Posts Tagged ‘1955’
- In: "Aankh" song | Devnagri script lyrics by Sudhir | expression of love | Feelings of heart | Guest posts | Love song | Lyrics by Sudhir | Lyrics contributed by readers | Post by Arunkumar Deshmukh | Songs of 1950s (1951 to 1960) | Songs of 1955 | Talat Mehmood solo | Talat Mehmood songs | Yearwise breakup of songs
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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 : |
3979 | Post No. : | 15065 |
Today’s song is from film ‘Aaj Ki Baat’ (1955).
In one of his earliest posts, Atul ji had said that the Indian people like to talk about 3 things – politics, films and cricket. How true it was. . . till Whatsapp and Facebook became an obsession for most people in India. Now you see different, sometimes even strange topics being discussed with taste. Additionally, there are wise people to give you free doses of a variety of knowledge. In all this crowd, sometimes one finds even a few intelligent posts too !
Recently, I saw a video by National Geographic. It showed how a mother bear saves her wayward baby bear, from almost certain clutches of a hungry lion. Motherly love or love for children is a common factor among animals and humans. While animals try to protect their babies from enemies, starvation and life threatening situations, human parents try to provide the goodies of life and a paying career line to their children.
Film people are no different in this. Almost every successful star wishes that his children join this line and be famous and successful. However, they forget that in their own case they had struggled hard to earn their place in the life and more importantly they forget that talents are not necessarily hereditary !
When I chose today’s Talat song from film ‘Aaj Ki Baat’, I realised that this was the launching film for Ajit Chitnis – son of ace actress Leela Chitnis. Unfortunately, the film career of Ajit Chitnis never took off beyond his first and the only film. Actually, Ajit was a qualified commercial pilot, but he could not get a job in any air line. Consequently, he became a victim of alcoholism and was spoiled further. To help him settle in life, his mother-Leela Chitnis tried to bring him in film line. When she noticed her contemporary, Shobhana Samarth produced a film ‘Hamari Beti’ (1950), to launch her daughter Nutan, Leela too decided to produce a film to launch one of her two sons as an actor. She chose Ajit as he was elder and needed help. Manvendra (Leela used to call him as ‘Meena’) was not launched ceremoniously, but later he acted in 4 films in side roles. In his last film,’Ramu To Deewana Hai’ (1980) he even shared the credits with his mother. The history of most star sons in films is not very encouraging. In fact, success and failure ratio may be 10 to 90 percent in success and failures.
It is said that ‘No tree can grow under a Banyan tree’. This is absolutely true and applicable in film industry. Except in cases like the Kapoor family, i.e. Raj, Shammi and Shashi,who made their bright careers despite the shadow of their father and other brothers, we find that many of the sons, daughters, brothers or sisters of many popular and famous film stars were failures and never made it big in Hindi cinema.
We know cases like Suneil Anand, Nasir Khan, Tony Walker, Naina Sahu, Meera Joglekar, Ajit Chitnis, Rajendranath, Narendranath, Anoop Kumar, Mallika, Khursheed Jr., Simple Kapadiya, Shivangi Kolhapure, Preeti Ganguly and many more. In spite of having all the backing of the famous family member, these and such many others just did not make it, because Talents are not always hereditary !
They all were given a fair opportunity to display their talent on the screen , but unfortunately despite their honest effort their skill could not come out & the viewers were left unimpressed . They were selected by big banners and well experienced directors were there to guide them. But their talent remained hidden inside them and with their nonexistent artistry they disappointed their mentors. Non-actor Sohan Kapila was in the romantic lead of Filmistan’s ‘Babar’, which was released in 1960. This film was directed by Hemen Gupta, the distinguished director, who earlier had directed ‘Anand Matth’ (1952) for Filmistan. The film, also had the winning combination of Sahir and Roshan. Dependable character actor Gajanan Jagirdar played the role of the great Mughal Emperor Babar . But the movie flopped, as the new hero failed pathetically to register any emotion on his face. A big jolt for Seth Tola Ram Jalaan, who was already facing financial problems. Mr. Kapila appeared in 2-3 movies in inconsequential roles and disappeared from scene for ever. His daughter Padmini Kapila also pursued a career in films, but could not achieve much success .
There were many other actors like him, who got a chance to appear opposite illustrious heroines, unfortunately their effort did not make any impact on the cine loving public. Watching their miserable performance on the screen, no film maker came forward to sign them. Out of sight is out of mind, it was matter of time when public as well as film industry forgot them.
‘Malhaar’, as the name suggests, is a musical film produced by the great singer Mukesh in 1951 . It had story by veteran actor SK Prem and its evergreen music was composed by Roshan. The movie had new comers Arjun and Shammi (Nargis Rabaadi). Arjun did get another chance in ‘Daku Ki Ladki’ (1954) to please the viewers with his emoting before the camera, but could not succeed and it was end of his career.
Rattan Chopra, the lucky boy was selected for films, among hundreds of aspirants. Mohan Kumar had suffered a huge set back when ‘Aman’ flopped. He took the newcomer for ‘Mom Ki Gudia’ (1972) opposite Tanuja, with great hopes. Unfortunately, the film failed to dispel the gloom and sank to the rock bottom. Acting was not his cup of tea, Rattan Chopra understood and wisely opted out of the race of stardom.
Director Amarnath introduced new comer Vijay Kumar in his 1954 offering ‘Alif Laila’ opposite Nimmi and Asha Mathur. Sohan Kapila and Vijay Kumar had impressive physique, but had no clue about acting. The movie had lilting music by Shyam Sunder, which was his last contribution towards film industry. Helen for the first time got a chance to perform solo in the movie and for many decades she remained on top. But for Vijay Kumar it was his first & last chance.
Another non actor Premendra was introduced by old timer Vijay Bhatt in ‘Holi Aayee Re’ (1970), which was directed by his younger sibling Harsukh Bhatt. It was pathetic to watch Premendra unsuccessfully trying to show case his imaginary ability in the field of acting .The movie flopped phenomenally and a huge investment made by Bhatt Brothers went up in a cloud of smoke.
There were some more like Pratibha Sinha, Archan Gupta, Jayant Gupta, Ashok Sharma, Nusrat Kardar, Rajeev Kapoor, Manish Kumar, Navin Chandra, Aroop Kumar, Prashant, Shalini, Kaycee Mehra, Vikram, Shekhar Suman, Deepak Kumar, Ajay, Som Dutt and many more. Among them, some film names which I remember off hand are Deepak Kumar in ‘Aabroo’ (1968), ‘Ajay’ in ‘Wapas’ (1969), Som Dutt in ‘Mann Ka Meet’ (1968), Vikram in ‘Julie’ (1975), Rajeev Kapoor in ‘Raam Teri Ganga Maili (1985), Shekhar Suman in ‘Utsav’ (1984), Kaycee Mehra in ‘Chhabilee’ (1960) and Mem Didi (1961), Prashant in ‘Sehra’ (1963), Ashok Sharma in ‘Hamari Yaad Aayegi’ (1961), Ajit Chitnis in ‘Aaj Ki Baat’ (1955), Nusrat Kardar in ‘Dard’ (1947), Manish in ‘Saraswati Chandra’ (1968), Rajiv in ‘Nayi Umar Ki Nayi Fasal’ (1965), Aroop Kumar in ‘Bezubaan’ (1962) etc. There could be more such examples. Readers can give their comments.
According to what Leela Chitnis wrote in her autobiography, ‘Chanderi Duniyet’ (‘चंदेरी दुनियेत’), during the period 1952-53 she was in a very bad financial position. Her health had worsened due to a wrong operation and then a corrective surgery. Valuable time and all money was lost in this. To come out of this situation, she planned to produce a film launching Ajit. As the luck would have it, the film started in 1953, but took 2 years to complete. The rights were sold to a distribution company. They released the film first in Punjab, where it flopped miserably. Then it was not released anywhere at all and went into the cans forever. This was a great shock to Chitnis family.
The film had 8 songs. 2 songs are already discussed here. This is the 3rd song, sung by Talat Mehmood. Written by Raj Baldev Raj, it was composed by the ‘Gentleman Maestro’ – Snehal Bhatkar.
White full shirt, ironed white Pyjama, spectacles with big powerful lenses and the trademark white Gandhi Topi. He could easily be mistaken for a ‘Pandharpur Warkari‘ (a regular pilgrim to Pandharpur) or a member of a ‘Bhajani Mandali’ or simply a middle class ‘Marathi Manoos’. Such was the appearance of one of Hindi filmdom’s talented yet not so famous, music maestro VASUDEV GANGARAM BHATKAR or Snehal Bhatkar as we all love to know him.
In Hindi film music field, there were some talented composers like Ghulam Mohd, Mohd Shafi, Iqbal Qureshi, Daan Singh, C Arjun, Ramlal, Sardar Malik, Ajit Merchant, Jamaal Sen, Dattaram, Ganesh, Snehal Bhatkar etc., who could never reach the peaks of their careers. They really deserved this, but luck did not favour them. Big Banners never approached them and the losers were the lovers of music in India. They did not know, perhaps, how to sell their art. May be, they never wanted to enslave the music to gain name and fame, instead they preferred to settle for service to the music!
Bhatkar was one such composer. ‘Simple living and high thinking’ – never worked in this mayanagari, but he had no regrets. Till the end he was contented with whatever God gave him, whatever name and success he achieved. He was born into a family and grew in such atmosphere which was surrounded by traditional devotional music all around. In the lower middle class, the people had their entertainments in singing bhajans and doing keertans in temples en masse.
He was born on 17-7-1919. Vasudev G. Bhatkar knew at least 100 Bhajans by heart by the time he was in his 10th class. He was invited to sing in Ganesh Melas and other celebrations and soon became a well known name in the locality. Because of his singing and skills in playing harmonium and other instruments, he got a job in HMV in Bombay. Here he used to give accompaniment on harmonium to renowned classical singers. At the same time, taking cognizance of his singing skills, many Marathi bhavgeets and bhajans were recorded by HMV in those days. Some of them are popular in Maharashtra even today.
All the while, Bhatkar was looking for opportunity to compose in films. Sudhir Phadke, who too served in HMV and recorded some songs from 1943 to 1945, joined hands with Bhatkar and made a pair – Vasudev-Sudhir. They got a film of Baburao Painter ‘Rukmini Swayamvar’ in 1946 for music direction. The problem was due to his service in HMV, he could not openly work outside, hence he only gave his name as Vasudev. After this film the pair separated and Phadke went to give music to films like ‘Gokul’, ‘Aagey Badho’ etc. Due to financial constraints Bhatkar was unable to leave the job also.
In 1941, Bhatkar had come to know Kidar Sharma while recording songs for his film ‘Chitralekha’, which he was making for Ranjit Studios. Sharma had just come from Calcutta, to establish himself in Bombay. He had a knack of identifying talents. He gave chance to Bhatkar first to sing some songs with Leela Sawant in his film ‘Kaliyan’ (1944). After ‘Rukmini Swayamvar’, Kidar Sharma gave him his first break as independent composer in his ‘Neel Kamal’ in 1947. For this film, Bhatkar used the name B Vasudev. Kidar Sharma had launched Raj Kapoor and Madhubala in adult roles as the lead pari in this film. It also launched Bhatkar, albeit in a pseudo-name. In the subsequent years Bhatkar used different names for different films-
- ‘Suhaag Raat’ (1948) – as Snehal
- ‘Sant Tukaram’ (1948) – as VG Bhatkar (he sang 6 songs also)
- ‘Thes’ (1949) – as Snehal
- ‘Sati Ahilya’ (1949) – as VG Bhatkar
- ‘Pagle’ (1950) – as VG Bhatkar
After completing ‘Thes’ and ‘Sati Ahilya’, Bhatkar resigned from HMV.
He and Kidar Sharma were very good friends. Kidar gave him ‘Neki Aur Badi’ in 1949. He started the work. Meanwhile, Kidar Sharma met Roshan Nagrath in some musical event. Sharma was terribly impressed with Roshan and wanted to give him a break in his film. At that point of time, Kidar had just started work on ‘Neki Aur Badi’. He had a heart to heart talk with Bhatkar and Bhatkar gladly left the film for Roshan. Thus Roshan got his break with this film. Roshan never forgot Bhatkar’s magnanimity in his life and always respected Bhatkar.
In return Kidar Sharma gave ‘Hamari Beti’ (1950) to Bhatkar. As he was a free bird now, Bhatkar started using the name Snehal Bhatkar from this film onward. Snehal was the short form of Snehalata, his daughter. Snehal Bhatkar did many Marathi films and recorded many bhajans in Marathi, which are ever popular. He did 27 films in Hindi and 12 films in Marathi. Out of 27 Hindi films, 9 were made by Kidar Sharma.
The song which made Mubarak Begum and Bhatkar famous in India was “Kabhi Tanhayion Mein, Hamari Yaad Aayegi” from the film ‘Hamari Yaad Aayegi’ (1961). (This film was was originally named ‘Jawaan Muhabbat’). Actually this song was to be done by Lata Mangeshkar. Lata had already recorded two songs for this film. Due to her extremely busy schedule she was unable to do this song, so she suggested the name of Asha Bhosle. However, already upset over Lata’s refusal, Kidar Sharma opted for Mubarak Begum and the rest is history-as they say. She made a gold of this song with her special voice.
After 1960, the musical scene in India was undergoing drastic changes and there was no space for composers like Bhatkar, who used minimum orchestra and dwelt upon melody. His films came after long intervals. Even Kidar Sharma left him after ‘Fariyad’ (1964) (only to return in ‘Pehla Kadam’ in 1980). Finally Bhatkar did his last film ‘Sehme Huye Sitaare’ in 1994, which featured his son Ramesh Bhatkar-who was already a popular hero in Marathi film, stage and TV. This obscure film did nothing good to Bhatkar.
After retirement Bhatkar devoted his time for children’s welfare and his original love – bhajan mandali singing.
Snehal or Vasudev Gangaram Bhatkar, together with cousin Devji Bhatkar and Panchambuwa Pandurang Shivalkar, was the founder member of ‘Vishwambhar Prasadik Bhajan Mandal’ in Dadar. It is still in operation after 50 years, with new set of singers. Bhatkar was very kind hearted. Every year, during Ganapati festival he used to visit his ancestral village ‘Bhate’ in Ratnagiri district and participate in singing bhajans.
Lata, Talat and Mukesh were his favourite singers. Talat, though has not sung many songs for him, his song “Zindagi Kis Mod Pe Laayee Hamein” from ‘Diwali Ki Raat’ (1956) was very popular. When rehearsals for this song were being done, Bhatkar had used only tabla and sitar for the practice session. The producer who chanced upon this rehearsal was so much impressed with this that he insisted recording the song only with minimum instruments. So, this song has only tabla, Sitar and another instrument for accompaniment.
Though there were many melodious songs composed by Bhatkar like, Khusro’s “Lakhi Baabul More Kaahe Ko Deeni Bides” sung soulfully by Mukesh in ‘Suhag Raat’ (1948); “Ro’oge Pachhtaoge” by Mukesh and Rajkumari in ‘Thes’ (1949); Lata’s “Chanda Tumko Laaj Na Ayee” from ‘Bhola Shankar’ (1951); Suman Kalyanpur’s “Haal e Dil Un Ko Sunaana Tha” from ‘Fariyaad’ (1964), except Kidar sharma no other big banner producer opted for Snehal Bhatkar. May be, his compositions were not so simple for common man to hum or sing, although they were quality songs.
Inspite of several melodious songs Bhatkar was never counted among the 1st line composers. Kidar Sharma also returned to him in 1980, but by that time Snehal Bhatkar was already on a descending track.
Snehal Bhatkar, a talented but not much applauded music director died peacefully on 29-5-2007 at his Dadar home.
Here is the song by Talat Mehmood from film Aaj ki baat-1955.
(My thanks to Shri MN Sardana ji for his post in ‘Voh Din Yaad Karo’ on Facebook, from which some information has been used herein.)
Song – Pyaar Ki Nazron Se Un Ko Dekhta Jaata Hai Dil (Aaj Ki Baat) (1955) Singer – Talat Mehmood, Lyrics – Raj Baldev Raj, MD – Snehal Bhatkar
Lyrics
aaaaaa aaaaaa
aaaa aaaaa aaaaaa
aaaaaa aaaaaa aaaaaaa
aaaa aaaa aaaa aaaaaa
pyaar ki nazron se un ko
dekhta jaata hai dil
pyaar ki nazron ki nazron se un ko
dekhta jaata hai dil
baat un ke saamne kehne se
ghabraata hai dil
kya hua mujhko
hai mere dil ki dhadkan tez tez
kya hua mujhko
hai mere dil ki dhadkan tez tez
thaamna mujhko ke seene se
uda jaata hai dil
baat un ke saamne kehne se
ghabraata hai dil
aaye hain wo zindagi
aaye hain wo zindagi
kadmon mein un ke daal de
kadmon mein un ke daal de
dil ko samjhaati hain nazren
mujhko samjhaata hai dil
baat un ke saamne kehne se
ghabraata hai dil
ho gai shaayad mohabbat
ho gayi un se mujhe
ho gai shaayad mohabbat
ho gayi un se mujhe
jab khayaal aata hai un ka
khud behal jaata hai dil
baat un ke saamne kehne se
ghabraata hai dil
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Hindi script lyrics (Provided by Sudhir)
———————————————————
आsssss आsssss
आsss आssss आsssss
आsssss आsssss आssssss
आsss आsss आsss आsssss
प्यार की नज़रों से उनको
देखता जाता है दिल
प्यार की नज़रों से उनको
देखता जाता है दिल
बात उनके सामने कहने से
घबराता है दिल
क्या हुआ मुझको
है मेरे दिल की धड़कन तेज़ तेज़
क्या हुआ मुझको
है मेरे दिल की धड़कन तेज़ तेज़
थामना मुझको के सीने से
उड़ा जाता है दिल
बात उनके सामने कहने से
घबराता है दिल
आए हैं वो ज़िंदगी
आए हैं वो ज़िंदगी
कदमों में उनके डाल दे
कदमों में उनके डाल दे
दिल को समझाती हैं नज़रें
मुझको समझाता है दिल
बात उनके सामने कहने से
घबराता है दिल
हो गई शायद मोहब्बत
हो गई उनसे मुझे
हो गई शायद मोहब्बत
हो गई उनसे मुझे
जब खयाल आता है उनका
खुद बहल जाता है दिल
बात उनके सामने कहने से
घबराता है दिल
Badi Bewafaa Hai, Udti Hawaa Hai
Posted on: June 6, 2019
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3975 | Post No. : | 15061 |
Today, 6th June, is the birth anniversary of Rajinder Krishan, one of the most prolific songwriters in Hindi cinema. As I looked up the date of birth, I find that he was born in the year 1919. So that makes today, the 100th birth anniversary for him.
A career that spans four decades in the industry saw a prolific output from his pen – close to 1700 songs, and story/screenplays and dialogues for many films. He made his debut in 1947 – as a songwriter for ‘Zanjeer’ (1947) and as a screenplay writer for ‘Janta’ (1947). He passed away in 1987, completing 40 years of active writing work in films, although films carrying songs written by him continued to be released till the early 1990s.
The 1955 film ‘Teerandaaz’ was produced and directed by HS Rawail, under the banner of Roshni Pictures, Bombay. The cast of actors for this film is listed as Madhubala, Ajit, Kuldip Kaur, Jairaj, Gope, Sunder, Randhir, Yashodhara Katju, Ridku, Chandrashekhar, Bhagwan Sinha, Ravi, Pal Sharma, Krishna Varma, Kumud Tripathi, Ramlal, Madan Bhandari, Helen, Kammo, Mohna, and Chanchal.
The six songs in this film are all written by Rajinder Krishan. Music is composed by C Ramchandra. Today’s song is sung by Lata Mangeshkar. One song of this film is already showcased here. This song is the second song of this film to take its place on our blog.
The song is a lilting melodious song, quite reminiscent of the golden era of music in Hindi films. I am hearing this song for the first time, as I prepare this post. What a lovely song, and what an enchanting rendition it is. The words of this song present an aspect of the philosophy of life – the search for a certain happiness in life that would be the true happiness. Some try to seek this solace in wine, but the poet says that happiness is not genuine – maybe the sip of the tipple from the eyes of the beloved would bring solace to the restless heart.
The more I listen to these words, the more this song becomes dear to me. I request our more knowledgeable readers and friends who may have seen this film, to please add more information about this film and the picturization of this song.
With this post, we also welcome back to the blog, our dear Nitin ji, after a long gap. We met at the luncheon gangout of Atulites at Sadanand ji’s place (in Bombay) on 3rd May. At that meeting, he had promised to become active once again. During the past four weeks or so, he has been resending lyrics of pending songs from the films of 1950s. From that, I have picked today’s lovely song, to celebrate the centenary celebration for Rajinder Krishan.
Song – Badi Bewafaa Hai, Udti Hawaa Hai (Teerandaaz) (1955) Singers – Lata Mangeshkar, Lyrics – Rajinder Krishan, MD – C Ramchandra
Lyrics (Provided by Nitin Shah)
badi bewafa hai
udti hawa hai
badi bewafa hai
udti hawa hai
ye zindagi saaqia
aa aa aa aa
aa aa aa
aa aa aa aa aa
aa aa aa aa aa aa
wo duniya kahaan hai
milti jahaan hai
dil ki khushi saaqia
dil ki khushi saaqia
aa aa aa aa
aa aa aa
aa aa aa aa aa
aa aa aa aa aa aa
dekha hai hum ne
din raat pii ke
nikle na phir bhi
armaan jee ke
jhoothi hai saaqi
mai ki ye masti
roshan ho kaise
phir dil ki basti
jhoothi hai saaqi
mai ki ye masti
roshan ho kaise
phir dil ki basti
yahaan na wahaan hai
jaane kahaan hai
wo roshni saaqia
wo roshni saaqia
aa aa aa aa
aa aa aa
aa aa aa aa aa
aa aa aa aa aa aa
badi bewafa hai
udti hawa hai
yeh zindagi saaqia
sheeshe mein jo hai
wo to hai naqli
kahaan pe chhupa ke
rakhi hai asli
aankho se apni
ik jaam de de
betaab dil ko
aaraam de de
aankho se apni
ik jaam de de
betaab dil ko
aaraam de de
tadpa rahi hai
rah rah ke dil ki
ye bekali saaqia
ye bekali saaqia
aa aa aa aa
aa aa aa
aa aa aa aa aa
aa aa aa aa aa aa
——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————
बड़ी बेवफा है
उड़ती हवा है
बड़ी बेवफा है
उड़ती हवा है
ये ज़िंदगी साक़ीया
आ आ आ आ
आ आ आ
आ आ आ आ आ
आ आ आ आ आ आ
वो दुनिया कहाँ है
मिलती जहां है
दिल की खुशी साक़ीया
दिल की खुशी साक़ीया
आ आ आ आ
आ आ आ
आ आ आ आ आ
आ आ आ आ आ आ
देखा है हमने
दिन रात पी के
निकले ना फिर भी
अरमान जी के
झूठी है साक़ी
मय की ये मस्ती
रोशन हो कैसे
फिर दिल की बस्ती
झूठी है साक़ी
मय की ये मस्ती
रोशन हो कैसे
फिर दिल की बस्ती
यहाँ ना वहाँ है
जाने कहाँ है
वो रोशनी साक़ीया
वो रोशनी साक़ीया
आ आ आ आ
आ आ आ
आ आ आ आ आ
आ आ आ आ आ आ
बड़ी बेवफा है
उड़ती हवा है
ये ज़िंदगी साक़ीया
शीशे में जो है
वो तो है नक़ली
कहाँ पे छुपा के
रखी है असली
आँखों से अपनी
इक जाम दे दे
बेताब दिल को
आराम दे दे
आँखों से अपनी
इक जाम दे दे
बेताब दिल को
आराम दे दे
तड़पा रही है
रह रह के दिल की
ये बेकली साक़ीया
ये बेकली साक़ीया
आ आ आ आ
आ आ आ
आ आ आ आ आ
आ आ आ आ आ आ
Raja beta bada hoke jaayega school
Posted on: April 30, 2019
This article is written by nahm, 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 : | 3938 | Post No. : | 15013 |
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Mohammed Rafi : The Incomparable (II) – Song No. 10
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As story telling songs go, my personal favourite song is
this song from “Jab Jab Phool Khile”. Another such song which is readily coming to mind is this
this post written by me.
There are more such wonderful songs in this genre in Hindi films. While looking for a Mohammed Rafi song for the 15KSMC, I found this song, which is sort of storytelling and kids entertainment song. It’s a pure Solo song from the 50’s written by Rajendra Krishan and composed by C. Ramchandra for the film Insaaniyat(1955).
One more feature of this song is that it has Agha(senior) singing it for the benefit of kids watching describing the antics by a monkey. From the page containing Anniversay dates I find that the veteran character and comic actor Aghajan Baig was born on 21st March 1914 at Pune and died on 30/04/1992 also in Pune. So this year on 30/04/2019, it is Agha’s 27th death anniversary. There are many songs which Agha has been seen singing on screen. He had at least two solo Rafi songs in this film “ Insaaniyat” alone. So by this yardstick there are a few more songs picturized on him may still remain to be posted. One more song which is Agha is singing on screen is this one .
One more poignant Rafi solo highlighting the plight of the deprived and under preliviged. Another significant song on him is this this song .
Last week a younger work-mate and a friend, who is maybe born in the 80’s described a person (who looks like Agha actually) as ‘Shakaal’. I tried to explain that he is actually very similar to Agha looks-wise, but she did not know who was Agha. Even saying that he was a comic character actor from black & white movies and Jalal Agha’s father failed to ring a bell. So there came this memory from long back, of a TV ad featuring Agha. This was the advert for ‘Brittania Coconut Cookies”. Here Agha is seen wearing a sherwani walking down a garden of coconut trees swinging his walking stick. One coconut falls down, hits him on the head before hitting the ground . Agha picks up the coconut, which is broken and opens into two pieces of the shell with the biscuits inside. The catch phrase of the add was “ab brittania ne nariyal ko kurmurana sikhaya’. Of course Agha is seen eating the biscuit and enjoying it. I tried to find if the that ad clip is available on the net, but could not find it.
Anyway, this song was there with lyrics written down and a look at the Anniversary page made the writing of this post a must.
Clearly Mohammed Rafi sahab’s is enjoying singing this song. A cheerful and peppy no. I heard this only today that the thespian had said to someone ‘that “Mohammad Rafi” is the name given to him by his parents and he prefers to be called Mohammed Rafi instead of Rafi Sahab’.
Actually when I had stumbled upon this blog and thought of looking at the stats page, the first name I tried to find is Mohammed Rafi. No one can imagine my shock when the name was not there in the M list of singers. Thankfully I thought to look under R also as I was on the page and looking in the correct list of singers.
Some may say “ what is there in a name ?”, so I am certainly not in a position to insist that the blog also call him by his given full name.
So this is song No. 10 of the series, which will continue at least till 31st July.
Song-Raja beta bada ho ke jaayega school (Insaaniyat)(1955) Singer-Mohammed Rafi, Lyrics-Rajendra Krishan, MD-C Ramchandra
Lyrics
Raja beta badaa ho ke
Jaayegaa school
O Raja beta badaa ho ke
Jaayegaa school
Beta jaayegaa school
karegaa padhaayi ya likhaayi
Mein na bhool
Haan likhaayi mein na bhool
Ye baat rahe yaad
Banegaa ustaad
Waah re ustaad beta
Waah waah re ustaad
Baitthe baitthe ladkon pe
Ra’ub jamaayegaa
Hogaa jo shareer
Uss ke baint lagaayegaa
Ji baint lagaayegaa
Ji baint lagaayegaa
Phir karegaa raja shaadi
Khush hongi Amma daadi
Dulhan hogi tez mizaaj
Karegi iss par poora raaj
Chulha phunkwaayegi
Roti bhi pakwaayegi
Bachcha bhi khilwaayegi
Han haan
Sab kuchh karwaayegi
Samjhe naa
Masaala piswaayegi
Arey o lala
Ragad masaala
De ragdaa
De ragdaa
Mol liyaa thhaa
Kaahe beta
Shaadi ka ye jhagdaa
Dekho dekho
O dekho dekho
Bajaaye shehnaayi
Bajaaye shehnaayi
Hamaare lalnaa
Haan hamaare lalnaa
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 : | 3892 | Post No. : | 14927 |
Today’s song is from the film ‘Hatimtai ki Beti’ (1955).
When I was very young and had just started taking interest in reading books and seeing films, I always felt that HATIMTAI is a girl’s name. This was because “Tai” in Marathi, means Didi in Hindi. It was only after I read the book “Arabian Night stories”, that I was surprised that Hatimtai was a Male name !
According to Wiki, Hatim-Al-Tai or Hatim-Al-Taeei was a 6th century Arabian Christian poet. He was adventurous and very generous. His name is mentioned in Arabian Night stories too. It seems a beautiful princess Husn Bano asked 7 questions and declared that she will marry only to whosoever answers these questions. A neighbouring king fell into her love and Hatimtai helped him find all the 7 answers. Hatim of Arabia was a Christian and a contemporary of prophet Mohammed, but they never met. He was famous for his generosity, wisdom, courage and hospitality. Later his son was converted to Islam.
Hatimtai’s story has always attracted the film makers from the silent movie times. There were 4 silent films titled “Hatimtai”. Then in 1933,first Talkie film ‘Hatimtai’ was made in 4 parts,each a separate full movie. ‘Son of Hatimtai’ was made twice and ‘Hatimtai ki beti’was also made twice. Hatimtai films had plenty of magic,adventure,dance and drama with humour. Among ” C” grade films, Hatimtai films were very popular. ‘Hatimtai ki Beti’was made in 1940 and 1955,both the films were directed by Nanubhai Vakil. In the 1940 film Sarojini,Indurani,Anil kumar etc were in the cast. That film was produced very lavishly by Sagar Movietone. In those days it cost them Rs. 1 Lakh 25 thousand rupees. The outdoor shooting was done in Agra and Fatehpur Shikri.
Hatimtai-55 was a partly coloured film. This was a period when the coloured films were still a novelty and not many films were made in colour. In fact most films were still in Black and White only. Today, after almost 65 years, when we see the old Black and White films, we get excited and feel that how soothing these films were to the eyes. The beauty of the Heroines seems more impressive. When one sees films of Madhubala in B/W and in Colour, one gets a feeling that B/W was much better. Of course, Nostalgia has a greater role in such feelings, I agree.
The film was made by Vakil Productions. Naturally the producer and Director was Nanubhai Vakil-the owner. Songs were written by Shevan Rizvi, except for just one song by Kaifi Azmi. The music was given by Nanubhai’s favourite MD- A R Qureshi who had given music to 18 films of Nanubhai vakil. Music director A.R. Qureshi (full name: Allah Rakha Qureshi , born April 29, 1919 in Phagal, in the Jammu district in Jammu and Kashmir state) was also a well-known tabla player and gave many performances on All-India Radio. He had left home as a teenager to study tabla with Mian Qadir Bakshi and entered films in 1943, sometimes billed as Allah Rakha. Among the the fantasy films he worked on are Flying Man (1947), Jadui Angoothi (1948), Sakhi Hatim(1955), Noor Mahal (1954), Hatimtai Ki Beti (1955), and Alladin Leila(1957). He gave music to 18 films, directed by Nanubhai Vakil.
In all he gave music to 40 films from 1943 to 1964. He even sang 14 songs in 7 films.
Shortly after Sim Sim Marjina in 1958, he left films ( except one film Idd ka chaand-64) and turned to classical music, touring with the famous Sitar Maestro Ravi Shankar throughout the 1960s and 70s as well as other musicians. In 1968 he collaborated with American jazz musician Buddy Rich, creating the album Rich a la Rakha.
He started the Alla Rakha Institute of Music in Bombay in 1985. His three sons, Zakir Hussain, Fazal Qureshi, and Taufiq Qureshi, are all tabla players.
A.R. Qureshi died on February 3, 2000.
For this film he had Damodar Sharma as his assistant. Sharma was one of the well known Music Directors of the early era films. Among the old era MDs, Damodar Sharma was different, in the sense that his songs were always unlike those of his contemporaries. When you hear his songs, you will notice that difference. From 1934 to 1948, he gave music to just 41 films. All his films were C grade films made by Paramount, Liberty, Ramnik Productions, Mohan Pictures and others. After 1948, he stopped getting films, so he worked as assistant to MD A.R.Qureshi till 1964.
Film Hatimtai ki Beti-55 had a cast of Chitra, Mahipal, Daljit, Krishnakumari, Kamal, Kammo, Kumkum, Helan, Heera Sawant Tun Tun, Maruti, Sundar, kesari, Niranjan Sharma, W M Khan etc. There were 4 Guest artistes also,including Al Nasir and Heeralal. With 5 specialist Dancers and 2 Heroines also dancing, the film had eye pleasing dances and good music too.
Actress Krishnakumari’s name appears here. She acted more in Stunt and costume films than social films. Krishna Kumari (not to be confused with the 1930s actress of the same name nor the south Indian actress T. Krishna Kumari) was born Rajinder Kaur in Rawalpindi, Punjab state (now part of Pakistan) on October 3, 1934. Occasionally playing the heroine in B-grade films including Vanraj (1952), Gorilla (1953) Black Rider (1960) State Express(1961) and Khush Naseeb (1964) she is probably much better known as a temptress or villain in the likes of Baghdad Ka Jadu (1956), Zimbo(1958), Police Station (1959), Lady of the Lake (1960), Jadoo Mahal(1962) or dozens of similar action, horror and fantasy films.
Her debut came in the film Bela-1947. Then she got film Girls School (1949), which also featured newcomers Geeta Bali and Shashikala, after which she appeared in Naao, which actually ended up in theatres first, releasing in 1948. Krishna Kumari’s career lasted 20 years, and during that time she managed to chalk up an impressive amount of credits, even if most of the pictures she made were not considered important by critics. She acted in 118 films.
The story of this film was………
HATIM TAI KI BETI-1955 was a costume drama set in the Arabian style mode. Produced by Nanubhai Vakil through his Vakil productions,it was directed by Nanubhai himself.The MD was A R Qureshi (Alla Rakha Qureshi,the famous Tabla player and father of Zakir Hussain,tabla maestro). His asst. was Damodar Sharma- in the 30s and 40s,he himself was a well known composer. The lyrics were by Shevan Rizvi( 8 songs) and Kaifi Azmi (2 songs).
It is imagined ( it is declared just before the credits) that Hatimtai had 2 daughters. The elder is Jahanara,the queen of Shahbad and the younger is Roshanara,who is known for feeding the poor and the needy always. The Shaitan(Devil ) and his assistant Badi (बदी) can not tolerate Roshan’s goodness. They come and poison the food she distributes. All,including the queen,become sick. However due to her goodness Imaan and Neki come and all recover. Then the Devil’s team poisons Jahanara’s mind and she imprisons Roshanara.
Meanwhile the neighbouring king of Turin proposes marriage of his elder son Salim with Roshan, but Jahanara wants to marry him. At the same time Salim’s younger brother Aslam also wants to marry Roshan, so Salim withdraws and Aslam is married to Jahanara( as Roshan). On the wedding night truth is revealed. Aslam is imprisoned but rescued by his friends.
Now Salim comes and is imprisoned by Jahanara. Aslam comes with army and rescues Salim and imprisons Jahanara. Roshanara comes and begs for pardon to repentant Jahanara.
King and queen of Turin arrive for the marriage,but Shaitan and Badi become snakes and bite Salim and others. Roshan Ara prays to God and due to her good work, Imaan and Neki arrive and revive everyone.
Finally Aslam and Jahanara and Salim and Roshanara get married.
Fortunately this is a video of the song and dance. The song has a good tune and is very melodious too. Enjoy….
Song-Humba humba humka duniya ghar hai gham ka (Hatimtai Ki Beti)(1955) Singer-Asha Bhonsle, Lyrics-Shewan Rizvi, MD-A R Qureshy
Chorus
Lyrics
Humba humba humka
duniya ghar hai gham ka
Humba humba humka
duniya ghar hai gham ka
o o o
aahen aur ye naale
roye dil ke chhaale
aahen aur ye naale
roye dil ke chhaale
dekh tamaasha ??
duniya banaane waale
tarararara
Humba humba humka
duniya ghar hai gham ka
Humba humba humka
duniya ghar hai gham ka
Humba humba humka
duniya ghar hai gham ka
Humba humba humka
duniya ghar hai gham ka
Humba humba humka
duniya ghar hai gham ka
aa a aa
lalalaralala la
lalalaralala
o laralalalaraa
laralaralara
Humba humba humka
duniya ghar hai gham ka
Humba humba humka
duniya ghar hai gham ka
dekhi duniya teri
kaisi hai duniya teri
dekhi duniya teri
kaisi hai duniya teri
jismein kahin insaaf na paaya
duniya banaane waale
tarararara
Humba humba humka
duniya ghar hai gham ka
Humba humba humka
duniya ghar hai gham ka
Humba humba humka
duniya ghar hai gham ka
Humba humba humka
duniya ghar hai gham ka
aaaa
tatatarararraa
tatatarararraa
aa aa
laralalalalara
laralalalalara
Humba humba humka
duniya ghar hai gham ka
kya yoonhi mar jaayen
?? kar jaayen
kya yoonhi mar jaayen
?? kar jaayen
??
tu itna bata de
ham kahaan par jaayen
aa aa aa
Humba humba humka
duniya ghar hai gham ka
Humba humba humka
duniya ghar hai gham ka
Humba humba humka
duniya ghar hai gham ka
Humba humba humka
duniya ghar hai gham ka
o o o
tu hai ya begaana
kaun sune afsaana
tu hai ya begaana
kaun sune afsaana
teri ye duniya
?? bataaye
tujhko raham na aayi
hahahaha
Humba humba humka
duniya ghar hai gham ka
Humba humba humka
humba
Humba humba humka
humba
Humba humba humka
humba
Humba humba humka
humba
Humba humba humka
humba
Humba humba humka
humba
Humba humba humka
humba
Humba humba humka
humba
Humba humba humka
humba
Humba humba humka
humba
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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3754 | Post No. : | 14719 |
Today’s song is the 3rd song from film Oonchi Haveli-55 to be discussed in the Blog. For the last 6-7 months, I have been discussing songs mostly from the decades of the 1930s and the 1940s. The last song from the 1950s that I discussed was on 3-3-2018, which for me was the 5th song from the decade of 1950s in this year. Looking back, I find that I had discussed a song from 1994 also in this year. Good songs, to whatever year they belong to, are my favourites. The only regret is that such songs have become few and far between. Good and meaningful Lyrics is another thing which has become scarce.
Today’s song is sung by Rafi. I strongly believe that God had given at least 10 different voices to this divine singer ! His special voice and style changed to suit the lip syncer on the screen and the song situation. His voice for Dilip Kumar was never the same as one he used for Johnny Walker.
Rafi came from a poor and humble background and had to struggle very hard to enter, sustain and reach the heights in Hindi Film Music. We all know that he came from a poor family but how his early life was spent is not known to many.
Punjab must be proud that two of its sons ruled Hindi cinema music for the first 50 years of its existence, which also happened to be its golden era. initially it was Saigal from 1933 to 1947 and then Mohd. Rafi-as if the baton was handed over by one statemate to another. Both started with humble beginnings and struggled hard to win their places in the History. Saigal, however, had less competition, but then the industry was also smaller. In case of Rafi, the competition was greater, but then the industry had also grown manifolds.
Born into a lower middle class Muslim family belonging to a non descript village in Punjab in 1924, Rafi did not have much education. It was confined to reading and writing in Urdu in Persian script. A little bit of multiplication, and his education was over. In leisure time, Rafi would take his and friends’ cattles for grazing- singing songs all the day.
Rafi did not have exposure to Radio until the beginning of Lahore Radio station in 1937. Of course wealthy people had their gramophones and he would listen to Indubala and Kamla Jharia songs coming from the Havelis and in the Bazaar area. Rafi sang many folk songs.
His father decided to shift to Lahore- 50 miles away, for better earning. Like most Amritsaris, he too was an expert in cooking. He opened a Dhaba and soon did well. Later on he called Rafi to Lahore in 1941 Rafi got a job in a Hair cutting saloon. Whole day he would do people’s shaving, while singing songs. His customers were happy. One day, Programme Director of Lahore A.I.R. Mr. Jeewan lal Mattoo was passing by and he heard Rafi’s singing. Impressed with his enchanting voice, sweetness,range and tonal quality, he shocked Rafi with his offer. Rafi gave his audition next day and passed with flying colours. From March 1943, Mohd.Rafi became a Radio singer, at 35 rupees per song. ( six months later Surinder kaur also joined Lahore Radio).
After hearing his voice on Radio, Music Director Shyam sunder called him to sing in his Punjabi film ” Gul Baloch”. Before coming to Lahore, Rafi was married to his cousin, but his Father in law had told him that his wife will join him only after he starts earning decently. Even after that single song in a film, Rafi continued his shaving job in the saloon. Meanwhile Mr. Mattoo helped him to learn classical music. Also Master Inayat Hussain gave him training. Another teacher was Budh Singh Taan. Noorjehan, Umrao Zia and Zeenat begum were seniors to Rafi in Lahore, but they knew each others. He took training from Bhai Samund Singh and Bhai Santa Singh of local Gurudwaras. Rafi was a saintly person and a true Namazi, doing 5 times Namaz daily.
Rafi’s wife came to him after he became a Radio artiste. He had a large friends circle, who used to gather in his house. There were many Hindi and Punjabi films made in Lahore, but none of the composers thought of Rafi as a singer. Pt. Amarnath and Ghulam Hyder liked his voice and knew his talent. While shifting to Bombay, Ghulam Hyder invited Rafi to join him. Even from Bombay he sent him 2 calls. Finally on his second call, Rafi decided to shift to Bombay, lock stock and barrel, in 1945. In Bombay, till Jugnu-47 happened, Rafi sang few songs in films, but he made his living by singing in private Mehfils of wealthy Punjabis of Bombay.
Story of Rafi after Jugnu-47 is known widely. I just wanted to highlight his less known early days, before coming to Bombay. Some of this information is used from an article by H.S.Aujla in Apnaorg.
May be, because of his humble background and a struggle before he succeeded, he always had a soft corner for struggling composers. Unlike some other famous singers, he was always ready to help such composers, even if the money offered was below par. During his peak period also, poor B and C grade composers could approach Rafi with a request to sing their songs and Rafi rarely disappointed them.
Nissar Baazmi later went to Pakistan and became a big composer. Even Noorjehan and Mehdi Hassan considered it an honour to sing for him in Pakistan. As long as Nissar Baazmi was in India, he somehow remained a C-grade composer. And at the time he did Khoj, he was a nobody.
It was as a nobody in HFM that Baazmi approached Rafi to sing for the rendition of a composition for “Khoj”. He could only afford to pay Rs 50 to Rafi. Rafi charged Baazmi just the token Re 1. The result- Chanda ka dil toot gaya roney lage hain sitaare Just the shot in the arm that a struggling music director, as well as the lyricist (Raja Mehdi ali Khan) could have dreamed of !
Pandit Shivram was a small time composer as well. He too had only Rs 50 to offer Rafi for singing a song. In return, Rafi offered him as well as the music lovers this priceless song Daulat ke jhoothhe nashe mein ho choor (Oonchi Haweli)(1955) .
Rafi left his mark even in movies where Talat Mehmood was the main singer and Rafi got to sing sung one song. Take for instance Ghulam Mohammad composition Hai bas ki har ek unke ishare mein nishaan aur (Mirza Ghalib), S D Burman’s Manzil ki chaah mein (Devdas).
How Rafi could hold his own for a composer where other singers had given their best for him is tellingly illustrated in case of songs composed by Baabul. Manna Dey had sung two superb duets in in Reshmi Roomal, viz. Zulfon ki ghataa lekar saawan ki pari aayi (with Asha Bhonsle) and Aankh mein shokhi lab pe tabassum (with Suman Kalyanpur) . This movie also boasted the Talat Mehmood timeless classic Jab chaaye kabhi saawan ki ghata(Reshmi Roomaal)(1961). Mukesh too added his mite Reshmi Roomal through Gardish mein hon taare na ghabraanaa pyaare (Reshmi Roomaal) .
Next movie that Baabul got was “Naqli Nawaab” where the same hero Majoj Kumar was to lip sync the songs. Despite recording such awesome male playback songs in his previous movie, Babul switched to Rafi in “Naqli Nawaab”. Rafi was paid Rs 200 for this movie. The timeless classics that Rafi came up with were- Tum poochhte ho ishq balaa hai ke nahin hai (Naqli Nawaab) and Chheda jo dil ka fasaanaa( Naqli Nawaab) .
If Rafi’s created gems for Babul did the same for Babul’s erstwhile partner Bipin as well ! For Bipin Datta, Rafi sang Ye Bombay shahar ka badaa naam hai (Kya ye Bombay hai ?)
If music director Dulaal Sen is remembered today, then it is thanks to one “Black Prince”(1960) Rafi solo song viz. Nigaahein na phero chaley jaayenge ham (Black prince) .
C Arjun much later, told that he felt very proud that he had at least created a ghazal that could come somewhere near a Madan Mohan composition. I wanted special attention to this my coveted ghazal from my singer but all good singers available were bigger than the film for which I had composed it! revealed Arjun. It was with great hesitation, therefore, that I approached Rafi Saab to render my ghazal, so feelingly written by Indivar. And Rafi Saab, without bothering about the small payment we were in a position to make, said it was one of the best ghazals that had fallen to his lot and he would give it everything that he had.not ready to sing for a small time music director in a B grade movie. Rafi had no such qualms. He obliged C Arjun and came up with a rendition that ensured that this ghazal even till date in bracketed among the best ghazals of Hindi movies. This ghazal with Madan Mohanesque quality was Paas baitho tabeeyat bahal jaayegi (Punar Milan) .
Lala-Asad-Sattar three instrumentalists turned struggling music directors could get Rafi to sing for them and Rafi did what he always did- provided A grade song in a B grade movie-Main to tere haseen khayaalon mein kho gayaa (Sangram) .
Sapan Jagmohan made their debut as a music director duo with “Begaana”(1962). A good blueprint that the music director duo had created was converted into a memorable masterpiece by Rafi-Phir wo bhooli si yaad aayi hai(Begaana)(1963).
We have had many A grade compositions in B and C grade movies. A good number of such compositions are in Rafi’s voice and they came about because Rafi would put art before commerce and would sing for pittance no matter how “small” a movie or its music directors were. That is how we got Iqbal Quraishi’s composition Subah na aayi shaam na aayi(Cha Cha Cha) and Sonik-Omi offering Dono ne kiya tha pyaar magar(Mahua)(1969).
The Rafi touch could turn any disc into gold! The above information is based partly on an article written by Raju Bharatan for The Illustrated Weekly of India, Aug 93.
The music Director for film Oonchi Haveli-55 was Shivram or Pt. Shivram Krishna. He was one of those composers who could not get very famous, though he composed very well. Pt. Shivram Krishna was born at Jodhpur on March 22, 1927. He started learning music at the age of 8 under the tutelage of his father Master Tulsidas, who worked with Marwar Record Company, Jodhpur from 1934 onwards. He was later employed in the court of the Maharaja of Jodhpur, Umed Singh as a singer/musician. It was the name and fame of Khemchand Prakash that inspired him to try his luck in films. At the age of 16, he went to Lahore where he worked under Pandit Amarnath and Master Ghulam Haider for around three years, only to return to Jodhpur at the time of partition. From the year 1948 till 1950 he worked as a music director with His Masters Voice in Lucknow, and then made his way to Mumbai in 1951.
At Mumbai, Pt. Shivram was given his first break by V. Shantaram, who signed him for two of his films – Teen Batti Chaar Raasta (1953) and Surang (1953). The music of both the films was appreciated and the films became silver jubilee hits. Besides these, V. Shantaram gave him two more films in 1960 – ‘Phool Aur Kaliyan’ and ‘Kaale Gore’, the first winning the National Award for Best Children film, while the second remained unreleased. He used the voices of V. Shantaram’s daughters Charusheela and Madhura in children’s films.
Following the success of his initial films, Pt. Shivram caught the attention of Dhirubhai Desai and Nakhshab Jarchavi, who signed him for their next films, Oonchi Haveli (1955) and Raftaar (1955) respectively. The songs of these two films were also quite successful. Then came Sati Ansuya (1956), another film by Dhirubhai Desai that started the trend and literally sealed his fate as a composer of mythological films. Barring Naya Kadam (1958), a social drama, and Rangeela Raja (1960), a stunt film, and the two children films by V. Shantaram, all the films he got after Sati Ansuya were religious/ mythological films. In all, out of the 23 films he composed for, as many as 14 were religious/ mythological films.
Despite composing some good songs for these films, the success he got with his initial films could not be repeated given the limited popularity of such films and similarity in the genre of songs. Barring a few songs from Shravan Kuman (1960), Kan Kan Mein Bhagwan (1963) and Sati Naari (1965), most of the songs are all but forgotten. ‘Tum Naacho Ras Barse’ by Mahendra Kapoor in Sati Naari fetched Pt. Shivram the Swami Haridas Award in 1966.
The last two Hindi films of Pt. Shivram were Sampoorna Teerth Yatra (1970) and Mahapavan Teerth Yatra (1975), both of which have the unique distinction of featuring what could be the longest Hindi film songs, running 45 and 70 minutes respectively. Both these songs were about the various places of pilgrimage in India and were almost similar in tune and structure. Interestingly, he had also composed two more songs on similar lines in Durga Pooja (1962) and Kan Kan Mein Bhagwan (1963).
Pandit Shivram gave music for various regional languages such as Rajasthani, Bhojpuri, Punjabi, Haryanvi, etc. He was the default composer for Rajasthani films all through the 1960s, starting with the first Rajasthani film Babasa Ri Ladli (1961). He also composed for several Marwari and classical music non-film albums. As a proficient Harmonium player, he teamed with table-nawaaz Ustaad Nizamuddin Khan to produce a classical album. Pandit Shivram was as good a vocal artist as he was a harmonium player. He sang in films like Oonchi Haveli, Rangeela Raja, Sati Ansuya, Badrinath Yatra, etc.
The lyricists Pt. Shivram worked with, were more or less decided by the films he worked in. While he worked with the likes of Asad Bhopali, Shevan Rizvi, Pyare Lal Santoshi, Nakhshab Jarchavi, etc. in his non-mythological films, predominantly ‘Hindi’ writers like Bharat Vyas, Kavi Pradeep, Neeraj, Madan Bharti and Pt. Indra wrote for his mythological films. Pt. Indra and Bharat Vyas were his prime contributors for Rajasthani films.
Pandit Shivram died in February 1980 leaving behind a family of musicians. His daughter Jayshree Shivram is a singer. Two of his sons, Jugal Kishore and Tilak Raj jointly composed for a few Hindi films, debuting with Bheegi Palkein (1983). His third son, Naveen Shivram had started his musical career with giving music for the serial Apnapan in 1999 and went to compose for a few small time Hindi films and some Rajasthani film and non-film albums as well. Another son, Mukesh, was also a composer and is no more. ( Information on Shivram, based on urgetofly.com and my notes.)
Now, here is a fun song from this film, sung by Rafi and chorus. Though Asha Bhosle’s name is also credited, I did not find any female voice in the song.
PS-Now Sadanand Kamath Jee has pointed out that this song is a two part song and Asha Bhonsle’s voice does appear in the second part of the song. So this song is a Rafi-Asha Bhonsle duet, after all.
Song- Baap gaaye Thumri aur Garba gaaye Maiyya (Oonchi Haweli)(1955)Singer- Rafi, Asha Bhonsle, Lyrics- Bharat Vyas, MD- Pt Shivram
chorus
Lyrics
baap gaaye thumri aur garba gaaye maiyya
jab aangna mein raas rachaenge ye rupaiya
ye chaandi ka kanhaiya ho chhan chhan chhan rupaiya
bhabhi gaaye bhim palaasi drupad gaaye bhaiya
jab aangana mein raas rachaenge rupaiya
ye chaandi ka kanhaiya ho chhan chhan chhan rupaiya
gol gol ye nagad narayan hove jiske paas
wo saare aalam ka baalam sab jan uske saath
ki duniya naak ragadti
ke duniya kaan pakadti
ki duniya jhuk jhuk kare salaam
baabuji parnaam
saahab ji salaam
seth ji raam raam raam raam raam
dekh ke saari duniya naache ta ta ta ta thhaiya
jab aangana mein raas rachaenge ye rupaiya
ye chaandi ka kanhiya ho chhan chhan chhan rupaiya
naram naram duniya laage jab garam garam ho jeb
rupaiye ki jhankaar mein bhaiya chhup jaate sab aeb
achcha
haha
zara dekh lo
ek hai saabat ek hai gaayab
ek khuli hai ek hoon hoon hoon
jaane saara gaam inko jaane saara gaam
par laxmi ki kirpa se inka kamalnayan hai naam
arre inka kamalnaian hai naam
ghuti hui hai khopadi
ghuti hui hai khopadi
par paas hai inke rokadi
safaachat sab baal uden
ye ganju ji ganjan hain
paisa inki aankh ka anjan
daanton ka manjan hai
par jeb kare jham jham to
inka naam keshranjan hai
ae bhaiyya inka naam keshranjan hai
ye kaaghji jawaan seena taan ke khade hue
ye laxmi ki duniya mein heere moti se jade huye
aa aa aa aa aa
dehradun ke cartoon
ye mahlon mein rahte
unchi haweli mein rahte
isiliye sab basti waale hastimal kahte
arre inko hastimal kahte
ke moorakh kahlaaye gyaani
ke phoohad kahlaaye raani
ki cheeku kahlaaye daani
ki ye sab rupye ki maaya
arey bhai waah waah waah waah waah
hoy besuri lugaayi bhi kahlaati hai suraiya
jab aangna mein raas rachaenge ye rupaiya
ye chaandi ka kanhaiya ho chhan chhan chhan rupaiya
o jee o jee
aji aao jee
main teri nayi naweli naar
tu mera albela bhataar
kiya sab tere liye singaar
aji aa jee
ho ho ho ho
kaho meri kaisi ankhadiyaan
ke jaise gulaab ki pankhadiyaan
daant ki kaisi jyoti hai
seep mein jaise moti hain
seep mein jaise moti hain
aur mere sar ke kaise baal
aji in ne to kiya kamaal
ke jaise saawan ke baadal
ke jaise bhanwron ka ho dal
ke jaise nainon ka kaajal
haay re wai wai wai wai wai
meethe meethhe lagte hon jo panchhi se baraiyya
kab
jab aangna mein raas rachaaye re rupaiyya
ye chaandi ka kanhiya ho chhan chhan chhan rupaiya
baap gaaye thumri aur garba gaaye maiyya
jab aangna mein raas rachaenge ye rupaiya
ye chaandi ka kanhaiya ho chhan chhan chhan rupaiya
aa aa aa aa aa
aa aa aa
maine laakhon ke bol sahe
chaandi ke chanda
haay re baandi ke banda
haaye re phaansi ke phanda
tere liye ae
maine laakhon ke bol sahe
saajan aaya hey sakhi
ee ee ee ee ee
waah waah waah
haan
kai manuhaar karo
thhal bhara gaz motiyaan aan
aur ooper nain dhara aa aa aa aa aa aa
ho chaandi ke chanda
haaye re baandi ke banda
haaye re phaansi ka phanda
tere liye ae
maine laakhon ke bol sahe
ikanni duwanni
chawanni athhanni
ikanni duwanni
chawanni athhanni
chhote mote maap hain
ki chhote mote maap hainhe
ye hain baal bachche iske
rupaiyya inka baap hai
rupaiyya inka baap hai
is kaljug ki duniya mein paar laage tab hi naiyya
jab aangna mein raas rachaenge ye rupaiya
ye chaandi ka kanhaiya ho chhan chhan chhan rupaiya
Nigaahon mein basey aise
Posted on: September 2, 2018
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3698 | Post No. : | 14616 |
“Taatar Ka Chor” (1955) was an M P Production movie. It was directed by Majnu. The movie had Shyama, Mahipal, Vijay Lakshmi, Chandrashekhar, Maruti, Yashodhara Katju, Gope, Sheikh, Indira, Tuntun, Rajan Kapoor, Shetty, Mohd Ali, Verma, Sattar, Hanuman, Rafiq, Shafi, Ramavtar, Zakhmi, Kamal etc in it.
The movie had six songs in it. Four songs have been covered in the past.
Here is the fifth song from “Taatar Ka Chor” (1955) to appear in the blog. This song is sung by Asha Bhonsle. Prem Dhawan is the lyricist. Music is composed by Khayyam.
Only the audio of this song is available. I request our knowledgeable readers to throw more light on this movie as well as on the picturisation of this movie.
Song-Nigaahon mein base aise (Taatar Ka Chor)(1955) Singer-Asha Bhonsle, Lyrics-Prem Dhawan, MD-Khayyam
Lyrics
Nigaahon mein base aise
nigaahon mein
base aise
khayaalon pe ho yoon chhaaye
ke khud ko bhi jo dekhen to
teri soorat nazar aaye
nigaahon mein base aise
na jaane kaisa jaadoo thha
na jaane kaisi masti thhi
ee ee ee ee ee
na jaane kaisa jaadoo thha
na jaane kaisi masti thhi
ee ee ee ee ee
raha na hosh baaqi jab
nazar ke jaam takraaye
ke khud ko bhi jo dekhen to
teri soorat nazar aaye
nigaahon mein base aise
nahin hai farq husn o ishq ka
ulfat ki mehfil mein
aen aen aen aen aen
nahin hai farq husn o ishq ka
ulfat ki mehfil mein
aen aen aen aen aen
shama ka dil jo pighle to
wo khud parwaana ho jaaye
ke khud ko bhi jo dekhen to
teri soorat nazar aaye
nigaahon mein base aise
chale aao ke dil ki beqaraari
badhti jaati hai
ae ae ae ae ae
chale aao ke dil ki beqaraari
badhti jaati hai
ae ae ae ae ae
koi yoon hi tasawwur se
kahaan tak dil ko bahlaaye
ke khud ko bhi jo dekhen to
teri soorat nazar aaye
nigaahon mein base aise
Mohabbat bane hain wo din suhaane
Posted on: August 11, 2018
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3676 | Post No. : | 14565 |
“Aaj Ki Baat” (1955) was produced and directed by Leela Chitnis to launch the career of her son Ajeet Chitnis. The movie had Ajeet Chitnis, Uday, Chitra, Bipin Gupta, Manmohan Krishna, Sunder, Leela Chitnis etc in it.
The movie had eight songs in it. One song has been covered in the past.
Here is the second song from “Aaj Ki Baat” (1955) to appear in the blog. This song is sung by Talat Mehmood. Hasrat Jaipuri is the lyricist. Music is composed by Snehal Bhatkar.
Only the audio of the song is available. Seeing that Talat Mehmood was the main male playback singer in the movie (with four songs), it can be safely assumed that he had sung for the lead actor of the movie viz. Ajeet Chitnis. It is a joyous song sung by Talat Mehmood is a rather restrained manner.
Song-Mohabbat bane hain wo din suhaane (Aaj Ki Baat)(1955) Singer-Talat Mehmood, Lyrics-Hasrat Jaipuri, MD-Snehal Bhatkar
Lyrics
mohabbat bane hain wo din suhaane
ghadiyaan milan ki dil ke taraane
mohabbat bane hain wo din suhaane
ghadiyaan milan ki dil ke taraane
shokhi se hansna nigaahen milaana
shokhi se hansna nigaahen milaana
mere saamne unka wo aana jaana
kya kar diya
haaye kya kar diya
unki pahli ada ne
ghadiyaan milan ki dil ke taraane
mohabbat bane hain wo din suhaane
ghadiyaan milan ki dil ke taraane
wo unki sharaarat
nadiya kinaara
unki sharaarat
nadiya kinaara
thhandi hawaayen sama pyaara pyaara
thhandi hawaayen sama pyaara pyaara
koyal ki taanen wo bulbul ke gaane
ghadiyaan milan ki dil ke taraane
mohabbat bane hain wo din suhaane
ghadiyaan milan ki dil ke taraane
chaman mein wo unka mere saath rahna
kabhi dil ki baaten nigaahon se kahna
bhulaaye na bhoolenge
bhulaaye na bhoolenge aise thhikaane
ghadiyaan milan ki dil ke taraane
mohabbat bane hain wo din suhaane
ghadiyaan milan ki dil ke taraane
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