwadi, Yeshwant Dave etc. It was the kindness of the producer-director Ramchandra Thakur that he used to give roles to such ” carried forward’ artists from the silent and early talkie era in his films. He was himself from that era.

One of the names in the cast was that of yeshwant Dave, who was a popular hero in silent films of Wadias and others of his ilk. To get information on such old artistes is extremely difficult, as in their heyday social media, TV, YouTube and film magazines were not existent and later on, when they fell on bad times, no one was interested in them. However, some historians wrote about them in titbits and collectively some information was available on a few old artistes. One such actor was Yeshwant Dave.

It was not uncommon during the days of early cinema for people to hang around studios and filming locations in the hopes of being discovered. One such intrepid soul was Yeshwant Dave (or Yashwant Dave), who was at Kohinoor Studios observing a picture being made by producer J.B.H. Wadia. The handsome and athletic Yeshwant cornered Wadia, insisting that he would make a fine hero for an action film.

Wadia agreed to test Yeshwant by having him jump from the roof of one set piece to another. He did so successfully, and J.B.H. decided to cast him in a film that he was to direct for Young United Players, the 1931 silent THUNDERBOLT (aka DILER DAKU) featuring Mumtaz as the heroine.

Yashwant was again directed by Wadia in TOOFAN MAIL (1932) and there after became a sought after action star appearing in the stunt films of other directors like Aspi, Dhirubhai Desai, Nari Ghadiali, Chunilal Parekh, and Harshadrai Mehta. Some of his films include BHARAT VEER (1932), JADUI JUNG (1934), BOMBSHELL (1935), VASANTBENGALI (1937), FLYING RANEE (1939), MAGIC CITY (1940), TORPEDO (1941), BAHADUR (1944), ROYAL MAIL (1946), and KAUN PARDESI (1947).

Growing out of the stunt hero persona, he turned to character parts and made infrequent onscreen appearances throughout the 1950s, including in SHEIKH CHILLI and MAKKHEE CHOOS both released in 1956 and starring comedian Bhagwan. What became of Yeshwant Dave afterwards is anybody’s guess, as the once popular action star faded into obscurity and, sadly, is barely remembered today.

The film had 11 songs written by 7 lyricists and sung by 6 singers. G.M.Durrani had 2 solos and 2 Trios with chorus. His 2 solos are simply marvellous. all his songs are on this Blog. 3 out of his 4 songs are discussed by me. The Music Director was Gyan Dutt. One of the 6 singers was BHOLA. Many people think that it is Bhola Shreshtha, but it is not so. Bhola was the pseudonym of Music Director Bulo C Rani.

Bulo C Rani was such a composer whose best is buried under the debris . When the slow paced melodious music was replaced by the fast paced
rhythmic melodies, Bulo suddenly lost his relevance as a composer. He lived in a state of hibernation for so long that his death – a suicide – on 24th
May 1993 at 73 was reported as if it was a matter of no big consequence. The eventful career of Bulo C Rani in the 40’s and the early 50’s was forgotten.

Bulo c rani was born on may 6, 1920 in Hyderabad, Sindh and his original name was Bulo Chandiramani Ramchandani. His father Chandiram was also a composer and composed for the film Insaan ya shaitan[1933]. Incidentally, this was the first film in which our National Anthem “Jan gan Man…” was composed. Bulo obviously grew up in a musical atmosphere and hence in a way, it was not surprising that after graduating, he went to Lahore with the express intention of composing for films and joined Ghulam Haider for a while he came to mumbai in 1942 with D N Madhok and joined Ranjit films to assist Khemchand Prakash and later on to Gyan Dutt. Independently he gave music to Ranjit films from 1945 onwards only.

Khemchand gave him a break as a singer in 1942 in Mehman. in 1942 Gyan Dutt also gave him an opportunity to sing. In 1943 he got six films to sing in. In all he sang 34 songs in 19 films. O JOGAN O BAIRAGI in the film Shankar Parvati [music by Gyan Dutt] was very popular. In 1944 he composed for Pagli Duniya. He composed for the film murti-45. In it Badariya Baras Gayi – which mukesh’s first song as the composer often claimed with pride – won popularity. Before that in film Paigham-43. 2 songs are credited to him. An important thing is, Bulo sang in Pagli Duniya-44 as BHOLA and subsequently he sang as Bhola. Most people credit these songs to composer Bhola Shreshtha, which is wrong. BHOLA is Bulo C Rani.

Bulo composed for 71 films, and composed 574 songs.

His music was not highly original, but it successfully exploited the intrinsic acceptability of conventional forms such as bhajans, or the newly circulating patriotic musical idioms, which appealed to certain stock responses.

One wonders whether he was more adequate as a singer than a composer – at least when he began his career as an actor – singers had singing voices!

Mukesh, after his initial failure as a singer, drew attention only when he sang for Bulo in ‘Moorty’ ( ‘Badariya baras gai us paar’/with Hamida and Khursheed/1945 )

The film ‘Jogan’ (1950) was a landmark in Bulo’s career. His composing skill enabled him to enhance the inherent charm of Meerabai’s traditional bhajans such as ‘ghoonghat Ke Pat Khol re’, ‘Main to giridhar Ke ghar jaaoon’, ‘Damag damag dole naiya’ and ‘ Jogi mat ja, mat ja’. Even the Holi song (‘Rang daaro ri’) and the sentimental one in the voice of Talat (‘Sundarta Ke Sabhi Shikari’) were no less appealing. More than Dilip Kumar and Nargis in the film it was Bulo’s music which turned out to be the real star.

Before ‘Jogan’ came his way Bulo had already earned recognition through the films such as ‘Rajputani’ (‘Ja parwane ja kahin shama jal rahi hai/Mukesh, hamida and ‘Anjuman (‘Kaise bataoon tum se is dil ko pyar kyun hai’/Shamshad, Mukesh) and the immense popularity of the song ‘Armaan bhara dil toot gaya’ (‘Wafa/Lata, Mukesh)

Bulo C Rani had a special fascination for heavy voices which were capable of more expressive power. For the same reason he was able to create a great impact on listeners with the voices of Amirbai (‘Sooni padi hai payar k duniya tere baghair’/ ‘Caravan’).Zohra (‘Aankhon mein intezaar Ki duniya liye hua’/’Carvan’) and geeta Roy(Dutt) in the songs of ‘Jogan’. Bulo did not hesitate to create an enchanting melody in the song ‘Badi bhool hui tujhe pyar kiya’ in ‘Maghroor’. Geeta Dutt was his favourite singer. He gave over 60 songs to Geeta alone.

‘Bilwamangal’ (1954) was the last significant film of Bulo c Rani. Suraiya sang one of her most memorable songs ‘Parwanon se preet seekhli, shama se seekha jal jaana’ and so did C.H. Atma in ‘Panghat pe more shyam bajaaye muraliya’.

Despite the popularity of a stray song such as ‘Hamen to loot liya milke husn Walon ne’ (Ismail Azad/’Al Hilal’/1958), Bulo C Rani just continued to drift because his music had not remained a viable commercial proposition.After ‘Sunhare Qadam’ (1966). Bulo’s career came to an end. Having once enjoyed the position of prominence the lack of assignment made him restless. No films came to him. In addition, his family sold his posh flat in Shivaji Park and shifted to Versova, which hurt him a lot. He lost the will to live.

It was an irony of fate that the song he composed in the voice of Lata in his last film ‘Sunhare Qadam’ was ‘Maangne se jo maut mil jaati, Kaun jeeta zamane men’.

In a career spanning over 22 years, Bulo C Rani gave music in 71 films. He also gave music in few Sindhi hit films. Practically with no work towards the later half, he started taking coaching classes in light music. He was isolated which led to depression. To overcome this he developed the habit of drinking. This led his health to deteriorate and he had to be admitted to hospitals multiple times. When acute depression became unbearable & after his family sold their house at Shivaji Park and moved to Versova, he took the extreme step and committed suicide by burning himself on May 24, 1993. He died at 73 leaving behind some unforgettable creations. Bulo C Rani’s death remained largely unreported in the press.

Irony was that in life he asked for death and he got it. And how horribly too ! It is said that on 24-5-1993, he committed suicide by immolating himself. When his body was burning, he ran on the streets shouting in pain and finally fell on the road dead.

Many of the old time artistes met with tragic deaths. Actor singer Parshuram, Singer actress Vatsala Kumthekar, Actress singer Rajkumari, Khan Mastana, G.M.Durrani, Pradeep Kumar, Leela Chitnis, Shanta Hublikar, Master Nissar, Shankar Dasgupta, Madholal Master, Vasant Desai, Rattanbai and many other artistes of yore met their death in unfortunate circumstances. Deaths of Nalini Jaywant and Lalita Pawar were found after 3-4 days. They certainly did not deserve such ends. But then, Fate is like that !

Today’s song is sung by Bhola. The song is attributed to Lyricist M.G.Adeeb.


Song- Lag gayee chot raama lag gayee chot(Ghaayal)(1951) Singer- Bhola Shreshtha, Lyricist- M.G.Adeeb, MD- Gyan Dutt

Lyrics

lag gayi chot raama
lag gayi chot
haan aan
lag gayi chot
lag gayi chot
karejwa mein haaye raama
lag gayi chot raama
lag gayi chot
laagi naahin chhoote raama
laagi naahin chhoote
laagi naahin chhoote raama
laagi naahin chhoote
karejwa ki chot
karejwa ki chot raama
lag gayi chot raama
lag gayi chot

mad barsaate nainon ne ae ae ae
ye kaise teer chalaaye ae
tadpe man ka ghaayal man ??
munh se nikle haaye
dil mein kisi ki preet basat hai
aag lagat hai hook uthat hai
dil mein kisi ki preet basat hai
aag lagat hai hook uthat hai
kis kal chain na aaye
haaye
kis kal chain na aaye raama
kis kal chain na aaye raama
lag gayi chot raama
lag gayi chot

bas hi gayi jab nas nas mein aen
tasveer kisi ki kya kahne
preet ki meethhi peer bani
taqdeer kisi ki kya kahne ae ae ae
jamuna kinare gin gin taare
kaatenge ab rain bechaare
jamuna kinaare gin gin taare
kaatenge ab rain bechaare
kaun inhen samjhaaye
haaye kaun inhen samjhaaye raama
kaun inhen samjhaaye raama
lag gayi chot raama
lag gayi chot
laagi naahin chhoote raama
laagi naahin chhoote
karejwa ki chot
karejwa ki chot
haaye karejwa ki chot
haaye karejwa ki chot raama
lag gayi chot raama
lag gayi chot


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 :

5562 Post No. : 18029

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

This social film was produced and directed by Ramchandra Thakur. The music was by Gyan Dutt. In this film, there were 11 songs-including a 2 part song-but unusually there were 7 Lyricists whose songs were sung by 6 different singers. While 5 singers were well known, the sixth name ” Bhola ” was unknown. For a long time no one knew who this Bhola was. Many people thought 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 – initially in his own name, and from 1944 onwards as ‘Bhola’, as he had become a Music Director himself by then, with the 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.

Coming back to film Ghayal-1951,all songs were good. There were 2 solo songs by one of my favourite singers- G.M.Durrani. If there is a contest to rate the male singers of films, I would include G.M.Durrani in the First 3 singers. The other two would be Rafi and Kishore Kumar. I know some of my friends may not become happy, but the personal choices differ from person to person. It certainly does not mean that other singers were any less liked by me, but the difficulty is, you can’t have 5-6 names in the ” First 3 ” !

Bombay (now Mumbai) was a Maya Nagari for millions of wishful film aspirants from the beginning of Talkie films. Those who joined this industry could be categorised into 3 types….

1. Those who joined and succeeded. They fulfilled their desire to become what they wanted. Many artistes in this category had a filmi background. The rest were the luckiest and those who did hard work to get what they wanted. Some examples- Kapoor khandan, Dev Anand, Lata, Rafi, Bimal Roy etc.

2. ” Jaate the Japan, pahunch gaye cheen” walas. Those who joined to become actor, singer, Lyricist etc, but became something else in the industry and succeeded to a great extent in their compromised career. Some examples Talat, Mukesh, Kanhaiyalal, Mirza Musharraf, Kishore Kumar etc.

3. Those who joined but soon realised that this field was not for them and left as soon as possible. Some examples- most wellknown classical singers and Instrumentalists. One example was that of Mukund Rai Trivedi. He was the joint M.D. of the film Gogola-1966, with Frank D’souza (Frank and Rai). After this film Trivedi left films and joined the family business of Mining in M.P. He prospered therein.

The Maya of Bombay was such that some artistes lived a life like a Prince, but died like a Pauper and in a very bad state. Here are some such cases. In Hindi films, there have been three actors who were very handsome and very lucky but zero in acting – Karan Dewan, Pradeep Kumar and Bharat Bhushan. They all appeared in leading roles opposite all leading actresses of their times. They had the best films, best songs and best roles. Karan Dewan had about 25 Silver Jubilees to his credit and was considered a lucky star. Bharat Bhushan had the most musical films to his credit like ‘Baiju Bawra’ (1952), ‘Shabaab’ (1954) and ‘Mirza Ghalib’ (1954) etc. Pradeep Kumar had ‘Anarkali’ (1953) and ‘Taj Mahal’ (1963).

All three had their brothers producing films for them. Gemini Dewan made films for Karan Dewan, R. Chandra made films for Bharat Bhushan and Kalidas for Pradeep Kumar. Unfortunately, in later years, all three lost everything and died in poverty and neglectful anonymity. Karan Dewan was a manager with BR Chopra’s production company. When he died no one came for his funeral except for Chandrashekhar and Manmohan Krishan from the Cine Artist’s Association. Bharat Bhushan even worked as a watchman in a film studio, in his last days. He too died unsung and only the men from the Association were present at the cremation.

Pradeep Kumar’s case is the saddest. He lay seriously ill in the ICU of a Calcutta nursing home, abandoned by his relatives. The hospital was not discharging him, unless the bills were paid. Luckily one Mr. Pradeep Kondaliya, an estate agent, recognised him, despite his grown beard. He paid the huge outstanding bill of the hospital and took Pradeep Kumar to his home, where he passed away after a few days. He was cremated by his fan. Such is the film industry – cruel and ruthless, where the recognition lasts only till one is successful, and even close relatives desert you in bad times.

Master Shiraz……….During his good times, he had learnt the art of Massaging, as a Hobby and this became his last straw for survival. When film roles were not available, he used to roam about with his kit and do Massaging to earn a living. After doing about 26 films, till Naiya-47, he stopped getting credited in the cast. Now he worked as an extra.

He was last seen in film Guddi-1971- doing massage to Omprakash in one scene. In that film, Dharmendra tells Jaya Bhaduri (Guddi) that Master Shiraj was a star in silent film era. Director Hrishikesh Mukherjee ensured that Shiraj got his name in the film credits of Guddi-71.

Master Shiraj was just one of those unfortunate film artistes who spent their end-time in a very pathetic manner. Some other examples are- actor/singer Parshuram- died on road as a beggar, Singer Vatsala Kumthekar- died on road as a mad beggar,Wasti was seen begging near Liberty cinema and Rattanbai was seen begging near Haji Ali. There are many more such stories. The world of films is the most unpredictable and unless the artiste is wise to secure his future, there is no light at the end of the tunnel !

Film Historian Nalin Shah and Jankidas Mehra have written separate articles and described how film artistes died in penury. Some of the artistes they wrote about were Parshuram, Shanta Hublikar, Cuckoo, Master Nissar, Jaidev, Ghulam Mohd., Saraswati Devi, Rajkumari, Shetty, Chandra Mohan, Mazhar khan, S.U.Sunny, V.M.Vyas, Mahesh kaul, Sulochana (Sr.),Vimi, Vatsala Kumthekar and many more.

Why I wrote about all tragedies here is because my favourite singer G.M.Durrani also faced the same fate. He went to the Top and then went down lower than the bottom in the end.

Ghulam Mustafa Durrani, often abbreviated as G. M. Durrani (1919 – 8 September 1988) was a popular and legendary Indian radio drama artist, playback singer, actor and music director.To his credit, He tried to make his own identity as a playback singer and not try to follow the K. L. Saigal type of singing. G. M. Durrani was notable for Sad songs, Romantic songs, Patriotic songs, Quraan Khani, Qawwalis, Ghazals and Bhajans. He was also one of the first Muslim singers to get to sing Hindu Devotionals. G. M. Durrani was also the most senior Punjabi singer-actor at that time.He was radio drama artist and full-time Singer of Lahore station, Delhi station and Mumbai station of AIR (Akashvani (radio broadcaster)). His native language was Pashto but he had a strong command over Hindi, Urdu and Punjabi. He sang in many Indian languages including Hindi, Urdu, Punjabi and Pashto language in Indian movies in the 1930s, 1940s and 1950s. After the 50s Durrani sang very few songs. Durrani was the disciple of radio broadcaster Zulfiqar Ali Bukhari.

Ghulam Mustafa Durrani was born in Peshawar, British India in 1919. He was a Pathan (Pashtuns) and belonged to the Mohammad Zai Durrani Kabila. His was from a conservative family where even tea was not taken. Milk and lassi were the drinks of choice. When he used to go to those shops and some songs used to be heard, he used to hum along with them. Everyone used to say this boy should go to Bombay (Mumbai) as his voice was very good. The thought of becoming an actor entered his mind as well. He soon ran out of money to make ends meet.

His mother expired when he was very young. Father was educated and of artistic mind but very strict, and the only ally at the home was his loving grandmother. But she could also not protect him from his father’s anger. His mother was expired when he was very young. Father was educated and of artistic mind but very strict, and the only ally at the home was his loving grandmother. But she could also not protect him from his father’s anger.

The last job Durrani did in Peshawar was of at a painter’s shop where an artist always used to hum the tunes of the songs composed by highly respected Composer and Actor Rafiq Ghaznavi. He also started imitating those songs and got appreciation from the colleagues which inspired him. Durrani started practising Rafiq Ghaznavi’s songs and assumed him as his master. During this time, his father took him to another job at his uncle’s motor-part shop. But the artist within didn’t stayed long there and Durrani ran away from the home to Lahore with only 22 rupees in his pocket.

In Lahore, Durrani did odd jobs along with singing on radio. This brought him fame and passion for radio singing which took him to Delhi first then to Bombay. He came to Bombay (now Mumbai) on 14 April 1935. In Mumbai, he got somehow job at Mumbai Radio Station and from here he got recognition. Filmwallahs started calling him to sing.

His singing career started from AIR (Akashvani (radio broadcaster)). Durrani was discovered by film producer Sohrab Modi. Modi gave him his first chance around 1935-36 in the movie Said-e-Havas, a historical under the music director, classical musician Bundu Khan popularly known as “Taan-Talwar” Bundu Khan.

When Durrani came to Bombay playback system was not there and one had to act on screen. He didn’t like running around trees and refused to work further. He faced a lot of difficulties and could not return as people would call him a “Kanjar”. Minerva was to close down soon too. He soon joined the Delhi Radio Station of AIR (Akashvani (radio broadcaster)).

Durrani was working at the Delhi Radio Station where he got acquainted with poet Behzad Lakhnavi whose many ghazals had been sung by Mallika-e-Ghazal (Queen of Ghazals) Begum Akhtar.

He later shifted to the Mumbai Radio Station where he met a big personality at the time, whom he considered one of his ustad (master), Station Director of Bombay station of AIR (Akashvani (radio broadcaster)), Baba-e-Nasharayat (Father of Broadcasting) Zulfiqar Ali Bukhari who helped the radio station come up a lot. Durrani called Ustad to Zulfiqar Ali Bukhari for honour. (Z. A. Bukhari, was the Station Director of Delhi station and Bombay station of AIR (Akashvani (radio broadcaster)). After the Partition of India and creation of Pakistan, Bukhari was made first director-general of Radio Pakistan (Pakistan Broadcasting Corporation) and later, he served as general manager of PTV (Pakistan Television Corporation).

G. M. Durrani’s salary which was fixed at Rs 40 per month was soon fixed. Here he was working as a Drama Artist. He was soon counted as one of the best drama artist on the radio those days. Over a period of three years his salary had gone up to Rs 70 per month. But fate would soon call him back to films.

Later 1939-40, when the concept of playback singing started he was the first to lend his voice for a film titled Bahurani. The film was made by Sagar Movietone and its music director was Rafiq Ghaznavi. Durrani was then working as a full-time Singer in AIR (Akashvani (radio broadcaster)). Those were British days and they were not allowed to do any private recordings. But Ghaznavi insisted. Durrani laid down some conditions, like; the recording should be fixed on a Sunday night so that no outsiders would be allowed to enter the studio. Secondly, he said that his name shouldn’t appear in credit titles or on discs. The song was a duet with Miss Rose, an Anglo-Indian, who didn’t have much experience as a singer. He was paid Rs.75 for the song as against his salary of Rs.70 a month at AIR (Akashvani (radio broadcaster)). He then chucked up his job on 31 December 1940 and decided to concentrate fully on his film career.

Thereafter he sang for, among others, noted music directors like Khawaja Khurshid Anwar, friend Naushad, Shankar Rao Vyas and A. R. Qureshi (Better known as Alla Rakha, Pandit Ravi Shanker’s famous tabla accompanist) for films like Mirza Ghalib, Humlog, Magroor, Shama, Namaste, Sabak and scores of others. He became very popular. Many singers started their careers with him and he inspired many others too.

He was the idol of Mohammed Rafi who imitated him in the initial days. Now what could be a better tribute to singer than that, that the symbol of divinity in the Indian Music Industry, Mohammad Rafi, followed him. In fact, in 1944 Rafi recorded what he considered his first Hindi language song for the film Gaon ki Gori (1944) for Shyam Sunder, “aji dil ho kaaboo mein to dildaar ki aisi taisi” with G. M. Durrani and chorus.

Geeta Dutt also started her career in her break through movie Do Bhai with the song Aaj Preet Ka Naata toot gaya, a duet with G. M. Durrani for S. D. Burman.

Similarly, Haye Chorre Ki Jaat Badi Bewafa, a duet with G. M. Durrani, was Lata’s first song for composer, Naushad.

Durrani has sung many songs during his career. His output later reduced. According to a story he was influenced not to sing for some time after his Hajj visit and Rafi then helped him get back to singing but by then his career was over. Music composer Khawaja Khurshid Anwar in his first film Kurmai (Punjabi-1941) took Durrani as his assistant and later gave him the film Angoori (1943) as music director.

G. M. Durrani was very famous as radio drama artist of Delhi station and Mumbai station of AIR (Akashvani (radio broadcaster)).
In the period of K. L. Saigal – Surinder, Khan Mastana and G.M. Durrani were also famous. G. M. Durrani was one of the 40s famous playback singers. Durrani tried to make his own identity as a playback singer and not try to follow the K. L. Saigal type of singing. G. M. Durrani was a legendary Bollywood playback singer. His singing style was to inspire Rafi and others in the years to come. Later G. M. Durrani became a model to many playback singers who followed then. The soulful renditions of Durrani were to be reminded of by Talat’s singing as well.

Mohammed Rafi was influenced most notably, by G. M. Durrani on whose style he based his singing. He sang with his idol in some of the songs such as “Humko Hanste Dekh Zamana Jalta Hai” (Hum Sab Chor Hain, 1956) and “Khabar Kisi Ko Nahiin, Woh Kidhar Dekhte” (Beqasoor, 1950).

G. M. Durrani considered his first famous song was ‘Duniya mein sab jode jode’ of the film “Sharda” (1942) composed by Naushad.

The song Neend Hamaari Khwaab Tumhaare Kitne Meethe Kitne Pyaare, that made him a real rage was however composed by Shyam Sundar for his movie Nai Kahani. This song sung most part by G. M. Durrani with some support by child-star Balakram was playing everywhere. When he sang, this song, the listeners went crazy. This timeless melody can never be forgotten by fans of Indian Cinema:-

Nearly 40 years later, when Tata Oil Mills did a program Mortal Men Immortal Melodies to celebrate fifty years of talkies in India, they invited him to re-render the song. Although many had forgotten him, his voice was still great and he got a standing applause for it.

There was a time when G M Durani was the favourite and most preferred singer for most composers in the industry. From 1941 to 1951, he sang over 300 songs. He is a case of “Riches to Rags”. Once a rich and famous singer,he spent his last few years fighting with Throat Cancer,poverty and loneliness. His end was quite pathetic.

G M Durani was a leading singer, like Surendra. The difference was Surendra sang only in his own films and thus had limitations,but Durani was a playback singer, without much competition. In the 40s, there were hardly any male Playback singers,because most singers were actors themselves and sang their own songs,like Asit Baran. Karan Dewan, Ashok kumar, Prem Adeeb, Arun Ahuja, Balwant singh, C H Atma, Ishwarlal, kantilal, K L Saigal, Pahadi Sanyal etc etc. There were of course few Playback singers like Khan Mastana, S D Batish, A R Oza, Balbir etc,but they were no competition to Durani at all.

Because of this, some singers were jealous of him and there was an attempt to poison him with Mercury Chloride ( sindur) given in a Paan by another well known singer. All relevant stories point out fingers to Hafeez Khan Mastana in this incident as the culprit. Before he could confess, which he wanted to, it seems, Mastana died in absolute poverty and in total neglect near Mahim Dargah. Later on his only son used to be seen begging there for quite some time. One of the RMIM members had met him there.

After singing assignments dried up, he opened a provision stores in Mahim, Bombay and ran it for 3 years. Finally,when the losses mounted, he sold off the business in loss.

In his last days, Durani had Throat cancer. He was looked after well by his sons and daughters. In his last days,he was interviewed by the famous writer shri Rajnikumar Pandya ji. After I came to know shri Pandya ji,he kindly gifted me a CD containing the last interview ( just one day prior to his death) of Durani. So I have not only Durani’s real voice,but also a song he sang from his deathbed for this interview ! Thanks to shri Pandya ji. G M Durani, in that last interview claimed that he had helped both financially and professionally two rising singers-Mohd. Rafi and Lata Mangeshkar, in their initial struggling period. He describes his first meetings with them in the interview.

G M Durani sang many memorable songs like, ‘Haath seene pe jo rakh do to karar aa jaaye’, with Noorjehan in Mirza Sahiban-47, ‘Lara Lappa’ with Lata in Ek thi Ladki-49, ‘Nazar na phero humse’ with shamshad Begum in Deedar-51, ‘Gaaye chala jaa’, with Lata in Hum Log-51, ‘Humko hanste dekh zamana jalta hai’ with Rafi in Humsab chor hain-56. Durani sang about 300 songs. His last song came in ‘Lal Pathar’-71.

G M Durrani acted in 16 films, from 1949 to 1978. He sang 305 songs in 168 films. He gave music as MD in 8 films and also wrote lyrics in film Nazare-1949. ( This is primarily based on the details from Shri Rajnikumar Pandya ji’s book ” Aap ki Parchhaiyan “. My thanks to him. Also thanks to Listeners’ Bulletin No.70 of Sept.1987, together with my own notes.)

Let us now enjoy a melodious song by Durrani from this film……


Song-Ae muqaddar mujh pe itni kis liye naaraaziyaan (Ghaayal)(1951) Singer-G M Durrani, Lyrics-Pt Indra Chandra, MD-Gyan Dutt

Lyrics

ae muqaddar mujhpe itni kisliye naaraaziyaan
le rahi hain kyun teri tirchhi nazar angdaaiyaan
ae muqaddar r
ae muqaddar mujhpe itni kisliye naaraaziyaan
le rahi hain kyun teri tirchhi nazar angdaaiyaan
ae muqaddar r

chal pada hoon main akela aur na manzil ka pata
chal pada hoon main akela aur na manzil ka pata
har kadam par rokti hain kyun mujhe naakaamiyaan
har kadam par rokti hain kyun mujhe naakaamiyaan
ae muqaddar r

kya kahoon kis’se kahoon
kaise kahoon kya dil mein hai
kya kahoon kis’se kahoon
kaise kahoon kya dil mein hai
sunke hans dega zamaana aansuon ki kahaaniyaan
sunke hans dega zamaana aansuon ki kahaaniyaan
ae muqaddar r

ae dar o deewaar tum
ae dar o deewaar tum
ho kisliye haale-tabaah (?)
pad gayin kya tumpe bhi bolo meri parchhaaiyaan
pad gayin kya tumpe bhi bolo meri parchhaaiyaan
ae muqaddar r
ae muqaddar mujhpe itni kisliye naaraaziyaan
le rahi hain kyun teri tirchhi nazar angdaaiyaan
ae muqaddar r r r


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 :

5529 Post No. : 17983

Today’s song is from the Mythological film Laxmi Narayan (1951).

Are you a believer in God ? Well I am. I am a confirmed Theist. I am also a religious person. It is surely not because I have become an old man now, but right from my childhood, I have been a religious person. The atmosphere in our joint family was very conducive to follow the religious path and ways, because of my grandfather and father. Both were experts in Sanskrit. My father had worked as a practicing PANDA (पंडा ) in Kashi (Banares), when he went underground after the Gandhi killing, in 1948-49. So, it is not the case that old age made me Religious like in the proverb ” सौ चूहे खा कर बिल्ली चली हज को ” !

India’s 99.9% population is religious minded, whichever is their religion. Those who say that there is No God are very few. I also like reading religious books and stories and seeing Mythological or religious films. One of the reasons also is that I liked the trick scenes and impressive Costumes and big sets. I have been seeing these films from a young age .

The decade of the 50s was indeed a decade of Religious films. From 1951 to 1960, there were about 120 such films, averaging 1 religious film every month for 10 years. Those were the times when even Big stars did not hesitate to act in Mythologicals. Ashok Kumar, Prithviraj Kapoor, Meena Kumari, Durga Khote, Leela Chitnis, Nalini Jaywant , Shanta Apte etc used to act in religious films without any complex. It was much much later that a few artistes were branded as “Mythological actors’, like Mahipal, Manhar Desai, Trilok Kapoor, Nirupa Roy, Prem Adib, Shobhana Samarth etc. etc.
There was a fixed and permanent audience for these films. Prakash pictures was famous for making many religious films. But other studios like Prabhat, New Theatres, Ranjit, Sagar, Basant pictures or Wadia movietone, Bombay talkies, Filmistan etc too made mythological films. Besides the eye-catching scenes, another attraction of these films used to be its music. Very melodious and memorable Bhajans were composed for these films by S N Tripathi, Bulo C Rani, Avinash Vyas, Shankarrao Vyas, Hemant Kumar, Vasant Desai etc. Some of the famous Bhajans were sung by Rafi,Hemant Kumar, Geeta Dutt and others.

Culture and Religion have a close relationship. The commonest points of Religion, followed by a majority for time immemorial, becomes the culture of the nation. Raas Garba, Ganesh Utsav, Diwali celebrations and Indian Calendar New Year days in respective regions are no more a matter of Religion by now. They have become the cultural heritage of the country. A good example is Holi or lighting done on Deepavali or touching the feet of the elders…all these constitute Culture, though its roots are traceable to religion.

Today, Religion,for most people in the world,I feel,is limited to one’s personal space and I believe, in today’s setup it is also very appropriate to limit the religion to one’s home. One should not get confused between Religion and Bhakti. Mythological films are based essentially on stories from the Holy books, like Ramayana, Mahabharat or the Puranas. Bhakti pradhan films are based on personalities engaged in devotion to their Deity. Thus, films like Narsi Bhagat or Sant Tukaram are Bhakti pradhan films,whereas,films like Pawanputra Hanuman or Veer Arjun are Mythological or Pauranik films. Films on saints like Kabir, Soordas, Tulsidas or Tyagaraja are not religious, but Mythological films are surely religious films.

However Bhakti is a way to remember,to submit to, appease or dedicate oneself to his God or Deity. Holy books classify different forms of Bhakti-the way it is or can be followed. There are 9 forms of Bhakti (नवविधा भक्ती ), as described in Vishnu Puran and Bhagwadgeeta…

1.Shravan…श्रवण…(Hearing) like Raja Parikshit
2.Keertan…कीर्तन…(Discourse) Like Thyagaraja
3.Smaran…स्मरण…( Remembering) Like Bhakta Prahlad
4.Paad sevan…पाद सेवन…( Remaining at Feet)..Like Lakshmi
5.Archan…अर्चना…( Worship)…Pooja
6.Vandana…वंदना…(Obeisance)…Sashtang Namaskar or Prostration.
7.Dasya…दास्य…( Service)…Like Hanuman
8.Sakhya…सख्य…( Friendship)…Like Arjuna
9.Atmanivedan…आत्मनिवेदन…(Self Dedication) Like Meerabai

Mythological or पौराणिक films are those which are based on stories from Puranas. What is a Puran (पुराण ) ? It is a vast Genre of literature about legends and other traditional stories. There are 18 major Puranas and 18 Up Puranas (उपपुराण ). 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.

Here is the story of the film Laxmi Narayan (1951)…. 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 Vritrasura 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 Vritrasura 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 Vrittasur. 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 cast of the film was Meena Kumari, Mahipal, S.N.Tripathi,Urmila, B.M.Vyas, Amarnath,Sulochana, Vasantrao pahilwan and many others. Meena Kumari, in her film career had worked in C and B grade Mythological and action films. Meena Kumari had done several Mythological and costume films before Baiju Bawra took her high up and above other Heroines. In films like Veer Ghatotkach-49, Shri Ganesh Mahima-50, Laxmi Narayan-51, Hanuman Paataal vijay-51 and Alladin aur Jadui Chirag-52 she had Mahipal as her Hero. In her later years, she always hid her earlier film Heroes. Many artistes hid their first films after they became big stars,like Mala Sinha, Kalpana, Johnny Walker, Gulzar, Mahendra kapoor etc.

Today’s song, though from a Mythological film, is not a Bhajan. Instead, it is a love duet, perhaps from Indradev’s darbar. It is sung by Sulochana Kadam and an unidentified male voice. Prakash ji would perhaps identify the pair of artistes in the video.
Editor’s note:- The male voice has been identified as Chitragupta by Sadanand Kamath jee.


Song-Chaahe laage teree haaye chaahe jaan chalee re jaaye (Lakshmi Narayan)(1951) Singers-Chitragupta, Sulochanam Kadam, Lyrics-B D Mishra, MD-S N Tripathi

Lyrics

man ko luta ke
aeji bada kathin hai ae ae
hona nau do gyaarah
aur pyaar ka daanv jeet ke gori
karoonga main pau baarah
chaahe laage teri haaye chaahe jaan chali re jaaye
chahe laage teri haaye chaahe jaan chali re jaaye
man ko luta ke
bada kathin hai
hona nau do gyaarah
pyaar ka daanv jeet ke gori
karoonga main pau baarah
chaahe lage teri haaye
chahe jaan chali re jaye
chaahe lage teri haaye
chaahe jaan chali re jaaye

o ghanchakkar sadiyal chhapar
sun le
o ghanchakkar sadiyal chhapar sun le
kahna mera
tu kaudi ka teen yahaan par nahin thhikaana tera
chaahe laage teri haaye
chaahe jaan chali re jaaye
chaahe laage teri haaye
chahe jaan chali re jaaye
main nahin hoon aisa waisa
main sab jaanoon tu kaisa
tu abhi abhi hai aayi
tu kya janae meri badaai

teri soorat bandar jaisi
teri nak chhachhundar jaisi
maano satiye meri baani
bhare indraani ghar mein paani

buddhu raaja
buddhu raaja band karo ye gappon ki bunchakki
gaal bajaane se na hoyegi baat prem ki pakki
chaahe laage teri haaye
chaahe jaan chali re jaaye
chaahe laage teri haaye
chaahe jaan chali re jaaye

dev lok mein tujhko laaya aur mitti se ratan banaaya aa aa aa
na chaahoon main swarag ki maaya
bhali mujhe mitti ki kaaya aa aa aa aa
kyun na sune tu mera kahna
haath maley pachhtaaye
arey jag mein buri kahi jaati hai kisi kisi ki haaye

chaahe laage teri haaye
chaahe jaan chali re jaaye
chaahe laage teri haaye
chaahe jaan chali re jaaye
main indr o maar bhagaaun aur indraani tujhe banaaun
achha
haan tere ek ishaare par indraani tujhe banaaun
jo baat ye sach hai teri
mil gayi jodi teri meri
tu nadi ki chanchal dhaara
jismein beete jeevan saara

o lehron ke premi raaja aa aa
o lehron ke premi raaja
ja lehron ke sang

O ?? chhail chhabeeli
karo milan mat bhang
chaahe laage teri haaye ki chaahe jaan chali re jaaye


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Blog Day :

5484 Post No. : 17917

This day that year-24 July
————————————–

A few days ago, songs were discussed from movies called 26th January and 25th July. We all know the significance of 26th January. But what is the importance of 25th July ? Reading about the story in the article tells us that unlike 26 January, 25 july was an imaginary movie. It was an imaginary action movie.

Today is 24 July. If a movie called 24 July will ever be made, it will not be an imaginary movie. 24 July is a very important day in the history of India. In my opinion it is as important a day for India as 15 August and 26 January.

In a few articles that I have written, I have mentioned 11 May as a day which is an important for India as 15 august and 26 January. 24 July falls in the same category. In fact, 24 July laid the foundation for 11 May. 11 may would not have become possible without 24 July.

In a way, 24 July is a day when India, which was in an unprecedented precarious situation, turned course, and took steps that not only rescued India, but ensured that India would never have to face the same situation ever again. Lives of vast Indian population would become better than the lives of their ancestors because of this particular date.

What exactly happened on 24 July ? We will need to go back to 15 august 1947 and 26 january 1950 and thereafter to appreciate the significance of 24 july 1991.

When India became independent, India was a desperately poor country. It did not produce enough foodgrains to feed its population. It had no manufacturing sector to speak of. It was rhetorically stated that even a needle was not manufactured in India. As for service sector, even that was infinitesimally small. Literacy level was 12 %. Life expectancy was 32 years. Today even country with the least life expectancy (Central African Republic) has a life expectancy of 52 years. Even the country with lowest literacy today (Niger) has a literacy rate of 19 %. One can say that India was in a far far worse condition than the condition of the least developed nations of the world today.

Those days, there were two kinds of economies. One was western kind of economy that was capitalism. Second was socialist economies that was pioneered in Soviet Union. India had won its freedom from Britain which practiced capitalism. So Indian political leadership was convinced that capitalism must be bad. So they chose the other option which was Socialism.

Socialism was not just in the air but also in the hearts and minds of most intellectuals and political leaders. Unlike in the Soviet Union and China that abolished private property and put the government directly in charge of all economic affairs, India followed a middle path. The Indian state implemented central planning with myriad controls over prices and quantities to achieve a “socialist pattern of society.”

The basic premise of this state controlled economy was that the government controlled economic activities. Private economic activities were discouraged. To discourage private economic activities, a whole lots of restrictions were imposed on public. They were known by their acronym LPQ (License, Permit, Quota).

The License Raj or Permit Raj was the system of Licenses, Regulations that hindered the setup and running of the business in India between 1947 and 1990. This term was coined by Indian Independence activist Chakravarti Rajagopalachari.

It basically meant that any private individual needed to take license to start any economic activity. They needed a permit to consume items. They had a quota fixed for manufacturing items and /or buying items. These License, Permit and quota were very difficult to come by, and when they were allotted, they would often be less that the amount applied for. Imagine if someone needs 100 sacks of cement to construct his house. He would need to take permissions from the administration. The administration would keep him on tenterhooks and finally after long delay give him permission for only 40 sacks of cement. Even these sacks of cement may not be easily available because the few cement factories that had the permit to manufacture cement also had fixed quota beyond which they could not produce cement. So the system ended up discouraging private economic activities however essential they may be. It bred corruption and gave rise to black market activities.

Licenses were required for starting new companies, for producing new products or expanding production capacities. Businesses had to have government approval for laying off workers and for shutting down. Virtually shut off imports with high tariffs, low import quotas and outright banning of import of certain products. For example, the import tariff for cars was around 125% in 1960. This gave rise to lucrative illegal activity called smuggling. Villains in Hindi movies were shown as indulging in smuggling. Biggest dons of Bombay made their earning thanks to smuggling.

India in 1985 had the highest level of tariffs in the world. Nominal tariff rates as percentage of values in 1985 were: 146.4 percent for intermediate goods; 107.3 percent for capital goods; 140.9 percent for consumer goods and 137.7 percent on manufacturing goods.

Government had total monopoly on development activities.

The economic policies were set in place by means of different policy decisions. Here are the important ones:

Policy decision Remarks
Industrial Policy Resolution, 1948 government monopoly was established in armaments, atomic energy, railroads, minerals, iron & steel industries, aircraft, manufacturing, ship building and telephone and telegraph equipment
Industrial Policy Resolution, 1956 extended the preserve of the government from 17 industries to a further 12 industries.
1956: Life Insurance business nationalized
Banking Companies (Acquisition and Transfer of Undertakings) Ordinance, 1969 14 major banks that held 85% of the total bank deposits were nationalized. The Act aimed at ending the private control over the financial institutions which will help the government approve and carry out its welfare policies.
Monopolies and Restrictive Trade Practices Act, 1970: designed to provide the government with additional information on the structure and investments of all firms with assets of more than Rs 200 million, to strengthen the licensing system. This was done in order to decrease the concentration of private economic power, and to place restraints on business practices considered contrary to public interest. In effect, the Act completely stopped the growth and expansion of private-sector industries.
The Industrial Licensing Act of 1970 categorized industries based on their total assets into Core, Middle, Non-Core Heavy Investment and De-licensed Sectors. The Act required private industries exceeding a certain asset limit, to be scrutinized and to obtain licenses to continue their operations. The number of licenses needed for big industries starting from importing supplies to exporting products was often large and these acts constricted their operating potential. This gave rise to crony capitalism (unhealthy rivalry among the companies to gain licenses though corrupt means. Non corrupt private enterprises were left behind.)
the Foreign Exchange Regulation Act(FERA) 1973 Last nail in the coffin of Indian economy. multinational investors were required to dilute their share in their Indian subsidiaries to 40%. It also imposed severe restrictions on the exchange of foreign currency among individuals as well as industries. This act severely limited foreign investments in India.

One can see that the policies of 1940s and 1950s still had some scope for private enterprises. But all these scopes were ended by policies adopted from 1969 onwards. If Indian economy is likened to a human, then this human was sentenced to simple house arrest by the policies of 1940s and 1950s. The policies of 1969 onwards changed it to rigorous imprisonment and that too in Kaala paani.

China, and South East Asians countries, were in the same boat as India in 1940s, and some of them had also started as “socialist” countries. These countries soon saw the writing on the wall and took to capitalism, some of them (like China) doing it while still claiming to be following socialism. Indian economy boat, on the other hand, was sinking, but Indians were not aware of it.

When economy is murdered like this, its signs are visible in various forms. One of them is lack of foreign exchange for essential imports. Since India did not export much and did not allow inflow of funds to India, so they did not have enough foreign exchange. To fill the gap, they were dependent on grants (doles) from rich countries. But even these countries were unlikely to come to the assistance of India as and when India needed assistance. So the only way left for Indian government was to approach the bank of last resort, namely IMF. So India kept approaching IMF fairly regularly. They had approached IMF four times from 1950s to 1960s.

Here are the details:-

Facility Date of arrangement Date of expiration Amount agreed in thousands of SDR Amount drawn
Standby Arrangement Mar 11, 1957 Mar 10, 1958 72,500 72,500
Standby Arrangement Jul 09, 1962 Jul 08, 1963 100,000 25,000
Standby Arrangement Jul 09, 1963 Jul 08, 1964 100,000 0
Standby Arrangement Mar 22, 1965 Mar 21, 1966 200,000 200,000

The SDR is an international reserve asset. The SDR is not a currency, but its value is based on a basket of five currencies—the US dollar, the euro, the Chinese renminbi, the Japanese yen, and the British pound sterling.
The SDR value in terms of the US dollar is determined daily based on the spot exchange rates observed at around noon London time. Nowadays (after internet came into existence)it is posted on the IMF website.

Individuals and private entities cannot hold SDRs. IMF members – and the IMF itself – hold SDRs and the IMF has the authority to approve other holders, such as central banks and multilateral development banks, while individuals and private entities cannot hold SDRs. As of February 2023, there were 20 organizations approved as prescribed holders. Participating members and prescribed holders can buy and sell SDRs. However, prescribed holders do not receive allocations of SDRs, and they may not request an exchange of SDRs in transactions with designation as members do.

One can see that India sought IMF loan of SDR 72.5 millions, 100 millions, 100 millions and 200 millions in 1950s and 1960s to tide over financial crisis.

People who read news about IMF may be aware that IMF, while granting loan, sets some pre conditions, viz changing policies so that the economy does not face similar challenges again. Following the conditions of IMF depends on the government. If Government is ruled by people with short term vision whose aim is to manage by fire fighting,then they take the loan, avoid the immediate crisis, and after that it is business as usual. That is what was happening in India.

For example, when INDIA approached IMF in 1965, IMF set the condition that India had to devalue its currency. So India agreed to devalue Rupee by 36.5 %. 6 June 1966 devaluation forced upon Indira Gandhi was a political and economic disaster for her as well as India. After that it was business as usual. Or rather, India (irked by the aftermath of following IMF dictates) went in the opposite direction by passing a host of anti economy laws.

Result of all these anti economy draconian economic policies were seen in 1980s, when India was forced to approach IMF for the fifth time.

Here are the details:-

Facility Date of arrangement Date of expiration Amount agreed in thousands of SDR Amount drawn
Extended Fund Facility Nov 09, 1981 May 01, 1984 5,000,000 3,900,000

This time the amount was bigger viz SDR 5 billions. Out of it, India availed SDR 3.9 billions.

Some attempts were made from 1984 to 1989 onwards to open up the economy.

1.The key step to achieve it was diluting the license permit system.
2. taxes and tariffs lowered.
3. 25 industries got relaxation from requiring licenses for their operations.
4. More diversification of products was allowed.
5. The Monopolies and Restrictive Trade Practices(MRTP) scrutiny limits were restored to that of pre-license raj years. The number of industries that required to undergo MRTP scrutiny was also lowered to half and the number of companies that required the same was reduced to 15% of the previous value.
6. The telecommunication sector was opened to private enterprises in the form of equipment manufacturing.
7. The Center for Development of Telematics (C-DOT), an autonomous agency was established to boost the Information and Technology sector.
8.Attempt was made to open up civil aviation to private enterprises.

While attempts were made to open up economy, proper care was not taken to ensure that safety valves were in place. To take advantage of liberalized policies, Business houses took loans to import equipment. In the short turn, infusion of these foreign loans were reflected as enhanced economic activities, but that was short lived. When it was time to pay up the short term loans, it turned out that RBI did not have enough foreign exchange for that.

the Gulf War of 1990 had shot up the price of oil which India bought from the world market to fulfill large demands. USSR, the biggest supporter of India was in turmoil and it broke off into 15 parts. The political chaos in India had led to the withdrawal of 900 million USD worth of deposits from Indian banks by the non-resident Indians. All these developments meant that India had very little foreign exchange left and India was on the verge of default.

This led to India having to go to the IMF yet again in 1991.

Here are the details of India going to IMF in 1991:-

Facility Date of arrangement Date of expiration Amount agreed in thousands of SDR Amount drawn
Standby Arrangement Jan 18, 1991 Apr 17, 1991 551,925 551,925

India at that time had a minority government. Under normal circumstances, Public would not have bothered with this IMF bailout. But a reporter came to know that RBI Gold was being taken to airport to be sent to IMF as mortgage to avail the loan. This news made headlines and Indians, most of them self respecting, were shocked.

“Growth during the 1980s was also propelled by fiscal expansion financed by borrowing abroad and at home. But this was unsustainable and led to the crisis of June 1991,” notes Arvind Panagariya in an IMF Working Paper titled ‘India in the 1980s and 1990s: A Triumph of Reforms’.

Elections were announced in May 1991 in several phases. In the midst of election, Rajiv Gandhi, the former PM, was assassinated and the country was plunged into another state of Political uncertainty.

When remaining phases of elections took place under changed circumstances, Congress became the largest party and looked likely to form a minority government. With Rajiv Gandhi no longer at the helm, PV Narsimha Rao, someone who was asked to retire from politics and who was accordingly in the process of moving out from New Delhi to his native state of Andhra Pradesh, found himself becoming the Congress Party President and therefore Prime Minister candidate.

As PM Designate, PV Narsimha Rao was given a list of urgent items to be addressed by Cabinet Secretary Naresh Chandra. It was then that he realized the gravity of economical crisis facing India. Till that time, he was a staunch status quoist and a socialist. The man who confessed that he did not understand economics realised the magnitude of the crisis in a couple of hours on June 19. That was two days before he was sworn in as PM. He read the note on the economic crisis. It took just a few hours for Rao to change his mind and become an economic liberaliser. The note contained the core reforms that Government would have to implement within the next few weeks later. It listed out devaluation, trade liberalization, de-licensing, etc.

While he had no problems allotting other portfolios to political heavyweights, he decided that portfolios that were to play key roles in facing the economic crisis were to be manned by competent persons he could trust. He sought out an economist for the post of Finance Minister. The first person approached was I G Patel, who declined the offer. The other economist approached was Manmohan Singh, and he accepted. P Chidambaram, another economist was made Commerce minister. PV Narsimha Rao kept Industry ministry with himself, with one minister of state (P J Kurien) in the ministry.

On 25 june 1991, opposition leaders, including V.P. Singh of the National Front and Jaswant Singh of the BJP, were briefed by the new finance minister Manmohan Singh in the presence of PM. At the meeting, Manmohan Singh gave details of the crisis: ‘I told them all the things that were necessary to control the fiscal deficit, to change the thinking on industrial policy, to liberalise the economy.’ the Opposition was stunned; they had not realized the gravity of the situation.

Confiding in political opponents was both magnanimous as well as sagacious for a prime minister who did not have a majority in Parliament. Rao, however, chose not to tell the opposition leaders two things. That he would devalue the rupee soon. And that India’s gold was being mortgaged in return for foreign loans yet again. Had they known, they would not have allowed these actions, regardless of how serious the crisis was.

The first devaluation of the rupee of 7-9% against major currencies took place on July 1. The second devaluation of about 11% happened on July 3. The political fallout of 20 % devaluation was enormous, but PV Narsimha Rao managed to tide over it.

Devaluation done, it was time for export subsidy to go. It was commerce ministry domain. Since an expensive rupee made it harder for Indian manufacturers to sell in the foreign market, the Indian government had created a Cash Compensatory Scheme, or CCS, for exporters—yet another example of how subsidy begot subsidy, i.e. how the Indian state first intervened in the market to create a distortion, then intervened again with a distortion in the opposite direction. But with the rupee now closer to its true value after the depreciation, an export subsidy was superfluous, and Manmohan decided to get rid of it. Montek Ahluwalia and his commerce minister, Chidambaram, spent the afternoon of 3 July pondering the implications of what was being asked. A ministry meant to promote exports was being told to eliminate an export subsidy. Ahluwalia explained to Chidambaram that there was logic in what the finance minister was proposing, especially since they needed to save money. Chidambaram agreed to abolish the CCS. The removal of the CCS was sure to worry exporters. In order to assuage them, the commerce ministry decided to offer them an immediate sop. The ministry had already been considering major trade policy reforms involving new incentives for exports. This was in the form of an ‘enlarged replenishment license entitlement’ which could be used to import restricted items. Chidambaram and Ahluwalia wanted this policy to be announced simultaneously with the abolition of export subsidy. Since this could only be done with the approval of the finance minister, they sought a meeting with Manmohan Singh to explain the proposal. He readily agreed, despite reservations from his officials. All three of them visited Narasimha Rao at his house that very night for his consent. In less than twelve hours, the policy had got changed.

Devaluation done, export subsidy removal done, the prime minister and his team turned to the next set of reforms. The need to change industrial policy—the red tape that so tightly bound private manufacturers.

Rakesh Mohan, a Princeton-trained economist had prepared skeleton of a new industrial policy in 1988 during the tenure of previous government. The proposal of Industrial bill was revolutionary. In a significant reversal of policy presumptions, the private sector could operate freely in almost any industry, without prior government permission. But the recommendations gathered dust, mired in political infighting. It was time to implement it now.

In July 1991, Prime Minister Rao—in his avatar as the new industry minister—gave Amar Nath Varma (now principal secretary) the mandate to convert that draft into policy. Varma called his friend, the then industry secretary, Suresh Mathur, for a discussion, along with Rakesh Mohan (economist) and Jairam Ramesh (Congress Party back office man on economic affairs). He told them this was the chance they had been waiting for, since ‘the prime minister had deliberately kept the industry portfolio to himself’.

By 7 July, Rakesh Mohan’s original draft had been polished into what would become the new industrial policy. PM would later say that freeing domestic entrepreneurs from state control was the single most important economic decision he would make.

Rao asked Jairam Ramesh for a summary of the changes so that he could brief his party. A five-page note reached the prime minister around 8 July. The next day, Rao met the CPP and informed it that he would announce comprehensive changes to the industrial policy soon. Rao was careful not to go into the details; he did not want the Opposition to pre-empt him.

A few days later, on 12 July, Rao leaked details of his industrial policy to Hindustan Times, which published an article titled ‘Industrial Licensing to Go’. The author Kalyani Shankar (close confidant of Narsimha Rao) wrote that ‘all industrial licenses except for a short negative list’ would be removed soon. She even listed the significant features: automatic permission for foreign investment up to 51 per cent; an increase in the exempt threshold under the anti-monopoly law; the removal of phased manufacturing; and an end to other manufacturing limits.

Jairam Ramesh, terrified that he would be blamed for the leak, rushed to the prime minister’s office, only to be informally told that the leak had come from the boss himself. Rao was testing reactions to the policy before formally announcing it. Three days later, Narasimha Rao stood up in Parliament during the vote of confidence in his government. As before, he made use of the threat to the prestige of the nation, urging the Opposition to give up their maximalist ideologies in the face of calamity. He quoted a Sanskrit verse to make his point: ‘Sarvanashe samutpanne ardham tyajati panditah.’ (‘Faced with total ruin, the wise settle for half.’)

That same day, 15 July 1991, Narasimha Rao asked for the note on industrial policy to be presented before the Cabinet—the final step before a policy is put into effect.

The Cabinet meeting was scheduled for 19 July, and a few days before, Rakesh Mohan (along with the bureaucrat N. Krishnan) was instructed to meet Arjun Singh (a major opponent of PV Narsimha Rao) in private to convince him of the merits of the policy. That meeting did not go well. When the Cabinet met some days later, ministers opposed both the style and substance of the draft policy. Arjun Singh and M.L. Fotedar, in particular, were outspoken in their hostility. Rao remained silent, leaving his finance minister to face the fury. The policy was sent back to the drawing board, but crucially, Rao ensured that the substance remained untouched. Jairam Ramesh worked, instead, to add a longish preamble which linked the new ideas to the fundamental ideals of the Congress, Nehru and Indira Gandhi. It worked. When the Union Cabinet met again, on the morning of 23 July, those who had opposed the policy earlier were reassured by the addition of the preamble.

That afternoon, Rao convened a meeting of the CWC at his house. He began by saying that all that the new policy did was to reverse Indira Gandhi’s sharp leftward tilt in 1969, and take the country back to the more flexible 1956 policy resolution of Nehru. The Congress, Rao added, continued to believe in the ‘commanding heights of the public sector’.

Rao then let his finance minister speak. Learning from his political master, Manmohan invoked Congress’ 1991 election manifesto to show that within it lay the seeds of the new industrial policy. This was far from the truth, but as Manmohan Singh came out of the meeting, Arjun Singh told him: ‘Dr Singh, you have read the manifesto more carefully than we have.’ The ploy had worked. Narasimha Rao, assisted by Manmohan Singh, had been able to take a policy that was in cold storage, make surface changes, and seamlessly link it to a Nehruvian past—all to drag his party behind the most revolutionary economic reform in the history of independent India. As Rakesh Mohan put it, “We had authored this policy before. Hum to likhte rahte hain [We keep writing]. But it would not have gone anywhere without a clear political mandate. I would give credit to Rao for his unwavering political backing. ”

In parallel to the maneuvering over industrial policy, was the maneuvering over the budget, scheduled to be presented to Parliament on 24 July 1991. The budget consists of a report on expenditure, new schemes, taxation plans, and the budget speech itself. The budget is the financial statement of the government, a simple accounting exercise. Most countries do not consider it important. But over the years in India, it has become one of the few occasions when Parliament actually deliberates on policy.

In 1991, it was the ideal platform for the government of the day to announce its vision.

Preparations for the 1991 budget were coordinated by finance minister Manmohan Singh. He consulted at length with the ministries of industry, commerce, as well as the prime minister’s office. Holding the fort at the PMO was Amar Nath Varma, who had fast established himself as Narasimha Rao’s point man on economic reforms.

Early in July, Varma instituted the Thursday afternoon meeting on economic policy in his office in South Block, near the prime minister’s room. Varma would lay out an opulent lunch, often with kebabs and cutlets, and ask the chief bureaucrats of various departments a simple question: What was this week’s reform? The fruits of the Thursday meeting would then be sent to the Cabinet for final approval. ‘Varma Thursdays’ would be the engine of reforms for five unbroken years. For the month of July 1991, these meetings were used to discuss budget minutiae, which would then make their way to a super draft, stored in the finance ministry. Since the budget was a sensitive document that businessmen would pay money to know in advance, its preparation was shrouded in secrecy.

In the weeks before 24 July, everyone working on the budget lived locked-down in a basement in North Block. They had to eat and sleep there, with no telephones to connect them to the world. Only a select few, such as the finance minister, were allowed in and out of the basement. The draft would remain secret until it was read out by Manmohan in Parliament on 24 July. In his speech to the nation on 9 July, Narasimha Rao had hinted that the budget would pursue a reform agenda. But it is possible that the scale of what the prime minister wanted was not known to the mandarins in the finance ministry—some of whom were opposed to concessions to the West.

The final draft of the budget, ready by 21 July, was groundbreaking. It overhauled the import-export policy, better connecting India to the world market. It also slashed subsidies, and made foreign investment easier. The budget was going to shatter the third pillar of the license-permit-quota raj: isolation of India from the global economy.

Manmohan Singh wanted the budget speech to include the new industrial policy. This would send out a clear signal that the government was committed to both external and internal liberalization. But the bureaucrats at the industry ministry, recent converts to reforms, wanted glory of their own. They demanded a separate announcement by the industry minister. The fact that the normally protectionist officials were falling over each other to take credit for reform shows how quickly the Narasimha Rao government was changing attitudes.

Industrial reform (domain of Industry ministry) was as path breaking as the trade policy reform (contained in the budget). PM decided that Industrial delicensing was to be announced separately from the budget on the same day when Budget was to be presented.

Some people opine that the decision to announce industrial policy on the morning of the budget was entirely Rao’s, and entirely Machiavellian. This was before the days of twenty-four-hour news and the Internet, and the day’s reforms would first be reported only in the next morning’s newspapers. Rao deliberately kept his industrial policy announcement for the morning of the budget, the theory goes, so that newspapers would focus on the evening budget, rather than the more politically sensitive overhaul of industrial policy.

24 July 1991
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24 July 1991 was a hot day, and as parliamentarians streamed into the sandstone Parliament, they expected an evening of fireworks.

The show began even sooner. At around 12.50 p.m., the minister of state for industry, P.J. Kurien, got up to make a bland announcement in the Lok Sabha. Given the weight of what he was going to table, the industry minister should have presented the document. But Rao wanted no part in it. Instead, his deputy got up and said, ‘Sir, I beg to lay on the table a statement (Hindi and English versions) on Industrial Policy.’

This innocuous declaration masked the profoundly radical policy he had just announced. Its most famous sentence was that ‘industrial licensing will henceforth be abolished for all industries, except those specified, irrespective of levels of investment’. The exceptions were just eighteen industries mentioned in the annex to the policy (which have since been whittled down even further). It also limited public sector monopolies to eight sectors. The second change was to end the official phobia towards large companies by easing anti-monopoly restrictions. The third change was to raise the permitted level of foreign investment from 40 per cent after government approval to upto 51 per cent in thirty-four industries with ‘automatic approval’. This was the single most radical economic document in independent India’s history, and it was announced without fanfare.

A few hours later, Manmohan Singh, wearing a light Nehru jacket and with the red budget briefcase beside him, got up from his seat in the treasury benches in Parliament to deliver the speech of his life. The apolitical Manmohan Singh began by confessing that he was ‘overpowered by a strange sense of loneliness’. He missed the ‘handsome, smiling face’ of Rajiv Gandhi. The speech would be peppered with other references to the very family whose ideology the budget was reversing. His next rhetorical tactic was to play up the financial crisis, claiming that it was raising prices on the poor. ‘The crisis in the economy is both acute and deep. We have not experienced anything similar in the history of independent India.’ In the beginning of the speech itself, Manmohan had cited Rajiv Gandhi as well as the poor—sugar-coating meant to mask the bitter medicine in the rest of the budget.

Over the next few hours, Singh overhauled the import-export policy, pushed for export promotion, slashed import licensing, and reduced tariffs.

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Narasimha Rao and Manmohan Singh followed up the big bangs of July 1991 with short bursts that were kept muffled from the media. As the political scientist Robert Jenkins explains, the aim in each sector was ‘Gradual reform
. . . using less transparent means of initiating change in an effort to avoid direct political confrontation as long as possible.’ The foreign investment promotion board was set up soon after the budget. Run directly from the prime minister’s office, it facilitated the flow of foreign investment. The months that followed saw further changes to anti-monopoly laws and reduction in tariffs. The government also shut down many of the Kafkaesque instruments of economic control, such as the secretariat of industrial approvals, the directorate-general of technical approvals.

Perhaps the best evidence that economic reform was not just a straightforward response to calamity is what happened after the crisis ended. Narasimha Rao did not have the excuse of a looming catastrophe after mid-1992. Big business, opposition parties, the Congress, and Left intellectuals could now force the Rao government to declare mission accomplished, and pedal back to the failed policies of the past—until the next financial crisis.

Without further liberalization, the reforms made so far would also be meaningless. While formal restrictions on Indian and foreign entrepreneurs had been eased, the complexity of doing business in India meant that government hand-holding was still necessary. The revolutions in transport, communications and consumer goods were yet to take place, and the first private airline yet to take off. But with no crisis to justify his reforms after 1992, Narasimha Rao could well have chosen to abandon liberalization midway.

In his first year as prime minister, Narasimha Rao had implemented his economic goals by deft use of looming catastrophe. With the crisis over by 1992, he needed new upayas. The ‘big bang’ reforms of 1991—devaluation,
delicensing, trade liberalization—had formally opened up the economy. But industry still needed government help to navigate the hurdles that remained.

The licence raj had also created distinct vested interests in different sectors of the economy. For example, any attempt to privatize banks would symbolically overturn Indira Gandhi’s bank nationalization drive. Ideological
critics would see red, while bank unions would organize to protect their sinecure. Deepening the capital markets, on the other hand, would be opposed by unscrupulous brokers prospering from the status quo. The same variation in adversaries existed in infrastructure. Road-building had fewer opponents, while electricity reforms would be contested by powerful interest groups—the coal mafia, state power boards and customers. A whole new set of critics would protest the opening up of television and consumer goods, worried that traditional India was being westernized.

The BJP, communists and the Congress had their own complaints against liberalization. The BJP’s trader base welcomed delicensing, but was wary of foreign competition. The communists opposed both, while the Congress party
was sensitive to charges of elitism that went against the grain of Nehruvian socialism.

On economic reforms, Narasimha Rao and Manmohan Singh had proved exquisite opening batsmen. By 1992, however, liberalization was entering the middle overs. A range of subtler, incremental techniques were needed to deal
with concerns unique to each sector, unique to each party. Would Rao be able to play spin as well as pace?

(sources for the above article, with grateful acknowledgement:(1)”Half Lion”-by Vinay Sitapati, (2)”To the brink and back”-Jairam Ramesh, (3) “Backstage-the story behind India’s high growth years”-By Montek Singh Ahluwalia and many other sources).

We know the answer by now. Such a robust economic setup was established by P V Narsimha Rao and his team that even other parties, after winning elections, started talking and acting in the same language. For example, his party lost the next Parliament election, and before that the assembly election in Andhra Pradesh. But the parties that came to power continued the new economic policy. In Andhra Pradesh in fact, ChandraBabu Naidu became well known for his policies, which attracted enormous amount of foreign investment in his state and Made Hyderabad an important IT hub. The liberalised economy began to pay off dividends as time passed.

Today, more than three decades later, we all are reaping the benefits of an economy that has grown big, strong and resilient. It has helped India gain respect in the world. While there are still countries that repeatedly go to IMF and never learn their lessons, India learnt its lesson in 1991 and never looked back since.

24 July 1991 was the day, when the seeds of all these major reforms were sown. Today 32 years have passed. 24 July 1991 was followed by 11 May 1998. Together the happenings of these two days changed the destiny of India.

So, let us remember this date- 24 July 1991. It was this day that India, a sleeping elephant, woke up and began to stand on its feet. Today the elephant is wide awake and is walking along merrily.

As stated earlier, we do not have any movie called 24 July. We do have a movie called 25 July. A song from this movie was covered just yesterday. This movie was released in 1951 and so it had no relations with 24 July 1991. But to my mind, this movie name comes closest to the date we are discussing. Moreover, this movie is a long forgotten movie, just as the date of 24 july 1991 is long forgotten by most people. So I have decided to cover a song from this movie with this post.

25th july had six songs in it. Two songs have been covered in the past. The remaining songs are rare songs and searching for them is going to be a tall order.

Here is the third song from the movie. This song was uploaded by the uploader of rare songs Zaif bhai (whom our Sudhir Jee knows very well). This song is sung by Binota Chakraborty. B M Sharma is the lyricist. Music is composed by Nachiketa Ghosh.

I heard this song for the first time today. Imagine a song recorded in 1951 being heard for the first time 72 years later ! The song may be forgotten, but it sounds like a nice song to listen to.


Song-Na din ko chain aur na shab ko qaraar hai (25th July)(1951) Singer-Binota Chakraborty, Lyrics-B M Sharma, MD-Nachiketa Ghosh

Lyrics

Na din ko chain
aur na shab ko qaraar hai
na din ko chain
aur na shab ko qaraar hai
aa mast aankhon waale tera
aa mast aankhon waale tera
intzaar hai
na din ko chain
aur na shab ko qaraar hai

ye angdaaiyaan
haaye dil ki bekaraariyaan
ye angdaaiyaan
haaye dil ki bekaraariyaan
har thhandi aah mein chhupi huyi
har thhandi aah mein chhupi huyi
dil ki pukaar hai ae ae
dil ki pukaar hai ae ae ae
na din ko chain
aur na shab ko qaraar hai

gulshan e dil mein khile ulfat ke phool hain
har phool ko teri kasam
tujhse pyaar hai
gulshan e dil mein khile ulfat ke phool hain
har phool ko teri kasam
tujhse pyaar hai
chhotee si zindagee mein
door door rahen kyun oon oon
chhotee si zindagee mein
door door rahen kyun oon oon
aa jaa ke mulaaqaat ko
aa jaa ke mulaaqaat ko
dil beqaraar hai ae ae
dil beqaraar hai ae ae ae
na din ko chain
aur na shab ko qaraar hai
na din ko chain
aur na shab ko qaraar hai


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

Blog Day :

5483 Post No. : 17915

Today’s song is from the film 25th July-(1951).

This is the second film in succession having a title, beginning with only a number, from which I have discussed songs. Surprisingly, as per the Film Title Index book by Hamraz ji, there are as many as 53 films , whose titles start with numericals, during the period 1931 to 2012. I am not considering film titles starting with “Ek”, because though a number, it is written in words – for example Ek thi Ladki etc. Such films are actually 206 in numbers for the same period. Let us take a look at a few film titles from the lot of 53 films….

10 ml Love (2011), 10 o’clock (1958), 11 o’clock (1948), 23 March (2002), 13 May(2010), 26 July (2007), 15 August (1993), 2 October (2013), 6 December (2009), 16 December (2002), 100 Lashes (1935), 108 Teerth Yatra (1986), 1857 (1946), 27 Down (19073), 3 Idiots (2009), 404 (2011), 500 ka Note (2002) and 99.9 FM (2005) etc. Strange are the ways of our Film industry !

Today’s film 25th July (1951) was made in Calcutta, by Beni Madhav productions. The producer was Gourinath Mehare and the director’s name was Chitra Mitra. I do not know if this was a male or a female, because Bangla names are very deceptive, compared to other states in India. Looks like this was the only Hindi film directed by Chitra Mitra. However a film called Jyoti (1969) indicates this name as its Producer.

The Music director was Nachiketa Ghosh for whom this was the First and the Last Hindi film as a M.D.. For this film , he had 2 assistants namely Jayant Seth and Suchet Ghosh.

As per The Encyclopedia of Indian Cinema, Nachiketa Ghosh was actually a medical Doctor who left his profession and joined film industry. His First Debut film 25 th July was a multilingual film in Bangla and Hindi languages. The film was released on 9-3-1951. He was also an accomplished Tabla player. He was trained in Music by Anathnath Basu and latafat Hussain. For a short period he worked for A.I.R., Calcutta. He gave music to more than 20 films in Bangla language. He wrote lyrics and screenplays too. He became famous for setting Nursery Rhymes to music, which remain popular till today. He was born in Calcutta on 28-1-1925 and died at Calcutta on 12-10-1976.

Film 25th July was an Action- Adventure-Thriller-Romantic-Musical-Family Drama-Social film. The story revolved around a young man’s life who was kind and brave, living with his family.He dedicated his life to the Nation and tried to make it crime free. (from indianfilmhistory.com).

The cast of the film was Chandrabati, Pahadi Sanyal, Nilima, Geeta Bose, Ushabati, Malay Chatterjee etc.etc. There were 6 songs in the Hindi Version. One song is already discussed here. Today’s song is the Debut song of Dwijen Mukherjee in Hindi. It is a duet with Binota Chakraborti. Dwijen Mukherjee, like Subir Sen, was known as a clone of the voice of Hemant Kumar. However he was a big name in Bangla films and Music field.

Dwijen Mukhopadhyay (12 November 1927 – 24 December 2018) was a composer and singer whose musical career spanned six decades. He was a performer of Rabindrasangeet, Bengali basic songs, Bengali and Hindi film songs. He recorded more than 1500 songs, of which about 800 are songs of Rabindranath Tagore. He also directed music in Bengali feature films and composed music for popular Bengali basic songs.

In 1944 Mukhopadhyay made his debut as a professional singer. In 1945 he made his first recording of basic Bengali songs from Megaphone Record Company. In 1946 he started to act as an artist for All India Radio (AIR) and also started recording with HMV-Colombia Recording Company. In 1956 he entertained the soldiers of the Indian Army with his songs at Ladakh.

Mukhopadhyay received his training in music from singers of Bengal including Shri Sushanto Lahiri, Pankaj Mullick, Santidev Ghosh, Santosh Sengupta, Anadi Ghosh Dastidar and Niharbindu Sen.

Mukhopadhyay was introduced to the folk music of Bengal and Hindi film music by the film-music composer Salil Chowdhury. His friendship with Salil Chowdhury started in the late ’40s through their common association with IPTA. The duo gave the Bengali audience songs like “Shyamal Barani Ogo Konya”, “Klanti Name Go”, “Ekdin Phire Jabo Chole”, “Pallabini Go Sancharini” and many others. They worked on two poems of Michael Madhusudan Dutt, “Rekho Maa Dashere Mone” and Ashar Cholone Bhuli”. Later Mukhopadhyay went to Mumbai to work with Salil Chowdhury and recorded duet songs with Lata Mangeshkar for Hindi films like ‘Honeymoon’ (1960), ‘Maayaa’ (1961), ‘Sapan Suhaane’ (1961) and solo playback in ‘Madhumati’, {This song did not find place in the film, but was released on LP}.

He was an exponent of Rabindrasangeet which he has performed in Bengali films like ‘Kshudita Pashan’ (1960), based on a short story by Rabindranath Tagore, and ‘Sandhya Raag’ (1977) under Music Directors Ustad Ali Akbar Khan and Pandit Ravi Shankar, respectively, as well as Rabindrasangeet in ‘Kancher Swarga’ (1963), Bon Palashir Padabali (1973), and ‘Wheelchair’ (1994).

Mukhopadhyay had also performed the devotional song ‘Jaago Durga’ as a part of the musical play ‘Mahisasura Mardini’ (The Annihilation of the Demon), which is a radio programme broadcast by All India Radio (AIR), Kolkata, every year on the day of ‘Mahalaya’ marking the beginning of the autumn festival of ‘Durga Puja’.

He sang before dignitaries such as Josip Broz Tito (President of Yugoslavia), Sarvepalli Radhakrishnan (President of India), Pandit Jawaharlal Nehru (Prime Minister of India), Indira Gandhi (Prime Minister of India). As a member of ‘Indian Cultural Delegation’, he toured the Soviet Union and East European countries like Poland, Romania, Czechoslovakia, Bulgaria, and Yugoslavia. He also was invited to perform in the US, the UK, France, Switzerland, Australia, Canada, Singapore and Bangladesh.

He created a cultural organisation named ‘Uttarayani’, Kolkata, India to impart training on Rabindrasangeet. Mukhopadhyay was also the President of ‘Bani Chakra College of Music’, Kolkata, India. He also celebrated the Birth Centenary of Rabindranath Tagore in 1961 and took active part in the celebration of the 150th Birth Anniversary held in 2011.

Dwijen Mukherjee first came into limelight due his very “Hemanta-Like” voice. Of course he was also an excellent singer and quickly established himself as an accomplished “rabindrasangeet” singer. His friendship with Salil started in the late ’40s through their common association with IPTA. Hemanta was also in the IPTA at that time. His next big break came when he recorded the path breaking songs “shyamal boroni ogo kanya” and “klaanti naame go” for Salil. As a composition “shyamal boroni” was a masterpiece and “klaanti naame go” was unique. This album helped Dwijen tremendously. Its phenomenal success followed with other very successful Salil compositions such as “ekdin phire jabo chole”, “pallabini go sancharini” etc. One of his rare and beautiful records must be Salil’s brilliant composition of Michael Madhusudan Datta’s two poems – “rekhomaa daasere mone” and “aadhaar chhalane bhooli”. He became a close friend of Salil and Salil later invited him to Bombay to sing in a few Hindi films notably Madhumati, Maya, Honeymoon, Jawahar,and Sapan Suhaane. His first Hindi song was a duet with Binota Chakraborti in the film 25th July-(1956). So, he sang 8 Hindi songs in 6 Hindi films in all.

For some strange reason Salil re-recorded some of Dwijen’s old songs like “shyamal boroni ogo kanya” in the early ’80s with disastrous results. Ignoring that quite a few of Dwijen Mukherjee’s songs will always remain popular.( based on information from last.fm , wiki, book swarsagar by S.S.Porey and my own notes, with thanks to the sources.)

Today’s song is sung as a duet with Binota Charaborti. From this name alone, no one can imagine that this was a marathi girl from Bombay, whose real name was Vinata Amladi. She is the much less known singer of the famous song ” Dilli se aaya bhai Tingu” from the film Ek thi Ladki (1949).

VINATA RAGHAVENDRA AMLADI was born on 9-8-1928 in Bombay. She had 3 sisters and 3 brothers. Her father Raghavendra used to play Tabla and her elder sister Hemlata sang classical music. She taught her singing. Once, when Vinata was about 15-16 year old, she sang in a private Birthday party, in which composer Sardar Malik was present. He was impressed with her singing and she was given an offer to sing songs in the film RAIN BASERA (Unreleased), at a princely sum of Rs.250/-. When she went to record songs with Sardar Malik, she met her future husband Krishna Chakraborty, who worked as a pianist in the orchestra. After this film she also sang in the film Renuka-1947.

She then met composer VINOD. She says-

“I was introduced to the sound recordist of Shourie films, at a song and dance group meeting. He in turn took me to VINOD. He heard my singing and included me in the chorus of a song of Lata in Ek thi Ladki-1949. Then he said, You have met me very late.Now I have only one song left. You sing it. The song was “Dilli se aaya Bhai Tingu” from Ek Thi Ladki. The song became a super hit in those days.”

After this she did some Marathi films. In 1950 she got married to Krishna Chakraborty, against opposition from family and they moved to Calcutta and settled there. In 1952 Pankaj Mullick called her to sing a Meera Bhajan in the Hindi film YATRIK-52. When she went to New Theatres to record this song, she was thrilled. Her father was so happy with this song that they forgot the past and reunited. Pankaj Mullick sent her to Kamal Dasgupta and under his baton she sang some songs in Bengali films. By now her name had automatically become from Vinata to Binota in the Bengali style. As Binota Chakravarti she sang songs in yet another Hindi film from Calcutta 25th JULY-(1951.)

In 1953 she came back to Bombay after her husband’s untimely death, to look after her ailing father. In Bombay she sang songs in Kasturi and Chaitanya Mahaprabhu-both 1954. Now she stopped getting songs and she retired. She used to live in Goregaon, Mumbai. ( Based on information from The Listener’s Bulletin -134 of July 2007, with thanks.)

Here is the Debut Hindi song of Dwijen Mukherjee from the film 25th July (1951). Enjoy….


Song- Mera aankhon se aankh milaana (25th July)(1951) Singers- Binota Chakraborti, Dwijen Mukherjee, Lyricist- B.M.Sharma, MD- Nachiketa Ghosh
Both

Lyrics

Mera aankhon se aankh milaana
mujhka na sharmaana
aankh jhukaana
tera aankhon se aankh milaana
mujhka na sharmaana
aankh jhhukaanaa

tera dhheere dhheere aage badhna mera
chupke se peechhe hat jaana
tera dhheere dhheere aage badhna mera
chupke se peechhe hat jaana
jaate jaate ishaare se kehna dekho
humko bhool na jaana
meree jaan
tu sachchee maan

meree jaan
tu sachchee maan

aaye ghadee hi ghadee yaad zamaana
mera aankhon se aankh milaana
mujhka na sharmaana
aankh jhhukaana
tera ankhon ka na milaana mujhka
na sharmaanaa
aankh jhukaana

kabhee chhup chhup nadiyaa kinaare
kabhee choree choree ghar mein hamaare
kabhee chhup chhup nadiyaa kinaare
kabhee choree choree ghar mein hamaare
wo milna milaana
wo hansna hansaana
dilon ka
do dilon ka ek ho jaana
meree jaan
sachchee maan

meree jaan
tu sachchee maan
aaye ghadee ghadee yaad zamaanaa
mera aankhon se aankh milaana
mujhka na sharmaana
aankh jhukaana
tera aankhon se aankh milaana
mujhka na sharmaana
aankh milaana

jab kaale kaale baadal chhaa jaate
hum bhaage bhaage tere paas aa jaate
jab kaale kaale baadal chhaa jaate
hum bhaage bhaage tere paas aa jaate
phir bagiyaa mein jaana
wahaan jhoolna jhulaanaa
pyaar bharee
wahaan pyaar bhare naghme gaana
meree jaan
sachchee maan

meree jaan
tu sachchee maan
aaye ghadee ghhadee yaad zamaanaa
teri aankhon se aankh milaana
mujhka na sharmaana
aankh jhukaana
tera aankhon se aankh milaana
mujhka na sharmaana
aankh milaana


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 :

5454 Post No. : 17867 Movie Count :

4773

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

Today we get introduced to yet another obscure movie of yesteryear of Hindi Cinema or rather from the ‘golden years’ of Hindi Cinema. The movie is ‘Baghaawat’ from 1951.

Though this write-up was ready couple of months ago, it was not posted. And when it was not posted I had a doubt if the movie was an Indian movie or Pakistani movie? So, I noted it as a point to be discussed during the Gangout at Mumbai on 2nd June, 2023. However I forgot and it came back to my mind only when Atul ji had already left for his flight. But, then Sudhir ji, Bakshish Singh ji and Guru ji were still there. So I raised this query to them asking about my doubt.

I also told them that this song was uploaded by IMARC Jodhpur. Sudhir ji immediately confirmed that then it is surely authentic. IMARC Jodhpur is the channel belonging to Girdharilal Vishwakarma ji, whose research is meticulous. He also checked in his collection and informed that he has total six songs of this movie. Thus we can now proceed with introducing this movie on the blog.

After coming back from Mumbai trip I checked for more information about this movie on the sources as suggested by our Shri Arunkumar ji. Here I am sharing the information I have gathered so far.

HFGK Vol-III (1951-1960) mentions this movie in the list of ‘released movies’ of 1951. It also mentions this being a ‘costume drama’ genre movie presented by Ranjana Pictures.  However there is no information about the producer, director, cast, lyricist and music director of this movie. The date of passing by Censor Board for this movie is mentioned as 31.12.1951.

The total number of songs is also not mentioned and only one song with the title “Jawaani Aani Jaani” is given in the list of songs of this movie. After checking with Girdharilal ji, Sudhir ji confirmed that now four 78 rpm gramophone records have been identified for this movie, which means that eight songs of this movie are now available. Some songs are already available on internet, uploaded by Girdharilal ji. Myswar.co also mentions eight songs for this movie with the names of lyricist/s, and composers of the songs along with the names of the singers for each song.

Based on the information from the record labels, the banner of this movie is identified as as Shahida Art Films. The name of two music directors are identified as MH Khusro and S Islam. The names of the lyricists for are identified as Jameel Mazhari, Mahjoor Shamsi, and Naseem Kazmi. The label for these records is ‘Columbia Records’.

Out of the three lyricists, two of them viz. Mahjoor Shamsi and Naseem Kazmi seem to be ‘one film wonders’ only and I could not find songs written by them for any other movies in Geet Kosh. Same is the case with the two music directors i.e. MH Khusro and S Islam. They seem to have given music to this one movie only as per the information available.

There is an interesting twist about this title ‘Baghaawat’. As advised by Guru ji I checked this movie title in the ‘History of Pakistani Films’ website – pakmag.net. And here there is a ‘twist’. There is not movie with this title ‘Baghaawat’ listed in the years 1951 to 1960. But a movie with this title is listed in the year 1947 and it is mentioned that this movie was made in Bombay (now Mumbai). The company name is mentioned as Sheeda Arts which sounds so very similar to Shahida Arts as mentioned above. Further this page also mentions the name of the director and actor for this movie as Shaida Imam and the name of the music director as Muzammal Khursheed.

For Shaida Imam pakmag.net website mentions that he was producer and director of some movies in Pakistan and India – ‘Baghaawat’ (1947) in Hindi and Urdu and ‘Sitaaron Ki Duniya’ (1958) in Urdu are the two films to his credit. [Editor’s Note: ‘Sitaaron Ki Duniya’ (1958) is a Pakistani movie.]

Is this movie ‘Baghaawat’ the same movie made in 1947 and released later in 1951 by Ranjana Pictures?  We do not know.

Now coming to the lyricist Jameel Mazhari. Here is a brief about him as mentioned by Sudhir ji in his post for the song “Henna Motia Aur Khus Bechti Hoon” from the movie ‘Baap’ (1946).

The name Jameel Mazhari is not new to our blog, and there are four songs penned by him already showcased here.  As I tried to find more information about this poet, I came across a brief about him on the internet.  Jameel Mazhari was a man of literature.  He was born in 1904 in Patna.  Son of Syed Khurshid Husain, young Jameel had his schooling at Motihari (Bihar) and later studied at the Calcutta University from where he did his Masters in Persian. He began his career as a journalist in a Calcutta daily. He was actively involved in the anti-British movement. His friendship with Josh Malihabadi brought him briefly to the film industry where he had short stints as lyricist and story writer in films at all the three main centers, i.e. Bombay, Lahore and Calcutta. In 1946, he became lecturer in Urdu at Patna College from where he moved to the Patna University where he served in different capacities till 1974. Jameel Sb composed ghazals, nazms, rubai, qata, marsia and host of other forms of poetic expressions.  Jameel Sb was a disciple of Vahshat Kalkattvi and also considered Iqbal to be his mentor and guide. His major works include Naqsh-e-Jameel (1953), Fikr-e-Jameel (1958), Wijdan-e-Jameel (1979), and Irfan-e-Jameel (1979).  Jameel Sb passed away in 1979.

On this blog we already have songs written by Jameel Mazhari posted which are from the movie ‘Kurukshetra’ (1945). And one song from the movie ‘Baap’ (1946) has also been posted. Earlier we considered that Jameel Mazhari might have written songs for only one movie – ‘Kurukshetra’ only. But here I would like to mention the details as given below wherein the movies he wrote lyrics are given. He has the following movies to his credit.

Sl. No Movie Title Year Music Director No of songs written
01 Kurukshetra 1945 Pandit Ganpat Rao 14
02 Baap 1946 KP Sen 4
03 Jhoothhi Kasmein 1948 GA Chishti 11* (with G.A. Chishti)
02 Baghaawat 1951 MH Khusro 5
03 Jawaani Ki Aag 1951 GA Chishti 10* (with G.A. Chishti)

*Two song writers are mentioned but which song is written by whom in not specified.

The lyricist for today’s song is Naseem Kazmi and as mentioned above he has written only one song which is being presented today.

The singer of today’s song i.e. Nazneen has sung three songs in this movie and these are the only songs sung by her in films as per information available. However she has been credited for acting in the movie ‘Baap Re Baap’ (1955) as per information available on ‘myswar’.

As per the information available movies with this title ‘Baghaawat’ were made in 1951, 1960s or 1964, 1971 and 1982. Recently we introduced the movie with same title, which was an un-released or shelved movie made in the decade of 1960s. Before this post we already have the movies made in 1982 and 1964 (UR) represented on the blog. The movie made in 1971 again seems to be a very obscure movie. But now couple of its songs is available and I am going to bring them here in following posts.

For today let us welcome this movie ‘Baghaawat’ of 1951 on the blog with its first song being presented today. This song is a nice song to listen to. As mentioned above, today’s song is sung by Naazneen and lyrics are by Naseem Kazmi. Music is composed by S Islam.

I would request knowledgeable readers to add more information about this movie and its songs.

Only the audio for the today’s song is available.

Song – Jhoom Rahi Aaj Khushi Se Mast Jawaani (Baghaawat) (1951) Singer – Naazneen, Lyrics – Naseem Kazmi, MD – S Islam

Lyrics

jhoom rahi hai aaj khushi se mast jawaani
o meri mast jawaani
haaye mast jawaani ee
jhoom rahi hai aaj khushi se mast jawaani
o meri mast jawaani
haaye mast jawaani

bhaunra goonje koyal kooke
bhaunra goonje koyal kooke
bulbul shor machaaye
prem raag par sajni naache
prem raag par sajni naache
sun ke prem kahaani ee
prem raag par sajni naache
sun ke prem kahaani
haaye mast jawaani
o meri
o meri
haaye
o meri mast jawaani ee
jhoom rahi hai aaj khushi se mast jawaani
o meri mast jawaani
haaye mast jawaani

phool khile aur gunche mehke jab
phool khile aur gunche mehke jab
rut badli chhaayi hariyaali ee
rut badli chhaayi hariyaali ee
main nikli saajan darshan ko
main nikli…
main nikli saajan darshan ko
odh dupatta dhaani
haaye mast jawaani ee
o meri
o meri
o meri mast jawaani ee
jhoom rahi hai aaj khushi se mast jawaani
o meri mast jawaani
haaye mast jawaani

phool hoon main tu bhaunra mera aa
phool hoon main tu bhaunra mera aa
main deepak tu patanga mera aa
main deepak tu patanga mera aa
preetam tu deewaana mera
main teri deewaani
haaye
preetam tu deewaana mera
main teri deewaani
haaye mast jawaani ee
o meri
o meri
ooyi
o meri 
o meri
haaye
o meri mast jawaani ee
jhoom rahi hai aaj khushi se mast jawaani
o meri mast jawaani
haaye mast jawaani

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

झूम रही है आज खुशी से मस्त जवानी
ओ मेरी मस्त जवानी
हाय मस्त जवानी
झूम रही है आज खुशी से मस्त जवानी
ओ मेरी मस्त जवानी
हाय मस्त जवानी

भौंरा गूँजे कोयल कूके
भौंरा गूँजे कोयल कूके
बुलबुल शोर मचाये
प्रेम राग पर सजनी नाचे
प्रेम राग पर सजनी नाचे
सुन के प्रेम कहानी
प्रेम राग पर सजनी नाचे
सुन के प्रेम कहानी
हाय मस्त जवानी
ओ मेरी
ओ मेरी
ओ मेरी मस्त जवानी
झूम रही है आज खुशी से मस्त जवानी
ओ मेरी मस्त जवानी
हाय मस्त जवानी

फूल खिले और गुम्चे महके जब
फूल खिले और गुम्चे महके जब
रूत बदली छाई हरियाली
रूत बदली छाई हरियाली
मैं निकली साजन दर्शन को
मैं निकली॰ ॰ ॰
मैं निकली साजन दर्शन को
ओढ़ दुपट्टा धानी
हाय मस्त जवानी
ओ मेरी
ओ मेरी
ओ मेरी मस्त जवानी
झूम रही है आज खुशी से मस्त जवानी
ओ मेरी मस्त जवानी
हाय मस्त जवानी

फूल हूँ मैं तू भौंरा मेरा
फूल हूँ मैं तू भौंरा मेरा
मैं दीपक तू पतंगा मेरा
मैं दीपक तू पतंगा मेरा
प्रीतम तू दीवाना मेरा
मैं तेरी दीवानी
हाय
प्रीतम तू दीवाना मेरा
मैं तेरी दीवानी
हाय मस्त जवानी
ओ मेरी
ओ मेरी
ऊई॰॰ई
ओ मेरी
ओ मेरी
हाय
ओ मेरी मस्त जवानी
झूम रही है आज खुशी से मस्त जवानी
ओ मेरी मस्त जवानी
हाय मस्त जवानी


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 :

5452 Post No. : 17864

Today’s song is from a religious film Ishwar Bhakti-1951. The other name for this film was ” Shani Mahatmya”.

There are certain words/phrases in our religion which terrorise the common innocent people, who have total faith but not much knowledge about their religion. But then, there are such people in almost every religion. On an average only about 10-15 % people in any religion will be found who have read their religious books completely. Most people tend to depend on the Pujaris, Mullas, Priests and other religious heads to spoon-feed them about their religion. Now don’t ask me how many of these religious heads have read their religious books !

This tendency creates fear about words like Narak (Hell), Daivee Prakop (Divine displeasure), Ashubh Grah (inauspicious Planets) etc. Particularly the ill effects of planets like Mangal (Mars), Rahu (Dragon’s head), Ketu (Dragon’s body) and Shani (Saturn) are most dreaded. Almost in every traditionally fixed marriage (or even self arranged or Love marriage) the Horoscopes are matched to check Mangal (Mars) position and to see how many GUN s (गुण ) match, even in these days.

I should know, because I have studied and practised Astrology for the last 60 years. (I have been awarded the title of ” Jyotish Praveen” (ज्योतिष प्रवीण ) by the most prestigious Astrological institute of Poona, in 1975.) This astrological germ runs into our family. I am flooded with Kundalis (Horoscopes) during the marriage seasons every year, for match making. Two of my own grandsons’ marriages are Love marriages into Gujarati families. Even then, both sides wanted me to match their Horoscopes, which I flatly refused and advised them to abstain from this, as either one bows to Love or one bows to tradition. Mixing these two can prove disastrous or totally absurd !

Out of all these Navagrahas (9 Planets), Shani is one planet which is dreaded the most. Have you ever seen the image or the photo of Shani Dev ? It is black in colour and quite fearsome looking. The “Sade Saati” (the period of seven and half years) in the Horoscope is attributed to cause a lot of misery, discomfort, mishaps and obstacles in one’s life. It is actually not so in all cases. It all depends on the individual Horoscope set up. But let’s not go into it or I may degress into a show of my astrological (so called) knowledge !

I have written all this not to scare anyone but to inform you that today’s film Ishwar Bhakti aka Shani Mahatmya-1951 is all about the displeasure of Shani Dev and how the victim suffers due to this. At the end of it, Shani Dev also sets all the matters right and blesses the victim, more than he asks for.

Shani mahatmya or the importance of Shani Dev, is a religious narration about King Vikram of Ujjayani, who suffers from the displeasures of Shani Dev and how it ends happily. This “Pothi” (Holy story) is read by many people on every Saturday, together with one time fasting to appease the deity. I am not giving the whole story of the film, lest it will be a repeat of “Shani Mahatmya” narration. I have given the gist of the story above.

Produced by R.B.Haldia under the banner of Shri Shyam Chitra, the film was directed by Gunjal aka Dada Gunjal aka V.M.Gunjal – a real dada for religious films indeed. Out of the 37 films that he directed, almost 20 were religious films. Director Vishnupant Mathaji Gunjal or simply Dada Gunjal, was born in Kolhapur in 1904. He was not interested in education, so after passing his Matriculation, he joined the film industry. Initially he worked in various capacities, but concentrated on Directing the films. He established his own Gunjal Production company at Bombay and directed his first silent film Collegian in 1929. Soon, realising that producing films was not his cake, he shifted to Directing films for Vishwesh film company, Bombay. Making silent films like Bharati, The Bandit, Vijeta, Bewafa qatil, khabardar, Bhedi khanjar etc.

When Talkie films started, he directed Bhakta ke Bhagwan and Ambarish in 1934. Dada Gunjal directed in all 37 films. Some of his films were, Bhakta dhruv, Panihari,Aparadhi, Ekadashi, Mata, Mamta, Tulsi, Bhakta ke Bhagwan, Noorjehan, Baraat, Kirti, Pati patni, Alakh Niranjan, Mother India -1938 etc.

Dada Gunjal died in 1968.

The cast of the film included Nirupa Roy, Trilok Kapoor, Rajani, Chaman Puri and many others. The 11 songs of the film were written by Pt. Narendra Sharma and the music was by a pair of MDs – Sonik – Giridhar. I do not know who Girdhar was, but about Sonik some information is available. Yes, he was the same person in the well known pair of Sonik-Omi, who operated during the period of 1966 to 1999.

Master Sonik aka Manohar lal Sonik was born on 26-11-1926 in Sialkot, Punjab. By his third year, he lost his vision completely. Undaunted, he learnt music-first from the Music school of Lahore and then from Lucknow. For sometime, he was assistant to pt. Amarnath Batish.

After Partition he joined Delhi A.I.R. Later, he sang 8 songs in 7 Hindi films,namely Chaar Din-49, Stage-51,Kashmir-51, Khaibar-54, Mast Qalandar-55, Inquilab-56 and then after 20 years he sang in film Umar qaid-75 also. He gave music to film Ishwar Bhakti-51 along with Giridhar and then film Mamta-52, with Hansraj Behl.

Meanwhile, his nephew Omprakash Sonik, who was a singer in Delhi A.I.R., came to Bombay and they both worked as assistants to Madan Mohan for a few years. Then Omi proposed working as a team of composers, calling themselves ” SONIK-OMI “. They got their first film ” Dil ne phir yaad kiya”-66. The songs became popular. They continued to give music till Anadi Dada-93, when Master Sonik died on 9-7-1993. As a team, music was given to another 5 films by Omi alone till the film- Yeh hai basti Badmashon ki-1999. As a team, they gave music to 104 films composing 536 songs. During their tenure as Composers, Omi gave a comment that most of Madan Mohan’s popular songs were composed by him, to which they were challenged by the son of Madan Mohan asking for proof and then Omi withdrew his statement.

Today’s song is the 4th song from the movie to feature here. It is sung by Shamshad Begum. Though the film was religious, the song is not religious.

Shamshad Begum’s voice was not a preferred voice for Bhajans. In her early phase of singing career in Lahore, she had recorded 100 songs in 1932 for Genophone. It had included a Bhajan “Jai Jagdish hare” also, but the singer’s name was given as Uma Devi instead of her Muslim name Shamshad Begum – for obvious reasons. She had also sung some Sikh songs in the name of “Kaur” (ref; ‘Door koi gaaye’ by S.S.Pore).


Song- Mohe chaand nazar na aaye badariya kaalee re (Ishwar Bhakti)(1951) Singer- Shamshad begum, Lyricist- Pt Narendra Sharma, MD- Sonik – Giridhar

Lyrics

mohe chaand nazar na aaye
ho mohe chaand nazar na aaye
badariya kaali re
haaye badariya kaali re
saawan ki rain sataaye
umariya baali re
haaye umariya baali re
mohe chaand nazar naa aaye
ho mohe chaand nazar na aaye
badariya kaali re
haaye badariya kaali re
saawan ki rain sataaye
umariya baali re
haaye umariya baali re

ho o o
dil dhadak dhadak ke
haaye rukta jaaye
ho o o
kya karta hai ye
kuchh samajh na aaye
dar lage na koi rog
ise lag jaaye
dar lage na koi rog
ise lag jaaye
saawan ki rain sataaye
umariya baali re
haaye umariya baali re
mohe chaand nazar naa aaye
ho mohe chaand nazar na aaye
badariya kaali re
haaye badariya kaali re
saawan ki rain sataaye
umariya baali re
haaye umariya baali re

ho o o
hai in nainan mein
jo sapne adhoore
ho o o
aa kar le saajan
wo aaj hi poore
mere baanke balam albele
yahi man chaahe
mere baanke balam albele
yahi man chaahe
saawan ki rain sataaye
umariya baali re
haaye umariya baali re
mohe chaand nazar naa aaye
ho mohe chaand nazar na aaye
badariya kaali re
haaye badariya kaali re
saawan ki rain sataaye
umariya baali re
haaye umariya baali re


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 :

5451 Post No. : 17862

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Blog 10-Year Challenge (2013-2023) – Song No.135
————————————————————————————–

On this date ten years ago (21 June 2013), three songs from three different movies were covered in the blog.

Here are the details of the songs covered on that day:-

Post No Song Title Name of the movie Remarks
8226 Mil lo raja sadakiya pe mil lo Bikhre Moti (1951) 6 songs covered out of 9 by now
8227 Suno suno mora mann kuchh boley Chaandni(1942) 5 songs covered out of 7 by now
8228 Kaali kamli waale tum pe laakhon salaam Hatim Tai ki beti(1955) 4 songs covered out of 10 by now

We observe that all the three movies whose songs were covered on this date ten years ago are still eligible for Blog Ten Year Challenge.

“Bikhre Moti”(1951) was directed by S M Yusuf for Great India Productions, Bombay. The movie had Kamini Kaushal, Nigar, Jeevan, Jayant, Neelam, Ranjna, Sherry etc in it.

The movie had nine songs in it. Six songs have been covered in the blog so far.

Here is the seventh song from the movie to appear in the blog. The song is sung by Lata Mangeshkar. Khumar Barabankvi is the lyricist. Music is composed by Ghulam Mohammad.

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

Lyrics of the song were sent to me by Prakashchandra.

audio link:

Song-Honthhon pe hansee dil mein hai khushee (Bikhre Moti)(1951) Singer-Lata, lyrics-Khumar Barabankvi, MD-Ghulam Mohammad

Lyrics(Provided by Prakashchandra)

honthon pe hansee
dil mein hai khushee
honthon pe hansee
dil mein hai khushee
ho o o o
rut hai suhaanee
rut hai suhaanee
khoyee hai muhabbat ki bahaaron mein jawaani
khoyee hai muhabbat ki bahaaron mein jawaani

har cheez jawaan hai ae
har cheez haseen hai aey ae
har cheez haseen hai
armaan bharaa dil mera qaaboo mein naheen hai
qaaboo mein naheen hai ae
meri ye khushi mujhko banaa dey na deewaani
meri ye khushi mujhko banaa dey na deewaani
honthon pe hansee
dil mein hai khushee
ho o ho o rut hai suhaanee
rut hai suhaani
khoyee hai muhabbat ki bahaaron mein jawaanee

chhaayaa hai nashaa saa aa
aapey mein naheen hoon
dil aur kaheen hai meraa
main aur kaheen hoon
main aur kaheen hoon oon
armaan hai qaaboo mein na bas mein hai jawaanee
armaan hai qaaboo mein na bas mein hai jawaanee
honthon pe hansee
dil mein hai khushee
ho o o o rut hai suhaanee
rut hai suhaani
khoyee hai muhabbat ki bahaaron mein jawaanee

naiyyaa hai bhanwar mein aen aen
ho o o ho o
door kinaaraa
hho door kinaaraa
kis ?? badhoon
haaye main loon kis kaa sahaaraa
loon kis kaa sahaaraa aa
darti hoon kaheen sar se guzar jaaye na paani
darti hoon kaheen sar se guzar jaaye na paani
honthon pe hansee
dil mein hai khushee
honthon pe hansee
dil mein hai khushee
ho o ho o rut hai suhaanee
rut hai suhaanee
khoyee hai muhabbat ki bahaaron mein jawaanee
khoyee hai muhabbat ki bahaaron mein jawaanee


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 :

5428 Post No. : 17806

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

In this post I once again present a Geeta Dutt song, this time from the movie “Shri Ganesh Janma-1951”. I do not remember to have listened to this song earlier. Regulars on the blog are aware that I am a big Geeta Dutt fan. Whenever I get an opportunity to present a song sung by her I grab the opportunity with both hands and share that song here on the blog.

“Shri Ganesh Janma-1951” was a mythological movie directed by Jayant Desai. This movie was passed by Censor Board on 23.04.1951.

The cast of this movie included Nirupa Roy, Trilok Kapoor, Jeevan, Ulhas, Vasantrao Pahalwan, A. Shah, Shalini, Praveen Kumar, Master Dhuliya, Revashankar, Jugnu, Neerja, Neeru, Indira Mumtaz, Tiwari, Devchand More, Chhagan, Heera Singh, Nagotkar and others.

This movie has twelve songs all written by Bharat Vyas. Music for this movie was composed jointly by Khemchand Prakash and Manna Dey as mentioned in HFGK Vol-III (1951-1960).

Here is a brief about the songs of this movie that our respected Shri Arunkumar ji had mentioned in one of his posts while discussing earlier songs from this movie on the blog.

The film’s music was composed by Khemchand Prakash and Manna Dey together. There were 12 songs, but HFGK does not give individual credits for each song. Out of these 12 songs, not even a single song was sung by Lata Mangeshkar. In those days Lata usually avoided singing in Mythological films of B and C grades. Reason was, probably because the Producers of such films could not afford her price or maybe she was too busy with her assignments with more famous composers and bigger Banners. Such films were left for the second line singers like Asha, Geeta, Sulochana kadam, Sudha Malhotra and others of their ilk. A point to be noted, however, is that though a major singer of those times, Shamshad Begum never had qualms about singing in such films!

Following is the details of the two songs of this movie posted earlier on the blog.

S.No Song Title Singer/s Posted On
01 Shiv Shankar Daya Karo Geeta Dutt 14.02.2015
02 Naiyya paar lagaane waale Geeta Dutt, Manna Dey 21.08.2017

Today’s song is only the third song from this movie to be presented on the blog.

As mentioned above today’s song is sung by Geeta Dutt and lyrics are by Bharat Vyas.

Music is composed by Khemchand Prakash-Manna Dey.

(However, on the blog the credit for the music composer of the both the earlier songs posted is given to Manna Dey only, which I am not aware why?).

Today’s song is a nice song to listen to and is a ‘missing the beloved’ or ‘falling in love’ category songs.

Only the audio of this song is available.

Let us now enjoy the song …

Audio

Song-Deepak ke sang jaltaa patang (Shri Ganesh Janm)(1951) Singer-Geeta Dutt, Lyrics-Bharat Vyas, MD-Khemchand Prakash-Manna Dey

Lyrics

o o o
o o o
ho ho ho
o o o o o o o o o

deepak ke sang
jaltaa patang
tere binaa piyaa moraa
jaley ang ang re ae
deepak ke sang
jaltaa patang
tere binaa aa
tere binaa piyaa moraa
jaley ang ang

tere liye ae
ban ban phiroon
tu hai kahaan aan
tu hai kahaan
tere liye ae
ban ban phiroon
tu hai kahaan aan
tu hai kahaan
saathi teri
pyaasi khadi
saathi teri ee
pyaasi khadi
aajaa aajaa bujhaa
mere man ki umang re ae
deepak ke sang
jaltaa patang
tere binaa aa
tere binaa piyaa moraa
jaley ang ang

dheere dheere
din dhhaltaa hai re ae
tere binaa jee
jaltaa hai re
dheere dheere
din dhhaltaa hai re ae
tere binaa jee
jaltaa hai re
chhup chhup ke tu
tadpaa na yoon
chhup chhup ke tu
tadpaa na yoon
haaye kaise anokhe
tere ye dhhang re ae
deepak ke sang
jaltaa patang
tere binaa aa
tere binaa piyaa moraa
jaley ang ang re ae
deepak ke sang
jaltaa patang
tere binaa piyaa moraa
jaley ang ang


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over FIFTEEN years. This blog has over 18300 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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(© 2008 - 2024) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

18305

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Movies with all their songs covered =1411
Total Number of movies covered=4951

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