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

Posts Tagged ‘1954


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 :

4448 Post No. : 15901

Today’s song is from film Daku ki Ladki-54. I remember, there was a film in 1933 with the same title, featuring Sulochana, Dinshaw Bilimorea, Ghulam Mohd. Hadi etc. In that film, Ghulam Mohd. had done the role of the Daku, Sulochana was Daku’s Ladki and Dinshaw was the Police Officer.Ghulam Mohd. was known as ” The Prince of Imperial Film Company”, in those days.

Today’s film was made by Harish Productions. Naturally, the director and the Producer was Tara Harish only. Music was by Hemant Kumar. The cast of the film was Geeta Bali, Sheikh Mukhtar, Arjun, Shivraj, Rajan Kapoor, Mukri, Sankatha Prasad, Cuckoo etc etc.

The word “Daku” regularly appeared in the film titles right from the time Talkie films started. There were a total 32 films starting with the word Daku. When the film Daku ki Ladki came in 1933, as if to counter it, a film called Daku ka Ladka came in 1935. Thank God Daku’s family did not expand further ! Interestingly, there were 16 films based on female Dakus and only 7 films on Male Dakus. I wonder, what is the Hindi word for female Daku. A Dakin ? or a Dakuin ? or is it enough just to say He Daku and She Daku ? While female Dakus were honoured by calling them Daku Rani in 5 films and Daku Maharani in 1 film, the poor He Dakus had prosaic titles like Daku Bhupat or Daku Mansoor etc.etc.

When I took up discussing the 50’s film songs, I found that a lot of melodious and good songs to be yet to be discussed. Today’s song is one such song. To listen to Lata and Hemant Kumar is nothing short of a Bliss. Out of 2 such duets from this film one had remained to be discussed. In one of her interviews, Lata had said that she had always enjoyed singing duets with Hemant Kumar. She also said ” I used to feel as if some Sadhu was singing when I heard him singing a song”.

In the Costume drama Daku ki Ladki-54, Ravi Shankar Sharma was Hemant’s assistant in composing music.In few Hemant Kumar films, Ravi has sung songs, including this film. Later on when Ravi himself became a famous and successful composer, he made Hemant Kumar sing in his films. HK was a very respected person in the industry. When he came to Bombay his Hindi was not so good. Like all Bangla people, he had inherent difficulty in pronunciation of certain Hindi words. This was because, in Bangla language, there are no such sounds as plain ” A ” (अ ). So, Arun becomes Orun and Lata becomes Lota. With great practice and hard work, he improved his Hindi. Initially, even Geeta Roy had this problem.

In the cast of the film, you will see a name Shivraj. Not much is known about this good actor. Sometimes I feel some actors have such features that they are fixed for certain roles only and they are misfits in another role. For example, can you ever imagine Rashid Khan or Kanhaiyalal in a role of a sophisticated Millionnnaire ? Or Aruna Irani or Padma Khanna in a Mythological Devi’s role ? They may be good actors, but their physical features and style of acting restricts them to certain roles only. This is true even in case of big stars. Thus, Ashok Kumar became a laughing stock as Abhimanyu or warrier Humayun in full war gear.

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 the 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 Obituary – 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 the 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 the 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.

There is also a name Arjun in the cast. Now this is a ‘ Same Name Confusion ‘ artiste. Arjun was the Hero in film Malhar-51, opposite actress Shammi (Nargis Rabadi). His name is confused with Music director C.Arjun and many people wrongly presume that C.Arjun acted in the film Malhar. This Arjun is different. His name was Arjun Bakshi Gill. His first film was Naujawan-51, then came Malhar-51.Later he acted in Daku ki Ladki-54 etc. He wrote screenplays and went on doing small roles in films. He migrated to Canada and opened a Music shop. A RMIM member met him there, and recognised Arjun as Malhar Hero. Arjun died in 2001. His daughter Jyoti Bakshi was also an actress, who died in pitiable condition in 2003.

Finally, let us take a look at dancer Cuckoo.

It was 1944. The talkies were already around for 15 years. Devika Rani and Shobana Samarth had already established their glowing presence but it was still a time when nice girls didn’t even become leading ladies, let alone do roles where they had to wriggle their hips — however tastefully — and bare flesh, which at the time meant shoulders and maybe a bit of leg. At such a time, a pretty, fresh-faced Anglo-Indian girl with eyes that danced as enchantingly as her feet appeared in two films — “Pehli Nazar”- 1945 (in which Mukesh made his debut with “Dil Jalta hai toh jalne de”) and “Mujrim -1944.” The girl’s name in the film’s credits was listed simply as “Cuckoo.” Cuckoo was perhaps the first of the most well known dancing queens of Indian Cinema. She was born on 4-2-1928. Her predecessors were many, including a dancer called Azurie, who it is said Cuckoo modeled herself on. But in terms of the sheer body of work and its impact, Cuckoo would have to be the first among Hindi cinema’s dancing queens. It was with her that “cabaret” became an almost indispensable part of films made between the 1950s and 1970s.

Her debut in 1944 was an instant hit and in the space of just the next five years, she had appeared in an incredible 49 films, including Mehboob Khan’s “Anokhi Ada” (1948), H. S. Rawail’s “Patanga” (1949) and Devendra Goel’s “Aankhen” (1950). The only major filmmaker of the time who did not feature Cuckoo in his films was V. Shantaram. In a lot of her films, her role was just a song but its impact was so electrifying that distributors considered it almost as indispensable as the heroine. Like the Helen-Asha combination later on, in many of these songs, Cuckoo’s screen `voice’ was Shamshad Begum. Together, they were responsible for some unforgettable hits.

Mehboob Khan’s films proved to be the turning points in Cuckoo’s career. Her dance numbers in hisAnokhi Ada established her as the leading dancer of the time; and Andaz, a romantic melodrama featuring Raj Kapoor, Dilip Kumar, and Nargis, gave the dancer an opportunity to showcase her acting skills.During her peak period,she was getting Rs.6000/- per dance appearance.

Cuckoo remained the top dancer of Hindi films till she was displaced by Helen and such dancer-actresses as Vyjayanthimala.Cuckoo gave dances in about 76 films. Ironically, it was Cuckoo who had initiated a 13-year-old Helen into films as a chorus dancer.Cuckoo continued to dance until the beginning of the 1960s, the last few years as part of the chorus dancing.It has been recently confirmed that Cuckoo’s real name was Cuckoo Moray.Cuckoo died a slow lingering death, due to Cancer on 30-9-1981 penniless and unattended. No one from the Film industry attended her cremation. (Thanks for some information from Cineplot and from the book”Tujhe mere geet bulate hain” by Sanjeev Tanwar).

Today’s song is a delightful duet of Lata and Hemant Kumar. Let us now enjoy it….


Song-Nazron se chhup gaya hai taqdeer ka saweraa (Daaku Ki Ladki)(1954) Singer-Lata, Hemant Kumar , Lyrics-Kaif Irfani, MD-Hemant Kumar

Lyrics

nazron se ae
chhup gaya hai ae ae
taqdeer kaa aa savera

nazron se chhup gaya hai
taqdeer kaa savera
girta hai jo bhi aansu
leta hai naam teraa
ham rah gaye tadap kar
munh zindagi ne phera
girta hai jo bhi aansu
leta hai naam teraa
nazron se chhup gaya hai
taqdeer kaa savera

duniya mein ham ye kaisi taqdeer le ke aaye
tukde dil-o-jigar ke
ashkon mein muskuraaye
hansti hai mujhpe kismat
rota hai pyaar meraa

girta hai jo bhi aansu
leta hai naam teraa
nazron se chhup gaya hai
taqdeer kaa savera

aaja ki dil liye hai maayoosiyaan nazar mein
ek shamma jal rahi hai
teri yaad ki jigar mein
baaki hai har taraf ab chhaaya hua andhera
girta hai jo bhi aansu
leta hai naam teraa
nazron se chhup gaya hai
taqdeer kaa savera
girta hai jo bhi aansu
leta hai naam teraa


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 :

4442 Post No. : 15888

———————————————–————————————
Blog 10-Year Challenge (2010-2020) – Song No. 79
———————————————————————————–

15 september 2010, the day exactly ten years ago, saw the blog add its seven songs from seven movies. Here are the details:-

Song Movie title-Year Remarks
Muhabbat badhaa kar judaa ho gaye Daastaan-1950 All Songs covered
Daaman naa chhudaa yoon door na kar Lakeeren-1954 05 songs posted
Sare mehfil jo jalaa parwaanaa Shamaa Parwaanaa-1954 All Songs covered
Aa gaya mazaa pyaar ka nashaa Sarhad-1960 All Songs covered
Teri taqdeer ka sitaaraa kamaal hai Zabak-1961 All Songs covered
Aap yahaan aaye kis liye Kal Aaj Aur Kal-1972 3 songs posted
Ik raastaa hai zindagi Kaalaa Patthar-1979 All Songs covered

Five of these movies have been YIPPEED by now. That leaves us with “Lakeeren”(1954) and “Kal Aaj Aur Kal”(1972) as the two unYIPPEED movies whose songs are eligible for discussion today (15 september 2020) in our Blog Ten Year Challenge.

“Lakeeren”(1954) had made its debut in the blog ten years ago on this date. Simce then, five of its songs have been covered in the blog. Here are the details:-

Daaman naa chhudaa yoon door na kar15.09.2010Mohabbat ki duniyaa mein barbaad rehna07.02.2012Dil ki dhadkan pe gaa umr bhar muskuraa04.10.2012Nimbuwaa pe papeeha bola03.05.2014Duniya se jaa raha hoon duniya ke ham uthhaa ke06.11.2017

Song Posted On

As part of the Blog Ten year challenge, here is the sixth song from “Lakeeren”(1954) to appear in the blog. The song is sung by Geeta Dutt. Shewan Rizvi is the lyricist. Music is composed by Hafeez Khan.

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

Lyrics of the song and other BTYC details were sent to me by Avinash Scrapwala.


Song-Tujhse shiqwa kiya nahin jaataa (Lakeeren)(1954) Singer-Geeta Dutt, Lyrics-Shewan Rizvi, MD-Hafeez Khan

Lyrics(Provided by Avinash Scrapwala)

tujhse shikwaa kiyaa nahin jaataa aa
tujhse shikwaa kiyaa nahin jaataa aa aa
maut de de
jiyaa nahin jaataa aa aa
maut de de
jiyaa nahin jaataa aa
maut de de ae

ashq hi jab nahin
to royen kyaa aa aa aa aa aa aa
ashq hi ee jab nahin
to royen kyaa aa aa aa aa aa aa aa
khoon paani
khoon paani kiyaa nahin jaataa aa
maut de de
maut de de ae
jiyaa nahin jaataa aa aa
maut de de

begunaahon ke kitney dil tode
begunaahon ke kitney dil tode
ae ae ae ae ae
naam teraa
naam teraa liyaa nahin jaataa aa
maut de de
maut de de ae
jiyaa nahin jaataa aa aa
maut de de

doob jaane de
meri kashti ee ee ko o o o o o o o o
doob jaane de
meri ee kashti ee ko o o o o o o o o o o
ab sahaaraa
ab sahaaraa liyaa nahin jaataa
maut de de
maut de de ae
jiyaa nahin jaataa aa aa
maut de de
maut de de
maut de de ae

—————————————
Devnagri Script lyrics (Provided by Avinash Scrapwala)
—————————————-
तुझसे शिकवा किया नहीं जाता आ
तुझसे शिकवा किया नहीं जाता आ आ
मौत दे दे ए
मौत दे दे
जिया नहीं जाता आ आ
मौत दे दे
जिया नहीं जाता आ आ
मौत दे दे ए
अश्क ही जब नहीं
तो रोयें क्या आ आ आ आ आ आ °°°
अश्क ही ई जब नहीं
तो रोयें क्या आ आ आ आ आ आ °°°
खून पानी
खून पानी किया नहीं जाता आ
मौत दे दे
मौत दे दे ए
जिया नहीं जाता आ आ
मौत दे दे

बेगुनाहों के कितने दिल तोड़े
बेगुनाहों के कितने दिल तोड़े
ए ए ए ए ए
नाम तेरा
नाम तेरा लिया नहीं जाता
मौत दे दे
मौत दे दे ए
जिया नहीं जाता आ आ
मौत दे दे

डूब जाने दे
मेरी कश्ती ई ई को ओ ओ ओ
ओ ओ ओ ओ°°°
डूब जाने दे
मेरी ई कश्ती ई को ओ ओ ओ ओ ओ
ओ ओ ओ ओ ओ°°°
अब सहारा
अब सहारा लिया नहीं जाता
मौत दे दे
मौत दे दे ए
जिया नहीं जाता आ आ
मौत दे दे
मौत दे दे
मौत दे दे ए


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 :

4440 Post No. : 15884

Today’s song is from the film Baadbaan-1954.

This film has some history. After actress Devika Rani left Bombay Talkies in 1945, it was going downhill. The fall had actually started in 1940, after Himanshu Rai’s death. That is when Devika Rani took over the reigns of Bombay Talkies. From the day she was brought back from Calcutta (after the elopement), Devika Rani was not comfortable with Shashdhar Mukherjee. She had always suspected that he instigated the staff against her and they ridiculed her. She caught hold of Amiya Chakraborty in her group and there were clearly two groups in Bombay Talkies management.

As a result of continued friction, a big group of disgruntled staff of the company left Bombay Talkies and later formed Filmistan. Devika Rani was shattered, but the other loyalists helped her and the company continued till 1945. In this year, Devika Rani got married, sold her shares and left the company. The new management kept on making films sporadically, but except film Mahal-1949, no Hit film was made. Finally in 1952, the company was sold to Tolaram jalan, a businessman-not connected with films. In 1952, Bimal Roy made the film ‘Maa’ and Phani majumdar made the film ‘Tamasha ‘, but these too could not save Bombay Talkies.

As a last effort, the employees of Bombay Talkies got together and formed “Bombay Talkies workers’ Industrial Cooperative Society ” and made the film “Baadbaan “-54. As a help to the workers and as a gesture of gratitude, all the artistes of the film, like Dev Anand, Meena Kumari, Usha Kiran,Jairaj, Leela Chitnis etc etc, the director Phani Majumdar and the composers Timir Baran and S K Pal, along with all Technical staff worked free for this film.

In Spite of all this, the film Baadbaan flopped and finally the company was closed down in December-1954. That was the background history of the film Baadbaan. The meaning of this Title word is…Baad means Storm and Baan means Safeguard. The film is about the storm that comes in the life of the Hero and how his life changes after this.

The all-star cast of eleven top-rate players comprised of Dev Anand, Meena Kumari, Usha Kiron, Ashok Kumar, Bipin Gupta, Gope, Krishnakant, Jairaj, Leela Chitnis, Sheikh Mukhtar and Shivraj.The credit for handling this brilliant array or talent goes to Director Phani Mazumdar who also wrote the story and to Nabendu Ghosh whose compact screenplay and terse, but tell­ing, dialogue exploit both the stars and their well-written parts as well as the richly-interest­ing story.

A beautiful, very melodious music score composed by Timir Baran and S.K. Pal, lovely lyrics written by Indivar and Udhav Kumar and superbly choreographed dances designed by the brilliant exponent Shanti Bhardan and Parvati Kumar provide sparkling highlights in this engrossing film.

The picture depicts a story rich in incident and emotional conflict and centers on an orphaned child whose parents, fisher folk, are killed in a storm and who is adopted by a rich, kind and broad-minded philanthropist. The real drama sets in when the boy returns from Eng­land and falls in love with a lovely young so­cialite who reciprocates his love. On hearing of his true parentage, however, her father forbids the marriage but relents at seeing his daugh­ter’s unhappiness.The hero’s overwhelming passion for a beautiful fisher girl from the village of his birth to which he returns, bent on improving his peo­ple’s lot, and his love for his charming wife make for strong emotional power climaxed tragically by the latter’s death and given subtle meaning by his return to his own people and a girl of his own kind.The best performance comes from Usha Kiron who dominates the picture with her gloriously rich portrayal as the fisher girl Mohania. She literally lights up the screen with her brilliant, sympathetic acting.

Dev Anand, as the hero, puts over a good role despite the fact that he tends to fall short in some of his scenes and is a trifle gauche throughout the film. Meena Kumari, as his ill- starred wife, turns in a quiet, polished role in a quite difficult part. Another subtle but telling performance comes from Ashok Kumar who plays her silent lover and the hero’s friend with the consummate ease of a veteran artist.Bipin Gupta and Krishnakant, as the hero’s foster-father and the heroine’s father, act im­peccably as usual. Jairaj, as Dev Anand’s fa­ther, does well in a small part and Leela Chitnis as his mother acts well and looks love­ly. The comedy is provided mainly by Gope who handles his comic and dramatic scenes very well. ( review adapted from Cineplot, with thanks.).

In Spite of all this, the film was not successful at the Box office. The reasons could be any and many, but the film industry is governed by superstitious notions. One of them is that the pair of Dev Anand- Meena Kumari can not bring out anything good. This pair had featured in 4 films. Their first film was ‘Sanam’-51. Of course Meena Kumari was not a Heroine in this film, but her presence in the film with Dev Anand, saw that the Love Birds- Suraiya-Dev Anand separated for ever in their lives, from this film. The director Nandlal Jaswantlal also began a bad patch in his life .

The second film was ‘Tamasha’-52, made by an already sinking Bombay talkies. This film not only failed, but Bombay Talkies also did not remain in a position to make another film. When the workers union made the film Baadbaan-54 -their 3rd film together- the film and the Union, together with Bombay Talkies sank so deep – never to get up again ! That was Curtains for Bombay Talkies !

For the fourth time Dev and Meena kumari came together again in film ‘Kinare Kinare’-63. Lyricist Nyay Sharma was the Producer. The film took 5 years to complete and after its release, flopped miserably, putting Nyay Sharma in the depth of debts ! Seeing this result, no Producer ever dared to bring Dev-Meena Kumari together again, Ever !

I would not believe such stories, but when I saw another example, I started believing this phenomenon. There was yet another pair- Waheeda-Rajendra Kumar- in films, which was called a “KIller Pair”. The first film of this pair was the film ‘Nirmala’ Made by Dalsukh Pancholi. During its making only, Pancholi died and the film went into cans. Second film was ‘Palki’-67, made by S U Sunny. During its making Sunny died on the sets. The film was completed by Mahesh Kaul, but on release it flopped. The third film was S S Vasan’s “Shatranj”-69. During its making Vasan died. Their fourth and last film together was “Dharati’-70, made by Director Shreedhar. During its making, the producer-Shreedhar’s mother died. After this film, no one dared to bring this pair together again, ever !

In our film industry, such stories of ‘Lucky” -“Unlucky” actors, directors and MDs are many. Maybe some more stories, some other time….

Here is the 6th song from the film Baadbaan-54. It is sung by Manna Dey, Asha Bhosle and chorus. The song’s duration is only 2.50minutes, but it’s prelude music runs for 1.18 minutes…one of the longest, maybe.


Song-Jai deva ho (Baadbaan)(1954) Singers-Asha Bhonsle, Manna Dey, Lyrics-Uddhav Kumar, MD-Timir Baran- S K Pal
Chorus
Asha Bhonsle + Manna Dey + Chorus

jai deva ho
jai deva ho
jai deva jai deva jai deva ho

jai deva ho
jai deva ho
jai deva jai deva jai deva ho
jai deva ho jai deva ho
jai deva jai deva jai deva ho

humpe raakho mehar ki najariya najariya
jai deva ho
jai deva ho
jai deva jai deva jai deva ho

andhiyaari raat gayi bairan barsaat gayi
o o o
o o o

andhiyari raat gayi bairan barsat gayi
ho o o o

aayi hai bhor naye saal ki
aayi hai aayi hai aayi hai bhor naye saal ki
aao re deva baitho re deva
khaali hai ankhiyon ki paalki
ee ee ee
aayi hai bhor naye saal ki

jai deva ho jai deva ho
jai deva jai deva jai deva ho


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 :

4436 Post No. : 15875

Today’s song is from the film Baraati-54. This is a comedy song sung by Chitalkar and the MD is Roshan. The director was J.K.Nanda and the cast was Chand Usmani, Peace Kanwal,Agha, Omprakash, Shyam Kumar, Leela Mishra, Johnny Walker, Rajan Haksar, Kathana and many others.

The director J.K. Nanda aka Jai Kishen Nanda was born in 1904, in Bham, Punjab. He was a director, story writer and screenwriter. In spite of all these qualities and having got good films to direct, Nanda could not have a crowded career and directed only 12 films in his career. He wrote screenplay and story of films like Jailor-1938, Singaar-49, Baraat-54 and Mirza Ghalib-54. Films of his direction were Pavitra Ganga-32, Inteqaam-33, Bahen ka Pyar-35, Kudmai-41, Ishara-43, Jhumke-46, Parwana-47, Singaar-49, Chamkee-52, Baraati-54, Dhake ki Malmal-56 and Chaalaak-66.

Out of the total 8 songs of this film, 6 songs are already posted here. Today’s song is the 7th song and the 8th song is also available freely on YT. If one of us discusses that, this film too can be Yippeed.

Though this films’ songs are not composed by C Ramchandra, he has sung this song for Roshan. This is because Chitalkar was very fond of singing. From his childhood his interest was in music and singing. He had actually been trained by qualified singers. He had done singing roles in stage dramas also in his younger age. Even in his first ever film ” Naganand-35″ he had sung 2 songs. Though the actual number of his songs-sung by him- is not available, according to one estimate ,he sang about 150 duets or trios with various singers and about 50 odd solo songs in his career, in 77 films. This number is as good as any second line singer in the industry. Of course Chitalkar sang essentially for his own films. However there were occasions when he was invited by other composers for singing songs.
In those days there was a friendly atmosphere and cordial relations existed among the musical fraternity. All composers, singers, their assistants, lyricists, musicians used to have a lot of fun, get-to-gethers and even outings. One can find many such photographs on the Internet. Though there was keen competition, it was very healthy and not a Cut-Throat type – yet. This clean atmosphere started getting spoiled when some conniving composers (read Shankar Jaikishan, Laxmikant Pyarelal and others of their ilk) started unethical means to grab undeserving awards and films. Honest and True to music composers like S D Burman, C Ramchandra, Madan Mohan, Khayyam etc were thrown aside as they proved to be misfits in this new ” Dog Eat Dog ” culture that crept stealthily, in the film industry !

Anyway, Chitalkar sang in films composed by other Music Directors very selectively and for the sake of specific reasons. He seems to have sung for Mir Sahib (his first Guru), Anil Biswas(his idol),S D Burman, Roshan(his close friend), P.Ramakant, Chic Chocolate(his assistant of many years), Hemant Kumar, Laxmikant Pyarelal,Usha Khanna and Kishore Kumar. He sang for the last three in his last few years.

His songs with other Music Directors may not exceed 15 at the most. Lata sang hardly 2-3 songs as duets with him, for other music directors. Remaining of his duets for other music directors were with other singers.

I feel that he sang only ONE duet with Asha Bhonsle for other Music Directors and that song is from today’s film Baraati-54.

Anyway, today’s song is from Baraati, a film from 1954 and the Music Director was Roshan. At this juncture, Roshan was fighting for survival. After Bawre Nain and Malhar he had not given any Hit film. Few songs from his films had become popular. In 1954, he was summarily removed from the film MEHBOOBA and O P Nayyar took over . There was a huge hue and cry and the matter was taken up by the Association too. One good thing that happened was that during this period Lata stood behind Roshan like a Rock. Their relations were extremely sweet, so much so that when Lata decided to produce a Film “Bhairavi”, she appointed Roshan as its Music Director, much to the amazement of the industry ! The film did not materialise, is another matter. Though Roshan was never a Front row composer in the industry, Lata had recognised his Talent in the musical arena. The sweet relations between Lata and Roshan remained so for a long time-only to become bitter when Roshan gave opportunities to Hemlata in his films.

Chitalkar and Roshan were very good friends. After Chitalkar had retired from films, Roshan used to frequently go to his house in the evenings for drinks. Though Roshan hardly drank anything, Chitalkar more than compensated the deficit!. They used to exchange their sorrows. Roshan’s family life was not a happy one, which added to his nervous nature and took its toll finally.

Initially BARAATI-1954 was given to Chitalkar, who was already doing Yasmeen for Kardar Studios. Since Chitalkar knew that Roshan was without work, he persuaded A R Kardar to give the film to Roshan, thus Roshan became the Music Director for this movie.

When this song of Baraati-54 was to be recorded, Roshan purposely opted for Asha, since he knew that in future Chitalkar would try to bank upon her as a replacement for Lata. However it was not to be, though Chitalkar tried his best in this direction. In the film Amardeep-58, out of 12 songs,Asha was given 7 songs while Lata sang only two. In this connection there is an interesting incident….

In January 1957,there was a singing competition called ” MURPHY-METRO SINGING CONTEST ” held on the open grounds of Mahalaxmi Racecourse, Bombay. The judges were Naushad, Anil Biswas, C Ramchandra, Vasat Desai and Madan Mohan (He was the youngest of them all, which was an honour for him). Aarti Mukherjee and Mahendra Kapoor were the winners in this contest.

At the end of the Contest,when the curtain opened after a break, C Ramchandra suddenly appeared at the Centre-stage, with his full orchestra. (This was NOT announced to the audience earlier, giving them a pleasant surprise.)

Within minutes Asha Bhonsle appeared on the stage and they started a live show under his baton, presenting the First ever ROCK N ROLL number in the annals of Hindi film Music. Asha brought down the whole Mahalaxmi house that evening with her ultra spirited singing of ‘ Mr. John, ya Baba khan ya Lala Roshan daan ” from film BAARISH-57 to be released only next month viz. February 1957.

Such was C Ramchandra’s clout in his heydays that he was considered the heralder of westernised music in Indian films. It is well known that once S D Burman told his son, Pancham “If you want to go western, do it by all means, but first study the songs of C Ramchandra,study the vistas explored by him as a composer !!”

In the film Baraati-54, there were two Heroines – Chand Usmani and Peace Kanwal. For both of them, this was their second movie in their career. Peace Kanwal had a very short career of only 10 films. Then she got married and quit films. Chand Usmani survived for a longer period. She did 109 films. Her last film was a record-delayed film. Started in 1987, the film Yaar meri zindagi finally released in 2008 !

Chand Usmani was one of those actresses, who were good in acting but poor in good luck ! Actresses like Farida Jalal, Tabassum, Shubha Khote, Nazima, Zahira,Zahida, Yashodhara katju and many more fell in this category. These actresses never made upto regular Heroine roles, more than a few films. They had some beginner’s luck but that was the end. They continued in side roles only.

Chand Bibi Khanam Usmani was born on 3-7-1933 in Agra, U.P.and came to limelight by participating in ‘Kardar-Kolynos-Teresa Contest’ in 1949.She felt surprised when she was selected for the contest and overjoyed when selected as the second in the finals.She acted as the female lead of ‘Jeevan Jyoti’ directed by Mahesh Kaul in 1953, opposite Shammi Kapoor.It was the debut film of Shammi Kapoor also.
Chand Usmani became an established actress later on, but she got only secondary roles which she performed always nicely.Gradually she accepted supporting roles,character roles,mother roles etc.She got Filmfare Best Supporting actress award for her portrayal of the character as ‘Champa’ in the 1970 film ‘Pehchan’.
Chand Usmani acted in films of all prominent actors of that period.
In 1957 in the film ‘Naya Daur’ directed by B.R.Chopra, and in which Dilip Kumar-Vyjayantimal were the main pair, Chand Usmani acted as sister of the hero Dilip Kumar’s character ‘Shankar’.
In the historical film ‘Samrat Pritviraj Chauhan’ she acted in the role of Rajkumari.
‘Prem Patra’ was a well noted film directed by Bimal Roy in 1962.A medical College student Arun Kumar Mathur(Shashi Kapoor) has a misunderstanding over a love letter and the consequences were the theme of the film.Sadhna was the heroine and Chand Usmani acted in the supporting role as ‘Sumitra’.

‘Biswajeet,Saira Banu,Jayant,Sajjan,Nazima,Chand Usmani’ etc were the cast of ‘April Fool’ directed by Subodh Mukherjee.This film pointed to the fact that sometimes even practical jokes done for just fun can also lead to unexpected serious problems.

In the super hit film ‘Khilona’ in which Sanjeev Kumar acted in leading role in 1970, Chand Usmani acted as the character Laxmi Singh.
In the film ‘Ujala Hi Ujala'(74), she portrayed mother’s role and acted as mother of Yogita Bali’s character Anuradha.
She presented excellent acting skills along with Shabana Azmi in the 1976 classic movie ‘Kadambari’.
In the 1977 super hit movie of Manmohan Desai ‘Parvarish’ in which Amitabh Bachchan,Shammi Kapoor,Neetu Singh,Shabana Azmi,Vinod Khanna,Amjad Khan,Kader Khan’ etc acted, Chand Usmani acted skilfully as the mother of Neetu and Shabu (Neetu Singh and Shabana Azmi).

She had a well noted character role in another super hit film of Amitabh Bachchan-Neetu Singh pair ‘Yaarana’ in 1981 and yet another film ‘Pukar'(83) in which Amitabh Bachchan and Zeenat Aman were the main pair.

She acted as mother of Suraj (Raj Babbar) in the film ‘Zakhmi Aurat'(88). In all, she acted in 109 films. Her first film was Jeewan Jyoti-53 and the last released film was a record delayed film, Yaar meri zindagi, which started in 1987 and was released in 2008 !

Chand Usmani died on 26-11- 1989 at Mumbai.

As far as Peace Kanwal is concerned, film Kismet-56 was her third and last film as a Heroine. When the film was released, she was pregnant and delivered in 1957. Later she did only side or character roles in films. As such, her tenure in films was not very long. she just did 10 films in all.

She was born on 16th December ( she never told the year of her birth). Her father was a doctor in a Mission Hospital in Agra. He had his private Hospital in Amritsar also.He was related to the Royal families of Jaipur and Jodhpur. He converted to Christianity and changed his old name Indriyas to Andrew Kanwal.

Peace studied in Amritsar, Lahore, Rawalpindi and Delhi. She got admission in Ludhiana Medical college.In the vacations after her first year MBBS, she visited Bombay. Due to persuasion from a newly acquired friend, Peace participated in the ” Kardar Kolynos Talent Contest”. She won the contest (Chand Usmani was second. Shubha khote and Anita Guha too competed in the contest).

A R Kardar signed a 2 year contract with Peace for Kardar Studios. Her debut film was ” Dil E Nadaan ”-53 in which Talat Mehmood also made a Debut as a singer Hero, opposite her. The film was a musical hit. her second film was ” Baraati”-54, opposite Agha. On the sets of this film, she got introduced to Susheel Ruia and soon they got married in 1955. Her name after marriage was Rajashri.

Her third film was Kismat-56, opposite Ranjan. In 1957, she gave birth to her first child and took a break from working. Later she started doing character roles. Her husband was against her working in films. They divorced in 1968. She engaged herself in a lot of social work and painting,her hobby. Her Paintings were in great demand and she held exhibitions of her paintings in India and the USA as well as in Australia.

In 1976, she was introduced to Mr. V.Ramesh, grandson of ex-president V.V.Giri. She married him in 1977. Presently, she stays in Juhu, Mumbai and is into social work and paintings upto her neck. She worked in Dil e Nadaan-53, Baraati-54, Kismat-56, Nai maa-60,Maa Baap-60, Barsaat ki raat-60, Aarti-62, Chambal ki kasam-80, Aasmaan-84, and Woh subah kabhi to aayegi-91 ( adapted from interview on Beetehuedin.blogspot.com, with thanks).

The story of the film Baraat was…..Lajo (Chand Usmani) is a homely girl. She has no father and stays with her widowed mother and brother Sunder (Agha). Her mama-Bishen Das(Omprakash) and Mami (Leela Mishra) also stay in the village. Lajo’s mother depends upon Sunder and Mama Bishen for finding a groom for Lajo. Sunder starts visiting prospective grooms, but at one place, falls in love with a girl and marries her. When he and the new Bride Pilu (Peace Kanwal) come home, they are not allowed to enter unless Sunder finds a suitable match for Lajo. Sunder and Bishen start the mission again and finalise a boy, Atmaram, son of a rich Zamindar, Girdharilal(Shyam Kumar),who is very stingy and money minded. He puts many conditions which are all accepted. The marriage takes place, but Girdharilal makes additional demands and refuses to take the bride into his house. Lajo is devastated and attempts suicide, but Bishen Das saves her. He suggests that Lajo win back her husband by her love. She succeeds in doing this and Atmaram rebels against his father,takes Lajo into his home and the father relents.


Song-Dhak Dhak kare dil…Jhatpat pat jhat aake mil (Baaraati)(1954) Singer-C Ramchandra, Lyrics-D N Madhok, MD-Roshan

Lyrics

dhak dhak dhak dhak
dhak dhak kare dil
jhat phat pat jhat jhat phat aake mil aa ke mil
aake mil
dhak dhak dhak dhak
dhak dhak kare dil
jhat phat pat jhat jhat phat aake mil aa ke mil
aake mil

chanda un se jaakar kahna
mushkil un bin jeete rahna
roti hai majboor jawaani
haaye re dhadke hai dhadke hai
bechaara dil
jhat phat pat jhat
jhat pat aake mil
aa ke mil
dhak dhak dhak dhak
dhak dhak kare dil
jhat phat pat jhat jhat phat aake mil aa ke mil
aake mil

mere dil ko dil mein rakh le
dard piya ke aap parakh le
thhes lagi khud kah dogi tum
haaye re
toot gaya
toot gaya mera nannha sa dil
jhat pat pat jhat pat
aake mil
aa ke mil
dhak dhak dhak dhak
dhak dhak kare dil
jhat pat pat jhat
jhat pat aake mil
aake mil

mere pyaar ki alakh jaga de
haaye alakh jaga de
sharam haya ko aag laga de
haan aag laga de
aisi raaten aur tanhaayi
haaye re patther ka
patthar ka hai tera dil
jhat pat pat jhat
jhat pat aake mil
aa ke mil
dhak dhak dhak dhak
dhak dhak kare dil
jhat pat pat jhat jhat pat
aake mil
aa ke mil


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 :

4426 Post No. : 15846

“Durga Pooja”(1954) was produced by Dhirubhai Desai and Sharad Desai and directed by Dhirubhai Desai for Sharad Productions Bombay. This mythological movie had Nirupa Roy, Trilok Kapoor, Shahu Modak, Kamal, Yashodhara Katju, Ratnmala, S N Tripathi, Rajkumar Indira Bansal, Sampson, Suryakant, Lathani, Prabha Shankar, Fazlu, Sita Bose, Dilip Pahalwan, N Bhushan, Yashwant Dav, Lajendra, Dubey, Vishwamitra, Kanchanmala etc in it.

The movie had ten songs in it that were penned by four lyricists. Three songs from the movie have been covered in the past.

Here is the fourth song from “Durga Pooja”(1954). It is sung by Rafi. B D Mishra is the lyricist. Music is composed by S N Tripathi.

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


Song-Jab tak ye duniya rahegi (Durga Pooja)(1954) Singer-Rafi, Lyrics-B D Mishra, MD-S N Tripathi

Lyrics

jab tak ye duniya rahegi ee
haaye teri kahaani kahegi
jab tak ye duniya rahegi ee
haaye teri kahaani kahegi

kahenge sabhi thhi kabhi ek raani
dharam ki nishaani
mita di pati ke liye zindgaani
charnon pe tere jhukegi
ye duniya teri kahaani kahegi
jab tak ye duniya rahegi ee
haaye teri kahaani kahegi

bhula kar chali chaand sa laal pyaara
nainon ka taara
chali tod maaya ka janjaal saara
kanchan si kaaya jalegi
ye duniya teri kahaani kahegi
jab tak ye duniya rahegi ee
haaye teri kahaani kahegi

o bhaarat ki naari
ari o suhaagin
piya ki pujaarin
hua dhany hai tere balidaan ka din
hua dhany hai tere balidaan ka din
mar mar ke bhi tu jiyegi
ye duniya teri kahaani kahegi
jab tak ye duniya rahegi ee
haaye teri kahaani kahegi
ye duniya teri kahaani kahegi


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 :

4417 Post No. : 15825

Today’s song is from a comedy film Halla Gulla-1954. This was a film made by Bhagwan, under his own banner- Bhagwan Art productions, Bombay. He was the producer and the director. He had done a role in the film too. However, Master Bhagwan was not the Hero. The Hero was Sajjan and the Heroine was Shakila. Besides these 3 people, there was a line up of actors in the cast, like Leela Gupte, Leela Gandhi, Baburao pahilwan, Dada Salvi and many more-most of whom are unknown names to me.

Master Bhagwan started directing the films from Bahadur Kisan-38, then came Criminal-39 and Sukhi Jeevan-42. In between, he went to Madras to direct two Tamil films, Jaykodi and Van Mohini. His film Sukhi Jeevan-42 was the Debut film for C.Ramchandra in Hindi films. This film was produced by Harishchandra Rao kadam- the elder of the Kadam brothers (Chandra Rao Kadam being the younger one). The film was a success, with a good run in theatres. His contract for this film had assured him a 20% share in profits, if the film was a success. Since the film was a success and ran long, Bhagwan asked for his 20% share to H.Kadam. However, he flatly refused, claiming that inordinate delay had caused excess expenditure and there was no profit. Bhagwan understood that he was being cheated, but could not do anything except expressing his displeasure.

Bhagwan decided then and there that hereafter he will not work for anybody else. He would have his own production set up and a studio. He started his own company-“Jagriti pictures”and also got a studio- Asha Studio, which was near RK studio. His successful stint as a director had earned him a name and he had no difficulty in getting finances for his first film. The terms were, take 80000/- and return 1 Lakh, when the film gets sold to distributors. Film making was so cheap then ! The first film which Bhagwan made as an independent Producer Director was intentionally titled “Badla-43”, as if he took revenge on Harishchandra Rao Kadam !

This sort of cheating of the gullible,helpless artistes was common in some companies. One such famous company was Minerva of Sohrab Modi. When he made his second film “Saeed E Hawas”-36, he had engaged an actor Chandra Kumar, as a Hero in that film. Chandra Kumar (real name Sardar Gul who changed his name to Anil Kumar again) was promised Rs. 200/- for this role. After the film was released, when he asked for his payment, Modi gave him only Rs. 50/-, claiming that the film was a flop. Chandra Kumar was helpless and he left Minerva for good, immediately.

Master Bhagwan’s first film ‘Badla’-43 was a Hit film. He then started making films after films, in the Stunt Genre. Films like Bahadur, Jalan, Madadgar, Dosti, Shakehand, Matlabi, Bach ke rehna, Bhole Bhale, Jeete Raho, Bhedi Bangla etc etc. His stunt films became popular and he earned lot of money. At his peak, he had 2 Bunglows in Bombay and 6 cars. His films had many admirers in the film line also, like Raj Kapoor, Sanjeev Kumar, Naushad etc.

Today’s film is Halla Gulla-54. The name immediately brings to the mind a popular song “Halla Gulla lailla, khullam khulla gayi la” famous in the 50’s times. However the song is not from this film. It was from film Dholak, for which Shyam Sundar had given the music. Barring very few films, which Bhagwan directed, he never did the role of Hero in his films. In the film Halla Gulla also he was not the Hero. Sajjan was the Hero.

Sajjan was one of the very few people in the film line who were Literature oriented. Some examples were Meena Kumari writing Shayari and Bharat Bhushan with an unusually big library of English books. Sajjan not only wrote poetry and film lyrics, he wrote a research based big book on Nav Ras in the Human Life. He participated in kavi Sammelans and Mushayaras and won laurels. His published poetry book “Jawan”was so popular that Nehru bought 100 copies for Delhi libraries. It was reprinted in several editions.

Born on January 15, 1921 in Jaipur, his full name was Sajjan Lal Purohit, a Pushkarna Bramhin. For many generations in the family, no one was interested in music or acting. He was famous with his first name in the movie world. Sajjan did his graduation from Jawahar college, Jodhpur. He had a desire to be a lawyer but not an actor.

In 1941, he arrived in Calcutta and worked as an apprentice in a laboratory of East India Film Company. His initial breakthrough in films was as an extra in films like Masoom (1941), Chowringhee (1942). Sajjan left Calcutta during World War II and reached Bombay. In Bombay he knew Prithwiraj Kapoor from his Calcutta days. He joined the Prithvi Theatre and worked in dramas like, Shakuntala, Pathan, Deewar, Aahuti, Kalakar, Kisan Paisa etc etc. Here he came into contact with Shammi, Raj, Shashi kapoor, Omprakash, Premnath, Zohra Saigal, B M Vyas, Ram Ganguli, Shankar, jaikishen and others. Afterwards, he started doing dramas separately. In ” Dhola Marwan” his heroine was Snehprabha Pradhan. He did many One Man Shows too.

He was a writer of Poetry. He participated in many gatherings of poets. His poetry book ” Jawan” became so popular that even Nehru had bought 100 copies of it. It was reprinted four times.

In Mumbai he worked as an assistant to famous director Kidar Sharma. At that time great showman Raj Kapoor also worked as an assistant to Kidar Sharma. He also worked as assistant to Gajanan Jagirdar and for film Vakil Sahib-43 and got Rs. 35 as salary.

A poet by heart, Sajjan showed His talent when he wrote dialogues for Meena -1944 and lyrics for Door Chalen -1946, Jail Yatra-47 and Dhanyavad -1948.

His acting debut film was Mera Suhag-47. After that, Bombay Talkies’ Muqaddar was released in 1950. His heroine was Nalini Jayvant. As a Hero, he worked with Geeta Bali, Nutan, Nimmi, Shyama, Shakila, Nalini Jaywant etc etc.

Now Sajjan was well established in the film world. In 1950s- 60s Sajjan acted as hero or side-hero in films like, Sainya, Rail Ka Dibba, Bahana, Sheesha, Malkin, Nirmohi, Kasturi, Mehmaan, Lagan, Girl School, paridhaan, Do Dulhe, Ghar-Ghar Mein Diiwali, Haa-Haa-Hee-Hee-Hoo-Hoo, Poonam, Jhanjhar, Halla- Gulla. As a hero his last film was Kabuliwala-61 and as an artist he last appeared in the 1986 release Shatru.

Artist of more than 150 films Sajjan also worked in TV serials. In Vikram-Betaal he played Betaal. His other serial was Lena-Dena.

Sajjan acted in more than 150 films. Though he was a reasonably good actor, he felt very awkward while singing a song on screen. His Producers and Directors knew this and they gave him minimum songs. Thus he is on record in his 150+ films to have sung around 20 odd songs only, in spite of being a Hero in some films. After retirement, Sajjan was not in good health, but he wrote a book ‘ Ras-Bhav ‘, discussing all the 9 Rasas as enunciated by Bharat Muni’s Treatise on “Natya Shastra”. He also published a book on the Birth Centenary of Prithviraj Kapoor, whom he revered very much. Sajjan died on 17-5-2000. (Based on interview by Sulbha Ternikar, in her book-Chanderi Athavani (चंदेरी आठवणी ), with thanks.)

The Music Director of this film was Nissar Bazmi. I always wondered,how some composers,who were found mediocre here,without much spark,giving music only to B and C grade films,became extremely popular and successful in Pakistan,winning accolades ? one example is Nisar Bazmi. To understand this strange phenomena,one must consider the state of affairs in Pakistan Film Industry for 5-6 years post Partition. Here is a part of an article on this issue,I found on a Pakistani site,filmbirth.com

” Pakistan has been a part of India up until 1947. Up to that point Lahore was one of the thriving cinema producing centers in India. The first film made in a Lahore studio was “Delhi Express” (1935) and Urdu and Punjabi films were to follow. The partition of India into two independent states – India and Pakistan, caused the demise of the Lahore film industry. Most Hindu filmmakers in Pakistan fled the region when the Islamic Pakistani government became independent. Without the Indian funding and production facilities, the migration of many renowned filmmakers and stars and a lack of proper distribution channels, Lahore (Lollywood) soon became less than a footnote in the regional cinematic landscape.

Fortunately, the outflow from Lahore was accompanied by an inflow into the city. Affected by the same political change, a number of talented Muslims who have established themselves in Bombay’s (now Mumbai) film circles, moved back to Lahore. Prominent among them were film producer Syed Shaukat Hussain Rizvi, his wife actress and singer Noor Jehan, actress Swarn Lata, actor Nazeer, director W. Z. Ahmad, director Luqman, director Sabtain Fazli, music director Feroze Nizami and music director Khawaja Khursheed Anwar. These creative artists laid the foundation of the Pakistani film industry. They were also responsible for producing some of the best films ever made in Lollywood.

The creative energy of Lahore’s film people began to express itself as soon as the partition frenzy subsided. Lollywood became alive again and Teri Yaad was the first film released after partition. Featuring Nasir Khan, brother of film icon Dileep Kumar and Asha Posle, it was released at Lahore Parbhat Cinema on Sept 2, 1948. Its producer was a Hindu named Diwan Sardari Lal, Daud Chand was the director while Nath was the music director. The following year, Anis Productions released a Punjabi film Pheray. Featuring Nazeer (who was also its director) and Swarn Lata, the film proved to be a success and became the first Pakistani film to complete a 25-week run at cinema houses. Another important film was Naubahar Films’ Do Ansoo which was released in 1950. Produced by Sheikh Latif and directed by Anwar Kamal Pasha, it won popularity and became first Urdu film to complete its silver jubilee. ”

Due to shortage of composers, all were welcomed with open arms. Those who had talents did extremely well here. Unfortunately the second generation of composers of calibre were not prepared and once these migrants disappeared from the scene,the musical fields of Pakistan dried up. According to an article on Wiki,there are 7 ages in Pakistan Film music –

1.Independence and growth-1947-1958
2. The Golden Age of Pak Film Music- 59-77
3. The age of Disaster…..77-88 (Onslought of VCR and brain Drain to Bangladesh in 1971)
4. Politics,Islamisation and downfall…..79-87
5. Collapse…..88-2002
6. Decline…..2002-2009
7. New wave and Hopes….2010 onwards.

Anyway, Nisar Bazmi migrated to Pakistan during the Golden Age period and got all the benefits.

Nisar Ahmed was born in 1925,in Naseerabad, Khandesh,Bombay Presidency,in an orthodox family where there was no Musical background. However,Nisar was keen on learning music. By singing Saigal’s songs he won his teacher’s mind,who convinced his father and he was sent to Bombay to live with his Uncle. Due to his singing he soon joined the ‘Yaseen Kawwal Group’ and became famous as ‘Yaseen ka chhokra’. meanwhile he learnt classical music from ustad Amaan ali khan for 4 years. He joined AIR on a temporary basis and started singing. The then music director of AIR Dinkar Rao Amembal made him permanent on a salary of Rs. 45 pm. When his father learnt this he was overjoyed that without studies also he was earning more than educated people ! This was 1940.

Those days a drama ‘Nadir Shah Durrani’ was running on Radio. Nisar composed music for it and also gave background music. Impressed with his work he got his first Film,” Jamna paar”-1946 as a MD. He left AIR,changed his name to Nisar Bazmi and for got his dream of becoming a singer. In the next 15 years,he composed music for about 40 films,but only 27 films were released. Most of these films were C grade stunt films. Though he gave reasonably good music,he remained a C grade composer throughout. For film ‘Khoj’-53,the assistant producer had not much money. For singing a song he could only offer Rs.50/- to Mohd. Rafi (who was charging almost 1000/- per song those days). Rafi liked the song and he magnanimously sang the song ” chand ka dil toot gaya ” by taking just ONE rupee as fees !

For film ‘Bhala Adami’-58, he gave chance to Anand Bakshi as a Lyricist first time. His last film in India was ” Mister Toofan”- released in 63. Nisar migrated to Pakistan in 1962. Producer Fazal Karrem Fazli of Fazli brothers offered him first film ” aisa bhi hota hai “. The music of this film became Hit and very popular and there was no looking back for Nisar Bazmi. He gave music to 57 Pak films. He won Nigar Awards 7 times and also won ‘Pride of performance’ award from the President.

His last film was in 1981. He came back to Karachi and started teaching aspiring singers,but only one of them became a famous singer. He regretted that the younger generation looked for quick money and did not put hard work. None of his 8 sons loved music. They all followed different avocations. In his later life he was famous for learning Quran by heart.

His filmography in India was- Jamna Paar, Jeb katara, Dagabaj Dost, Khoufnak Aankhen, Hamari kismat, Jiyo Raja, Roop lekha, Bade Saheb, Gazab. Baama, Kyun ji, Gorilla, Khoj, Halla gulla, Sitamgar, Adamkhor, Pyara Dushman, Fighting queen, Jungle queen, Kar bhala, Bhala Admi, kal kya hoga, Sachhe ka bolbala, Teer aur Talwar, Shola jo bhadke, Zareena and Mister Toofan.
Bazmi sahib taught music to up-and-coming youngsters, but only Faisal Latif managed to become somewhat popular. When asked why his students like Shafiq-ur-Rehman, Tanveer Afridi, Shabana and Shazia Kausar are unable to reach the top, he said, “My job was to train them, which I did. Now it is up to the musicians to utilize them as I am sure they have the talent to be the best.” When asked if our youth going in the right direction, Bazmi sahib felt that it was because of our youths’ lack of interest that our music is not what it used to be.

“A youngster today doesn’t want to be taught like the legendary singers. His only interest is to become rich and famous in a short time, which is certainly the wrong way.”

He died on 22-3-2007 at Karachi.

(My thanks to Shri Harish Raghuvanshi ji, book Albela by Isak Mujawar and information in Listener’s Bulletin-no. 118)

Today’s song is sung by Asha Bhosle and chorus. There were 9 songs and ALL songs had Asha Bhosle as a singer. 8 songs were duets with Rafi. This is the only song without Rafi.


Song-Hone waali ho ke rahegi himmat haar na jaana (Halla Gulla)(1954) Singer-Asha Bhonsle, Lyrics-Saba Afghani, MD-Nisar Baazmi
Chorus

Lyrics

ho o o
hone waali ho ke rahegi
himmat haar na jaana
gaao ek taraana
jhoom jhoom ke

ho o o
hone waali ho ke rahegi
himmat haar na jaana
gaao ek taraana
jhoom jhoom ke
gaao ek taraana
jhoom jhoom ke

ho ho o
o o o

ho o o
jaaun to naakaami
lautoon to badnaami
dil mera ghabraaye
kuchh na samajh mein aaye
kuchh na samajh mein aaye
o o o
o o o
laa pukaare aage badhhnaa
pyaar kahe ruk jaana
gaao ek taraana
jhoom jhoom ke
gaao ek taraana
jhoom jhoom ke

ho ho o
o o o

ho o o
kaisi hai majboori ee e
paas bhi rah ke doori
naagan si bal khaaun
haath maloon reh jaaun
haath maloon reh jaaun
o o o
o o o
mujh pe jo kuchh beet rahi hai
haal koi na jaana
gaao ek taraana
jhoom jhoom ke
gaao ek taraana
jhoom jhoom ke

ho ho o
o o o

ho o o
man hi man mein ro loon oon
apna bhed na kholoon
baat zubaan tak aaye
aur kahin naa jaaye
aur kahin naa jaaye
o o o
o o o
door khadi kismat muskaaye
chhede raag zamaana
gaao ek taraana
jhoom jhoom ke

ho o o
hone waali ho ke rahegi
himmat haar na jaana
gaao ek taraana
jhoom jhoom ke
gaao ek taraana
jhoom jhoom ke


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

Blog Day :

4398 Post No. : 15775

———————————————–————————————
Blog 10-Year Challenge (2010-2020) – Song No. 48
———————————————————————————–

One movie which is eligible for ‘Blog Ten-Year Challenge’ today (2 august 2020)is the ‘1954’ movie ‘Baraati’.

The other movies represented on the blog ten years back on this day were ‘Anand-1970’, ‘Ek Dil Sau Afsaane-1963’, ‘Dekh Kabeeraa Roya-1957’, ‘Halaaku-1956’, and ‘Singaar-1949’ in their descending order of posting of songs. All of them have already been YIPPEED.

So, we can see that six songs were posted on 01.08.2010 maintaining the ‘six posts per day’ average very well. 🙂

The songs represented on 01.08.2010 on the blog were as follows;

Song Movie title-Year Remarks
Naa jiyaa laage naa Anand-1970 All songs covered
Door ke o chandaa aa meri baahon mein aa Ek Dil Sau Afsaane-1963 All songs covered
Hamse aayaa naa gayaa tumse bulaayaa naa gayaa Dekh Kabeeraa Royaa-1957 All songs covered
Bol mere maalik teraa kyaa yahi hai insaaf Halaaku-1956 All songs covered
Kahin door koyaliyaa gaaye re Baraati -1954 05 songs posted
Ae dard e muhabbat tune mujhe deewaanaa banaakar chhod diyaa Singaar-1949 All songs covered

‘Baraati-1954’ was directed by J.K. Nanda for Kardar Productions, Bombay. It had Chand Usmani, Peace Kanwal, Agha, Om Prakash, Shyam Kumar, Leela Mishra, Baby Sheela, Darpan, Johny Walker, Abbas, Rajan Haksar, Heera Sawant, Agha Miraj, Kathana, Ameer Ali, Agha Mirza and others.

This movie had eight songs written by D.N. Madhok, Raja Mehdi Ali Khan, Tanweer Naqvi and Jaanisar Akhtar. Music was composed by Roshan.

Asha Bhonsle, Chitalkar, Lata Mangeshkar, S. Balbir and Sudha Malhotra were the singers who had given their voices to the songs in this movie.

So far, the following four songs from this movie have been posted on the blog;

Song Posted On
Kis naam se pukaaroon kyaa naam hai tumhaara 11.08.2009
Kahin door koyaliyaa gaaye re 02.08.2010
Aa phir se mere pyaar ki kismat sanwaar de 17.11.2010
Teri nazron ne hamko chheda hai 22.08.2013
Haaye koi keh de papeeha se jaa ke 16.07.2020

Today’s song is sung by Lata Mangeshkar and written by D. N. Madhok. Music is composed by Roshan.

Lyrics for today’s song were sent by Prakashchandra. He has also provided iformation about the picturization of the song. One can see Heera Sawant, Agha, Peace Kanwal and others in the picturisation.

Let us now enjoy listeing to a song from “Baaraati”(1954) the way we were able to enjoy listening to another song from the same movie on this day ten years ago. 🙂

Audio

Video

Song-Saari raat jaage laage jo tose nainwaa (Baaraati)(1954) Singer-Lata, Lyrics-D N Madhok, MD-Roshan

Lyrics(Provided by Prakashchandra)

aa jaa ho aa ja aa aa aa beluaa aa aa..aa
beluaa …aa aa aa o

saari raat jaage
laage jo tose nainwaa aa aa
aa jaa balam
ab aa jaa sajanwaa
aa jaa balam
ab aa jaa sajanwaa
saari raat jaage
laage jo tose nainwaa aa
aa jaa balam
ab aa jaa sajanwaa aa

chaand badariya mein chhipp chhipp jaaye piyaa
chaand badariya mein chhipp chhipp jaaye piyaa
tohe ishaaron mein
ye samjhaaye piyaa
bhaage ae ae
jawaani bhaage
saari raat jaage
laage jo tose nainwaa aa
aa jaa balam
ab aa jaa sajanwaa
aa jaa balam
ab aa jaa sajanwaa
saari raat jaage
laage jo tose nainwaa aa
aa jaa balam
ab aa jaa sajanwaa

mast hawaaon mein tere bin chain nahin
mast hawaaon mein tere bin chain nahin
sun re anaadi piya
toot naa jaaye kahin dhaage ae
pyaar ke dhaage
saari raat jaage
laage jo tose nainwaa aa
aa jaa balam
ab aa jaa sajanwaa
aa jaa balam
ab aa jaa sajanwaa
saari raat jaage
laage jo tose nainwaa aa aa
aa jaa balam
ab aa jaa sajanwaa
aa jaa balam
ab aa jaa sajanwaa

—————————————
(Lyrics in Devnagri Script provided by Avinash Scrapwala)

आ जा हो आ जा आ आ आ बेलुआ आ आ …आ
बेलुआ …आ आ आ ओ

सारी रात जागे
लागे जो तोसे नैनवा आ
आ जा बलम
अब आ जा सजनवा
आ जा बलम
अब आ जा सजनवा
सारी रात जागे
लागे जो तोसे नैनवा आ
आ जा बलम
अब आ जा सजनवा आ

चाँद बदरिया में छिप छिप जाए पिया
चाँद बदरिया में छिप छिप जाए पिया
तोहे इशारों में
ये समझाए पिया
भागे ए ए
जवानी भागे
सारी रात जागे
लागे जो तोसे नैनवा आ
आ जा बलम
अब आ जा सजनवा
आ जा बलम
अब आ जा सजनवा
सारी रात जागे
लागे जो तोसे नैनवा आ
आ जा बलम
अब आ जा सजनवा

मस्त हवाओं में तेरे बिन चैन नहीं
मस्त हवाओं में तेरे बिन चैन नहीं
सुन रे अनाड़ी पिया
टूट ना जाए कहीं धागे ए ए
प्यार के धागे ए
सारी रात जागे
लागे जो तोसे नैनवा आ
आ जा बलम
अब आ जा सजनवा
आ जा बलम
अब आ जा सजनवा
सारी रात जागे
लागे जो तोसे नैनवा आ आ
आ जा बलम
अब आ जा सजनवा
आ जा बलम
अब आ जा सजनवा


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 :

4393 Post No. : 15761

Screenplay is the first stage when a film is said to be born on paper. A screenplay writer translates the story/script from its literary form to an audio-visual presentation incorporating the ideas of the directors as to how each character is to be presented, the mood of the scenes, the surrounding environments, the stance of dialogue deliveries, the camera angles, lighting etc. Some screenplay writers also incorporate the dialogues. Directors like Satyajit Ray would write the screenplay in sketch form, visually presenting the scenes in each sheet of paper, something like what we used to see RK Laxman’s ‘You Said It’ in newspapers. In other words, screenplay is a complete document, representing a film in a paper format.

In a professional set-up, a director of the film would like to have with him a bound copy of the screenplay, a copy of which he would also handed over to each one of main actors, cinematographer, art director, sound engineer, choreographer, lyricists, music directors etc. before the film’s shooting commences. Some of the directors like Bimal Roy used to follow the system (as revealed by Dilip Kumar in an interview) while directors like Guru Dutt did not give much importance to this system as quite often, he used to make changes in the screenplay at the spur of the moment  while shooting (as revealed by Abrar Alvi in his book, ‘Ten Years With Guru Dutt’). In our office parlance, we can call screenplay as a manual of instructions for all those who are closely associated with the making of a particular film.

From the above description, it is apparent as to how important the role of screenplay writers have in the making of films. Unfortunately, most of the screenplay writers are ‘faceless’ in the sense that their faces seldom appear on the film magazines. It was Salim-Javed, the duo who, as a story, screenplay and dialogue writer, attained the status of stars during 1970s and early 80s and their faces became familiar to most of the cinema-lovers.

I am discussing in this article, one of the most prominent ‘faceless’ screenplay writers, an introvert who kept a low profile despite writing screenplays for many Hindi films for over 3 decades, which became popular. Some of his works attained the classic status such as ‘Parineeta’ (1953), ‘Devdas’ (1955), ‘Sujata’ (1959), ‘Bandini’ (1963), ‘Teesri Kasam’ (1966), ‘Abhiman’ (1971). He is the Bengali novelist and short-story writer, dancer, theatre actor and the director, Nabendu Ghosh who became a screenplay writer by default.

I came to know about Nabendu Ghosh for the first time about 3 years back when I was going through a book ‘Gulzar in Conversations with Nasreen Muni Kabir’ and Gulzar’s many interviews on the newspapers. In the book and the interviews, Gulzar gave credit to Nabendu Ghosh in shaping his career as a screenplay writer. I became interested in knowing him in details only when I came to know that he had made a statement as early as in 1945 that if at all he joined the film industry, it would be only under Bimal Roy. I found this statement surprising because in Bengali literary circle, he had already attained the status of a star writer due to popularity of his novels and short stories.

During the past few days, I have read books and interviews on Nabendu Ghosh given by his colleagues in the film industry, his own interview on Vividh Bharati and the extracts from his Bengali autobiography, ‘Eka Naukar Yatri’ (‘Traveler of the Lonely Boat’) translated in English by his daughter, Ratnottama Sengupta. On the basis of these sources, I have written his profile incorporating the important events in his life which is given below:

Nabendu Bhushan Ghosh (27/03/1916 – 15/12/2007) was born in Dhaka where he did his early schooling. The family shifted to Patna when his father, an advocate started practicing at the Patna High Court. Nabendu continued his secondary school in Patna and continued his college there completing MA in English literature. During his Patna days, Nabendu joined a local theatre group where he acted, mostly in the female role. He also learnt dancing at Uday Shankar’s Almora Cultural Centre.

Nabendu got a job in DIG’s office in Patna. However, during Quit India Movement, he wrote articles against the British rules. For this, he got warning from his sympathetic superiors from the office not to indulge in writing anti-British articles. Instead of heeding their advice, he preferred to resign from the job and shifted to Kolkata in 1944 where his life as a novelist and short story writers began. By the end of 1940s, Nabendu had became a star writer as his novels and short stories were very popular. During this period, he had written stories depicting almost every aspects of life in Bengal – the famine, the tram, the strike, the rationing, communal violence, partitions victims etc.

On a visit to Rajshahi (now in Bangla Desh) sometime in 1945, he watched a Bangla film ‘Udayer Pathe’ (1945) in a theatre. The film had influenced him so much that he took a vow that if he ever become a writer for the films, it would be for Bimal Roy, the director of the film. Probably, this was more like an emotional reaction to the film rather than his serious intention at that time. After a couple of years, Nabendu had a chance meeting with Bimal Roy in Kolkata who was impressed with writings. But it was not until 1951 when Ashok Kumar invited Bimal Roy to direct the film ‘Maa’ (1952) that Bimal Roy thought of taking Nabendu along with him.

Both for Bimal Roy and Nabendu Ghosh, the migration to Mumbai was not by choice but because of the compelling circumstances. With the creation of East Pakistan (now Bangla Desh), the markets for Bangla films and the Bangla novels and short stories had considerably dwindled thanks to the then East Pakistan Government’s policy of suppressing Bangla language in favour of Urdu. What was thought to be a temporary assignment in Mumbai in 1951 became a long creative association between Bimal Roy and Nabendu Ghosh from 1951 to 1966 as a screenplay writer in 9 films besides doing cameo roles in ‘Do Bhiga Zameen’ (1953) and ‘Sujata’ (1959).

During his 3 decades of association with Hindi films, Nabendu Ghosh wrote screenplay for a little over 30 films which included apart from Bimal Roy’s films mentioned above, films like ‘Aar Paar’ (1954), ‘Baadbaan’ (1954), ‘Milap’ (1955), ‘Detective’ (1958), ‘Teesri Kasam’ (1966), ‘Sharafat’ (1970), ‘Laal Pathar’ (1971), ‘Abhiman’ (1973), “Pratigya’ (1975), ‘Ganga Ki Saugandh’ (1978), ‘Krodhi’ (1981) etc. He also directed ‘Trishagni’ (1988) which gave him the National Film Award for the best debut director. Sometime in the middle of his filmy career, he had directed ‘Doctor Babu‘ (based on Phanishwarnath Renu’s story, ‘Maila Aanchal’) with Dharmendra and Jaya Bahaduri in the lead roles and RD Burman as the music director. When 70% of the film was canned, the producer of the film died leaving the film unfinished.

In 1995, he directed a television serial for Doordarshan, ‘Anmol Moti’ on Ashok Kumar. He directed Children Film Society’s ‘Netraheen Sakshi’ and for Ministry of Health, the film ‘Ladkiyaan’ (1997). He was a visiting faculty at FTII and conducted workshops on screenplay writing during 1967 to 1980. During his life time, Nabendu wrote 26 Bengali novels, 18 collections of Bengali short stories and his only English book – ‘Ashok Kumar – His Life and Times’.

Nabendu Ghosh passed away in Kolkata on December 15, 2007 at a ripe age of 91. Nabendu Ghosh’s last novel, ‘Kadam Kadam’ based on the experiences of character actor, Nazir Hussain in INA, was released during his birth centenary year 2016.

If we go through the list of the films for which Nabendu Ghosh wrote screenplays, it would be observed that most of the films were based on stories from literature. His screenplay writings were so powerful that even in respect of women displayed in the films as fallen from the grace from the eyes of the society, the cine audience loved those characters like Chandramukhi in ‘Devdas’ (1955), Kalyani in ‘Bandini’ (1963), Bijli in ‘Chanda Aur Bijli’ (1965), Hirabai in ‘Teesri Kasam’ (1966) and Chandni in ‘Sharafat’ (1970). Raj Kapoor had said after the release of ‘Teesri Kasam’ (1966) that Nabendu Ghosh’s screenplay brought in him the character of  ‘Hiraman’ more than that of Raj Kapoor.

Ratnottama Sengupta, the daughter of Nabendu Ghosh directed one-hour documentary film, ‘And They Made Classic Films’ on the bonding between Bimal Roy and her father based on his interviews. The film was shown at 23rd Kolkata International Film Festival, 2017. One of the interesting anecdotes which Ratnottama Sengupta narrated from the documentary film is –

“On the first day of shoot of ‘Devdas’ (1955), Dilip Kumar was in a tense mood walking up and down on the studio floor. When Nabendu Ghosh asked the reason, Dilip Kumar said that all three are sitting on his shoulders, referring to Pramathesh Barua who directed ‘Devdas’ (1935), KL Saigal who acted in it and Sarat Chandra Chattopadhyay who wrote the novel. She said that Nabendu Ghosh buried all three ghosts and painted a fresh picture of Devdas in his screen-play in such a way that even today when we talk of Devads, we think of Dilip Kumar.” [Quoted in an article by Anuj Kumar in ‘The Hindu’, January 5, 2018).

There were some pitfalls in Nabendu Ghosh’s filmy career also. He never got credit for writing screenplay for the film ‘Madhumati’ (1958). In fact, there is no mention of screenplay writer in the credit title of the film. When Guru Dutt selected one of his stories and wanted him to write screenplay for ‘Kaagaz Ke Phool’ (1959) on his story, Nabendu Ghosh declined by saying that he was busy with the screenplay of ‘Sujata’. He gave his story to Guru Dutt requesting him to get the screenplay written by someone else. When the film was released, Nabendu Ghosh was surprised to note that he was not credited in the film as a story writer while Abrar Alvi was duly credited as screenplay and dialogue writer.

‘Baadbaan’ (1954) for which Nabendu Ghosh wrote the screen-play, is regarded as a classic film though the film did not fare well at the box office. Vijay Anand who claimed in an interview at Satyajit Ray Film and Television Institute, Kolkata in 2003 that he had seen this film 10 times. He regards it as a piece of literature appearing on the screen. It was more of a screenplay writer’s triumph than the director.

I am presenting a song “Thukra Ke Teri Duniya Ko” from ‘Baadbaan’ (1954) which is rendered by Asha Bhosle. The song is written by Indeevar which is set to music by Timir Baran-S K Pal. In this song, Asha Bhosle seems to be trying to sing like Lata Mangeshkar, that too the way Lata has sung in ‘Anarkali’ (1953). Of course, this is my hunch.

Song – Thukra Ke Teri Duniya Ko (Baadbaan) (1954) Singer – Asha Bhosle, Lyrics – Indeewar, MD – Timir Baran, SK Pal

Lyrics

thukra ke teri duniya ko
chaahoon to kar doon choor
magar tere pyaar se hoon majboor
thukra ke teri duniya ko
chaahoon to kar doon choor
magar tere pyaar se hoon majboor
piya teri preet se hoon majboor
 
beh jaaye na teri duniya
aansoo na bahaaungi main
beh jaaye na teri duniya
aansoo na bahaaungi main
meri haaye na tujhko jalaa de
tere paas na aaungi main
mujhe dekhe na teri nazren
dekhe na teri nazren
ho jaaun itni door
magar tere pyaar se hoon majboor
piya teri preet se hoon majboor
 
baddua na dil de baithe
tujh ko na dosh doongi main
baddua na dil de baithe
tujh ko na dosh doongi main
taqdeer ke bair kiya hai
taqdeer se lad loongi main
main tod chalun
main tod chalun ek pal mein
tod chalun ek pal mein
duniya ka har dastoor
magar tere pyar se hoon majboor
piya teri preet se hoom majboor

thukra ke teri duniya ko
chaahun to kar doon choor
magar tere pyaar se hoon majboor
piya teri preet se hoon majboor

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

ठुकरा के तेरी दुनिया को
चाहूँ तो कर दूँ चूर
मगर तेरे प्यार से हूँ मजबूर
ठुकरा के तेरी दुनिया को
चाहूँ तो कर दूँ चूर
मगर तेरे प्यार से हूँ मजबूर
पिया तेरी प्रीत से हूँ मजबूर

बह जाये ना तेरी दुनिया
आंसूँ ना बहाऊँगी मैं
बह जाये ना तेरी दुनिया
आंसूँ ना बहाऊँगी मैं
मेरी हाए ना तुझको जला दे
तेरे पास ना आऊँगी मैं’
मुझे देखें ना तेरी नज़रें
देखें ना तेरी नज़रें
हो जाऊँ इतनी दूर
मगर तेरे प्यार से हूँ मजबूर
पिया तेरी प्रीत से हूँ मजबूर

बद्दुआ ना दिल दे बैठे
तुझको ना दोष दूँगी मैं
बद्दुआ ना दिल दे बैठे
तुझको ना दोष दूँगी मैं
तक़दीर ने बैर किया है
तक़दीर से लड़ लूँगी मैं’
मैं तोड़ चलूँ
मैं तोड़ चलूँ इक पल में
तोड़ चलूँ इक पल में
दुनिया का हर दस्तूर
मगर तेरे प्यार से हूँ मजबूर
पिया तेरी प्रीत से हूँ मजबूर

ठुकरा के तेरी दुनिया को
चाहूँ तो कर दूँ चूर
मगर तेरे प्यार से हूँ मजबूर
पिया तेरी प्रीत से हूँ मजबूर


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 :

4381 Post No. : 15728

“Baaraati”(1954) was directed by J K Nanda for Kardar Productions, Bombay. The movie had Chaand Usmani, Peace Kanwal, Agha, Om Prakash, Leela Mishra, Sham Kumar, bBy Sheela, Darpan, Johny Walker, Abbas, Rajan Haksar, Heera Sawant, Agha Miraz, Kathana, Ameer Ali, etc in it.

The movie had eight songs in it. Four of these songs have been covered in the past.

Here is the fifth song from “Baaraati”(1954) to appear in the blog. The song is sung by Lata. D N Madhok is the lyricist. Music is composed by Roshan.

The song is picturised on Chaand Usmaani. Agha and Om Prakash look on from a distance.


Song-Haaye koi keh de papeeha se jaa ke (Baaraati)(1954) Singer-Lata, Lyrics-D N Madhok, MD-Roshan

Lyrics

haaye koi kah de papeeha se jaa ke
bairi kaahe chhede pihu pihu gaa ke
haaye koi kah de papeeha se jaa ke
bairi kaahe chhede pihu pihu gaa ke

rut saawan ki mukh par haaye kyun
jhoomti ghata mein koi aag lagaaye kyun
rut saawan ki mukh par haaye kyun
jhoomti ghata mein koi aag lagaaye kyun
mere paas aaye wo to
mere paas aaye wo to
kahoon samjhaake
bairi kaahe chhede pihu pihu gaa ke
haaye koi kah de papeeha se ja ke
bairi kaahe chhede pihu pihu gaa ke

abhi khile kali aur abhi murjhaaye hai
ja rey paapi kaliyon pe pade teri haaye hai
abhi khile kali aur abhi murjhaaye hai
ja rey paapi kaliyon pe pade teri haaye hai
jiya chaahe noch loon main
jiya chaahe noch loon main pankh tere aake
bairi kaahe chhede pihu pihu gaa ke
haaye koi kah de papeeha se jaa ke
bairi kaahe chhede pihu pihu gaa ke
haaye koi kah de papeeha se ja ke
bairi kaahe chhede pihu pihu gaa ke


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

Blog Day :

4380 Post No. : 15725

‘Baadbaan’ (1954) was produced by Bombay Talkies Workers’ Industrial Society, the last-ditch efforts by the workers of The Bombay Talkies to keep the banner alive. The Bombay Talkies was on the verge of its closure when it faced the financial crunch following the failures of ‘Tamaasha’ (1952) and ‘Maa’ (1952) at the box office. ‘Baadbaan’ had star cast comprising of actors who were mostly the well-wisher of The Bombay Talkies. They included Ashok Kumar, Dev Anand, Meena Kumari, Usha Kiran, Jairaj, Leela Chitnis, Sheikh Mukhtar, Krishnakant, Bipin Gupta, Gope etc.

The film was majorly shot in Versova, (locals call it as ‘Vesave’), a fishing village at the outskirt of the then Bombay City. Among the names of the other crew members of the film mentioned here , is the name of Raja H Mura (Harishchandra Mura) as one of the Assistant Directors who assisted Phani Majumdar in the film. I came to know from a facebook upload of a print page concerning the film that Raja H Mura was a fisherman of Versova village near Andheri in Mumbai who also worked as a junior artist in films. It was Raja who made all the logistic arrangements for shootings in the Varsova village and also in the sea. Probably, with his experience of sailing in high sea, the shots involving the sailing of boats and their capsizing in the sea may have been supervised by Raja.

The name of Versova fishermen’s village took me back by over 6 decades. I recalled that I had accompanied my family members to Versova village sometime in mid-1950s to pay a social visit to one of our relatives who ran a grocery shop and a small restaurant in the village.  He was staying in one of the Portuguese types of house, almost similar to the ones I have seen later in Goa. The visit was a full of adventure. From Andheri railway station, we took a horse carriage which dropped us near Four Bungalows (or Seven Bungalows?). From this point, we had to walk through a narrow muddy path for about 15-20 minutes which passed through a swamp to reach the village. Now, Versova is an upscale locality in the suburb of Mumbai though a part of it still retains its old world village charm.

The print of ‘Baadbaan’ (1954) was lost in a studio fire along with some more films. So, the chances of watching this film in the future looks very bleak. Based on Encyclopaedia of Indian Cinema, the broad story of the film is as under:

Lalan (Jairaj), the village headman, leaves to warn fishermen about an impending storm but he goes missing during the storm followed by his wife Leela (Leela Chitnis). Their orphaned child who is left in the house is adopted by the District Magistrate, Choudhary (Bipin Gupta). The child grows up to become Naren (Dev Anand). Educated abroad, he is to wed Bina (Meena Kumari), the daughter of a family friend. Shankar (Ashok Kumar), Naren’s friend and Bina’s music teacher, is also in love with her but keeps his feeling to himself. The marriage of Naren with Bina is called off when Choudhary admits that Naren is the son of a fisherman, adopted by him.

With this background, Naren shifts to  his village where he decides to dedicate his life to the welfare of the fishermen. He starts an ice factory and the workers co-operative society. He falls in love with the village girl, Mohnia (Usha Kiran). In the meanwhile, seeing that Bina is very sad as she misses Naren, Choudhury agrees to her marriage with Naren. But she is unhappy about his rural activism. The death of his wife, Bina in a tragic circumstance leads Naren to be with his own people and also with Mohnia who shares his passion for improving the lots of fishermen in his village.

There are 7 songs in the film written by Indiwar (5) and Uddhav Kumar (2) of which two songs have already been covered in the blog. All songs were set to music by Timir Baran and SK Pal. I am presenting the third song of the film, “Har Roz Kaha, Har Roz Suna” sung by Geeta Dutt. The song is written by Indiwar under the music direction of Timir Baran and SK Pal. Going by the wordings of the song, I guess this song is picturised on Meena Kumari and the situation of the song could be after her marriage with Dev Anand is called off, she is in a sad state of mind.

It is a poignant song which surprisingly eluded the blog for so long.

Song – Har Roz Kaha Har Roz Suna (Baadbaan) (1954) Singer – Geeta Dutt, Lyrics – Indeewar, MD – Timir Baran – SK Pal

Lyrics

har roz kaha har roz suna
ek baat na poori ho paayi..ee
ho paayi
har roz kaha har roz suna
ek baat na poori ho paayi..ee
ho paayi
har roz kaha
 
dil de bhi chuke dil le bhi chuke
dil de bhi chuke dil le bhi chuke
saugaat na poori ho paayi..ee
ho paayi
har roz kaha
 
aakash mein jaise chaand badhaa
aakash mein jaise chaand badhaa
badhti hi gayi mann ki aasha
saagar chalka dhaara nikli
phir bhi ye jeevan hai pyaasa
chhaayi bhi ghata paani barsa
barsat na poori ho paayi..ee
ho paayi
har roz kaha
 
uthti hi rahi saagar mein lahar
uthti hi rahi saagar mein lahar
kuchh kam na huyi chaahat dil ki
paa kar bhi tumhen ye dil na bhara
kuchh aur badhi hasrat dil ki
shehnaai baji aur raat saji
baarat na poori ho paayi..ee
ho paayi
har roz kaha

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

हर रोज़ कहा
हर रोज़ सुना
एक बात ना पूरी हो पाई॰॰ई
हो पाई
हर रोज़ कहा
हर रोज़ सुना
एक बात ना पूरी हो पाई॰॰ई
हो पाई
हर रोज़ कहा

दिल दे भी चुके
दिल ले भी चुके
सौगात ना पूरी हो पाई॰॰ई
हो पाई
हर रोज़ कहा

आकाश में जैसे चाँद बढ़ा
आकाश में जैसे चाँद बढ़ा
बढ़ती ही गई मन की आशा
सागर छलका
धारा निकली
फिर भी ये जीवन है प्यासा
छाई भी घटा
पानी बरसा
बरसात ना पूरी हो पाई॰॰ई
हो पाई
हर रोज़ कहा

उठती ही रही सागर में लहर
उठती ही रही सागर में लहर
कुछ कम ना हुई चाहत दिल की
पा कर भी तुम्हें ये दिल ना भरा
कुछ और बढ़ी हसरत दिल की
शनहाई बजी
और रात सजी
बारात ना पूरी हो पाई॰॰ई
हो पाई
हर रोज़ कहा


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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.

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