Posts Tagged ‘1955’
Digant Nath devata anant roop sohta
Posted on: June 26, 2020
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.
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Blog Day: |
4361 | Post No. : | 15684 |
Today’s song, rather a beautiful Bhajan, is from the film Bhagwat Mahima-55. Earlier 3 songs/Bhajans of this film are discussed here, so it will be the 4th Bhajan from this film to appear here.
The film was made by Filmistan. It was directed by a veteran All-rounder Vithaldas Panchotiya and the music was composed by Hemant kumar- who was famous for creating Bhajans in films.
Hemant Kumar’s associaton with Filmistan started with the film Anand math-52. Director Hemen Gupta recommended his name to S.Mukherjee at that time. Having heard Hemant’s name for his Bangla songs, Mukherjee accepted his name. Earlier C Ramchandra had left Filmistan during the making of film Shabistan-51, due to the interference of his old tormentor Bibhuti Mitra, the film Director.(He was called for the film Anarkali again, after Basant Prakash had left halfway).
Hemant did many films for Filmistan like Shart-54, Samrat-54,Nagin-54, Jagriti-54, Bhagwat Mahima-55 and Durgesh nandini-56. When Hemant was asked to make music for the film Nagin, an interesting event happened. S.Mukherjee had never worked with Master Bhagwan, but he had immense faith in Bhagwan’s Music sense. Most times Mukherjee used to ask Bhagwan’s advice on song tunes of his films. One day, C Ramchandra hosted a party at his bungalow-Sai prasad, Dadar, to celebrate Silver jubilee of film Albela. When the party was in full swing, on the IIIrd floor terrace, Mukherjee called Bhagwan aside and asked him to come with him to the ground floor. Bhagwan was surprised, but without questioning, he accompanied him to the ground floor. There he saw a young man with a Harmonium. Mukherjee said,” Dada, listen to these tunes and give me your opinion.” Then he turned to that young bespectacled man and asked him to play his song tunes. After listening to the tunes, Bhagwan looked excited and said,” My God, kya superb tunes hai ye. Sab gaane hit honge”. That was Hemant Kumar with Nagin Tunes ! Needless to say that Mukherjee passed all tunes.
The decade of 1950s, besides being a part of the “Golden Era” of Hindi film music, also was a very favourable period for Religious films. This was a decade in which maximum number of Mythological/Religious films were made – a record number of 124 films in 10 years’ time. This gave an unprecedented average of One film every month for 10 years at a stretch ! This was a period when joint families still existed and there were many senior citizens in almost every family-who were keen on seeing religious films. The TV had not yet arrived and stage dramas were relegated to the second place in entertainment for families.
During the 1960s and the 1970s, the number of Religious films dwindled, as a variety of topics were handled by films – including the New Wave films, which focused on different issues of the Middle class Indians.
Film Bhagwat Mahima-55 was based on Bhagwat Puran stories. Out of all the 18 Puranas of Hindu religion, Bhagwat Puran is the most popular and most read scripture. It contains 18000 Shlokas in 12 Cantos or Chapters and has stories about Lord Shri Krishna and his devotees. Bhagwat puran has 3 main sections, which emphasize about 1) Bhakti Yog or the Spiritual path to God, 2) Dnyaan Yog or the Wisdom Path and 3) (Nishkaam) Karm Yog or the Virtuous Action Path (without expecting fruits thereof). The entire Puran is about Krishna from his birth to his exit from this world and stories about events and people connected with him throughout his Mortal life.
Hemant Kumar (16-6-1920 to 26-9-1989) excelled in religious films, with his melodious music,often sung in his own voice. Looking at his career statistics, he was more successful as a Singer in Hindi films than as a Music Director. He sang 320 songs in 173 films, while he gave music to only 55 films, composing 423 songs, in his career. I simply love his songs, especially his duets with Lata and Geeta Dutt.
When he first came to Bombay in 1951 to score music for film Anand Math-52, he had a problem with Hindi language pronunciations. As a professional, it is to his credit that he tried hard and successfully corrected his Hindi, while retaining the characteristic Bangla sweetness in his voice. Lata had once said,” when Hemant Kumar sings, you feel a Sadhu is singing !”. Hemant Kumar usually wore a Dhoti and Kurta. His voice was typically different and by nature he was a thorough Gentleman.
The director of this film was Vithaldas Panchotiya. Except those readers, who have a knowledge of early era Hindi films, it is unlikely that other readers might have even heard this name. In the early era, when the studio system was firmly established, the artistes employed by the studio had no specific duties. Anybody and everybody had to do what was needed by the company. Due to this many capable artistes became all rounders in film making.
Vithaldas Panchotiya was certainly one such person. He has been a Producer, Director, story writer, dialogue writer, screenplay writer, lyricist, Singer, Music Director and God knows what else !
Born in October 1906 in Vadnagar in Gujarat, he followed his father’s footsteps. His father worked in stage dramas and toured with the drama company. From the age of 8 years Vithaldas started acting in dramas. Later he joined Calcutta’s Alfred Drama company, owned by Madon Theatres Limited. He worked on a salary of Rs. 35 pm. While working in dramas, he established his own Gujarat Film company and produced 12 silent films in 10 years. Vithaldas first acted in silent film ‘ Dhruv charitra’-1921. He learnt dance and music too. He acted , directed, sang songs and gave music also. He acted in Talkie film ” Muflis Ashiqe”-1932, claimed to be India’s first comedy film. He acted, sang and composed music for this film.
Being a staunch Gandhian, he used to participate in rallies etc. Some of his films were Hindustan-32, Insaf ki Tope-34, Gaibi Gola-35 ( he was the writer and the director too.He gave a break to Baby Noorjahan in this film.), Khudai Khidamadgar-37 aka Garib ki Tope, Takdir ki Tope-38 etc . As per one source, he acted in 35 films, directed 10 talkie films, sang 8 songs, gave music to 1 film and wrote Lyrics to 2 films. Additionally story, dialogues and screenplay writing were also done by him. Some of his films were, Shaikh chilli-37, Khush naseeb-46, Prabhu ki maya-55, Ghar ki numaish-49, Karmaveer-38, Raman-54, Jagriti-54, Hum sab chor hain-56, Basant 60, Bhagvat mahima etc.
I find it very difficult to know exactly how many films he did in various capacities in the 1930s, as there are conflicting claims by him and Master Fida Hussain. In a few cases the details in HFGK and what he claims, gets contradicted. Some of his films in the 40s are Ramanuj-43, Giribala-47, Grihalaxmi-48, Ghar ki Numaish-48 ( released only in 1962, with the title ‘ Jai ho muhabbat ki ‘ )
Thanks to information and statistical data provided by Shri Harish Raghuwanshi ji of Surat, we know that his Filmography consists of a total 11+ 26 films. The break up is-
11 silent films
25 Talkie films as Actor and 1 film as a writer only.
9 films as a Director
2 films as Lyricist and
2 films as Music Director
As per Muvyz data, he sang 37 songs in 8 films.
from 1951 to 1960, he did 13 films- mostly ( 9) for Filmistan. He directed 2 of them. After 1960 his work was reduced. The death of his 3 sons broke him emotionally. As a true Gandhian, it was his dream to make a film- Gandhi Sangram- on mahatma Gandhi. He had done all the spade work and the Muhurat of shooting was also done on 2-10-1987, The Government had promised finance. Even Rajiv Gandhi promised him that. However nothing came to him and he died on 30-10-1996, with his dream unfulfilled.
His daughter Shradha used to work in Gujarati films. She too died in a Train accident in 2000. Her daughter Deepshikha is an actress.
The story of the film Bhagwat Mahima-55 is……
Nagar Seth, a rich man living in one of the gayest cities of India, had everything he wanted in life with one exception. And that was his having no children. His wife, Shanta, consoled him by saying that it was better not to have a child rather than have one who would ruin the fair name of the family by his mis-deeds. She narrated to her husband the story of Sukhram who served his son for three generations in the forms of a bull, a dog and a serpent, even though he could have gone to heaven without doing this service. His son, however, ill-treated the father throughout. Anyway, the story failed to impress Nagar Seth.
One day Shri Jagat Guru Shankaracharya happened to pass through the town. Shanta, who was a disciple of his, requested him to console her husband. In doing so, Shankaracharya narrated a story from the Immortal Classic, Shrimad Bhagvat, wherein Atmadev, also placed in similar circumstances, prayed for a child. Doing penance, Atmadev had `darshan of Narad Muni who gave him a fruit saying that his wife would beget a noble son if she ate the fruit. . Atmadevs wife had no faith in miracles and, on the advice of her sister, Ganga, gave the fruit to her cow.
Ganga, who was expecting a baby, offered her child to Dhundhuli (Atmadevs wife) for some consideration. Thus, Atmadev was made to believe that Ganga’s child was his own. He was named Dhundhukari.At the same time, the cow which had eaten the fruit, also gave birth to a son who was human in every feature except his ears which were shaped like cows. This boy was also brought up by Atmadev and named “Gokarn”.
Both the boys grew up together and, in due course, became young men. Gokarn, who led a pious and righteous life, became a learned and famous man. Dhundhukari, on the other hand, grew up in bad ways and became the terror of the town. . One day, Dhundhukaris real father, i.e.Ganga’s husband, told Atmadev about his son’s real identity. This so much upset Atmadev that he went away into the forest. There, later, he lost his life.
Champa, a helpless girl and one of the many victims of Dhundhukari, conspired with some of her friends and killed Dhundhukari. Because of his manifold sins, he then became a wandering ghost. . Gokarn, who had now become a Mahatma, was at Gaya offering `Pind Dan to his deceased father when he learned about Dhundhukari’s fate. To relieve him of his ghostly existence, Gokarn offered `Pind Dan not once, but 108 times. Still, he was not successful. He then offered prayers to Suryadev on the advice of learned pandits. Suryadev, pleased with the prayers, blessed Gokarn and asked him to recite Shrimad Bhagvat for the salvation of Dhundhukari’s ghost.
Today’s Bhajan is sung by Hemant Kumar. It is a very good Bhajan rendered equally nicely by Hemant Kumar. I like it very much. You too will.
Song-Digant Nath devta anant roop sohta (Bhagwat Mahima)(1955) Singer- Hemant Kumar, Lyricist-Sarswati Kumar Deepak, MD- Hemant Kumar
Lyrics
om Japakusuma Samkaasham Kashyapeyam Mahadhyuthim
?? Tamorim Sarva Paapaghnam Pranathosmi Divakaram
Digant Nath devata
anant roop sohta
tamas kiran anek se
?? vishw paalate
Digant Nath devata
anant roop sohta
tamas kiran anek se
?? vishw paalate
Digant Nath devata
kripaalu Ravi kripa karo
kripaalu Ravi kripa karo
dayaalu Ravi daya karo
mahaan ye ?? tu
ke tum karo ??te
Digant Nath devata
suna rahe digant ke
anant ?? bhairavi
saja rahe ho tum nishaan
vishw bhar ki aarti
dukhon se ?? mukti do
ubaarne ki yukti do
sabhi ke paap taap ko
prabhu tumhi sanwaarte
Digant Nath devata
anant roop sohta
tamas kiran anek se
?? vishw paalate
Digant Nath devata
Digant Nath devata aa aa
Digant Nath devata aa aa
Chala gaya hai maanjhi
Posted on: May 24, 2020
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: | 4328 | Post No.: | 15619 |
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Blog 10-Year Challenge (2010-2020) – Song No. 32
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“Insaaniyat”(1955) was produced and directed by S S Wasan for Gemini Pictures, Madras. This movie had Dilip Kumar, Dev Anand, Bina Rai, Vijaylaxmi, Jayant, Jairaj, Shobhana Samarth, Badr Prasad, Kumar, Agha, Mohana, Zippy (Chimpanzee), T Mukherjee, Ishwar Lala, G v Sharma, Vijay Rao, G Bhatt etc in it.
The movie had a whopping 17 songs in it. How can a movie have so many songs and still have some time left for story ! I also wonder how the music team of the movie had the stamina and drive to create so many songs in a movie !
Eight of these songs have been covered so far.
| No. | Blog Song number | Songs | Posted on |
|---|---|---|---|
| 1. | 1619 | Tere sang sang sang piyaa khel ke main rang | 15 July 2009 |
| 2. | 1790 | Chup chup chup hone lagaa kuchh | 23 Aug 2009 |
| 3. | 2381 | Aayi jhoom ke bahaar | 3 Apr 2010 |
| 4. | 2487 | Main bandar hoon shahar kaa tu banmaanush junglee | 24 May 2010 |
| 5. | 8436 | Apni chhaaya mein bhagwaan bithhaa le mujhe | 31 July 2013 |
| 6. | 15013 | Raja beta bada hoke jaayega school | 30 Apr 2019 |
| 7. | 15335 | Gori kar le tu aaj singaar | 11 Dec 2019 |
| 8. | 15513 | Haseenon ka manzoor kar lo salaam | 3 Apr 2020 |
This movie offered one blog Ten year challenge opportunity on 3 april 2020 which was used. Today, seven weeks later, another Blog Ten year challenge opportunity presents itself for this song.
On this occasion, here is the ninth song from “Insaaniyat”(1955) to appear in the blog. his song is sung by Lata and Chorus. Rajinder Krishan is the lyricist. Music is composed by C Ramchandra.
Only the audio of the song is available. It is clear that the song was lip synced by Bina Roy on screen.
Lyrics of this song were sent to me by Prakashchandra.
Audio link:
Song-Chala gaya hai maaanjhi (Insaaniyat)(1955) singer-Lata, Lyrics-Rajinder Krishan, MD-C Ramchandra
Lata + Female chorus
Lata + Female chorus + Male chorus
Lyrics (Provided by Prakashchandra)
chalaa gaya hai maanjhi
naiyyaa chhod beech manjhdhaar
tere haath hai maalik meri
qismat ki patwaar
rakhiyo mori laaj
prabhu teri charan padi main aaj
rakhiyo mori laaj
prabhu teri charan padi main aaj
aaj chalaa mere sar ka saayee
meri nazar se door
aaj chalaa mere sar ka saayee
meri nazar se door
maange hain vardaan ye tujhse
birhan kaa sindoor
jaissey jaayein waissey aaye
ghar mera sartaaj prabhu teri
charan padi main aaj
rakhiyo mori laaj
prabhu teri charan padi main aaj
rakhiyo mori laaj
prabhu teri charan padi main aaj
thodi si prabhu de do apne
charan kamal ki dhool
de do charan kamal ki dhool
de do charan kamal ki dhool
teri dayaa se bann jaayega
ek ek kaantaa phool
de do charan kamal ki dhool
de do charan kamal ki dhool
tu hai jisska saathi
usske kaun bigaade kaaj
prabhu teri
charan padi main aaj
rakhiyo mori laaj
prabhu teri charan padi main aaj
rakhiyo mori laaj
prabhu teri charan padi main aaj
rakhiyo mori laaj
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.
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Blog Day : |
4295 | Post No. : | 15549 |
“Raaj Darbaar”(1955) was directed by Balwant Bhatt for Deepak Pictures. The movie had Nirupa Roy, Ranjan, Ishwahr Lal, Ranjeet Kumari, B M Vyas, Nagpal, Keshari, Shyam Sundar, Master Baccha, Azeem, Asha Mathur, Heena, Neera end in it.
Four songs from this movie have been discussed in the past.
Here is the fifth song from “Raaj Darbaar”(1955) to appear in the blog. This song is sung by Geeta Dutt. Shyam Hindi is the lyricist. Music is composed by Chitragupta.
Only the audio of this rare song is available. I request our knowledgeable readers to throw light on the picturisation of this song.
Song-Haay re zamaane haay haay re zamaane (Raaj Darbaar)(1955) Singer-Geeta Dutt, Lyrics-Shyam Hindi, MD-Chitragupta
Lyrics
kate na qaid mein aen
guzre na aashiyaane mein
raha na koi thhikaana mera zamaane mein
haaye re zamaane haaye
haaye re zamaane
haaye re zamaane haaye
haaye re zamaane
sun dard bhare afsaane
sun dard bhare afsaane
haaye
haaye re zamaane haaye
haaye re zamaane
haaye re zamaane haaye
haaye re zamaane
armaanon ka taaj sajaa ke
man ke toote taar baja ke
armaanon ka taaj sajaa ke
man ke toote taar baja ke
hum geet lage hain gaane
hum geet lage hain gaane
haaye haaye re zamaane
haaye haaye re zamaane
haaye re zamaane
haaye haaye re zamaane
chhin gaya mujhse jeewan mera
lut gaya baste baste dera
chhin gaya mujhse jeewan mera
lut gaya baste baste dera
mera haal koi kya jaane
mera haal koi kya jaane
haaye haaye re zamaane
haaye haaye re zamaane
haaye re zamaane
haaye haaye re zamaane
Haaseenon ka manzoor kar lo salaam
Posted on: April 3, 2020
- In: Asha Bhonsle solo | Asha Bhonsle songs | Blog ten year challenge (2010-2020) | Dance song | Devnagri script lyrics by Avinash Scrapwala | Lyrics by Avinash Scrapwala | Lyrics contributed by readers | Raj darbaar song | Songs of 1950s (1951 to 1960) | Songs of 1955 | Yearwise breakup of songs
- 1 Comment
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: | 4277 | Post No.: | 15513 |
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Blog 10-Year Challenge (2010-2020) – Song No. 16
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Now a days we have been managing one or two posts a day daily. When I look back ten years ago, we had similar situation in the blog even in those days.
For instance, on this day ten years ago, viz on 3 april 2010, two songs were covered in the blog viz:
| Song | Movie title-Year | Remarks |
|---|---|---|
| Main pyaar ka deewaanaa | Aayi Milan Ki Bela-1964 | All Songs posted |
| Aayi jhoom ke bahaar | Insaaniyat-1955 | 07 of 17 songs posted |
“Insaaniyat”(1955) was produced and directed by S S Wasan for Gemini Pictures, Madras. This movie had Dilip Kumar, Dev Anand, Bina Rai, Vijaylaxmi, Jayant, Jairaj, Shobhana Samarth, Badr Prasad, Kumar, Agha, Mohana, Zippy (Chimpanzee), T Mukherjee, Ishwar Lala, G v Sharma, Vijay Rao, G Bhatt etc in it.
The movie had a whopping 17 songs in it. Seven of these songs have been covered so far.
| Song | Posted On |
|---|---|
| Tere sang sang piyaa khel ke main rang | 15.07.2009 |
| Chup chup chup hone lagaa kuchh | 23.08.2009 |
| Aayi jhoom ke bahaar | 03.04.2010 |
| Main bandar hoon shahar kaa … | 24.05.2010 |
| Apni chhaayaa mein bhagwaan bithhaa le mujhe | 31.07.2013 |
| Raja beta bada hoke jaayega school | 30.04.2019 |
| Gori kar le tu aaj singaar | 11.12.2019 |
The third song from this movie viz.Aayi jhoom ke bahaar was covered in the blog ten years ago. So this gives us an opportunity to cover another song from the movie under the “Blog Ten year Challenge” series. So here is the eighth song from “Insaaniyat”(1955). This song is sung by Asha Bhonsle and chorus. Rajinder Krishan is the lyricist. Music is composed by C Ramchandra.
The song is picturised as a rajdarbaar dance song. I am unable to identify the dancer lip syncing in Asha Bhonsle’s voice. I request our kowledgeale readers to help identify her as well as others seen in the picturisation.
Lyrics of this song were sent to me by Avinash Scrapwala, who keeps a keen eye on “Blog Ten Year Challenge” opportunities which have been rather limited for the last few weeks.
Song-Haseenon ka manzoor kar lo salaam (Insaaniyat)(1955) Singer-Asha Bhonsle, Lyrics-Rajinder Krishan, MD-C Ramchandra
chorus
Lyrics(Provided by Avinash Scrapwala)
Haseenon ka manzoor Kar lo salaam
Tumhaari mohabbat ke Ham hai ghulaam
Ham hain ghulaam
Tere ham hai ghulaam
Haseenon ka manzoor Kar lo salaam
Tumhaari mohabbat ke Ham hai ghulaam
Ham hain ghulaam
Tere ham hai ghulaam
mere mukhde ka til hai tumhaare liye ae
mera naazuk sa dil hai tumhaare liye ae
mere mukhde ka til hai tumhaare liye
mera naazuk sa dil hai tumhaare liye
tumhaare liye
mere honthhon ke jaam
tumhaare liye
mere honthhon ke jaam
Tumhaari mohabbat ke Ham hai ghulaam
Ham hain ghulaam
Tere ham hai ghulaam
Haseenon ka manzoor
Kar lo salaam
Tumhaari mohabbat ke
Ham hai ghulaam
Ham hain ghulaam
Tere ham hai ghulaam
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Devnagri Script lyrics (Provided by Avinash Scrapwala)
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हसीनों का मंज़ूर कर लो सलाम
तुम्हारी मोहब्बत के हम हैं ग़ुलाम
हम हैं ग़ुलाम
तेरे हम हैं ग़ुलाम
हसीनों का मंज़ूर कर लो सलाम
तुम्हारी मोहब्बत के हम हैं ग़ुलाम
हम हैं ग़ुलाम
तेरे हम हैं ग़ुलाम
मेरे मुखड़े का तिल है तुम्हारे लिए ए
मेरा नाज़ुक सा दिल है तुम्हारे लिए ए
मेरे मुखड़े का तिल है तुम्हारे लिए
मेरा नाज़ुक सा दिल है तुम्हारे लिए
तुम्हारे लिए
मेरे होंठों के जाम
तुम्हारे लिए मेरे होंठों के जाम
तुम्हारी मोहब्बत के हम हैं ग़ुलाम
हम हैं ग़ुलाम
तेरे हम हैं ग़ुलाम
हसीनों का मंज़ूर कर लो सलाम
तुम्हारी मोहब्बत के हम हैं ग़ुलाम
हम हैं ग़ुलाम
तेरे हम हैं ग़ुलाम
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: | 4275 | Post No.: | 15510 |
“Naqaab”(1955) was produced and directed by Lekhraj Bhakri for Tasveeristaan. The movie had Shammi Kapoor, Madhubala, Asha Mathur, Ajit, Heera Lal, Yashodhara Katju, Maruti etc. in it.
“Naqaab”(1955) had eleven sons in it. Six songs from this movie have been discussed in the past. Here is the seventh song from the movie to appear in the blog. This song is sung by Asha Bhonsle. Prem Dhawan is the lyricist. Music is composed by Pt Govindram.
Only the audio of this song is available. I request our knowledgeable readers to throw light on the picturisation of this song.
Song-Meri kasam tumhem mera ye raaz raaz rahe(Naqaab)(1955) Singer-Asha Bhonsle, Lyrics-Prem Dhawan, MD-Pt Govind Ram
Lyrics
Meri kasam tumhen
mera ye raaz raaz rahe
jo naaz tumpe hai mujhe
sada wo naaz rahe
meri kasam tumhen
mera ye raaz raaz rahe
jo naaz tumpe hai mujhe
sada wo naaz rahe
tumhaare haath mein hai
pardaa-daari aaj meri
tumhaare haath mein hai
pardaa-daari aaj meri
ab imtahaan hai ke
ye ishq sarfaraz rahe
meri kasam tumhen
mera ye raaz raaz rahe
jo naaz tumpe hai mujhe
sada wo naaz rahe
dil o nazar mein hua
hai jo silsila kaayam
dil o nazar mein hua
hai jo silsila kaayam
khuda kare phir wohi
silsila daraaj rahe
meri kasam tumhen
mera ye raaz raaz rahe
jo naaz tumpe hai mujhe
sada wo naaz rahe
Hai door badi door
Posted on: February 25, 2020
This article is written by nahm, 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 : | 4239 | Post No. : | 15451 |
Mohammed Rafi: The incomparable (II) – Song No. 16
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25/02/2020 – Death anniversary of S. H. Bihari
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I am presenting this Rafi sahab solo, philosophical song in memory of Shamsul Huda Bihari (1922-1987) on his 33rd death anniversary day today (25 february 2020).
S. H. Bihari was born in 1922 and his filmy career started in late 1940s it appears.
First song in Rafi Excel sheet is the Rafi-Suraiyya duet “Qismat ke likkhe ko mitaa na sakaa” from Duniya(1949). This would appear to be the first film song by S. H. Bihari, because even the website(http://www.shbihari.com/Welcome.html) on S. H. Bihari is listing his film career from 1950 onwards. There is no mention of his having written this song or other songs from the film. Another song from this film has featured in my series “Divas of hindi film music”.
As per the stats page in the blog he has written total 425 film songs, out of which 175 are posted in the blog. Frankly, through 50’s and 60’s the lyricist scene was full of stalwarts and legendary poets mainly urdu shayars. The music director had multiple choices. Some chose to stick to their tried and tested poets for long durations like Shankar-Jaikishan and Naushad. Others are moving from lyricist to lyricist and poet to another poet or using a combination of poets to write songs for them. But by and large, each music director would work with one lyricist for a particular movie, depending of the genre of the film and type of songs required. A case in point is Ravi- Shakeel Badayauni for ‘Chaudhvi ka chaand” and S. D. Burman- Shakeel Badayuni for ‘Benazir”. Another situation is Madan Mohan-Kaifi Azmi for Chetan Anand’s films like namely ‘Haqueeqat”, ‘Hindustaan ki Qasam”, “Hanste Zakhm” and “Heer Ranjha”. Otherwise Madan Mohan had distinct preference for Raja Mehdi Ali Khan, Rajendra Krishan and Majrooh Sultanpuri. Madan Mohan even did “Laila Majnu” with Sahir Ludhianvi.
Let’s go back to S. H. Bihari. Seeing his filmography, he seems to be a favourite of Hemant Kumar through 50’s and Ravi’s during late 50’s. Through 60’s he worked extensively with O. P. Nayyar, achieving the peak with block buster films like ‘Kashmir ki Kali” and “Ek Musafir Ek Hasina”. The 60’s is the productive decade also working with various music director like, Usha Khanna, Ravi, Shankar-Jaikishan, Ram-Ganguly etc. During 70’s again is mixed fare with Shankar- Jaikishan, O. P. Nayyar and various composers. And the 80’s is mostly with Laxmikant-pyarelal and notable hit music score is in Pyar Jhukta Nahi(1985).
This song from Madhur Milan(1955) is a sweet sounding melodious, motivational and philosophical song. The more I hear such Rafi song the more I am enamoured with Rafi sahab solos of 50’s decade. Song of this film released on 01.01.1955, are composed by Bulo C. Rani. The cast is Mahipal, Madanpuri, Bhudo Advani, Roopmala and Nigar Sultana. Out of twelve songs only 5 songs are posted in the blog. A trivia I gathered from these posts is that the lead actor Nigar Sultana has written a song for the film which is picturized on herself.
The song talks of long journey and hurdles in the journey. It could also mean the eternal journey which is inevitable, seeing that “jaana hai musaafir tujhe har haal mein jaana” is repeated many times. Also the ‘thikaana’ is not just ‘dur’ but ‘badi door’ also, means a long struggle to reach the destination. The line “Chhoti teri seemaaon ka dushman hai zamaana” is meant to convey the personal limitations of the ‘musaafir’ or it can even mean the ‘boundaries of integrity/values’ which the musaafir is loath to lose that the ‘zamaana’ would prefer to destroy. Also those ‘taqdeer ki faujen’ is a phantom, creating a scene where there is a fight with the destiny for the values, truth and maintain the integrity.
The second stanza is too fascinating. This talks of ‘revolution’ or great upheaval, which will go down in history as an achievement. “chaand sitaare” bear witness of this ‘bravery’ and the world shall remember the fascinating story.
I am taking a liberty of reproducing an essay which I wrote(again) for an essay competition in the office.
Integrity – A way of life.
Integrity for me – definitely should be a way of life.
Integrity will come with total transparency in all aspect of life. This is the only way of achieving it. Total integration of thoughts, speech and deeds. Ha, so simple isn’t it?
There is no doubting that a human beings integrity should be beyond doubt. One may ask the question that it is beyond doubt in all cases, where exactly? In the utopian world would be my answer.
We may lament all we want about the limitations of human fallibility. The path of truth is always fraught with thorns, as the thinkers and philosophers throughout the history of this civilization have concurred.
As the most superior creation of the God Almighty, we have a unique gift to offer to the world. We can be true to ourselves as we possess the intelligence to see the truth and recognize it and achieve a semblance of it, to whatever extant it is possible for each one of us. Truth truly is an achievement, has always been one in all eras. The very nature and purity of the concept makes sure that it is a superior achievement, taking the achiever to a higher plain. In an ideal society this achievement should have been the goal of life. All the ancient philosophies and religions point to this.Religious beliefs are a very sure shot way of achieving this recognition of truth and total amalgamation of truth in thoughts, speech and deeds. The belief that the god Almighty is watching us, nothing is hidden from him and that we have to answer for all our deeds on the ‘Day of Judgment’, will go all the way to the achievement of this task. The fact that nothing can be hidden from a superior force will make each and every one of us to face facts.
During my school days, I recall that there used to a lecture/period for the topic of ‘Deeniyat’. Here as very young children, we were taught that there are two angels sitting on both our shoulders, recording our deeds. The angel on the right shoulder records all our good deed, like we helped someone, gave charity, spoke truth. Alternatively, the angel on the left shoulder records all our bad deeds, if we lied, if we deceived someone, or treated anyone badly etc. Come to think of it, when all is said and done, there are more things that we can do are in the category of bad deeds and there are very few falling under good deeds. I can elaborate, but there is no need for it. In our circumstances and makeup, it is easier to do bad deeds than good. Because sticking to the truth is tougher and keeps getting tougher.
Here is another story heard in childhood, which adds value addition to my discourse here:
A teacher gave a task to the children – He gave them a chick each, asked them to take it to a place where no one can see you and kill it.
Next day, all the kids came and told their story of the task. Somebody went to the bathroom, someone went to the storeroom, to garage etc to kill the chick. Only one child had still not killed it and brought it to school. The teacher asked him that why he did not complete the task. The child replied that he could not find a place where no one can see it to complete the task, because God almighty was everywhere and is constantly watching, so where to go. There is no place where you can hide from the omnipresence of God almighty.The religions, I have always believed are the means to achieve one goal,that is to regulate human behavior.
A wise man was once asked: Sir, in which field could I make a great career ?
He said: Be a good human being. There is a huge opportunity in this area and very little competition.
And lastly, life is about choices. Some we regret, some we are proud of and some will haunt us. We are what we choose to be.
Everything that happens in life is not fixed… it can be changed by a weapon called will power.
I think Allama Iqbal meant this only here :
Khudi ko kar buland itna ke har taqdeer se pehle
Khuda bande se khud puchhe bataa teri razaa kya hai.
Song-Hai door badi door (Madhur Milan)(1955) Singer-Mohd Rafi, Lyrics-S H Bihari, MD-Bulo C Rani
Lyrics
Hai door badi door
badi door thikaana
Jaana hai musaafir
Tujhe har haal mein jaana
Jaana hai musaafir
Tujhe har haal mein jaana
Utthtaa hua toofaan hai
Behti hui maujen ean
Utthtaa hua toofaan hai
Behti hui maujen
Badhti hi chali aati hain ea ea ean
Badhti hi chali aati hain
Taqdeer ki faujen
Chhoti si(teri) seemaaon ka
Dushman hai zamaana
Jaana hai musaafir tujhe
har haal mein jaana
Jaana aa hai musaafir tujhe
har haal mein jaana
Hai door
Hai door badi door
badi door thikaana
Jaanaa hai musaafir
Tujhe har haal mein jaana
Jaanaa hai musaafir
Tujhe har haal mein jaana aa
Aati hai to ooo ooo
Aati hai to aa jaane de
Kashti se tabaahi
Aati hai to ooo ooo
Aati hai to aa jaane de
Kashti se tabaahi
Hain chaand sitaare
Teri himmat ki gawaahi ee eeee
Duniya ko sadaa yaad rahegaa ye fasaanaa
Jaana hai hai musaafir tujhe
har haal mein jaana
Jaanaa hai musaafir tujhe
Hai door badi door badi door thikaana
Jaana hai musaafir
Tujhe har haal mein jaana
Hai doo ……ooo…….oooo …..ooor
—————————–
Lyrics in Devnagri script (Provided by nahm)
—————————–
है दूर बड़ी दूर
बड़ी दूर ठिकाना
जाना है मुसाफिर तुझे
हर हाल में जाना
जाना है मुसाफिर तुझे
हर हाल में जाना
उट्ठता हुआ तूफ़ान है
बहती हुई मौजें एँ
उट्ठता हुआ तूफ़ान है
बहती हुई मौजें
बढ़ती ही चली आती हैं
बढ़ती ही चली आती हैं
तक़दीर की फौजें
छोटी सी सीमाओं का
दुश्मन है ज़माना
जाना है मुसाफिर तुझे
हर हाल में जाना
जाना है मुसाफिर तुझे
हर हाल में जाना
है दूर
है दूर बड़ी दूर
बड़ी दूर ठिकाना
जाना है मुसाफिर तुझे
हर हाल में जाना
जाना है मुसाफिर तुझे
हर हाल में जाना
आती है तो ओ ओ
आती है तो आ जाने दे
कश्ती से तबाही
आती है तो ओ ओ
आती है तो आ जाने दे
कश्ती से तबाही
हैं चाँद सितारे
तेरी हिम्मत की गवाही
दुनिया को सदा
याद रहेगा ये फसाना
जाना है मुसाफिर तुझे
हर हाल में जाना
है दूर बड़ी दूर
बड़ी दूर ठिकाना
जाना है मुसाफिर तुझे
हर हाल में जाना
है दू………उ ……उ……र
Gori kar le tu aaj singaar
Posted on: December 11, 2019
This article is written by nahm, 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 : | 4163 | Post No. : | 15335 |
Today is 97th birthday of the thespian Dilip Kumar. Dilip Kumar, real name Yusuf Khan is the most revered and copied star of this film Industry. The second most inspiring and copied star would be Mohammed Rafi’s voice. Because truly the voice was the star in Rafi Sahab’s case.
Dilip Kumar has had a fruitful and successful career of more than 50 years. This has again been equalled only by Amitabh Bachchan in recent years.
Dilip Kumar is like a lone man standing from the pre-independence era. Again he has only Lata Mangeshkar for company. Also yesteryears actress Nimmi(Born 1933) is giving him company, but she is more than a decade younger than Dilip Kumar. Nimmi was a co-star in significant films in Dilip Kumar’s career, namely Amar, Aan and Deedar. I feel she was type cast in this as the third angle in a triangle.
Dilip Kumar is the true ‘Gulfaam’ of the hindi film world. There was a Urdu Magazine by that name back in the 80’s which I had thought was dedicated to Dilip Kumar, as almost every issue had Dilip Kumar on its cover. I found a very interesting article on “The lost world of Urdu film magazines” in the net, link is here.
Dilip Kumar has often been described as an institution, by many of the later day film stalwarts, especially by the actors.
I have found the genesis of acting style of all the major superstars of hindi film industry can be found in Dilip Kumar’s style of acting.
As per the excel sheet of “Mohammed Rafi songs”, there are roughly 60 songs where Rafi Sahab gave playback for Dilip Kumar. This include one small ditty from Ganga Jamuna and the small snippet of a beautiful song from ‘Insaaniyat’ (1955). The list misses a song from “Kranti” (1981), “chana jor garam baabu” where Rafi Sahab sang just this line for Dilip Kumar :
Mera chana hai apni marzi ka
Ye dushman hai khudgarzi ka
Sar kafan baandh ke nikla hai
Deewana hai ye pagla hai
Mit jaane ko mit jaayega
Aazaad watan kar jaayegaa
I am presenting here the small snippet from the film ‘Insaaniyat”(1955) , which is composed by C. Ramchandra. Lyrics are by Rajendra Krishan and Dilip Kumar is singing this with obvious enjoyment while driving a bullock cart. I tried finding a whole song, which was not available. It may have been recorded as a full- fledged song, but I could not find it on youtube.
Some of my favourite songs by Rafi songs on Dilip Kumar are :
So presenting a small but appealing ditty in Rafi Sahab voice to celebrate Dilip Kumar Sahab’s 97th birthday today.
Song-Gori kar le tu aaj singaar (Insaaniyat)(1955) Singer-Rafi, Lyrics-Rjinder Krishan, MD-C Ramchandra
Lyrics
Hoye ye ye
Ha haa aaa haa
Gori kar le tu aaj singaar
Rasiyaa dwaare khade
Gori kar le tu aaj singaar
Rasiyaa dwaare khade
Gori kar le tu
Ho Gori kar le tu aaj singaar
Rasiyaa dwaare khade
Gori kar le tu aaj singaar
Rasiyaa dwaare khade
Gori kar le tu aaj singaar
Rasiyaa dwaare khade
Ho oo ooo
Ah haa aaa haa
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 : | 4157 | Post No. : | 15326 |
“Chingaari”(1955) was directed by S Srivastava for co-operative pictures production, Bombay. The movie had Shekhar, Nalini Jaywant, Leela Misra, Sunalini Devi, Pran etc in it.
This forgotten movie had eight rare songs in it. Four songs have been covered in the past.
Here is the fifth song from “Chingaari”(1955) to appear in the blog. This song is sung by Lata. Shailendra is the lyricist. Music is composed by Manohar aka Manohar Arora.
Song-Ye dil ki majbooriyaan (Chingaari)(1955) Singer-Lata, Lyrics-Shailendra, MD-Manohar Arora
Lyrics
ye dil ki majbooriyan aur ye pyaase nain
uljhan ki is raat mein do dil hain bechain
ye dil ki majbooriyaan
poochh raha hai chaand gagan ka hum kyun hain majboor
poochh raha hai chaand gagan ka hum kyun hain majboor
saath hain donon paas hain donon
phir bhi kitni door
kis dar ne kis soch ne chheena inka chain
ye dil ki majbooriyaan
apni manzil pe aakar bhi
kyun ye dil ghabraaye
apni manzil pe aakar bhi
kyun ye dil ghabraaye
dil ghabraaye
neend na aaye
har aahat chaukaaye
anjaane is des mein kaate kate na rain
ye dil ki majbooriyaan
pyaar agar hai paas to batla
ae duniya naadaan
pyaar agar hai paas to batla
ae duniya naadaan
tujhmein aisa kya hai jispe naaz kare insaan
kuchh na soojhe preet mein jab uljhen do nain
ye dil ki majbooriyaan aur ye pyaase nain
ye dil ki majbooriyaan
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