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

Posts Tagged ‘1954


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

Blog Day :

4243 Post No. : 15462

Entertaining Sales Pitch Songs – 11
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This post is likely the one which has been the most scrambled for. Leap day it is. So much history and folklore around this date, no doubt. But notwithstanding that, it struck us quite late in the day, as to how such a rare occasion be not celebrated, and not represented on our blog. We are all adept at combining celebrations and conjuring up milestones and reasons to post a celebratory article. So how come this leap day phenomena be left by the side. So we got going to get something in place, but it was quite late that we got started. Here is a brief about the gensis.

Time is 6:48 in the evening. An innocent query laden email from dear Arun ji lands in the mail box. He is enquiring about 29th Feb, 2016. The date seems to be blanked out on the blog, so were not posts added that day or is that an error of logging on the blog.

7:30 pm comes the response from Atul ji – yes, in 2016, the leap day actually was dot day.

Within one minute at 7.31 pm lands another follow up from Atul ji – and I quote –

“Today I wanted to post a blog leap day challenge, but my internet at home as well as office let me down. Atul”

There is radio silence for another about one hour or so. Around 8:20, I am back on my laptop, checking emails, and run into this exchange that has recently happened. It is 8:25 pm by the time I jump into the flow, and write to Atul ji, enquiring what did he have in mind.

Another 25 minutes creep by. It is 8:52 when Atul ji reply lands in the mail box. He wanted to follow up with a ‘challenge’ type post using one of the un-yippeee’d films from the list of posts from 29th Feb, 2012. Despite all the lethargy and laziness, I am stirred up to take on this challenge. Quickly I make a check of the films used on 29th Feb 2012. The list reads like,

Ban Ban Ke Bigadti Hai Taqdeer Gareebon Ki Guzaara 1954
Dil Ko Hai Tumse Pyaar Kyun NFS – Jagmohan `Sursagar` 1945
Tum Saamne Aakar Jis Dam Khazaanchi 1958
Dhal Chuki Shaam E Gham Kohinoor 1960
Bhare Hain Aankh Mein Aansoo Saara Jahaan Hamaara 1961
Manzil Ki Chaah Mein Devdas 1955

Only two films stand out as the candidates for this challenge – ‘Guzaara’ from 1954 and ‘Saara Jahaan Hamaara’ from 1961. Given the familiarity of the film and songs, I am tempted to attempt ‘Saara Jahaan Hamaara’. But then another peculiarity tries to pull my attention. The film ‘Guzaara’ from 1954 made its debut on the blog on this day – the leap – of 2012. And then – nothing else. For the past 8 years, the film has been sitting neglected, on one of the most interesting calendar days in, well, in the calendar. 🙂

And so, I decided to pick ‘Guzaara’. I sent out an email to Atul ji at 9:11 (that sounds almost sinister. . .) with the message – “‘Guzaara’ from 1954 would be an interesting candidate. Only one song, posted on leap day 2012, now second song on leap day 2020. 😀 :D”.

This time, the response is very immediate. Within a minute Atul ji confirms that he was also thinking to pick this film.

Poor ‘Guzaara’ – has been sitting on the bench for – goodness, 8 years. आते जाते हुये, the other films would ask cursorily – “How’s it going? Idling for long??”

And listlessly (pun intended) ‘Guzaara’ would reply – “गुज़ारा चल रहा है”. :D)  :D)

And then suddenly another thought passed into the mind’s channels. Debut on the leap day in 2012, no action till the leap day on 2020, when the second song gets posted. And I hope this does not lead to a typecasting (so common in the industry, no?). because if it does, then poor ‘Guzaara’ would take more than two decades to get yippeee’d for its 8 songs. (LOL)

‘Guzaara’ is a social film from the production house of Aaina Pictures, Bombay produced and directed by SM Yusuf. The star cast is listed as Karan Diwan, Paro, Jabeen, Mirza Musharraf, Chand Burque, Baby Naaz, Romi, SM Yusuf, Manju, Tiwari, Baalam, Faizi, Sangeeta, Chhagan Romeo, Mehru. Hmmm. . . Karan Dewan and Paro, this would have been an important film of its time. The eight songs of this film are written by Fauq Zami – two songs, Muneer Lakhnavi – one song, and Raja Mehdi Ali Khan five songs. The music direction is by Ghulam Mohammed. The film comes from the same year as ‘Mirza Ghalib’, one of the most well known films with music by him.

Today’s song is a “sales pitch” song, rendered by Rafi Sb. The item for sale is ‘bhajia’, and the song goes along with homilies and interesting advises, as it tries to make better of selling ‘pakodas’. 😉 Looking at the star cast, the most likely candidate for performing this song is Karan Dewan himself. I cannot bring myself to imagine that Mirza Musharraf or Baalam would take on performing this song on screen. I would request our more knowledgeable friends and readers to please add more information about this song, and the film.

Ah so, the leap challenge, at last. And the film gets its second song on the blog, on the same leap day, eight years apart. Come to think of it – do we know what is the origin of the term ‘leap’ as it applies to this date and this calendar terminology. Hmmm. . . as we look at the calendars progression from one year to the next, and given 365 days in the year and 7 days in the week, the thumb rule is that the new year starts on the weekday, next to the day on which the previous year starts. Except for this peculiar creature called ‘leap year’ when the sequence of week day ‘leaps’ ahead by one day. Oh yes, this is the simple explanation available from dictionary.com.

I am sure all are familiar with the rules of the Julian calendar, set is place by Julius Ceaser, which instituted this leap day’s concept, and the later correction by Pope Gregory, resulting in the Gregorian calendar that makes an exception for missing a leap year every 100th year, but then also not missing it every 400th year, to account for the correct number of days passing per year, given that the earth uses up 365 days, 5 hours, 48 minutes, and 45 seconds, give or take a few milliseconds here and there, to completely go once around the sun. That is being astronomically correct. Otherwise, what would we know better, just being used for waking up with sunrise every day. Leap day, leap year – what does it matter. At the end of the day, and quoting from another song by Rafi Sb – “Jitni Likhi Thhi Muqaddar Mein. . .” – the number of breaths destined are what it is. History records that in 1582, when Pope Gregory announced this correction to the calendar, the official dates were adjusted by 10 days, There were riots in the city of Vatican and the common man protested, wanting 10 days of their lives to be returned.

Ah well, as the world turns. And not very precisely so. 🙂

So listen to Rafi Sb, and enjoy the ‘bhajias’.

Song – Duniya Ki Haalat Naram Naram (Guzaara) (1954) Singer – Mohammed Rafi, Lyrics – Raja Mehdi Ali Khan, MD – Ghulam Mohammed
Chorus

Lyrics

duniya ki haalat naram naram
o duniya ki haalat naram naram
halwa chhodo
poori chhodo
bhajiye kha lo garam garam
duniya ki haalat naram naram

tu ne bhi muft ki khaai hai
kya tu bhi mera bhai hai
o kya tu bhi mera bhai hai
meri hi tareh honge mister
tere pichhle janam ke karam karam
ho munna pichhle janam ke karam karam
o duniya ki haalat naram naram
halwa chhodo
poori chhodo
bhajiye kha lo garam garam
duniya ki haalat naram naram

hum tumko kahaan se den bhiksha
o bhaiyya ja kar ke khencho riksha
ho munna ja kar ke khencho riksha
mat desh pe apne bojh bahno
hai ye hi hamaara dharam dharam
hai ye hi hamaara dharam dharam
hoye
duniya ki haalat naram naram
halwa chhodo
poori chhodo
bhajiye kha lo garam garam
duniya ki haalat naram naram

chaar aane mein insaan bikey
do aane mein imaan bikey
chaar aane mein insaan bikey
do aane mein imaan bikey
ek aane mein bhagwan bikey
ae duniya waalo shame shame shame
ae duniya waalo sharam sharam

o duniya ki haalat naram naram
o duniya ki haalat naram naram
halwa chhodo
poori chhodo
bhajiye kha lo garam garam
duniya ki haalat naram naram
hoye

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Hindi script lyrics (Provided by Sudhir)
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दुनिया की हालत नरम नरम
ओ दुनिया की हालत नरम नरम
हलवा छोड़ो
पूरी छोड़ो
भाजिया खा लो गरम गरम
दुनिया की हालत नरम नरम

तूने भी मुफ्त की खाई है
क्या तू भी मेरा भाई है
ओ क्या तू भी मेरा भाई है
मेरी ही तरह होंगे मिस्टर
तेरे जनम के पिछले करम करम
हो मुन्ना तेरे जनम के पिछले करम करम
ओ दुनिया की हालत नरम नरम
हलवा छोड़ो
पूरी छोड़ो
भाजिया खा लो गरम गरम
दुनिया की हालत नरम नरम

हुम तुमको कहाँ से दें भिक्षा
ओ भईय्या जा कर के खेंचो रिक्शा
हो मुन्ना जा कर के खेंचो रिक्शा
मत देश पे अपने बोझ बनो
है ये ही हमारा धरम धरम
है ये ही हमारा धरम धरम
होये दुनिया की हालत नरम नरम
हलवा छोड़ो
पूरी छोड़ो
भाजिया खा लो गरम गरम
दुनिया की हालत नरम नरम

चार आने में इंसान बिके
दो आने में इमार बिके
चार आने में इंसान बिके
दो आने में इमार बिके
एक आने में भगवान बिके
ए दुनिया वालो शेम शेम शेम
ए दुनिया वालो शरम शरम

ओ दुनिया की हालत नरम नरम
ओ दुनिया की हालत नरम नरम
हलवा छोड़ो
पूरी छोड़ो
भाजिया खा लो गरम गरम
दुनिया की हालत नरम नरम


This article is written by Arunkumar Deshmukh, a fellow enthusaist 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 : 4228 Post No. : 15435

Today’s song is from a Costume drama film, Dankaa-1954. The film was made by Goodwill Pictures and the director was J P Advani. The Music Director was Aziz Hindi aka Aziz Khan. The cast of the film was Nimmi, Amarnath (Bharadwaj), Mohana Cabral, Sunder (Singh), Heeralal, Neelam, Shivraj, Om Prakash etc etc.

From the day films were made in Silent Mode till about late 1960s, Stunt films, Action films, Costume dramas, Folk story films, Mystery films, Murder and crime films, Mythology and Religious films, Social and Reforms films, Jungle films, Arabian Night story films etc etc were made. The audience had an open choice, because, at a time, films of several genres were available for its entertainment. I can not exactly describe what type of films are made nowadays, but I am sure, most Genres – as mentioned above, are not being made.

Films for all Mental ages were made and each could make a choice of his liking. Nowadays, all age groups see the same films. Technology has developed tremendously. Special Effects (SFX) can do wonders in a film. In 1938, when Prakash films made their first Sci-Fi film ” Khwabon ki Duniya” ( which was a copy of Hollywood film ‘ The Invisible Man’-1933, which was based on the famous H G Wells’ novel of the same name, written and published in 1897), Babubhai Mistry used Black curtains and Black threads to create illusions of an Invisible Man’s actions, successfully and the audience had fingers in mouth with awe and wonder ! For next many years, Babubhai Mistry had earned a Moniker of ” Kaala Dhaga” in the industry ! These days such scenes are a child’s play. I truly miss those costume and stunt films, but one must flow with the flow !

The name SHIVRAJ in the cast always created curiosity in my mind. I had seen this actor in several films. I was unable to get any information on him anywhere. His role as the meek husband of Kaushalya (Manorama) in film Seeta aur Geeta-72 is unforgettable. When I started work on this post, I tried again. This time I found an article – actually an Obitury – on him in The Hindu, dated 4-6-2017. Of course it described in it only about his different roles. From some other source, I got his date of Birth and Death and a little other information.

Shivraj was born on 11-6-1920 in Madhya Pradesh. His full name was Shivraj Pandey. After doing his graduation, he came to Bombay in search of a good job, but joined film industry. To start with he worked in Minerva as an assistant in administration, He did some film roles too without getting credited. He left Minerva and got a role in film Sarai ke bahar-47. This was a film made by National studios. His next films were Ziddi, Majboor, Batohi, and Asha all in 1948. Then there was no looking back. Shivraj acted in 212 films. He directed 1 film, Jaani Dushman-57. He retired from work in 2000, but his last released film was Yaar meri zindgi-2008. Shivraj died on 4-6-2017.

One of the actors in this film was Om Prakash. He was one of those actors whose presence in the film is taken for granted. He was a very popular person in the industry. His comedy acting was typical. I can not forget his role in film ” Chupke Chupke”-75. His facial expression had no parallel.

Omprakash was mainly a comedian, but he had been a hero, a villain and a character artiste too. Of course the major part of his career is as a Comedian. He was one of the most respected artistes of his generation, in the industry. For some time, he floated a Film production company in collaboration with his close friend C. Ramchandra. When their films flopped,he simply dissolved the company and later produced films on his own and he directed them too. When his film Jahan Ara-64 flopped miserably, giving him a heavy monitory loss, he stopped producing films.

Omprakash was a lover of life, joy, jokes, playing cards and he was the happiest, when among his friends. Not many people know that the famous producer Pachhi ( Around the world etc) was his younger brother. Omprakash’s first film was ‘Guru Ghantal’-37 where he worked uncredited. He next did a small role in Bombay Talkies film ‘Anjaan’-41, but his career started when Pancholi got him a role in film ‘Daasi’-44. He earned Rs 80 for this film.

Omprakash worked in 293 films and directed 4 films namely, Duniya Gol hai-55, Gateway of India-57, Kanhaiya-59 and Chacha Zindabad-59, all produced by him alone. There were some films like Annadata-72, buddha mil gaya-71, Charandas-77 etc made keeping him as a central character. He sang 6 songs in 5 films- Meena Bazar-50, Ladki-53, Bindiya-60,Vardaan-74, and Ghar ki Izzat-94. HFGK mentions his name as a Lyricist for a song in film Dost-54.

OMPRAKASH BAKSHI was born on 19-12-1919 at Lahore.At the age of 12 ,he started learning classical music.In 1937,he joined A.I. Radio on a salary of Rs.25 pm.

He took the pen name of ‘FATEH DIN’. He presented entertaining programmes. He was very popular in Punjab and Lahore,during that period.In private parties he was a centre of attraction. In one such Party,where he was regaling his audience, he was noticed by Dalsukh Pancholi and he offered Omprakash a role in DAASI-1944.Then came Dhamki-45 and Aayee Bahaar-46. In Shehar se door-46, he was a co Hero with Al Nasir and later in Ghungroo-52 he was the Hero opposite Sumitra Devi.

Just when he was settling in films, partition took place and he landed in Bombay. His first film in Bombay was Lakhpati-48 and then there was no looking back. He acted as Villain in Naach, Nirdosh, Baghi Sipahi etc. He was a good actor and played a variety of roles. In many films he was shown as a Pehelwan. In Pehli Jhalak, his bout with Dara Singh became the film’s attraction. Even in Chameli ki Shaadi, he was a pehelwan.

There were many films made with him as a central character like, Annadaata, Dus lakh, Sadhu aur shaitan. Dil Duniya Daulat -72 was a remake of Pugree-48 in which he did the role which was done by comedian Ghori in Pugree.

C.Ramchandra was his best friend.They together produced Duniya gol hai-55,jhanjhar-53 and Lakeeren-54. The trailer of Duniya Gol hai was more interesting than the film. In this trailer, Raj Kapoor, Dilip Kumar and Ashok kumar come on the screen one after another and say-I have directed this film,so you must see it. Lastly Omprakash comes on screen and says,” Ye sab pagal hain. Picture to maine direct kee hai”. Anyway all the 3 films flopped despite good music. Later Omprakash alone produced films like Gateway of India-57, Chacha Zindabad-59, Sanjog-61 and Jahan Ara-64. After Jahan Ara’s colossal losses he stopped producing films and converted his office into a Card Game centre for friends.

His last days-

He lived in Union Park, Chembur, a suburb of Mumbai. He died at age 78 in Mumbai, India of a heart attack. The actor who was always so full of life was still full of life till just two days before his death. He knew he was not well. He knew he was suffering from various complications but he never gave up his zest for life till his heart betrayed him. He kept calling friends to play a game of Rummy or just chat. He had an office at the Roop Tara Studios which was only used for “Rummy sessions” and “chat sessions”. Then, some years ago, he shifted his office to the suburbs to make it more convenient for his friends. He attended this office regularly till his health started failing him. He was confined to his bungalow (next to Ashok Kumar’s bungalow). He suffered his first heart attack in his own bedroom. He was rushed to the Lilavati Hospital where he suffered a second heart attack and went into a coma from which he never came out. He was declared dead at 1.30 pm on February 21, 1998. The news spread fast and the industry was shocked and stunned because he was the kind of man who could not be easily associated with something so sombre and solemn like death.

Film Duniya Gol Hai-55 had a starcast of Karan Dewan, Anita Guha, Kuldeep Kaur, Sunder, Omprakash etc. Since this was his First film as a Director, as many as 13 actors worked in the film as “Guest Artistes” ! He was so popular that he had to say No to some more actors ready and eager to work as guest Atrtistes in this film. Till this film, it was a sort of record.

The Hero in today’s film was Amarnath. Amarnath (Bharadwaj) is one of the “same name confusions” victims. There were 2 Pt. Amarnath Music Directors, 1 actor Amar, 1 actor Amarnath and 1 actor/Director (K.) Amarnath. This Amarnath was born in Hafizabad, in Gujaranwala district of Punjab (Now in Pakistan) in 1922. He started acting in 1939 with Kidar Sharma’s “Dil hi to hai”. Graduating from doing small roles he was made the Leading Man in Dalsukh Pancholi’s film “Patjhad”, started in 1947 opposite Meena (Shorey). Pancholi had to flee Lahore due to Partition riots, but he carried the negatives of Patjhad. Though the film was censored in India in 1948, it seems it was never released.

Amarnath starred as Hero in many other films,like Naghma E Sehra-45, Papiha re-48, Barsat ki ek raat-48, Swayam sidha-49, Nai Bhabhi-50, Kamal ke phool-50, Sheesh Mahal-50, Jalte Deep-50, Johri-51, Nai zindagi-51 , Nirmohi-52, Nirmal-52, Izzat-52, Bahu Beti-53, Nav Durga-53, Toofan-54, Danka-54 etc. Then he switched over to side roles. In all, he worked in 81 films (CITWF data). His last film was Kaun ho tum-70.

Now something about the film’s Music Director….Ustaad Waheed Khan was a well known and respected player of Sitar and Surbahar. His place in the Etawah Gharana was high up. He had 3 sons. Bande Hassan,Hafiz khan and Aziz Khan. Waheed khan was very keen that his sons should continue his profession,earn a name and shine in classical music of Etawah Gharana. He thought working for music in films was below their dignity and a shame. Bande Hassan specialised in vocal music and became a famous qawali exponent. Second son Hafiz khan,after initial training in classical music turned to film singing,without father’s knowledge. Not only that,he also accepted the pen name of Mastana-awarded by composer Meer Sahib- to hide his identity from father. The third son Aziz Khan also went the film way,using the name Aziz Hindi sometimes.

Though Aziz Khan did not continue his family profession,he ensured that his son Pervez took the training and became an International Sitarist,settling in USA. Even son of Pervez- Shakir became a famous Sitarist. he continues the Etawah gharana tradition now.

A senior RMIM member Mr. Jayraman reported in 2008 that he had traced and found and met the only son of Hafiz khan Mastana,in Mahim,Mumbai. His name was Zaheer aka Alla Rakha. The son confirmed all the above facts and also that Aziz Khan was Aziz Hindi.

Though this fact was confirmed, books like ‘ Dhunon ki yatra’ (Pankaj Raag) mentioned Aziz Khan and Aziz Hindi as two different persons. Though the book was published in 2006, he can not be blamed for this, however. But since it is mentioned in a book, for many readers this wrong information is ‘authentic’ and this is quoted by many in their writings. This is because the findings of Mr. Jayaraman did not get enough publicity widely.

Aziz Hindi gave music to 17 films and composed 127 songs. His first film as an MD was Pandit ji-46 and the last one was Chalta Purja-58. Then he retired and migrated to US to be with his son.

Today’s song is a good song. I liked it. You may also like it…


Song- Shaam o sahar hai safar hi safar (Danka)(1954) Singers- Manna Dey, Asha Bhonsle, Lyricist- Arshi Ajmeri, MD-Aziz Hindi
Chorus

Lyrics

aa aa aa
aa aa aa
aa aa aa
aa aa aa
shaam o sahar hai safar hi safar
shaam o sahar hai safar hi safar

o o o o
shaam o sahar hai safar hi safar
shaam o sahar hai safar hi safar

o o o o

hamaara watan hai kahaan
sitaaron se aage
sitaaron se aage
hamaara watan hai kahaan aan
sitaaron se aage
sitaaron se aage

rahen hum hamesha rawaan aan
rahen hum hamesha rawaan aan

pukaaron se aage pukaaron se aage
hamaara watan hai kahaan aan
sitaaron se aage
sitaaron se aage

aa aa aa aa
aa aa aa aa

safar umr bhar tera hoga na aakhir
ye duniya bani hai safar hi ki khaatir
safar hi ki khaatir
aa aa aa aa
safar umr bhar tera hoga na aakhir
ye duniya bani hai safar hi ki khaatir
safar hi ki khaatir
chala chal musaafir
chala chal musaafir
gaye hain kayi kaarwaan aan
pukaaron se aage
pukaaron se aage
hamaara watan hai kahaan aan
sitaaron se aage
sitaaron se aage
aa aa aa aa
aa aa aa aa
aa aa aa aa

nahin hum kahin ghar banane ke kaayal
jahaan shaam hoye wahin apni manzil
wahin apni manzil

aa aa aa
nahin hum kahin ghar banazne ke kaayal
jahaan shaam hoye wahin apni manzil
wahin apni manzil
na toofaan ka dar
na parwaah e saahil
rahegi ye kashti rawaan aan

kinaaron se aage kinaaron se aage
hamaara watan hai kahaan aan
sitaaron se aage
sitaaron se aage
shaam o sahar hai safar hi safar

o o o
shaam o sahar hai safar hi safar


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular 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 :

4164 Post No. : 15337 Movie Count :

4227

Hindi Songs in Bangla Films – 11
– – – – – – – – – – – – – – – – – –

‘Dhuli’ (‘The Drummer’ 1954, Bangla film) was directed by Pinaki Mukherjee. The main star cast included Prashanta Kumar, Suchitra Sen, Mala Sinha, Anil Chatterjee, Pahadi Sanyal, Chhabi Biswas etc. The film is available for viewing with English sub-titles on the video sharing platforms.

The main theme in the story of the film is music. The story also throws some points for the audience to ponder as to how a simple villager’s life is threatened by the modernity of the city life. Also, how the innocence of a villager is affected by the materialistic life in the city. At the end, the virtues of a villager triumph over the materilism of a city dweller, of course at the cost of the death of the former who was a talented singer from the village. The gist of the story of the film is as under:

Parashar (Prashanta Kumar), the grandson of a celebrated drummer in his village develops interest in singing when he witnesses a singer singing a devotional song during Durga Pooja. However, his grandfather wants him to continue playing Dhol as his family has been playing it for ages in the village. After the death of his grandfather, Parashar moves to Calcutta (Kolkata) to learn singing from a renowned music teacher (Pahadi Sanyal) who has a daughter, Minoti (Suchitra Sen). Since Parashar has no place to stay in Calcutta, he is given a room to stay in his teacher’s house. Soon after the completion of his musical training, his music teacher dies leaving him and Minoti in the house. In due course of time, Parashar becomes one of the popular radio singers. He also trains Minoti for singing. Both Parashar and Minoti develops liking in each other’s company. Both of them refrain from telling that they love each other.

There is a musical competition in which Minoti and Ratri (Mala Sinha), the daughter of a wealthy family, are the participants among others. Minoti wins the competition. Ratri who comes second in the competition is upset. She manages to employ Parashar as her new music teacher to improve her singing. However, he has to leave Minoti’s house as this was a pre-condition put in by Ratri’s mother lest it may become a scandal that Parashar was sharing the house with Minota after the death of her father.

The training sessions bring Parashar and Ratri close to each other who started liking Parashar. The closeness of Ratri and the respect Parashar gets from Ratri’s family is not liked by Pulak, a family friend who also acts as a Manager for Ratri’s singing concerts who believes that in a concert, appearance is more important than the singing talent. He tries to create a rift between Ratri and Parashar. Pulak wants to commercially exploit the singing talent of Ratri through publicity much against the wishes of Parashar. This leads to some rifts between them.

In the meantime, Parashar’s grandmother in the village is very sick. His uncle comes to Ratri’s house to take Parashar to his village. It is at this point, Pulak comes to know that Parashar belongs to drummer’s community. Ratri is upset as she thinks that he deliberately concealed his low caste identity. Upset with Ratri’s outburst, Parashar leaves Calcutta to visit his village to see his grandmother. But the turns of events have so much shattered the mind of Parashar that he becomes vagabond without eating for days. One day, he collapses at the banks of a river due to exhaustion and weakness. Minoti who comes to know about Parashar being missing, finds him and brings him to her house. But he does not recover from his illness and dies. So, the end is unconventional for a love triangle of this type in which it is one of the heroines who usually dies at the end.

Being a musical film, there are many songs in the film which I have lost count because some of the songs are very short. But I have noted that there are at least 3 full-pledged Hindi songs of three different genre – ghazal, semi-classical and devotional.

I have selected a ghazal, ‘taar dil ke jawaani hilaane lagi’ sung by Pratima Banerjee. Since Pt. Bhushan’s name appears as one of the lyricists in the film, others being Narayan Gangopadhyay, Pranab Roy and Bimal Ghosh, I have taken him as the lyricist for this song which has been set to music by Rajen Sarkar. The song is picturised on a young Mala Sinha.

Video Clip:

Audio Clip:

Song-Taar dil ke jawaani hilaane lagi (Dhooli)(Bangla)(1954) Singer-Pratima Bannerji, Lyrics-Pt Bhushan, MD-Rajen Sarkar

Lyrics

aa aa aa
aa aa aa
aa aa aa aa
taar dil ke jawaani hilaane lagi
taar dil ke jawaani hilaane lagi
zindagi pyaar ke geet gaane lagi
zindagi pyaar ke geet gaane lagi
taar dil ke jawaani hilaane lagi
taar dil ke jawaani hilaane lagi

chupke chupke nigaahon ne
kya keh diya
aa aa aa aa aa
aa aa aa aa aa
jin ki har baat honthon pe aane lagi
taar dil ke jawaani sunaane lagi
taar dil ke jawaani sunaane lagi
zindagi pyaar ke geet gaane lagi
zindagi pyaar ke geet gaane lagi
taar dil ke jawaani hilaane lagi
taar dil ke jawaani hilaane lagi

dard unke mohabbat ka badhne laga
chaandni raat jab muskuraane lagi
taar dil ke jawaani hilaane lagi
taar dil ke jawaani hilaane lagi
zindagi pyaar ke geet gaane lagi
zindagi pyaar ke geet gaane lagi
taar dil ke jawaani hilaane lagi
taar dil ke jawaani

jal rahi ee ee hoon tamanna ki aag mein en en en
meri kismat mujhe ae ae ae ae
aazmaane lagi
taar dil ke jawaani hilaane lagi
taar dil ke jawaani hilaane lagi
zindagi pyaar ke geet gaane lagi
zindagi pyaar ke geet gaane lagi
taar dil ke jawaani hilaane lagi
taar dil ke jawaani hilaane lagi ee ee ee


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 : 4126 Post No. : 15282

“Watan” (1954) was directed by N Bhatt for Falcon Pictures. This movie had Trilok Kapoor, Nirupa Roy, Munawwar Sultana, Jayant, Gope, Madan Puri, Cuckoo, Surya Kumar etc in it.

There were six songs in this movie. Two songs from the movie has been covered in the past.

Here is the third song from “Watan” (1954) to appear in the blog. This rare song is sung by Asha Bhonsle. Shewan Rizvi is the lyricist. Music is composed by Hafiz Khan.

Only the audio of this song is available. Assuming that Nirupa Roy was the leading lady of the movie, my guess is that this song (and other songs sung by Asha Bhonsle in th movie) were lip synced by Nirupa Roy. Nevertheless, I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song.


Song-Taqdeer ka kehna hai ki.. roti hai to roya karey barbaad mohabbat (Watan)(1954) Singer-Asha Bhonsle, Lyrics-Shewan Rizvi, MD-Hafiz Khan

Lyrics

Taqdeer ka kehna hai ki ??
ghar hi jalaa doongi ee ee
rehta hai jahaan pyaar
wahaan aag laga doongi

roti hai to roya kare barbaad mohabbat
duniya mein na hogi kabhi aabaad mohabbat
roti hai to roya karey barbaad mohabbat

pehle to muqaddar ne tujhe mera banaaya
phir mere hi haathon se tujhe qaid karaaya
dil rota hai ae ae ae ae
dil rota hai
aur karti hai fariyaad mohabbat
duniya mein na hogi kabhi aabaad mohabbat
roti hai to roya karey barbaad mohabbat

barbaad ye dil thhaame jigar dekh rahi hoon
dekha nahin jaata hai magar dekh rahi hoon
Allah kar r r r r
Allah kar is gham se tu aazaad muhabbat
duniya mein na hogi kabhi aabaad mohabbat
roti hai to roya karey barbaad mohabbat a a a


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular 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 : 4121 Post No. : 15274

———————————————–——————————————
Blog 10-Year Challenge (2009-19) – Song No. 49
——————————————————————————————

OK, so a norm need not always be effected. In my previous post of this series, I had mentioned in the beginning that – “The blog was in its childhood –”. On 29th October of 2009, the departure was that only one song was posted. Ah yes, sometimes it used to happen even then. One song has become kind of a norm these days. 🙂

The solo song that day was from the film ‘Pehli Jhalak’ of 1954. The film had made its debut that day with philosophical song “Zameen Chal Rahi Aasmaan Chal Raha Hai” in the voice of Hemant Kumar. Music is by C Ramchandra and the lyrics are from the pen of Rajinder Krishan.

Geet Kosh lists 10 songs for this film, with the above mentioned song appearing in the film as a two part song. All the songs are written by Rajinder Krishan, and the music is by C Ramchandra. Over the subsequent six years, till 1st December 2015, eight of the remaining 9 songs appeared on the blog with a certain irregular regularity. Check out the posting status in the table below.

 

Zameen Chal Rahi Aasmaan Chal Raha Hai Pehli Jhalak 1954 2102 29-Oct-09
Naa Maaro Nazariyaa Ke Baan Pehli Jhalak 1954 2430 24-Apr-10
Charandas Ko Peene Ki Jo Aadat Naa Hoti Pehli Jhalak 1954 2633 17-Jul-10
Chhodi Ji Chhodo Kalaayi Koi Dekh Legaa Pehli Jhalak 1954 2891 2-Sep-10
Oonchi Oonchi Dukaan Phheeka Phheeka Pakwaan Pehli Jhalak 1954 3078 6-Oct-10
Kaise Bhaaye Sakhi Rut Saawan Ki Pehli Jhalak 1954 8642 5-Sep-13
Achchi Soorat Hui Ya Museebat Gali Mein Aana Jaana Band Pehli Jhalak 1954 10950 11-Mar-15
Zamaane Se Niraala Hai Meri Ulfat Ka Afsaana Pehli Jhalak 1954 10963 21-Mar-15
Mohabbat Ne Mujhe Maara Pehli Jhalak 1954 11619 1-Dec-15

The last song of this film was posted almost four years ago. And since that day, 1st Dec, 2015, this film has been patiently waiting to be yippeee’d. The reason being that this last remaining song of this film was not available online all this time. Checking for it again some days back, I am finally able to locate online, the audio of this song, which was posted just recently in August of 2019. And interestingly, just 6 views so far, as I write these lines.

The film ‘Pehli Jhalak’ is produced by Seth Jagat Narayan, under the banner of Jagat Pictures, Bombay. It is directed by MV Raman. The start cast of this film includes Vaijayantimala, Kishore Kumar, Pran, Shammi, Roopa Varman, Anil, Jawahar Kaul, Shivraj, Kamlakant, Om Prakash, Dara Singh, and Baby Asha Parekh.

So finally, we are announcing today, the yippeee status for this film, with the posting of this song. The song is in the voice of Shamshad Begum. The song appears to be a gambling related song, with the words exhorting the gambler to play on – money is a thing that comes and goes. Do not worry about it – “सोच ना बाबू ऐसा ना वैसा; just play the game and place your bet – “दांव लगाने में फिर डर कैसा“. It is a fast paced song sung with her usual verve by Shamshad ji.

Listen and enjoy.

 


Song – Aata Hai Paisa, Jaata Hai Paisa (Pehli Jhalak) (1954) Singer – Shamshad Begum, Lyrics – Rajinder Krishan, MD – C Ramchandra
Chorus

Lyrics

aata hai paisa
jaata hai paisa
daanv lagaane mein phir darr kaisa
aata hai paisa
jaata hai paisa
daanv lagaane mein phir darr kaisa
oo oo
aata hai paisa
jaata hai paisa
daanv lagaane mein phir darr kaisa..aa

khele jo dilwaale dil ki baazi
dil hai raazi to duniya raazi
khele jo dilwaale dil ki baazi
dil hai raazi to duniya raazi
mail hatheli ki hai paisa
aata hai paisa
jaata hai paisa
daanv lagaane mein phir darr kaisa
oo oo
aata hai paisa
jaata hai paisa
daanv lagaane mein phir darr kaisa..aa

haar gaya dhan tan bhi laga de
garam hai mehfil rang jamaa de
haar gaya dhan tan bhi laga de
garam hai mehfil rang jamaa de
soch na baabu aisa na waisa
aata hai paisa
jaata hai paisa
daanv lagaane mein phir darr kaisa
aata hai paisa
jaata hai paisa
daanv lagaane mein phir darr kaisa
oo oo
aata hai paisa
(la la la la la)
jaata hai paisa
(la la la la la)
daanv lagaane mein phir darr kaisa..aa
(la la laa laa laa laa la la)

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

आता है पैसा
जाता है पैसा
दांव लगाने में फिर डर कैसा
आता है पैसा
जाता है पैसा
दांव लगाने में फिर डर कैसा
ओ ओ
आता है पैसा
जाता है पैसा
दांव लगाने में फिर डर कैसा॰॰आ

खेले जो दिलवाले दिल की बाज़ी
दिल है राज़ी तो दुनिया राज़ी
खेले जो दिलवाले दिल की बाज़ी
दिल है राज़ी तो दुनिया राज़ी
मैल हथेली की है पैसा
आता है पैसा
जाता है पैसा
दांव लगाने में फिर डर कैसा
ओ ओ
आता है पैसा
जाता है पैसा
दांव लगाने में फिर डर कैसा॰॰आ

हार गया धन तन भी लगा दे
गरम है महफिल रंग जमा दे
हार गया धन तन भी लगा दे
गरम है महफिल रंग जमा दे
सोच ना बाबू ऐसा ना वैसा
आता है पैसा
जाता है पैसा
दांव लगाने में फिर डर कैसा
आता है पैसा
जाता है पैसा
दांव लगाने में फिर डर कैसा
ओ ओ
आता है पैसा
(ला ला ला ला ला)
जाता है पैसा
(ला ला ला ला ला)
दांव लगाने में फिर डर कैसा॰॰आ
(ला ला लाs लाs लाs लाs ला ला)


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 :

4104 Post No. : 15255 Movie Count :

4192

Today’s song is from film ‘Gokul Ka Raja’ (1954). This is the first song of this film to be discussed here. I am surprised how this film was not featured on the blog so far, because songs of this film have been on You Tube for quite some time. May be, because the entire team of this mythological film was from Marathi film industry and the names of producer, director, MD, or the cast were not familiar to the most people. It is because this was a bilingual film, made first in Marathi as ‘Gokulcha Raja’ (गोकुळचा राजा) way back in 1950 and the Hindi version was released only in 1954.

Made by Yashodhan Chitra, Bombay for producers Nana Bapat and Haribhau Guruji, the film was directed by a well known Marathi Director – Bal Gajbar. He had earlier directed another bilingual Hindi-Marathi film ‘Sandesh’ (1952) and before that yet another bilingual ‘Mere Laal’ (1948) (माझं बाळ in Marathi). Bal Gajbar had directed few Kannada films too, like ‘Vichitra Prapancha’ (1955). Before becoming a director, he was an art director with V Shantaram’s Rajkamal Kala Mandir.

All songs of the film were written by YN Joshi. The Music Director was Shridhar Parsekar – a name very few people will remember. I wrote about him first time in my series “Less Known Composers”, on 17-12-2012, seven years ago. Not much was known about him then. In January 2017, Sadanand Kamath ji wrote on him. In last nearly 3 years, some new information has become available on him, so his bio data is now updated further. As the new sources give new information, the history keeps on updating itself. This is a regular process of nature.

Hindi film music is like an ocean. As many rivers merge into the ocean at various stages, regional music from various parts of India is assimilated in HFM (Hindi Film Music).

Initially it was the Marathi stage/natya sangeet and Parsee Theatre which influenced HFM. In the East, it was Robindra Sangeet and Nazrul Geeti made the basis of film songs. In the Lahore centre it was the Punjabi style after ‘Khazanchi’ (1941).

After Partition and polarisation of film production language wise, it was BOMBAY, which became the centre for HFM and it was a wonderful mixture of music specialties from all over the country. There were many successful Music Directors in India. I remember a famous quotation – “Behind every successful man there is a woman.”

Can you tell me,who is behind every successful Music Director ? I am sure many of us do not have the answer.

The answer is THE ARRANGER.

Now, who is this arranger? Some have a vague idea, some may even think, he is the person who arranges song recordings and the musicians.

An arranger is the SOUL of film music. Once the composer conceives the tune for a song, he tells it to the arranger, who immediately makes its notations (writing music or Swar Lipi), which a properly schooled musician can read and play. Arranger also decides the instruments and their placements in the song. Most of the arrangers in the Film Industry were from Goa, where traditionally Jazz music was very popular.

A typical Goan likes to live life – ‘sushegaat’– which loosely means ‘araam se‘ or a carefree life. Their philosophy is eat, drink and be merry. This merry part includes Music.

Goa has given many musicians to India. Lata/Asha are  from Mangeshi – Goa, though the family had shifted to Kolhapur, MDs Dattaram (Wadkar) and N Datta (Datta Naik), Singers Kishori Amonkar, Kesarbai Kerkar, Shobha Mudgal, Hema Sardesai, Prabhakar Karekar, Remo Fernandez, Lorna are from Goa. (The list is only indicative, not exhaustive).

Most Arrangers were from Goa —-

Anthony Gonsalves from Majorda, Goa. He worked for Naushad,OP Nayyar and LP. The famous song “My Name Is Anthony Gonsalves” is a tribute by LP to him. He had taught Pyaarelal so many things including notations.

Chic Chocolate aka Anthony Vaz from Aldona, Goa. He worked for C Ramchandra mainly.

Chris Perry worked for Khayyam, RD Burman, Kalyanji Anandji, and Laxmikant Pyaarelal.

Frank Fernando – Anil Biswas, Kishore Kumar, Roshan, C Ramchandra.

Sebastian D’Souza from Bicholim, Goa – worked for Shanker Jaikishen from 1952 to 1975, and also OP Nayyar.

Most of the players of western instruments in the orchestras were from Goa.

From this crop of musicians from Goa, there was one outstanding musician – SHRIDHAR PARSEKAR, who was a singer, a famous violin player, composer of many Marathi songs/films/dramas and few Hindi films. He was an expert in playing almost 10 different instruments.

SHRIDHAR PARSEKAR was born in 1920 in Goa. From the childhood he was a lover of music and learnt classical music, first from his uncle Parshuram Buwa Parsekar and he was trained by him in playing various instruments like harmonium, jaltarang, tabla and violin. He was a disciple of Gajanan Buwa Joshi a noted musician. He operated a vand in Bardez, Goa and played violin, clarinet, harmonium and many other instruments. He was a genius and soon became famous for playing violin.

He came to Bombay and continued learning music here under many well known gurus, like Khadeem Hussain Khan, Natthan Khan and Anwar Hussain. Soon he was performing in stage shows doing jugalbandis with stars of the day like Ravi Shanker, Vilayat Khan and Akbar Ali Khan. Kishen Maharaj was very pleased with him. For some time he joined AIR Bombay as a musician and got friendly with Ustad Alla Rakha who also worked in AIR. RG Ramnathkar, who got him the AIR job, also taught him many Raaga/Raaginis. Parsekar worked at AIR for 6 years.

Later he worked as asst. to Music Director Annasaheb Mainkar and then started as MD for Marathi Films and stage dramas. His music in dramas like ‘Bhakta Damaji’, ‘Paisa Bolto Ahe’, ‘Kuber’ and ‘Kanyadaan’ was very popular. He also recorded many bhavgeets and natyageets from reputed singers in Marathi. HMV and Odeon published his records. Singers like Jyotsna Bhole, Saraswati Rane, Hirabai Badodekar, Vatsala Kumthekar and Master Krishnarao Chonkar also sang for him. One of his songs- “Vithal Vithal Gajari, Awaghi Dum Dumali Pandhari” ( “विठ्ठल विठ्ठल गजरी, अवघी दुमदुमली पंढरी” ) from ‘Bhakta Damaji’ is so popular that it is sold even today.

With Marathi films, recording of private songs, stage shows with prominent musicians, Shridhar had every happiness with him. He had a bungalow, cars, bank balance, name, fame and plenty of demand. He wrote a book on music – ‘Swar Ninad‘.

And then it happened !

He became an alcoholic. Normally, a person becomes alcoholic when he is unsuccessful. But this was an opposite case. While on the top of success he became an alcoholic. He used to drink day and night.

Once there was a jugalbandi programme with Ustad Vilayat Khan. Shridhar came fully drunk to the theatre. Vilayat Khan scolded him and left the show. Such things kept on happening, leading to his downfall. He stopped getting work and all his wealth, house, cars etc. was sold for liquor. His condition was such that he would play violin on streets and earn money. Lata Mangeshkar has narrated an incident, which I read in a book ‘From Noorjehan to Lata’ by Isak Mujawar. The book says…

“One day Lata’s car stopped in the traffic. Out of curiosity she peeped out to see what happened. There was a person in tattered clothes playing a violin beautifully and people had gathered to listen to him. Some people gave him alms. She asked the driver if he knew that person. The driver replied that it was Parsekar Buwa. She got down, went to Parsekar and told him to come with her. She will look after him now. On this, Parsekar replied that her father had asked him to look after their family, which he could not do, so why should she look after him. If she wanted to help, just give some money. She gave him 50 rupees and he almost ran away from there – probably to the wine shop !“

Finally Shridhar Parsekar died of liver cirrhosis on 10-9-1964 !  He was only 44 years old !!  Such a brilliant artist wasted by alcohol. So sad ! Pt Ravi Shankar and Vilayat Khan had personally met his family after his death, so much was the respect for his talent !!

In addition to 7 Marathi films, Shridhar Parsekar gave music to five Hindi films – ‘Nagad Narayan’ (1943), ‘Mahakavi Kalidas’ (1944), ‘Meri Amanat’ (1947), ‘Andhon Ka Sahara’ (1948) and ‘Gokul Ka Raja’ (1954). He composed 45 songs in these films. He sang 5 songs in 2 films, ‘Andhon Ka Sahara’ and ‘Gokul Ka Raja. Many famous singers sang for him, like, Minakshi, Khan Mastana, Rajkumari, Master Krishnarao, Mohantara, Vinodini Dikshit etc.

(Information from these sources also used herein- Marathi Chitrapat Sangeetkar Kosh, Marathi Cinema in Retrospect by Sanjit Narwekar, Purvasurinche Soor by Dr. Suresh Chandvankar and the book ‘Kalatmak Gomantak’ – Kala Academy, Panji – 1972) .

The cast of the film consisted of Dwarakanath, Ratnamala, Chandrakant, Gauri, Hanumanta, Angre etc.

I do not know anything about actor Dwarakanath. Never heard of his name before or after this film ever. Actor Chandrakant was Chandrakant Mandhare (real name Gopal) – the elder brother of the more popular brother Suryakant. These two brothers ruled the Marathi cinema from the late 40s to the 60s.

Gauri was originally Tanibai Dawari, who was active in Prabhat from the silent era. She became famous because of her role of Awali – the shrew wife of Sant Tukaram in that film in 1936. I have recently written in details about her, only last month. As far as the heroine Ratnamala is concerned, how many of us really know anything about this actress. It is surprising that a very lovely and beautiful actress, who was heroine of about 20 films in the 40s and has about 300 films to her credit, remains practically unknown. She was the heroine with Saraswati Cinetone, Prabhat Film Company, Sagar, Ranjit, Prakash Pictures etc. – all well known banners. She was in films for 50+ years and was a famous name in Marathi films of Dada Kondke.

Its a great pity that hardly any or no information about her is available in books, encyclopedias, wiki or on internet. When all sources of information come to a dead end, I turn to Harish Raghuwanshi ji of Surat and I am never disappointed. Here, I provide a short bio-data of Ratnamala, based principally on the articles given by Harish ji. Thanks, Harish ji.

She was born as Kamal Bhivandkar on 22-6-1923 in Bombay. Her father was Auditor of Central Bank, Bombay. She was good looking and could sing well. From the age of 14 years, she went on the stage of several Ganesh Melas prevalent in those times. She earned 5-10 rupees per performance. Due to family’s financial problems, she started looking for work. She was proficient in Marathi, Gujarati, English and Urdu languages. In 1938, she was picked up by Dada Torne of Sarswati Cinetone, Poona, who cast her as Heroine in Marathi film ‘Bhagwa Zenda’. Seeing her performance, she was taken by Prabhat Film Company for the Marathi version of their film ‘Das Baje’ (1942). Torne had renamed her as Ratnamala.

Vijay Bhatt of Prakash Pictures offered her a role in film ‘Bharat Milap’ (1942), when Kusum Deshpande selected for the role of Bharat’s wife fell ill. Seeing her performance, she was selected as a heroine for film ‘Station Master’ (1942). Here too the original heroine Jyoti fell ill. Then came ‘Panghat’ (1943), ‘Police’ (1944), ‘Kavita’ (1944) etc. She acted in many mythological films also. Some of her well known films were ‘Dholak’, ‘Maya Bazaar’, ‘Sasural’, ‘Bhabhi Ki Chudiyan’, ‘Faulad’, ‘Woh kaun thi’, ‘Nishaan’, ‘Bahu Beti’, ‘Mera Saayaa’, ‘Raaz’, ‘Saraswati Chandra’, ‘Brahmachari’, ‘Upahaar’, ‘Seeta aur Geeta’, ‘Nastik’ etc.

She acted in 130 Hindi films and many more Marathi films. Later she did side roles. She became famous as mother of Dada Kondke in 11 of his films. She was called ‘Aaye’ (आये )  in the Marathi films of Kondke.

Ratnamala was married to Raja Pandir, producer director of Marathi films, when she was very young. As Ratnamala became successful and Raja became a failure, their marriage came on rocks. She had one son – Jaikumar, who had also acted in one film. Unfortunately, he died suddenly in an accident. Ratnamala lived in her own bungalow in Andheri, Bombay, along with her foster son – Ramesh. Ratnamala died of heart attack on 23rd January 1989.

Today’s song is the first song sung by Shridhar Parsekar that is being presented. One can easily make out from his clear voice, impeccable pronunciations and the classical singing style that the singer is trained in classical music and is a knowledgeable person. With this song the film ‘Gokul Ka Raja’ and singer Shridhar Parsekar are making their debut on this Blog.

Song – Mangal Prabhat Jaage Surya Kiran Sang (Gokul Ka Raja) (1954) Singer – Sridhar Parsekar, Lyrics – YN Joshi, MD – Sridhar Parsekar

Lyrics

jaa..aa..aa..aage ae ae ae
jaage ae ae ae

jaage
mangal prabhat jaage
jaage
mangal prabhat jaage
jaage
mangal prabhat jaage
jaage
mangal prabhat jaage
surya kiran sang
gokul mein rang
surya kiran sang
gokul mein rang
navjeevan anuraage
jaage
navjeevan anuraage
jaage
mangal prabhat jaage
jaage
mangal prabhat jaage
jaage

go dhan amrit varsha karta..aa..aa
aaaaa aaaa aaaa aaaa
go dhan amrit varsha karta
sukh saurabh gokul mein jharta
sukh saurabh gokul mein jharta
baal gopal
baal gopal charaayen gaayen
madhu murli jiya laage
laage
madhu murli jiya laage
laage
mangal prabhat jaage
jaage
mangal prabhat jaage
jaage
mangal prabhat jaage

surya kiran sang
gokul mein rang
navjeevan anuraage
jaage
mangal prabhat jaage
jaage
mangal prabhat jaage
jaage
jaa..aa..aa..aage

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

जा॰॰आ॰॰आ॰॰आ॰॰आगे ए ए ए
जागे ए ए ए

जागे
मंगल प्रभात जागे
जागे
मंगल प्रभात जागे
जागे
मंगल प्रभात जागे
जागे
मंगल प्रभात जागे
सूर्य किरण संग
गोकुल में रंग
सूर्य किरण संग
गोकुल में रंग
नवजीवन अनुरागे
जागे
नवजीवन अनुरागे
जागे
मंगल प्रभात जागे
जागे
मंगल प्रभात जागे
जागे

गो धन अमृत वर्षा करता॰॰आ॰॰आ
आsss आsss आsss आsss
गो धन अमृत वर्षा करता
सुख सौरभ गोकुल में झरता
सुख सौरभ गोकुल में झरता
बाल गोपाल
बाल गोपाल चराएं गाएँ
मधु मुरली जिया लागे
लागे
मधु मुरली जिया लागे
लागे
मंगल प्रभात जागे
जागे
मंगल प्रभात जागे
जागे
मंगल प्रभात जागे

सूर्य किरण संग
गोकुल में रंग
नवजीवन अनुरागे
जागे
मंगल प्रभात जागे
जागे
मंगल प्रभात जागे
जागे

जा॰॰आ॰॰आ॰॰आ॰॰आगे


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 : 4068 Post No. : 15204

“Kavi”(1954) was directed by Debki Bose for sunrise Pictures, Bombay. The movie had Bharat Bhushan, Geeta Bali, Nalini Jaywant, Chandrashekhar, B M Vyas, Jankidas, Om Prakash etc in it.

The movie had ten songs in it. Four songs have been discussed in the blog in the past.

Here is the fifth song from “Kavi”(1954) to appear in the blog. This song is sung by Talat Mehmood. Rajinder Krishan is the lyricist. Music is composed by C Ramchandra.

Only the audio of the song is available. Talat Mehmood was the main male playback singer in the movie whereas Bharat Bhushan was the lead actor of the movie. So it can be guessed that the song was picturised on Bharat Bhushan. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Teri ik ik ada jhoothhi (Kavita)(1954) Singer-Talat Mehmood, Lyrics-Rajinder Krishan, MD-C Ramchandra

teri ik ik adaa jhoothi
wafaa jhoothi hayaa jhoothi
chalegi ae haseenaa kab talaq
aakhir hawaa jhoothi

maan kare kyaa rang roop kaa
tu kaaghaz kaa phool hai
maan kare kyaa rang roop kaa
tu kaaghaz kaa phool hai
tujh mein khushbu dhoondh rahi hai
tujh mein khushbu dhoondh rahi hai
ye duniyaa ki bhool hai
maan kare kyaa rang roop kaa
tu kaaghaz kaa phool hai

tujhe dekh ke laakh bujhaa le
pyaas koi ankhiyan ki ee
tujhe dekh ke laakh bujhaa le
pyaas koi ankhiyan ki
binaa baas kaa phool banegaa
kyaa shobhaa bagiyan ki
daal kaa phool chadhe mandir mein
daal kaa phool chadhe mandir mein
tu raste ki dhool hai
maan kare kyaa rang roop kaa
tu kaaghaz kaa phool hai
maan kare kyaa rang roop kaa
tu kaaghaz kaa phool hai

binaa jyot kaa deepak hai tu
binaa tel ki baati ee
binaa jyot kaa deepak hai tu
binaa tel ki baati
jab tan ujlaa aur man kaalaa
phir kaahe itraati
shabnam khud ko saagar samjhe
shabnam khud ko saagar samjhe
ye shabnam ki bhool hai
maan kare kyaa rang roop kaa
tu kaaghaz kaa phool hai
maan kare kyaa rang roop kaa
tu kaaghaz kaa phool hai


This article is written by Sudhir, 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 : 3947 Post No. : 15022

= = = = = = = = = = = = = = = = = = = = = = = =
Atul Song-A-Day 15K Song Milestone Celebrations – 14
– – – – – – – – – – – – – – – – – – – – – – – – – – – – –

A dream within a dream. . .

In the growing up years, there is a whole generation I am sure, or actually, multiple generations, that have grown up learning about the American society and the lifestyle from the books of the author Harold Robbins. I remember, in my school years, his books were a taboo, generally carried around and exchanged, their cover pages obscured by plain paper or even newspaper wrappers. And yet, very avidly devoured by the young minds oh so keen to learn about the American way of life. But of course, the clandestine attraction was the common perception that his novels contained explicitly “hot” passages. And hence all the hush-hush and the covert operations to read his novels surreptitiously on the bus, while traveling back from school in the afternoons (of course, the morning trip traveling TO the school, one was always busy preparing for this test or that, or even completing homework assignments 😀 😀 ), or very late in the night, using various mechanisms to illuminate the pages in an otherwise darkened room. 🙂

The reason I bring up this author here – is that he wrote a trilogy on Hollywood and the American film industry – the three books spread over a period of 20 years (publication dates – 1949, 1961 and 1969), with the events covered spanning almost a century, or maybe about eight decades to be precise. The first novel tells about the rise of the cinema based powerful entertainment industry, from its initial baby steps, through the age of silent films, ending at the advent of the talkie era when sound entered the heretofore silent imagery. The second novel in this series tells the stories of the heydays of studio system in Hollywood, the big stars, the big directors and the mega budget productions – and the decadence that permeates the glitz of the tinsel town. The third part of this trilogy covers the period in Hollywood history that saw the decline of the studio system and the arrival of television as the more powerful younger sibling of the entertainment industry.

The first book in this trilogy – oh so appropriately titled – ‘The Dream Merchants’.
[The second book is titled ‘The Carpetbaggers’ and the third is ‘The Inheritors’.]

And life – what about life? What is it? Thinkers and philosophers over the ages, have contemplated on this existence – from the mundane tasks of bread and survival to the exotic astronomy of stars and black holes. And have pondered over this question.

One of the answers that has echoed through the centuries – life too, is a dream, a dream too. . . a concept that has been an important ingredient of the philosophies that have tried to explain life, over centuries and ages, in all the civilizations around this planet. Start with the ancient traditions of our land, and then examine the length and breadth of this planet, including the historical depth of time, we encounter this concept in the far eastern beliefs, the Persian mystique, the abounding Greek wisdom, and in the troika of traditions centered in the lands around the southern and eastern shores of the Mediterranean Sea, extending to the Arabian Peninsula – the Judaic traditions, the Christian philosophies, and the Islamic cultures.

Parvati is the Hindu goddess of dreams, and also of births and everything related to the creation, suggesting that the Hindu tradition gives to dreams a creative ability and the power to produce something that did not previously exist in the material world. There are passages in our scriptures that describe this universe, this creation, as a dream dreamt by the Supreme Himself.

Our other philosophies also conjecture – that there is an alternate existence for each one of us in an alternate universe. At a certain juncture in that existence, we fall asleep, and are simultaneously born into this world – to exist as a dream of that primordial self in sleep. The dream continues, and at another juncture it comes to a close. And we are erased from existence in this world. What we term as death in this world, is actually awakening and end of a dream in that parallel existence.

One of the most important works of Persian and Arabic culture is ‘A Thousand and One Nights’, in many of whose stories comes the subject of dreams – mirrors reflecting reality around us, and preventing us from seeing it. The clearest example is the tale ‘The Sleeper and the Waker’, in which a king and a beggar swap roles and the latter ends up believing everything has been a dream.
[Ah, so that is the origin of the storyline for books and films like ‘The Prince And The Pauper’, ‘Raja Aur Runk’, and . . . goodness, I just googled ‘films on role switching’ – the list is too long to be added here. 🙂 ]

The Greek philosopher Plato, in his work titled ‘The Allegory of The Cave’, explains his theory of the existence of two worlds — Sense and Ideas — and metaphorically describes the situation in which the human is related by them: life goes into a kind of reverie, ignorant and ruled by the senses, of which you can wake up only through the reason, to attain true knowledge.

The Spanish writer Calderon de la Barca, in his work ‘Life is a Dream’, poses a dichotomy between earthly life and the heavenly life in which the first is similar to a dream that will finish only at death. Therefore, the real is death and life is associated with the unreality of the dream, so that the terms of our everyday perception are reversed: life is death and death is life.

The old bard has written about this in more than one ways. In ‘The Tempest’, his words say –
“We are such stuff as dreams are made of and our little life is rounded with a sleep’.

In ‘Hamlet’, he says,
“To die, to sleep;
To sleep, perchance to dream — ay, there’s the rub:
For in that sleep of death what dreams may come,
When we have shuffled off this mortal coil. . .”

And our own poet protagonists put it so simply. As songwriter Yogesh has said – “Jeevan Hai Ik Sapna, Madhur Suhaana Sapna”, the Asha-Kishore duet in the 1973 film ‘Honeymoon’.

In all the perspectives to life that have been conjectured, one is that it is a dream. And inside this dream, we have another level of existence, which is once again a dream – a dream that is manufactured by some, for the consumption of another some, to help forget, albeit temporarily, the vagaries of the so called reality, which in itself is conjectured to be a dream – of alternate self in an alternate existence.

Harold Robbins called these ‘manufacturers’ as ‘The Dream Merchants’ – the creators of these dreams, and who trade these dreams for a consideration.

It is this dream world, the dream factory that fascinates us all. And by ‘us’ I mean this bandwagon, all the regular riders, and all the other lovers of Hindi films and Hindi film music who are all connected by the singular passion for this art form. We all love this musical dreamboat. The ‘dream merchants’ keep dishing out new concoctions, spinning and re-spinning the tales that have been told often and again. They keep creating and re-inventing the jewel embellishments to adorn these tales, and to keep us all hooked – ah yes, hooked – so bad that we do not have any other place to go in this life. 🙂

Fifteen thousand songs – each post being an original work. As I am writing this piece, my mind made an attempt to estimate the amount of human effort that has gone into the building of this (now) legendary edifice. But my mind boggled at the endeavor. There may be some rough estimations we can draw upon for the amount spent in adding to and maintaining the data on this blog. But there is very little hope we can estimate the time spent on creating the original songs that are the basis on which this blog is built.

We could separate out these two calculations and make an attempt. In my mind, I would put an average of between 5 to 6 hours spent on each post. [I request Atul ji to please comment on this basic estimate.] I include the time spent by the author of the post to search and select the song, the time to note down and verify the lyrics, the time to write the article to go along with the song, the time spent to edit the entire post including lyrics review and color coding etc., the time for admin tasks related to finalizing and publishing the post, ah yes, must also include time to upload the song if not available, and then the follow up admin work to maintain and update the data pages and our own data files to keep them up to date.

Let me take the median number as 5.5 hours per post. Having come to the 15K milestone, by this estimate, the team has spent ~ 82,500 person hours on posting and publication on this blog.

Let me now put in perspective this rough estimate. A standard person working day is defined to be eight hours. Give or take some, a person works for an average of 22 days per month. That is 176 person hours per month. A simple calculation tells us that we are at a collective total of 469 person months invested in all activities of this blog. Translating this to years, we get a number ~ 39 years.

Imagine. The amount of effort that has been spent on this enterprise is equivalent almost to an entire working career of a person, who, mind you, has not taken any vacation or other time off, other than the 8 or 9 non working days per month.

Mind boggling, isn’t it. Every which way that we try to understand what this blog is, it turns out to be mind boggling. I wouldn’t even try to go to the next step of apportioning the percentage of this number to our fearless leader. I am sure you all are all too familiar with that by now.

What a fantastic enterprise this is turning out to be. The English phrase that appropriately applies to such an endeavor is – “dream run”. Be that an effort in athletics or sports, be that a string of successes in any particular field, be that the tenure of a successful enterprise, be that the number of weeks / months of a film showing at a single theatre – the word used is “dream run”.

And the expression brings us back to the theme I am attempting to connect with – a dream within a dream. I am reminded of a song that completes 40 years this year. A quick search tells me that the film ‘Golmaal’ was certified on 6th April 1979. Today we are a little over 40 years and one month since this song was released – “Sapne Mein Dekha Sapna”. So much food for thought it generates. Are we living? Are we inside a dream? Where do we go when we go to sleep? Is sleep another parallel existence? Sometimes we bring back snatches of memories of visions seen during our sleep tenure. What are these visions? What are these memories? Are these real experiences in another dimension? Would it be possible to experience sleep within a dream? And then, consequently, would it be possible to have memories of dream that was dreamt inside a dream? Yes, so much wholesome and appetizing food for thought.

But then yes, if we step back and ruminate over the philosophical conjectures, is this existence itself a dream. And the dreams we remember from our sleeping hours in here – is that a dream inside a dream? Interesting, very interesting discussions.

Let me introduce the song for today, for this post. A very interesting take on what this world of cinema is, in the words of the people who compose the work force of this industry – and the verdict is –

jaali, jaali, jaali
(its all unreal, unreal, unreal)

Yes, that is what the words in this song convey. The film is ‘Haar Jeet’ from 1954. The film is produced by GA Thakur under the banner of Film Kraft and is directed by Jaggi Thakur. The star cast of the film is listed as Shyama, Suresh, Manorama, Sundar, Heera Lal, Madan Puri, Shyam Lal, Amar, Baij Sharma, Ramesh Thakur, Ratan Sharma, and Peggy. I have not seen the film. As I tried to search for more information, I am able to locate a review of the film posted on the Cineplot blog. The review also summarizes the story of the film.

FilmCraft’s “Haar Jeet”, produced by G.A. Thakur and directed by Jaggi Rampal, which was premiered in Bombay at the Swastik and other cinemas on June 11th, 1954, had a good theme, with potential enough to make an absorbing picture. But poor characterization, naive and amateurish direction and artificial treatment have combined to defeat the proper development of that theme. The result is that “Haar Jeet” is more “Haar” (loss) than “Jeet” (gain) and that goes as much for the audience as it does for the production itself.

The atmosphere is never established, not in the degree it should be to make the characters. their actions and behavior understandable in a drama so dependent as this is upon the psychology of three of its principal characters, one of whom, Dr. Behari, is a physician and a hypnotist.

He lives in the house of his millionaire brother and is driven by an overpowering lust for wealth to thoughts of murder because of a growing pile of debts. One is never told how he comes to incur the debts.

The doctor is the central character round which the picture and story revolve. He is shown making use of his hypnotic power to get his brother’s daughter Nalini under his control so that he can get her married to a rascally confederate of his, whom he introduces into the family as Prince Balraj.

Under his spell Nalini actually goes through the betrothal ceremony with a show of pleasure, sharing in the gaiety of the occasion. On the other hand, she is also shown growing suspicious of her uncle in scenes that follow. She refuses to marry the phoney Prince, and when her father insists, she runs away to Bombay, where she finds shelter with a young woman friend.

Nalini accidentally encounters a young man named Rajan and his friend Balam. Rajan falls in love with her. There are glimpses of a phoney Academy for Acting, where the lovers meet. But how that academy comes into existence, how it is managed and how the hero gets into it as a teacher of dramatic art one doesn’t quite know. In some comically unreal scenes she is selected to play the heroine in a film and Rajan is cast opposite her as the hero, presumably to enable the romance to develop.

The romance is interrupted, however, by the wicked uncle who turns up at this point with his bogus Prince Balraj, in search of Nalini, hypnotizes her and takes her back home.

In the final sequence, the doctor, desperate to get his hands on the money and pressed by his confederate, takes to violence and almost succeeds in getting what he desires, when Rajan and Balam burst in with the police to defeat him. He meets a condign end by falling off the roof and is killed. The film ends there.

Poor motivation, perfunctory treatment and utterly naive direction rob the narrative of all conviction despite some good acting by the cast. Hiralal puts over quite a convincing portrayal of the villainous Dr. Behari. Shyamlal is good as the millionaire brother, and so is Madanpuri, despite occasional touches of artificiality, as the polished rogue Balraj. Sunder manages to have a few bright moments.

Manorama, who is quite a good actress, is wasted in another very poorly written and badly directed role. Suresh is disappointingly dull and tame in the romantic role of Rajan. Shyama, who looks quite attractive, does her best.

The sets are realistic. The photography is mediocre and seems to have suffered a lot from indifferent laboratory work. The editor has not been able to give the film the requisite consistency in narration.

The music is depressingly drab and the unpoetic lyrics set to dull melodies are poorly sung.

The film has seven songs, written by four songwriters – Saraswati Kumar Deepak, Shewan Rizvi, Kaif Irfani and Aziz Kashmiri. This song is penned by Shewan Rizvi. Music is by SD Batish. The main singing voice is SD Batish himself. There is another primary voice which is an unidentified female voice. Some lines in the song are sung solo by this voice. I request other knowledgeable readers and friends to help identify this voice.

The Cineplot review above censures the poetry and the music in the songs of this film. As I review the songs of this film already posted, I am not able to reconcile that observation. Anyway, the opinions and judgments are personal and subjective, and that is fine. The songs already posted from this film are

The readers are encouraged to listen to these earlier songs and make their own judgment.

Today’s song is simply a fun song. One image that I could locate (also on Cineplot) seems as if it is from this song only. The ambiance created in the audio is that of a dance performance, quite possibly a stage dance performance, and the visual that I have inserted with the upload, seems quite likely to be for this song. The song tells about the unreality of the reel world. A make believe construct manned by actors who are just role playing – they are not what they are. 🙂

There are interesting references in the verses of the song. There are names of actors and actresses in the song. There also are names of films – ‘Passing Show’, and ‘Hunterwaali’. As I check the Geet Kosh listings, I find films titled ‘Passing Show’ in the years 1936 and 1956. Since this song dates from 1954, the poet here is referring to the 1936 film. And the hero of that film is Jayant. And the film ‘Hunterwali’ being referred to is also from 1935. Of course the heroine of that film is Nadia. 🙂 [Actually, there is a film titled ‘Hunterwali Ki Beti’ from 1943 also; and in that film, the lead role is played by Nadia again.]

A fun song, and also, in a subtle manner, a song that projects reality. That the world of cinema is

jaali, jaali, jaali
(its all unreal, unreal, unreal)

And yet, it enthralls us, fascinates us, grips and enchants us no end. So much so that we spend an entire working career on building this wonderful blog – one song at a time. 😀 😀

Fifteen thousand songs – whew. . . wow. . . and CONGRATULATIONS. 🙂


Song – Filmi Duniya, Duniya Waalo (Haar Jeet) (1954) Singer – SD Batish, Unidentified Female Voice, Lyrics – Shewan Rizvi, MD – SD Batish
SD Batish + Chorus
Chorus

Lyrics

filmi duniya
duniya waalo
dekho dekho
filmi duniya

ye hai nargis
ye hai nimmi
ye hai geeta baali
ye hai geeta baali
main hoon hero
passing show ka
ye hai hunterwaali

hey..ey..ey

asli hum mein
koi nahin hai
sab ke sab hain jaali

asli
asli
asli
jaali
jaali
jaali

filmi duniya
duniya waalo
dekho dekho
filmi duniya

aaj nahin to
kal ya parson
aaj nahin to
kal ya parson
dee dee lallaa
kal ya parson
honge hum mash’hoor
mash’hoor
mash’hoor
bante bante
ban jaaunga
main bhi..ee..ee..ee
raaj kapoor..rr..rr
chalengi apni filmen
dilli aur kolkotta

opni baari jaabe
roshogolla khaabe

aur coimbatore
yendaaa
yendaaa
yendaaa da da da da daaaa
coimbatore
coimbatore
coimba..atore

filmi duniya
duniya waalo
dekho dekho
filmi duniya

hello

hello

hello madam paaro
hello madam paaro
seenon se
dil baahar niklen
jebon se
kuchh noten niklen
seenon se
dil baahar niklen
jebon se
kuchh noten niklen
aisa koi jhatka
arey jhatka
arey jhatka maaro
taali maaro
taali maaro..o..o..o
filmi duniya
duniya waalo
dekho dekho
filmi duniya

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

फिल्मी दुनिया
दुनिया वालो
देखो देखो
फिल्मी दुनिया

ये है नर्गिस
ये है निम्मी
ये है गीता बाली
ये है गीता बाली
मैं हूँ हीरो
पासिंग शो का
ये है हंटरवाली

हे॰॰ए॰॰ए

असली हम में
कोई नहीं है
सबके सब हैं जाली

असली
असली
असली
जाली
जाली
जाली

फिल्मी दुनिया
दुनिया वालो
देखो देखो
फिल्मी दुनिया

आज नहीं तो
कल या परसों
आज नहीं तो
कल या परसों
डी डी लल्ला
कल या परसों
होंगे हम मशहूर
मशहूर
मशहूर
बनते बनते
बन जाऊंगा
मैं भी॰॰ई॰॰ई
राज कपूर॰॰र्र॰॰र्र
चलेंगी अपनी फिल्में
दिल्ली और कोलकोत्ता

औपनि बाड़ी जाबे
रोशोगोल्ला खाबे

और कोयम्बटूर
येण्डा॰॰
येण्डा॰॰
येण्डा॰॰ डा डा डा डा डा॰॰आ
कोयम्बटूर
कोयम्बटूर
कोयम्ब॰॰टूर

फिल्मी दुनिया
दुनिया वालो
देखो देखो
फिल्मी दुनिया

हैलो

हैलो

हैलो मैडम पारो
सीनों से
दिल बाहर निकलें
जेबों से
कुछ नोटें निकलें
सीनों से
दिल बाहर निकलें
जेबों से
कुछ नोटें निकलें
ऐसा कोई झटका
अरे झटका
अरे झटका मारो
ताली मारो’
ताली मारो॰॰ओ॰॰ओ॰॰ओ

फिल्मी दुनिया
दुनिया वालो
देखो देखो
फिल्मी दुनिया


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 : 3909 Post No. : 14967

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Blog Ten Year Challenge (2009-2019)-Song number 25
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This is my First song post for ‘The 10 year Challenge’ series. Today, 10 years ago, on this day, 6 songs were posted. They were 1 song each for films ‘Bahut Din Huye’ (1954), ‘Marine Drive’ (1955), ‘Naag Devta’ (1962), ‘Bees Saal Baad’ (1962), ‘Prince’ (1969) and ‘Lootmaar’ (1980).

From the day it started, I was keen on participating, but everyday that I checked I found films either belonging to the 60s to 80s or films which were already Yippeee’d. I became helpless. Not that I can not or don’t want to write on songs of films of 70s and beyond, but they are not of my liking. Further I like to write only on songs or films, where I have something substantial to offer to our readers.

Finally, I found one film from 1st April 2009, which had some scope for me. The song is from film ‘Bahut Din Huye’. First, out of the 17 songs only 3 songs are posted on the blog and hence lot of choice to choose a song from remaining 14 songs, and secondly, the background of the film, the stars, the producer/director, the company etc were matters where I could elaborate to my will. So, I opted for this film’s song today.

The film is from the southern giant – Gemini Pictures. The film title sounds almost like a translation of ‘Once upon a time…’. It is a very apt title too, because the film is based on a folk tale of south. I like such films made in south and also their mythological films. When I see these films, the costumes of all the actors as well as their palaces etc remind me of similar pictures that used to appear in Chandamama magazines.

Chandamama (Chandoba in Marathi) magazines vied with my childhood craze of seeing films and reading books. Like many of my age group, our childhood had an important segment covered by Chandamama (in 13 Languages, including English and Sanskrit) readings. I strongly believe that  either the south film actors copied costumes from Chandamama pictures or the vice versa, but they resembled each others, for sure !

As expected, ‘Bahut Din Huye’ was a remake of Gemini’s own block buster ‘Bala Nagamma’ from 1942. Gemini Studios was the best known Madras studio in the 1940s for redefining the concept of mass entertainment with ‘Chandralekha’ (1948), the first Madras film to break successfully into the Hindi cinema circuit. SS Vasan started Gemini as a distribution agency, the Gemini Pictures Circuit, distributing and partly financing films by K Subramanyam’s Motion Picture Producers Combine. When the Combine went bankrupt, Vasan bought the studio in 1939 at public auction for a mere Rs 86,427-11 (annas)-9 (paise) (according to Randor Guy). The studio’s début feature was probably Balkrishna Narayan Rao’s ‘Madanakamarajan’ (1941), but it only took off when cameraman-scenarist K Ramnoth joined it along with his Vauhini partner, art-director AK Sekhar. This team made most of Gemini’s early features: ‘Mangamma Sapatham’ (1943), ‘Kannamma En Kadhali’ (1945) and ‘Miss Malini’ (1947) before the ‘Chandralekha’ blitz catapulted it on to the national stage.

In the early days, the most important event in the studio was Uday Shankar’s dance extravaganza ‘Kalpana’ (released 1948) which also provided training for most of Gemini’s technicians as well as providing the model for an Orientalist dance idiom later associated with influential Tamil choreographers like Hiralal and Chopra Master. A few minor hits followed ‘Chandralekha’ before the studio’s second major onslaught on the national box office with ‘Apoorva Sahodarargal’ (1949), a trilingual that established the studio’s dominance in the genre of the costumed adventure movie. Although its Hindi version ‘Nishan’ was not a major success, Vasan continued making Hindi films, often signing up major stars of Hindi films himself: e.g. the Dilip Kumar and Dev Anand film ‘Insaaniyat’ (1955), Vyjayanthimala’s ‘Raj Tilak’ (1958) and ‘Paigham (1959) starring Dilip Kumar, Raaj Kumar and Vyjayanthimala. They also made the mega-budget Tamil classic ‘Avvaiyyar’ (1953). An important later production was ‘Motor Sundaram Pillai’ (1966), Sivaji Ganesan’s only film at this studio. In 1958 the studio expanded into the Gemini Colour lab, licensed by Eastman color Kodak film. After Vasan’s death, his son SS Balasubramanyam produced the unsuccessful ‘Ellorum Nallavare’ (1975). Gemini’s productions declined in the 70s, although it remained successful as a studio and equipment rental business now taken over by the Anand Cine Services.

The unprecedented foray of Gemini’s Vasan’s hit film ‘Chandralekha’ into all India market, Subramaniam Srinivasan or simply SS Vasan, became aware of the unlimited scope of the Hindi belt market for south-made Hindi films. Vasan was a writer, editor, producer and director, but above all, he was a business tycoon. He  established the popular Tamil magazine ‘Anand Vikatan’, and owned Gemini studios, Gemini Laboratories and Gemini distribution circuits.

He soon decided to take advantage of the success of ‘Chandralekha’ and made another tri-lingual film. In Tamil it was called ‘Apoorva Sahodarargal’, in Telugu, it was ‘Apoorva Sahodaralu’, and in Hindi it was called ‘Nishan’ (1949). This film too was a  success. Encouraged by this, SS Vasan made his 1943 Tamil Hit film ‘Mangamma Sapatham’, into a remake in Hindi with the name ‘Mangala’ (1950). Not by coincidence, but by design, the hero for all these 3 remakes and the originals was Ranjan. ‘Mangala’ was remade in Sinhalese as ‘Mathalan’ in 1955 and in Telugu as ‘Mangamma Shapatham’ in 1965, featuring NT Ramarao (later the Chief Minister of erstwhile Andhra Pradesh), and Jamuna.

Enthused and inspired with Vasan’s success in the Hindi belt, another giant from the South came forward. AVM’s Tamil film ‘Vazhkai’ (1949) was a big hit in south. AVM made a Telugu Version of it with the name ‘Jeevitham’ in 1950 followed by a Hindi version ‘Bahaar’ in 1951. They introduced Vyjayantimala with this film, in Hindi. The story of the film and the music by SD Burman made film a big hit in Hindi too. AVM then made Hindi film ‘Ladki’ (1953), with a Tamil and Telugu version. This too became a hit film. However by that time the South market had grown manifolds and there was no need for the south film makers to venture into the Hindi belt to earn money. Thus, there was a slow down in this type of activity. The south now started making Hindi films directly in Madras by calling actors from Bombay. And some films were dubbed too.

The divide between the north and the south went on widening, which finally resulted in the anti-Hindi agitations of the 1960s and 70s in Madras and other southern places. Fortunately, in recent times and with the new generation, thanks to the coalition politics at the centre and states as well as IT centres at Hyderabad, Chennai and Bangalore, the North-South exchange is much better and each state is identified individually. Thanks also to novels of writers like Chetan Bhagat. And thanks to modernization.

‘Bahut Din Huye’ had a cast consisting of Madhubala, Ratan Kumar, Agha, Kailash, Savitri (debut film in Hindi), Lalita Pawar, Pushpvalli (mother of Rekha), Kanhaiya Lal etc. Ratan Kumar had a big role in this film. Another film of 1954, ‘Jagriti’ also had a pivotal role for Ratan Kumar.

Ratan Kumar’s real name was Syed Nazar Ali (born 21-8-42 at Ajmer, passed away 12-12-2016 at California, USA). He started working as a child star when he was just 4 year old. His first film was Baburao Patel’s ‘Gwaalan’ (1946). He did 25 film roles before he acted in film ‘Jagriti’. He worked in many famous films like ‘Sargam’ (1950), ‘Malhaar’ (1951), ‘Afsaana’ (1951), ‘Baiju Bawra’ (1952), ‘Do Bigha Zameen’ (1953), ‘Boot Polish’ (1953) etc. After doing film ‘Jalwa’ in 1955, he migrated to Pakistan in 1956, with his family, and remade ‘Jagriti’ in Pakistan, as ‘Bedaari(1957) – Urdu translation of the Hindi word Jagriti. This film used the same old tune for a film song in Pakistan, aimed at igniting a similar emotion and patriotic zeal, among the listeners. – “Aao Bachcho Tumhe Dikhayen Jhaanki Hindustan Ki… (come children let us show you glimpses of India), is a popular Hindi film song of the 1950s. “Aao Bachcho Sair Karaayen Tumko Pakistan Ki… (children, let us take you on a tour of Pakistan) is an equally hit song of the same period in Pakistan. The movie ‘Bedaari’ (1957) was produced by his elder brother Wazir Ali Rizvi.

He played a young boy’s role in many Pakistani films later. ‘Naagin (1959) was the first Pakistani film he played a lead actor opposite Neelo as the lead actress. Ratan Kumar’s success, as a lead actor, could not last long because his later films did not do well at the box-office and he eventually faded away.

In 1977, his 4 years old daughter died in an accident in Lahore, Pakistan. He was so emotionally upset after that accident that he decided to quit the Pakistani film industry. In 1979, Ratan Kumar left Pakistan never to return again. In the late 1960s, Ratan Kumar also got into the business of selling oriental carpets and had started travelling back and forth from Pakistan to Europe for this business. Eventually he ended up settling down permanently in the United States after 1979.

Ratan Kumar was living in California, in his old age, and was admitted to the hospital for pneumonia 10 days before his death on 12 Dec 2016. He had a long history of illness, though. In 1996, his lungs had collapsed twice in the same year. When they collapsed the third time in 2000, he was left paralyzed and went into a coma for eight days. Then he recovered in four to five months and became somewhat normal again. His survivors include 2 sons, a daughter and seven grandchildren .

Music for film ‘Bahut Din Huye’ is by a pair of BS Kalla and E Sankar Sastry. Many south Indian composers had tried their hand at giving music to Hindi films in the 50s decade. MDs like Ghantasala, BS Kalla, SD Parthasarathi, E Shankar, B Laxman, Vishwanathan, R Sudarshanam, SV Venkataramana, TR Ramanathan and TG Lingappa are few of the lesser known music directors from south, who composed music for Hindi films. They gave melodious music, but somehow they did not succeed here. One reason could be their use of southern singers, for whom acceptability was a problem here for Hindi songs. Names like Ramesh Naidu, Adi Narayana Rao and the pair of Vishwanathan-Ramamurthy were at least known names here. Their films like ‘Piya Milan’ (1955, MD – Ramesh Naidu), ‘Suvarna Sundari’ (1958, MD – Adi Narayana Rao) and ‘Naya Aadmi’ (1956, MD – Vishwanathan-Ramamurthy) had many popular songs.

The film had 17 songs, 7 of these were sung by Lata Mangeshkar and the remaining were either by chorus or unnamed male/female singers. The lyrics were by Pt. Indra. Let us now hear today’s chorus song and enjoy the song and dance video.

[Thanks to Encyclopedia of Indian Cinema by Rajadhyaksha, HFGK, MuVyz, The Hindu, Wiki and my notes.]

Song – Swaagat Raajkumar Tumhaara, Swaagat Raajkumar  (Bahut Din Huye) (1954) Singer – Chorus, Lyrics – Pt Indra, Music – BS Kalla

Lyrics

aaaa aaaa aaaaaaa
tananan tananan tananan tann
aaaa aaaa aaaaaaa
tananan tananan tananan tann
aa aa aa aaaaa
aa aa aa aa
aa aaa aaaaa aaaaa
aaaa aaaaa

swaagat raajkumar tumhaara
swaagat raajkumar
swaagat raajkumar tumhaara
swaagat raajkumar

aaaa aaaa aaaa
ye akhiyan matwaali kab se
rahi hain baat nihaar
aaaa aaaaa aaaaaa aaaa
aaaa aaaa aaaa
aaa
aaa aa
aaa
aaa aa
aaa
aaa aa
aaa
aaa aa

aao baitho ratan hindole
aaaa aaaa aaaa
ratan hindole
pawan veg se jhulo
tum pyaare mehmaan hamaare..ae..ae
aao sab kuchh bhulo
jhoola jhulo

aaaa aaaa aaaa aaaaa
mmmm mmmmm mmmm
mmmm mmmmm mmmm

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

आsss आsss आssssss
तननन तननन तननन तन्न
आsss आsss आssssss
तननन तननन तननन तन्न
आ आ आ आssss
आ आ आ आ
आ आss आssss आssss
आsss आssss

स्वागत राजकुमार तुम्हारा
स्वागत राजकुमार
स्वागत राजकुमार तुम्हारा
स्वागत राजकुमार

आ आ आ
ये अखियाँ मतवाली कब से
रही हैं बाट निहार
आsss आsss आsssss आsss
आsss आsss आsss
आss
आss आ
आss
आss आ
आss
आss आ
आss
आss आ

आओ बैठो रतन हिंडोले
आsss आsss आsss
रतन हिंडोले
पावन वेग से झूलो
तुम प्यारे मेहमान हमारे॰॰ए॰॰ए
आओ सब कुछ भूलो
झूला झूलो

आsss आsss आsss आsss
म्ममम म्ममम म्ममम
म्ममम म्ममम म्ममम


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

Blog Day : 3874 Post No. : 14894

The New Theatres Ltd.(NT) has given some outstanding and famous directors to the Hindi film industry who got fame on an all-India level. A couple of them got recognition in the international level also. I list below a few of them:

Debaki Bose was known for his films like ‘Chandidas’ (Bengali, 1932), ‘Puran Bhagat’ (1933), ‘Seeta’ (1934), ‘Vidyapati’ (1937). ‘Nartaki’ (1940) etc. Kidar Sharma called him the ‘Dronacharya of film making’. He was the first director who used background music. Probably, he was also the first Indian film director who was honoured with a Certificate of Merit for his direction of the film ‘Seeta’ (1933) at Cannes Film Festival.

Nitin Bose was known for the use of his magical camera angle in the films he directed. His camera angles spoke more than the dialogues. Some of the notable films he directed was ‘Chandidas’ (Hindi, 1934), ‘Dhoop Chhaaon’ (1935), ‘President’ (1937), ‘Dharti Mata’ (1938), ‘Milan’ (1946), ‘Deedar’ (1951), ‘Waaris’ (1954), ‘Ganga Jamuna’ (1961) etc. He was the first to experiment with playback singing in his film ‘Dhoop Chhaaon’ (1935). He got the idea when he saw Pankaj Mullick singing in tandem with a song which he was playing on his gramophone record player.

P C Barua, though not originally from NT, got name and fame when he joined NT and directed ‘Devdas’ (1935). He directed some other films like ‘Manzil’ (1936), ‘Mukti’ (1937), ‘Zindagi’ (1940), ‘Jawaab’ (1942), ‘Subah-Shaam’ (1944) etc. He was the first director who used ‘flash back’ technique in ‘Roop Lekha’ (1934).

Bimal Roy started his filmy career as Assistant to P C Barua in cinematography, editing and direction. He was the Cinematographer for films like ‘Devdas’ (1935), Mukti’ (1937), ‘Haar Jeet’ (1940), ‘Meenakshi’ (1942) etc. He got his first assignment as director in NT when he directed ‘Hamraahi’ (1945). Other well-known films which he directed include ‘Parineeta’ (1953), ‘Do Bigha Zameen’ (1953), ‘Devdas’ (1955), ‘Madhumati’ (1958), ‘Sujata’ (1959), “Bandini’ (1963). ‘Do Bigha Zameen’ (1953)’ was critically acclaimed and won a prize at Cannes Film Festival. ‘Madhumati’ (1958) got a total of 9 ‘Filmfare’ awards.

Name of a well-known director from NT is missing from the above list. I have chosen him in this article for his detailed profile. And he is Phani Majumdar.

Phani Majumdar (28/12/1911-16/05/1994) was born in Faridkot in Bengal Presidency (now in Bangla Desh). After his graduation in 1930, Phani Majumdar worked as a typist in a company. His connection with films started when he joined as Stenographer to P C Barua in Barua Studio sometime in 1932. Later he became his Assistant Director in ‘Devdas’ (1935) and ‘Mukti’ (1937). He was a script-writer for ‘Abhagin’ (1938).

Phani Majumdar got his opportunity to debut as director in ‘Street Singer’ (1938) with K L Saigal and Kanan Devi in lead roles. This film is regarded as classical musical melodrama like ‘Devdas’ (1935). His debut film was highly successful at the box office. With this film, K L Saigal and Kanan Devi reached the pinnacle of their filmy career as actor-singer.

After successfully directing ‘Kapal Kundala’ (1939) for NT, Phani Majumdar shifted his base to Bombay (Mumbai) sometime in 1941. But working as a free-lance director was not a cakewalk for him especially at a time when there was scarcity of raw films, getting actors for the films who were mostly studio attached and the studio time for shooting. But due to his fame as a director of ‘Street Singer’ (1938) and also his friendly nature, he could overcome the initial obstacles.

Luck favoured Phani Majumdar. Chimanlal Trivedi had closed down his film production company, CIRCO Productions and had set up a new banner, Laxmi Productions. He engaged Phani Majumdar for directing his first film ‘Tamanna’ (1942) under the new banner. From the cast and crew of the film, it would appear that Phani Majumdar had a free hand in selecting them. Apart from actors for the film like Leela Desai, Jagdish Sethi, K C Dey who were earlier attached to NT, he had engaged 7 technicians from Bengal for the film. This was the first film in Mumbai for Leela Desai.

‘Filmindia’, in its review of ‘Tamanna’ (1942) while lauding the performances of Jairaj, Leela Desai, Jagdish Sethi and K C Dey, was critical of the direction by Phani Majumdar. However, some of the film producers seemed to have a different views. The result was that Phani Majumdar was flooded with new assignments as director for ‘Mohabbat’ (1943), ‘Rajkumar’ (1944) and ‘Meena’ (1944). Thereafter, he produced and directed ‘Devdasi’ (1945), Insaaf’ (1946) and ‘Door Chalen’ (1946). He also directed an off-beat film ‘Hum Bhi Insaan Hain’ (1948) starring Dev Anand and Ramola.

In the early 1950s, Phani Majumdar directed ‘Andolan’ (1951) which was virtually a documentary type film depicting the history of the Indian National Congress since its inception in 1885 until 1947 and India’s freedom struggle. Thereafter, he directed Bombay Talkies’ ‘Tamasha’ (1952) and ‘Baadbaan’ (1954), the latter being actually produced by the Bombay Talkies Workers Cooperatives. Both these films were critically acclaimed though they were not successful in terms of box office receipts. Shakti Samanta assisted Phani Majumdar in both these films in direction as also in dialogues/script writing.

During 1955-59, Phani Majumdar joined Shaws’ Malay Films Productions, Singapore. During this period, he directed 11 films in Malay, Chinese and English languages. He directed the first Eastman Colour film in Malay language, ‘Hang Tuah’ (1956). The film won awards in the Asian Film Festival held in Hong Kong in 1957 and was nominated for the Golden Berlin Bear in Berlin International Film Festival, 1957. The prominent Malaysian film maker, Jamir Sulong assisted Phani Majumdar in his 6 out of 8 films he directed in Singapore.

After returning to India in 1959, he directed successful films like ‘Aarti’ (1962), ‘Oonche Log’ (1965) and ‘Aakashdeep’ (1965). In all, he directed 26 feature films in Hindi during 1938-1989. He wrote the scripts for most of his films which he directed. In addition, he also directed a few Children’s films and films in other languages like Bengali, Punjabi, Magadhi, Maithili, Malay, Chinese, English etc. Towards the end of his filmy career, he directed a few TV serials in Kolkata.

Phani Majumdar left for heavenly abode on May 16, 1994 at the age of 83. He was married to actress Monica Desai, the younger sister of actress Leela Desai.

Phani Majumdar mostly directed films which were acclaimed as creator of social consciousness. One of such films he directed was ‘‘Dhobi Doctor’ (1954). The film was produced under the banner of Ranjit Movietone. The star cast included Kishore Kumar and Usha Kiran in the lead role supported by Kanhaiyalal, Gautam, Krishnakant, Nazira Begum, Shivraj, Usha Rani, Master Jagdeep, Baby Asha Parekh etc

The gist of the story of the film based on the film’s review in January 24, 1954 issue of ‘Filmfare’ and the song book of the film is as under:

Ramu (childhood roe played by Jagdeep) is the son of a poor Dhobi, Mahadeo. Ramu is smart and intelligent. His elder sister, Lakshmi is very proud of her younger brother. Every evening, Lakshmi walks through the fields to pick him up from the school for back home.

One day, Lakshmi falls ill. Mahadeo has no money to bring doctor to the village. Having ranked top in his class in the school examination, Ramu has to attend to a prize distribution ceremony. But Lakshmi cannot accompany him as she is ill. After the prize distribution ceremony, Ramu returns home quickly to show his Didi the books he received as the prize. He finds that his Didi is dead. Choked with grief, he asks his father as to why Didi died. Mahadeo has no answer except that he was so poor that he could not afford to call a doctor. The broken-hearted Ramu vows that he would become a doctor and treat free the poor in the village.

Mahadeo works hard to earn more money for the fulfillment of Ramu’s dream. In the school, Ramu is taunted by some of his rich classmates for a dream of a poor Ramu of becoming a doctor but he is indifferent to the taunts. Ramu’s hard work and his father’s struggle bring fruits. He finishes his school with good performance and gets admitted to the medical college.

Ramu’s aptitude for medical studies attracts attention of the Vice- Principal, Professor Tripathi. He takes a greater interest in Ramu’s studies. Ramu becomes a doctor. Professor Tripathi helps him further in his practice by placing his laboratory at Ramu’s disposal. He also allows Ramu to study in his residence since his house in the village is far-off. Professor Tripathi has a young daughter, Uma (Usha Kiran) who plays pranks with Ramu. Gradually, Uma falls in love with Ramu. However, he is shy to reciprocate the love. Moreover, he is aware that he is the son of a poor Dhobi and Uma is the daughter of a rich father. There is struggle between his heart and realities of the situation. However, at the end, they unite after overcoming the stumbling block of the society.

‘Dhobi Doctor’ (1954) had 7 songs of which one song has been covered in the Blog. Interestingly, out of the 7 songs as many as 6 songs are solo songs of Asha Bhonsle. The remaining one song is sung by Kishore Kumar. All the songs were written jointly by Ali Sardar Jafri and Majrooh Sutanpuri and were composed by Khayyam.

I am presenting one of the remaining six songs from the film which is a rare one. The song is ‘taaron se akhiyaan milaaun main’ sung by Asha Bhonsle. When I first heard this song, I was surprised to note that the composition as well as the orchestrations of the song sounded like that of O P Nayyar. The fact is that when Khayyam composed the music for this song, O P Nayyar had not established himself as the music director of repute to copy his style of music. He came into prominence only after a runaway success of ‘Aar Paar’ (1954) and its songs. But the film ‘Dhobi Doctor’ (1954) was released on January 19, 1954, about 4 months before the release of ‘Aar Paar’ (1954).

Enjoy this song of Khayyam in the style of O P Nayyar.

Note: The information on Phani Majumdar is mainly from indiancine.ma, ‘Filmindia’ magazines, ‘Film Pictorial’- April 1945 issue and inputs from newspapers.

Audio Clip :

Song-Taaron se ankhiyaan milaaun main (Dhobi Doctor)(1954) Singer-Asha Bhonsle, Lyrics-Majrooh Sultanpuri, MD-Khayyam

Lyrics

hmm hmm hmm
hmm hmm hmm
hmm hmm hmm
hmm hmm hmm
taaron se
taaron se ankhiyaan milaaun main
chanda ko sajna banaaun main
taaron se
taaron se ankhiyaan milaaun main
chanda ko sajna banaaun main
taaron se

shaam ki bahaaron mein
jhoomte nazaaron mein
naachoongi titliyaan ban ke
shaam ki bahaaron mein
jhoomte nazaaron mein
nachoongi titliyaan ban ke
chaandni ki chhaanv mein
dolti hawaaon mein
gaaungi koyaliyaa ban ke
dil na kisi se lagaaun main
chanda ko sajna banaaun main
taaron se
taaron se ankhiyaan milaaun main
chanda ko sajna banaaun main
taaron se

ankhiyon ko mal ke gaaungi machal ke
birha ke geet jhoothh moothh ke
ankhiyon ko mal ke gaaungi machal ke
birha ke geet jhoothh moothh ke
kahin bhi na jaaungi
abhi roothh jaaungi
aa ke man jaaungi roothh ke
dil na kisi se lagaaun main
chanda ko sajna banaaun main
taaron se
taaron se ankhiyaan milaaun main
chanda ko sajna banaaun main
taaron se
hmm hmm hmm
hmm hmm hmm hmm
hmm hmm hmm
hmm hmm hmm hmm
hmm hmm hmm hmm
hmm hmm hmm


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

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has more than 15500 song posts by now.

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