Posts Tagged ‘1956’
Lagi re lagi re lagi lagi re
Posted on: January 15, 2022
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 : |
4929 | Post No. : | 16769 |
Today’s song is from a C grade film called Baghi Sardar (1956).
I remember once Atul ji had expressed his opinion that ‘many times the B and C grade films provide A grade music’. I tend to agree with his opinion on this issue. There are many examples of songs from costume, stunt, action and religious films which became very popular. Off hand I remember at least two songs. The first was “Zara Saamne To Aa O Chhaliye” from a religious film ‘Janam Janam Ke Phere’ (1957). It was sung by Lata and Rafi, written by Bharat Vyas and music was by SN Tripathi. This song not only became very popular, but it became the No. 1 song on Binaca Geet Mala for 4 weeks. The second was a Rafi song “Parwardigar e Aalam, Tera Hi Hai Sahara” from the film ‘Hatimtai’ (1956). There was another song also from this film”Jhoomti Hai Nazar Jhoomta Hai Pyaar” which too became very popular. This was a costume film.
Another example comes to my mind. A qawwaali from the film ‘Al Hilal’ (1958), a costume film. This qawwaali “Hamen To Loot Liya Mil Ke Husn Waalon Ne” became very famous. This song also had the prestigious honor of being the 5000th song for this Blog on 13-11-2011. Further, it had an unique honor of having write ups from 3 stalwarts, namely Atul ji, Sudhir ji and Raja ji. Incidentally, earlier in 1935 also there was a film Al Hilal, first directorial venture of the great Mehboob Khan. This was a film made by Sagar Movietone. The songs of this film also became very popular. However, since the playback had not yet started then, no records were issued for these songs.
I used to like watching religious films because of the trick scenes of the films. I liked stunt and action films for their death defying stunts by the actors and I saw costume films because of their King, Queen and evil Vazir stories. Children liking such films, for the reasons given here, is understandable, but I wondered how adults and grown up people came to see such films. Later I learnt that there is a child hidden in every adult.
This child in some adults gets excited with magic, supernatural strength and fighting. Such people constituted the audience of B and C grade films. The audience for religious films constituted old adults, and ladies, who believed in God’s power. Film makers all over the world have always taken such people as their targets and films were made to attract them and satisfy their emotions.
Right from the First Silent film ‘Raja Harishchandra’ (1913), films have been made on religious stories. A vast nation like India provides plenty of folk tales and all these have been used to make films. In addition, Arabian Night stories of 1001 was yet another bumper source of masala for making interesting films. The 30’s, 40’s, 50’s and to some extent the 60’s had been making stunt / action / costume / religious films. In early films, till film ‘Aan’ (1952), the actors working in the films used to do all the stunts themselves. From this film, use of doubles and fight masters/composers started being used. In film ‘Aan’, the fights and the horses were managed by Azim Bhai and Douglas took care of fight scenes involving fencing. Same year, in films like ‘Sinbad Jahaazi’ (1952) and ‘Shin Shinaki Boobla Boo) (1952), the south developed hero Ranjan (real name Ramnarayan Venkatraman Sarma) appeared on Hindi scene in Bombay and entertained us with his Olympic level fencing fights. Earlier he was seen in ‘Chandralekha’ (1948), ‘Nishan’ (1949) and ‘Mangala’ (1949) – remakes of their Tamil films. In the subsequent years these Fight Masters became ‘Action Directors’.
In the films from 1935 to the 1950s, Nadia and others used to perform the stunts themselves. In the 60’s – a decade dominated by romantic films, for heroes, the action was mostly relegated to the climax scenes to rescue the ‘Damsels in Distress’ ! The 60’s also saw the emergence of ‘The Action Hero’. The first film, where a hero dared to bare his chest for the first time, was in film ‘Phool Aur Patthar” (1966) and the action hero was born with Dharmendra !
The set of actors, directors, producers, banners and even the audience was fixed for such films. Certain theaters were earmarked to exhibit such films in every city and small town. Some heroes of these action films, later on, became directors for such movies e.g. Majnu, Kamran, Daljit, John Cavas etc. ‘Baghi Sardar’ (1956) was also directed by Majnu, who started his talkie film career with a parody film ‘Majnu’ (1935). Though his original name was Harold Lewis, he was branded as Majnu and he too continued with this name.
MAJNU – Harold Lewis was a Punjabi Christian. He was born on 2-11-1913. It is said that before joining films, Harold had worked in circus as a joker. He acted in 3 Silent films, including ‘Flames Of Flesh’ (1930).
He was the childhood friend of Roop K Shorey. When Shorey wanted to make his second film, he chose Harold as the hero. Majnu was introduced as a leading man opposite Shyama Zutshi by producer/director Roop K Shorey in film ‘Majnu’ (1935) — a musical comedy satirizing the old story of Laila Majnu, produced, directed and shot in Lahore with Ghulam Haider as music director. With daring motorbike stunts and special effects, audiences were thrilled at the sight of Majnu strapped on the railway tracks by the villain.
The film was a success and RK Shorey repeated Majnu as the leading man in his next film, ‘Tarzan Ki Beti’ (1938). ‘Tarzan Ki Beti’ was hailed as the best jungle picture ever produced in India at the time. Filmed in the snowy Himalayas, the film topped its predecessor in its action sequences and placed Punjab on the entertainment map of India and the world.
Majnu appeared in almost all of Shorey’s films. He was also doing films with other producers. In 1942 he did a double role in ‘Nishani’ and in 1943 he directed his first film ‘Paapi’. Shorey also gave him a film ‘Badnami’ (1946) for direction and it was here that Majnu met IS Johar who wrote the story and dialogues of ‘Badnami’.
Majnu paired with IS Johar in ‘Ek Thi Ladki’ (1949), the debut film of Johar. Later they made a comedy pair in 10 films, including the hit ‘Hum Sab Chor Hain’ (1956). His last film with Johar was ‘Akalmand’ (1966).
Majnu acted in 77 films. His first film was ‘Majnu’ (1935) and his much delayed and released last film was ‘Shri Krishna Bhakti’ (1973). He acted in many Punjabi films also. He directed 8 films including ‘Paapi’ (1943), ‘Badnami’ (1946), ‘Son Of Alibaba’ (1955), ‘Tatar Ka Chor’ (1955), ‘Malika’ (1956), ‘Basre Ki Hoor’ (1956), ‘Baghi Sardar’ (1956), and his last film – ‘Chandu’ (1958).
Harold Lewis aka Majnu died on 26-3-1974.
The cast of this film consisted of Daljit, Chitra, Majnu, Ameeta, Amarnath, Prithvipal, Shaikh, Helen, Kammo, Satish Batra, Ramesh Thakkar, Shakuntala, Kanchanmala, Jugal Kishore etc. The music for this film was given by composer BN Bali. He was one of those small time composers, who got only the B and C grade films. First of all, let us know who this BN Bali is. There was yet another composer Bali, in the early era of Hindi films – HCBali or Harishchandra Bali (20-3-1906 to 24-6-1976), the expert classical singer who changed into a successful composer is credited with discovering KL Saigal in the early 30s.
BN Bali or Baldev Nath Bali too was a good singer and was a composer restricted to mostly religious or low budget films. He gave music from ‘Bedard’ (1949) up to ‘Do Dilwaale’ (1973), a total of 24 films, including one unreleased film ‘Bahut Door’ (1940s). He also gave music to a Haryanvi film in 1973. Though he composed music with a variety, somehow he lacked what it takes to make it to the Big league. On the contrary, BN Bali is known for copying the popular tunes of other composers blatantly.
“Jab Un Ka Khayal Aata Hai”, sung by Rafi in ‘Pehla Pehla Pyar’ was a copy of Rafi’s “Jin Raaton Mein Neend Ud Jaati Hai” by Hansraj behl. “Sapne Meine Saiyan Tum Aaya Na Karo” – Asha / Manna Dey song was a true copy of OP Nayyar’s “Ek Pardesi Mera Dil Le Gaya”, and “Tu Us Ka Kar Bhala” – Rafi in ‘Raja Vikram’ sang the same “Bhagwaan” tune as in “O Duniya Ke Rakhwaale” etc.
Today’s song also resembles some song, but I am unable to recollect exactly. If some reader recognizes the original song, please mention as your comment here.
Song – Lagi re lagi re lagi lagi re (Baaghi Sardaar)(1956) Singers- Geeta Dutt, Satish Batra, Lyricist- Bharat Vyas MD- BN Bali
Unidentified Male Voice
Lyrics
hey ae
lagi re lagi re lagi lagi re
lagi re lagi re lagi lagi re
lagi re lagi re lagi lagi re
meri mehfil mein hai bheed lagi
main kis’se kis’se pyaar karoon
hai dekh rahi aankhen kitni
main kis’se aankhen chaar karoon
haay kis’se aankhen chaar karoon
lagi re lagi re lagi lagi re
ye kehte mere ghar aao
wo kehte dil mein bas jaao
in mein kisko ghayal kisko zakhmi kisko beemar karoon
haay kis’se aankhen
haaye kis’se aankhen chaar karoon
lagi re lagi re lagi lagi re
lafde mein pado na jaane jigar
jhagde na karo yoon shaam pahar
paam papa pam paam papa pam
haahi hi hahai hi
are hum bhi hain tere deewaane
zara dekh lo humko ek nazar
bakta hai
tu bakta hai
ho o o o o
sab yoon hi bakne wala hai
mai kis kis ko aetbaar karu
haay kis’se aankhen
haay kis’se aankhen chaar karoon
haay kis’se aankhen chaar karoon
he lagi re lagi re lagi lagi lagi re
farhad ki kasmein khaayi hain
majnu ki mujhe duhaayi hai
teri mehfil mein maine dilbar
dil ki kaaleen bichhaayi hai
ae husn ki mallika haan kar do
apna dil bhi gulzaar karo
haay kis’se aankhen chaar karoon
lagi re lagi re lagi lagi re
ooh haaye
samjho to ishaare akl ke hain
budhhu
abey chup be
ulfat ki hain ye lalkaaren
kya samjhe
aap ik saath nahi tik sakti hain
ek myaan mein do do talwaaren
hat be
abe ja bey
o o
main jaan tumhaari hoon pyaare
lo tum se main ikraar karoon
haay kis’se aankhen
haaye kis’se aankhen chaar karoon
haaye kis’se aankhen chaar karoon
lagi re lagi re lagi lagi re
lagi re lagi re lagi lagi re
meri mehfil mein hai bheed lagi
main kis’se kis’se pyaar karoon
hai dekh rahi aakhen kitni
main kis’se aankhen chaar karoon
haay kis’se aankhen chaar karoon
lagi re lagi re lagi lagi re
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 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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4928 | Post No. : | 16767 |
Rafi Sahab’s Legendary Associations – 08
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14 Jan – Remembrance Day of Chitragupta
Chitragupta has recorded 260 plus songs with Rafi Sahab for Hindi and Bhojpuri films during the period 1950 to 1980. Having gone through the whole list of these songs, I have come to the conclusion that I am a creature of radio. The songs heard on radio long back ring a bell and I am drawn to them. There are other well-known songs, which I had not heard on the radio as a child, they don’t make this short list of my personal favorites.
“Chal Ud Ja Re Panchhi Ke Ab Ye Des Hua Begaana”
“Chali Chali Re Patang Meri Chali Re”
“Laagi Chhoote Na Ab To Sanam”
“Deewaana Aadmi Ko Banaati Hain Rotiyaan”
“Teri Duniya Se Door Chale Ho Ke Majboor”
“Mujhe Dard e Dil Ka Pata Na Tha”
“Jaag Dil e Deewaana Rut Jaagi Vasl e Yaar Ki”
“Ye Parbaton Ke Daayera Ye Shaam Ka Dhuaan”
There are some songs, which I have discovered in recent years and written posts for them too. But since I can’t recall the tune and the lyrics and the feel of the song, by just looking at the mukhda, is not the songs fault. So, if some people find their personal favorites missing from the above list of Rafi Sahab’s solos and duets under Chitragupta, they can blame me.
Today is the 31st death anniversary of veteran music director Chitagupta, who has composed 1000 plus song in his long career from 1940’s to 80’s. In commemoration, I am discussing a Rafi solo, composed by Chitragupta and written by Manohar Khanna for the film ‘Zindagi ke Mele’(1956). Only two songs from this film are posted in the blog.
“Kar Le Ri Solah Singaar”
“Tu Meri Heroine Main Tera Hero”
It is said that Chitragupta never reached the status of A grade music directors. But from where I can see, it doesn’t make any difference in the long run. Because his compositions have survived the test of time, just like most of the melodious and memorable work done by all the music directors of the golden era of Hindi film music. The field was crowded in the 50’s with talented and established MD’s and also with new aspirants. The songs of all the composers are equally appreciated and loved. I have always found the unheard (by me) songs of Chitragupt, very melodious and likable, with a spirit of their own. They make their mark and leave an impression, with their rustic flavor. I always make it a point to listen to his songs whenever they appear in the blog, especially solo songs of Lata Mangeshkar. 500 of these songs are already posted in the blog, as can be seen in the table.
| Chitragupta | 500 | 139 movies (1057) |
| Manohar Lal Khanna | 46 |
The song is lamenting the society and its remorseless, paralyzed state in the face of injustice. ‘Duniya Waalon’ are the mute spectators of an unjust practice, which those suffering it do not deserve. And those who standby and do nothing to stop the injustice, cruelty and ugliness in the society are to be equally held responsible, because they had the means to oppose the practice and should have raised their voices. But they chose to do nothing, and there have been very few social reformers in India who have actively worked to stop this practice of ‘dahej’. The experience of civilizational development has shown that making criminal laws, has not worked in reducing the crimes. Crimes continue to increase, despite stringent laws. The reforms have to stem from the value system in the society. Like many other social evils, the ‘dahej’ and dowry system has become a part of the landscape in our enlightened society. Here we think that we are the culture and we have learnt to turn the other way, in the name of civilized and appropriate behavior.
The truth camouflaged into lies and lies camouflaged as truth.
The movie title ‘Zindagi Ke Mele’ reminds me of the iconic song, this unforgettable Rafi solo :
ye zindagi ke mele
ye zindagi ke mele
duniyaa mein kam na honge
afsos ham na honge
Song – Saji Sajaai Dulhan Reh Gayi Baabul Neer Bahaaye (Zindagi Ke Mele) (1956) Singer – Mohammed Rafi, Lyrics – Manohar Khanna, MD – Chitragupt
Lyrics
dhan se baandhe..ea
preet ka bandhan..nn
yeh kaahe ki preet
roop na dekhe..ea
daulat dekhe..ea..ea
ye iss jag ki..ee reet
saji sajaayi
dulhan reh gayi
baabul neer bahaaye
o duniyaa waalo
kaisa tumhaara nyaaye
saji sajaayi
dulhan reh gayi
baabul neer bahaaye
o duniyaa waalo
kaisa tumhaara nyaaye
beh gaye armaan
aansoo ban ke
ho ooo ooo
phool bane angaaray
baap chhupaaye
munh beti se
aaj sharam ke maare
maiyya roye
sau sau aansoo
dwaar se doli
lauti jaaye
o duniyaa waalo
kaisa tumhaara nyaaye
saji sajaayi
dulhan reh gayi
baabul neer bahaaye
o duniyaa waalo
kaisa tumhaara nyaaye
dhan ke liye
nirdhan ki beti
ho oo oooo
bin byaahi reh jaaye
duniyaa ki in rasmon ko
bhagwaan aag lag jaaye..ea..ea
bhagwaan aag lag jaaye
maathhe lagaa hai daag jo kaala
iss ko kaun mitaaye
o duniyaa waalo
kaisa tumhaara nyaaye
saji sajaayi
dulhan reh gayi
baabul neer bahaaye
o duniyaa waalo
kaisa tumhaara nyaaye
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Hindi script lyrics (Provided by Nahm)
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धन से बान्धे॰॰ए
प्रीत क बन्धन॰॰न्न
येह काहे कि प्रीत
रूप न देखे॰॰ए
दौलत देखे॰॰ए॰॰ए
ये इस जग कि रीत
सजी सजाई
दुल्हन रह गयी
बाबुल नीर बहाये
ओ दुनिया वालो
कैसा तुम्हारा न्याय
सजी सजाई
दुल्हन रह गयी
बाबुल नीर बहाये
ओ दुनिया वालो
कैसा तुम्हारा न्याय
बेह गये अरमां
आन्सू बन के
हो ओ ओ ओ ओ ओ ओ
फूल बने अन्गारे
बाप छुपाये
मुँह बेटी से
आज शरम के मारे
मैय्या रोये
सौ सौ आन्सू
द्वार से डोली
लौटी जाये
ओ दुनिया वालो
कैसा तुम्हारा न्याय
सजी सजाई
दुल्हन रह गयी
बाबुल नीर बहाये
ओ दुनिया वालो
कैसा तुम्हारा न्याय
धन के लिये
निर्धन कि बेटी
हो ओ ओ ओ ओ ओ ओ
बिन ब्याही रह जाए
दुनिया की इन रस्मों को
भग्वान आग लग जाये॰॰ए॰॰ए
भग्वान आग लग जाये
माथे लगा है दाग जो काला
इस को कौन मिटाये
ओ दुनिया वालो
कैसा तुम्हारा न्याय
सजी सजाई
दुल्हन रह गयी
बाबुल नीर बहाये
ओ दुनिया वालो
कैसा तुम्हारा न्याय
This article is written by Arunkumar Deshmukh, 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.
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Blog Day : |
4920 | Post No. : | 16748 |
Today’s song is a rare song by Meena Mangeshkar from the film Aabroo-1956.
Meena Mangeshkar is the number two of the 4 Mangeshkar sisters – Lata, Meena, Asha and Usha, with the youngest sibling being their brother Hridaynath. Meena was born on 8-9-1931 to Master Deenanath Mangeshkar and wife Shevanti. Like other sisters, Meena too got education in Music from her father and other experts, but she never entered the film line for singing, because she got married to Vasant Khadikar, a businessman, quite early as per prevailing norms those days. By the way, Meena is the only one among the 4 sisters to have been married to a single person throughout her life. Lata and Usha never got married while Asha was the most experienced. She had 3 Life partners. Meena lost her husband in 2011. She has a son-Yogesh and a daughter-Rachana.
Although, Meena sang very well and she had a good singing voice, she did not do much work in Hindi films. In all, she sang only 12 songs in 10 Hindi films, namely Annadata-52, Farmaish-53, Pilpili Saheb-54, Chandni Chowk-54, Patrani-56, Aabroo-56, Mother India-57, Gateway of India-57, Arpan aka Anjali-57 and Iss paar ya uss paar-1990. She gave music to 1 Hindi film-Kanoon ka shikar-1978. Her assistant was Anil Mohile.
Out of her 12 songs, the Blog Statistics show 7 songs covered, but on the Home page column only 6 songs are credited to her name. When I checked all her covered songs, I found that a song from the film Mother India-57 (Duniya mein hum aaye to jeena hi padega) is not credited to her yet. Hope this anomaly will be corrected soon.
Film Aabroo was made in 1943, 1956 and 1968 with the same title. In the 1956 film the director was Chaturbhuj Doshi and the music was by Bulo C Rani, ably assisted by C Arjun. The cast was Kamini Kaushal, Kishore Kumar, Smriti Biswas, Moti Sagar, Madan puri, Anwari, Indira Bansal, Uma Devi etc.etc.
In the Hindi film industry, there are 4 types of people.
The first type is those people, who join this industry, struggle very hard and succeed in fulfilling their dreams, for example Guru Dutt, Mehboob, Johnny Walker, Lata Mangeshkar, Mohd.Rafi etc. who are well known to all by now.
The second type of people are those who join the industry, struggle very hard ,do not succeed and leave dejected.
The third type is those people who have a filmi connection or a strong luck, who join, struggle a bit and succeed like for example, Raj Kapoor, Dev Anand, Dilip kumar, Rakesh and Rajesh Roshan, Anand Milind, Nanda, Nargis, Meena Kumari etc
And….. the fourth type is those people who join the industry, struggle very hard and succeed partly, but end up doing something else, to keep them sustaining here.
The industry is full of people of the fourth type. People who come with dreams in their eyes, but end up doing something else. People who start as a Hero in 2-3 films, settle for side roles and finally character roles, like Dev Kumar, Sujit kumar, Jeevan etc.
Not only this but we have examples where they started with something else and ended with a totally different thing and succeeded. For Example, Guru Dutt started as a Choreographer/dance Director (Lakharani-45) and ended up Actor/Director, Ashok kumar started as a Lab Technician in photography but became a great actor and Amiya Chakravarty who started as a Bangla Teacher and a Canteen Manager in Bombay Talkies, for which later he directed finest movies.
In olden days, when the Studio system was there, Artistes used to be employed on a monthly basis and they had to do whatever work was given as per their capability. For example, in Ranjit Studios over 700 people were on the rolls at one time(The Government had to open a Ration shop inside the studio premises for them) from where actors were made out of script writers and the Director wrote songs ! So people joined the industry with a mind prepared to do whatever job, just to succeed in their ambition.
MOTI SAGAR was one such person who came to the industry to become a Hero, but ended up doing sundry roles, singing songs, writing stories and scripts and producing films. He ,however, could not get great success in any of these and ended up being ‘Jack of all trades, Master of None’.
MOTI SAGAR was born in New Delhi on 16-4-1925, but graduated from Lahore. In Lahore he got interested in acting in films. Then he met Inayat Hussain and G.A. Chishti-the composers and he loved singing. He came to Bombay in 1946. His cousins Motilal, Mukesh and Tara Harish were already there in films. Harish and Motilal were established, and Mukesh was trying very hard.
Moti Sagar did a second hero’s role in MALHAR-1951.
He sang his first song under Bulo C. Rani in GUL SANOBER-53 with Kalyani. Then came Pamposh, Shikar, Deewali ki raat, Makhichoos, Jai Mahadev, Salgirah, Film hi film, and Prerana.
When he stopped getting songs and roles, he switched over to writing. He wrote stories for Badal, Lalkaar, Charas, Ram Bharose. He acted in 13 films. He directed 2 films, namely Prerana-84 and Tanya-94. He wrote songs also for the film Prerana-84. He sang 13 songs in 9 films.
When this stopped he produced 2 films Hum Tere Ashiq hai and Badal. So, Moti Sagar was an Actor, Director, Producer, Lyricist, and a Singer After 1994, he retired. He died on 14-3-1999. Preeti Sagar is his daughter. She too was a struggling singer.
The film Aabroo- 1956 was directed by Chaturbhuj Doshi. During the early era of talkie films, till the 1960s, there was a horde of Gujarati directors and producers. Bhatts, Trivedi, Thakur, Shahs, Desais, Pancholi, Doshi, Daves were some names frequently found directing various genres. Usually they specialised in certain classes and types of films. The Bhatts (Shankar and Vijay) liked to do Mythological films, Ramnik Shah handled stunt, action, fantasy films, Jayant Desai was social film oriented etc.
Chaturbhuj Doshi (1894–1969) was a Hindi and Gujarati writer-director of Indian cinema. He was one of the top Gujarati screenplay writers, who helped script stories for the Punatar productions. He is stated to be one of the leading figures who launched the Gujarati film industry with work on notable films like ‘Gunsundari’ (1948) and ‘Nanand Bhojai’ (1948). He was ‘well known’ for his family socials and had become ‘a celebrity in his own right’. He made a name for himself as a journalist initially and was referred to as the ‘famous journalist’ & publicist by Baburao Patel, editor of Filmindia.
His debut film as a director was ‘Gorakh Aya’ (1938), produced by Ranjit Movietone, though he joined Ranjit in 1929, as a scriptwriter. In 1938, he directed another film for Ranjit, a social comedy, ‘The Secretary’, and both films were box-office successes for Doshi. His forte was socials, regularly adapting stories and novels for films. He worked initially on comedies like ‘Secretary’ and ‘Musafir’ (1940), but then ‘shifted to more significant films’.
Chaturbhuj Anandji Doshi was born in 1894 in Kathiawad, Gujarat, British India. He was educated at the University of Bombay, after graduation he started work as a journalist for a daily, Hindustan (1926), working for editor Indulal Yagnik. His entry into films was working as a scenarist in the silent era for directors like Jayant Desai, Nandlal Jaswantlal & Nanubhai Vakil. He joined Ranjit Movietone in 1929, and wrote stories and screenplay for several of Ranjit films.
Film ‘Gorakh Aya’ (Gorakh has come) in 1938, was the first film directed by Doshi. It was produced by Ranjit Movietone with screenplay by Gunvantrai Acharya & dialogues by PL Santoshi. The music, termed ‘good’ , was composed by Gyan Dutt. ‘The Secretary’ (1938), was a “riotous comedy”, starring Madhuri, Trilok Kapoor. Charlie. The music was composed by Gyan Dutt, who became a regular in most of the films directed by Doshi. Musafir in 1940 was a comedy costume drama, which had Charlie playing a prince.
‘Bhakta Surdas’, a devotional film directed by Doshi in 1942, is stated to be the “most famous” of the several versions made. It starred KL Saigal and Khursheed “the singing idol(s) of millions”, winning “unprecedented popularity” everywhere.
‘Mehemaan’ (1942) starred Madhuri, Ishwarlal, Shamim and Mubarak. Music director Bulo C. Rani had come to Bombay in 1942, and joined Ranjit Studios assisting Khemchand Prakash in music direction.
Doshi helped enormously in the development of Gujarati cinema. During 1948-49 he directed three successful Gujarati films which “brought immense success to the industry”. The success of the Gujarati film ‘Kariyavar’ in 1948, directed by Chaturbhuj Doshi from a story by Shaida, called Vanzari Vav, helped establish the Gujarati film industry along with other films like ‘Vadilo Ne Vanke’ (1948) by Ram Chandra Thakur and ‘Gadono Bel’ (1950) by Ratibhai Punatar. His next Gujarati film was ‘Jesal Toral’ (1948) based on folk-lore, which proved a big box-office success. In 1949, Doshi directed another Gujarati film, ‘Vevishal’, an adaptation of Meghani’s novel of the same name.
He also wrote stories, and one of his stories ‘Pati Bhakti’ was used in the Tamil film ‘En Kanawar’ (1948) produced by Ajit Pictures, which starred the Veena maestro, Sundaram Balachander, who was also the debut director and music composer for the film. In all he directed 24 Hindi films. His last Hindi film was ‘Sanskar’ (1958). He had also written a few songs in the film ‘Maya Bazaar’ (1932).
Chaturbhuj Doshi died on 21 January 1969 in Bombay, Maharashtra, India. Filmography-
1932: Narasinh Mehta (Writer), 1934: Sitamgar (Writer), 1938: Gorakh Aya, Secretary, 1939: Adhuri Kahani, 1940: Musafir, 1941:Pardesi, Sasural, 1942: Bhakta Surdas, Dhiraj, Mehmaan, 1943: Chhoti Maa, Shankar Parvati (Director, Writer), 1944: Bhartrahari, 1945:Murti, 1946: Phulwari, 1947: Bela, Kaun Hamara, 1948: Jesal Toral, Kariyavar (Director, Writer), Sati Sone, 1949: Bhakta Puran, Vevishal, 1950: Akhand Saubhagya, Kisi Ki Yaad, Ramtaram, 1954: Aurat Teri Yahi Kahani, 1956: Aabroo, Dashera, Dassehra, 1957: Khuda Ka Banda, Shesh Naag, 1958: Sanskar, 1960: Mehndi Rang Lagyo (Writer, Lyricist).
Today’s song is the seventh and the final song of the film. Actually, this song was not available on social media or anywhere else. The famous Record Collector and Music Historian shri Girdharilal Vishwakarma ji sent me this song on my request and our Sadanand Kamath ji uploaded it for me on his You Tube Channel. I thank shri Girdharilal ji and Sadanand ji for their help. Today’s song will be Meena’s 8th song on this Blog. Now only 4 songs are remaining. They are one each from films Annadata-52, Chandni Chowk-54, Pilpili Saheb-54 ( Sapnon ki duniya mein), and Iss paar ya uss paasr-1990.
With this song, film Aabroo-56 has all its songs covered and it becomes an YIPPEE film.
Song- Hai mausam ye mastaana muskuraana dil churaana (Aabroo)(1956) Singer- Meena Mangeshkar, Lyricist- G S Nepali, MD- Bulo C Rani (Assitant C Arjun)
chorus
Lyrics
Hai mausam ye mastaana
muskuraana
dil churaana
meri taraf zara hans ke mud jaana
Hai mausam ye mastaana
muskuraana
dil churaana
meri taraf zara hans ke mud jaana
chali thhandi hawaayen to o
chali thhandi hawaayen to
belon ne khaaye hichkoley
na tum boley
na hum boley
na tum boley
na hum boley
huyi ulfat bina boley
nazar ka ye nazraana
muskuraana
dil churaana
meri taraf zara hans ke mud jaana
meri taraf zara meri taraf hans ke mud jaana
haaye
Hai mausam ye mastaana
muskuraana
dil churaana
meri taraf zara hans ke mud jaana
bahaaren aa gayin
een een een een een een
bahaaren aa gayin
apni tumhaare
ik ishaare par
na tum boley
na hum boley
na tum boley
na hum boley
banaaya dil ne ??
wo preet ?? lubhaana
muskuraana
dil churaana
meri taraf zara hans ke mud jaana
meri taraf zara meri taraf hanske mud jaana
haaye
hai mausam ye mastaana
muskuraana
dil churaana
meri taraf zara hanske mud jaana
Hai Tujh Se Pyaar Sun Le Pukaar
Posted on: December 24, 2021
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 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 : |
4907 | Post No. : | 16718 |
Mohammed Rafi : The Incomparable (II) – Song No. 21
—————————————————
My favorite genre of Rafi song is not really a ‘bhajan’ per se but the the period often professed by me to find the most appealing of all periods is the 50’s. And for some time now, I have not posted a 50’s Rafi solo. A song again on a higher octave, this is a devotional song sung with chorus, in the movie ‘Aastik’ (1956). Music Director is Narayanan Dutt and it is written by SP Kalla.
As marking the anniversary’s or events go, this is an occasion to beat all anniversaries. But obviously some famously in tune entities who redefined the term “When in Rome do as the Romans do” have missed the flight. Or do they only commemorate birthdays and not death days? But then they do so with Rafi Sahab’s birthdays too on December 24.
Remembering the incomparable Rafi Sb on the 97 anniversary of his birth.
Here is the 50’s devotional song by Rafi Sahab with chorus, to enhance the listening experience of Rafi Sahab’s songs and paying tributes to the Legend. On screen, this song is performed by Shahu Modak.
Fondly that we all remember Rafi Sahab on this day, and we have missed him, even down to the latest blockbuster that we hear all over. Someone or other we find striving to achieve the spirit of Rafi Sahab’s singing or try to put soul into words like he did.
Jag ghoomeya thhaare jaisa na koyee. . .
Song – Hai Tujh Se Pyaar Sun Le Pukaar (Aastik) (1956) Singer – Mohammed Rafi, Lyrics – SP Kalla, MD – Narayan Dutt
Chorus
Lyrics
nayan tumhaare ea
darash ko oo oo oooo
tarsen ean ean
chain na paayen ea ea
ea ea ea ea
kaa se kahoon dukha aa
birhaa ke ea ea
kaa se kahoon dukha aa
birhaa ke ea
koyi samajh naa aa
bhaaye ea
din beete aur mahine ea ea
beete ea
beeti ghadiyaan saari ee
ee eee eee
hai tujh se pyaar
hai tujh se pyaar
sun le pukaar
jagwaale
o rakhwaale
hai tujh pe bhaar
naiyya ho paar
majhdaar se duniya waale
hai tujh se pyaar
hai tujh se pyaar
sun le pukaar
jagwaale
o rakhwaale
hai tujh pe bhaar
naiyya ho paar
majhdaar se duniya waale
hai tujh se pyaar
nainon ke do deep jalaaye ea
ea ea ea
nainon ke do deep jalaaye
saanson ka ek taara
teri lagan mein tan man naache
teri lagan mein tan man naache
naach utthaa ye jag saara
ho saara saara saara
hai tujh se pyaar
hai tujh se pyaar
sun le pukaar
jagwaale
o rakhwaale
hai tujh pe bhaar
naiyya ho paar
majhdaar se duniya waale
hai tujh se pyaar
koi hanse aur koi roye ea ea ea
koi hanse aur koi roye
maange haath pasaare
khoob kiye tum ne bhi bhagwan
khoob kiye tum ne bhi bhagwan
qismat ke batwaare
ho waare waare waare
hai tujh se pyaar
hai tujh se pyaar
sun le pukaar
jagwaale o rakhwaale
hai tujh pe bhaar
naiyya ho paar
majhdaar se duniya waale
hai tujh se pyaar
rang birange ghade khilone ea ea ea
rang birange ghade khilone
alag alag taqdeeren
koi tarasta daane ko to
koi tarasaa daane ko to
kahin pe bikhere tu ne heere
o heere heere heere
hai tujh se pyaar
hai tujh se pyaar
sun le pukaar
jagwaale o rakhwaale
hai tujh pe bhaar
naiyya ho paar
majhdaar se duniya waale
hai tujh se pyaar
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
नयन तुम्हारे॰॰ए
दरश को॰॰ओ॰॰ओ॰॰ओ
तरसें॰॰एं॰॰एं
चैन ना पाएँ॰॰एं॰॰एं
॰॰एं॰॰एं॰॰एं॰॰एं
का से कहूँ दुख॰॰
बिरहा के॰॰ए॰॰ए
कोई समझ ना॰॰आ॰॰आ
भाये॰॰ए॰॰ए
दिन बीते और महीने॰॰ए॰॰ए
बीते॰॰ए॰॰ए
बीतीं घड़ियाँ सारी॰॰ई॰॰ई
॰॰ई॰॰ई
है तुझसे प्यार
है तुझसे प्यार
सुन ले पुकार
जगवाले
ओ रखवाले
है तुझपे भार
नैय्या हो पार
मझधार से दुनिया वाले
है तुझसे प्यार
है तुझसे प्यार
सुन ले पुकार
जगवाले
ओ रखवाले
है तुझपे भार
नैय्या हो पार
मझधार से दुनिया वाले
है तुझसे प्यार
नैनों के दो दीप जलाए॰॰ए॰॰ए
नैनों के दो दीप जलाए
साँसों का इकतारा
तेरी लगन में तन मन नाचे
तेरी लगन में तन मन नाचे
नाच उठे ये जग सारा
हो सारा सारा सारा
है तुझसे प्यार
है तुझसे प्यार
सुन ले पुकार
जगवाले
ओ रखवाले
है तुझपे भार
नैय्या हो पार
मझधार से दुनिया वाले
है तुझसे प्यार
कोई हँसे और कोई रोये॰॰ए॰॰ए
कोई हँसे और कोई रोये
मांगे हाथ पसारे
खूब किए तुमने भी भगवन
खूब किए तुमने भी भगवन
किस्मत के बटवारे
हो वारे वारे वारे
है तुझसे प्यार
है तुझसे प्यार
सुन ले पुकार
जगवाले
ओ रखवाले
है तुझपे भार
नैय्या हो पार
मझधार से दुनिया वाले
है तुझसे प्यार
रंग बिरंगे घढ़े खिलौने॰॰ए॰॰ए
रंग बिरंगे घढ़े खिलौने
अलग अलग तक़दीरें
कोई तरसता दाने को तो
कोई तरसता दाने को तो
कहीं पे बिखेरे तू ने हीरे
ओ हीरे हीरे हीरे
है तुझसे प्यार
है तुझसे प्यार
सुन ले पुकार
जगवाले
ओ रखवाले
है तुझपे भार
नैय्या हो पार
मझधार से दुनिया वाले
है तुझसे प्यार
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 : |
4900 | Post No. : | 16705 |
Some people may have noticed that today is the 4900th day for the blog. So today the blog completes a century. Unlike blog centuries, this time bound century gets clocked automatically without any conscius effort on our part.
I looked back at all the 49 time bound centuries that the blog has clocked so far. Here are their details :-
| Blog day number | Date | Songs posted on the day |
|---|---|---|
| 100 | 26 October 2008 | 2 |
| 200 | 3 February 2009 | 6 |
| 300 | 14 May 2009 | 6 |
| 400 | 22 August 2009 | 6 |
| 500 | 30 November 2009 | 4 |
| 600 | 10 March 2010 | 2 |
| 700 | 18 June 2010 | 2 |
| 800 | 26 September 2010 | 3 |
| 900 | 4 January 2011 | 3 |
| 1000 | 14 April 2011 | 6 |
| 1100 | 23 July 2011 | 6 |
| 1200 | 31 October 2011 | 5 |
| 1300 | 8 February 2012 | 8 |
| 1400 | 18 May 2012 | 5 |
| 1500 | 26 August 2012 | 7 |
| 1600 | 4 December 2012 | 4 |
| 1700 | 14 March 2013 | 9 |
| 1800 | 22 June 2013 | DOT day |
| 1900 | 30 September 2013 | 2 |
| 2000 | 8 January 2014 | 6 |
| 2100 | 18 April 2014 | 6 |
| 2200 | 27 July 2014 | 3 |
| 2300 | 4 November 2014 | 4 |
| 2400 | 12 February 2015 | 5 |
| 2500 | 23 May 2015 | 2 |
| 2600 | 31 August 2015 | DOT day |
| 2700 | 9 December 2015 | 4 |
| 2800 | 18 March 2016 | 3 |
| 2900 | 26 July 2016 | 6 |
| 3000 | 4 October 2016 | 4 |
| 3100 | 12 January 2017 | 4 |
| 3200 | 22 April 2017 | 3 |
| 3300 | 31 July 2017 | 4 |
| 3400 | 8 November 2017 | 4 |
| 3500 | 16 February 2018 | 4 |
| 3600 | 27 May 2018 | 2 |
| 3700 | 4 September 2018 | 3 |
| 3800 | 13 December 2018 | 2 |
| 3900 | 23 March 2019 | 2 |
| 4000 | 1 July 2019 | 3 |
| 4100 | 9 October 2019 | 1 |
| 4200 | 17 January 2020 | 2 |
| 4300 | 26 April 2020 | 3 |
| 4400 | 4 August 2020 | 5 |
| 4500 | 12 November 2020 | 4 |
| 4600 | 20 February 2021 | 1 |
| 4700 | 31 May 2021 | 7 |
| 4800 | 8 September 2021 | 3 |
| 4900 | 17 December 2021 | 2 |
One can notice that a few posts were covered on most century days. There were two exceptions, namely day 1800 (22 july 2013) and 2600 (31 august 2015) that were DOT days. The highest number of posts, viz 9, were published on 1700th day (14 may 2013).
I thought that I should cover a song from movies that have figured on an earlier century day. But I realised that it was easier said than done. Most century day movies have since been YIPPEED or otherwise no songs from those movies are available.
With some difficulty, I zeroed in on a movie namely “Devtaa”(1956). A song from this movie had appeared on the blog on the 1000th day on 14 april 2011. More than one decade later, this movie still remnains unYIPPEED and its remnaining songs are readily available. So songs of this movie are good candidates for my blog century day challenge.
“Devtaa”(1956) was produced by K S Narayanan and directed by Patanna for Narayanan and Company, Bombay. This “kaalpnik” movie had Anjali Devi, Vyjyanti Mala, Ganesh, Kumari Kamla, Bipin Gupta, Krishna Kumari, Agha Indira, Nambiar, Roop Kumar, Kamal Krishn etc in it.
The movie had eight songs in it. Five songs have been covered in the past.
Here is the sixth song from “Devtaa”(1956) to appear in the blog. The song is sung by Lata. Rajinder Krishan is the lyricist. Music is composed by C Ramchandra.
The song is picturised on Vyjyanti Mala and Gemini Ganeshan (mentioned as Ganesh in the credits).
So, here is a movie whose songs figured in the blog on 1000th day and also on the 4900thday of the blog.
Song-Zaalim teri aankhon ne kya cheez pila di hai (Devta)(1956) Singer-Lata, Lyrics-Rajinder Krishan, MD-C Ramchandra
Lyrics
zaalim teri aankhon ne
kya cheez pila di hai
zaalim teri aankhon ne
kya cheez pila di hai
ulfat ke siva saari
duniya hi bhula di hai
bas ek nazar dekha
aur loot liya dil ko
bas ek nazar dekha
aur loot liya dil ko
lutkar bhi mere dil ne
khush hoke dua di hai
zaalim teri aankhon ne
kya cheez pila di hai
jab se tujhe dekha hai
kuchh hosh nahin mujhko
jab se tujhe dekha hai
kuchh hosh nahin mujhko
har cheez zamaane ki
har cheez zamaane ki
nazron se gira di hai
zaalim teri ankhon ne
kya cheez pila di hai
dil pyaar kare jis’se
wo dard diya dil ko
aa aa aa aa
aa aa
aa aa
dil pyaar kare jis’se
wo dard diya dil ko
jalne me maza aaye
jalne me maza aaye
wo aag laga di hai
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 : |
4880 | Post No. : | 16676 |
“Devtaa”(1956) was produced by K S Narayanan and directed by Patanna for Narayanan and Company, Bombay. This “kaalpnik” movie had Anjali Devi, Vyjyanti Mala, Ganesh, Kumari Kamla, Bipin Gupta, Krishna Kumari, Agha Indira, Nambiar, Roop Kumar, Kamal Krishn etc in it.
The movie had eight songs in it. Four songs have been covered in the past.
Here is the fifth song from “Devtaa”(1956) to appear in the blog. This song is sung by Manna Dey. Rajinder Krishan is the lyricist. Music is composed by C Ramchandra.
The song is picturised as a background song. The picturisation shows a princess getting married to an ugly and deformed man and as befits an Ideal Bhartiya Nari, she is supposed to follow in the footsteps of her husband wherever he goes. That is the message that this song conveys in the background.
I am unable to identify the actors in the picturisation. I request our knowledgeale readers to throw light on the picturisation of the song.
Song-Udhar Chali jaa Jaanki jidhar chale tere Raam(Devtaa)(1956) Singer-Manna Dey, Lyrics-Rajinder Krishan, MD-C Ramchandra
Lyrics
mud kar bhi na dekh suhaagan
mahlon ki ye shaan
is duniya mein ab tera bas
pati hi hai bhagwaan
udhar chali ja jaanki
jidhar chale tere raam
chhod na apna raasta
le himmat se kaam
jaanki le himmat se kaam
udhar chali ja jaanki
jidhar chale tere raam
chhod na apna raasta
le himmat se kaam
jaanki le himmat se kaam
bhaarat ki santaan hai tu
saawitri ka roop
bhaarat ki santaan hai tu
saawitri ka roop
sita ban kar sahti jaana
ban ban ki tu dhoop
hanste hanste ladti ja
tu jeewan ka sangraam
chhod na apna raasta
le himmat se kaam
jaanki le himmat se kaam
pativrata tere tej ke aage
sooraj bhi sharmaaye
pativrata tere tej ke aage
sooraj bhi sharmaaye
tere ek ishaare se ye baadal jal barsaaye
tere ek ishaare se ye baadal jal barsaaye
tere jaisi satiyon se hi bhaarat ka hai naam
chhod na apna raasta
le himmat se kaam
jaanki le himmat se kaam
pati kahe to phool chhod kar
kaante gale laga le ae ae
pati kahe to phool chhod kar
kaante gale laga le
preetam ke charnon mein apna
tu sansaar basa le
preetam ke charnon mein apna
tu sansaar basa le
kutiya mein bhi tujhe milega
mahlon ka aaraam
chhod na apna raasta
le himmat se kaam
jaanki le himmat se kaam
udhar chali ja jaanki
jidhar chale tere raam
chhod na apna raasta
le himmat se kaam
jaanki le himmat se kaam
Aao pardesi mere dwaar
Posted on: November 23, 2021
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 : |
4876 | Post No. : | 16671 |
“Roopkumari”(1956) was produced by Chimanlal Trivedi and directed by Manibhai Vyas for Chitrabharti, Bombay. The movie had Shakila, Mahipal, Chandrashekhar, Tiwari, Maruti, Kamal, Ratnamala, Krishnakumari, Moni Chatterjee, Roopmala, Jankidas, Ramesh Thakur, Jagdish, Dubey etc in it.
This movie had seven songs in it. Three songs have been covered in the past.
Here is the fourth song from “Roopkumari”(1956) to appear in the blog. The song is sung by Asha Bhonsle. B D Mishra is the lyricist. Music is composed by S N Tripathi.
Only the audio of the song is available. I request our knowledgeable readers to throw liht on the picturisation of this song.
Song-Aao pardesi mere dwaar (Roopkumari)(1956) Singer-Asha Bhonsle, Lyrics-B D Mishra, MD-S N Tripathi
Lyrics
Aao pardesi mere dwaar
Aao pardesi mere dwaar
tumhaare binaa saara sansaar soona laage
tumhaare binaa saara sansaar soona laage
dhoondhhoon main tohe dwaar dwaar
tumhaare binaa saara sansaar soona laage
tumhaare binaa saara sansaar soona laage
dukh ka ik toofaan uthhaa hai
chhaaya hai andhiyaara
beech bhanwar meri naav phansi hai
aaye na khewanhaara
ab koi na khewanhaara
tooti aashaa ki patwaar
tumhaare binaa saara sansaar soona laage
tumhaare binaa saara sansaar soona laage
o o pardesi
jag saara hai sukh ka saathhi
wo dukh kya pehchaane
birhan ka dukh birhan jaane
aur na koi jaane
dukh aur na koi jaane
eena hua hai dushwaar
tumhaare binaa saara sansaar soona laage
tumhaare binaa saara sansaar soona laage
o o pardesi
Kaisi lagi kaisi lagi
Posted on: November 5, 2021
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4858 | Post No. : | 16648 |
Today, November 5, 2021 is the 13th Remembrance Day of producer-director, B R Chopra. I admire him for his courage to make films on sensitive and socially relevant issues at a time when most of other producers would have avoided such issues. As far as I know, B R Chopra became the director without working under any one of the well-known directors of his time or even working in any other departments of the film making which is laudable.
Baldev Raj Chopra (22/04/1914 – 05/11/2008) was born in Rahon village in Ludhiana district of Punjab. His father was working in the Public Works Department in Lahore. So, most of his childhood, school and college education were done in Lahore. As a teenager, he was fascinated by films. After the completion of M A in English literature from Punjab University, he took a job as a film journalist for a film magazine, ‘Cine Herald’ which was published from Lahore so that he connects with the film personalities. Over a period of time, he took over the management of the magazine which he managed until 1947.
Just a couple of months before the partition, some friends of B R Chopra’s father suggested him to make a film which they would finance. So, he started his first film, ‘Chandni Chowk’ based on a story by I S Johar. G A Chishti was to be the music director and Khayyam, his assistant. Unfortunately, the film had to be abandoned in the wake of communal riots following the partition. B R Chopra along with his family migrated to Delhi and resumed working as a film journalist for some time. However, his heart was in the film making.
B R Chopra shifted to Mumbai with most of his joint family members sometime in 1948. With the pooling of all the resources from the family, he co-produced and directed ‘Karwat’ (1949) which bombed at the box office. After this, he became apprehensive about making one more attempt in film making. It was one of his friends who bumped in B R Chopra at a café and assured him that he would arrange the finance provided B R Chopra directed the film. That was how the film ‘Afsaana’ (1951) happened which he co-produced and directed based on a story written by I S Johar. The film was a box office success.
B R Chopra co-produced and directed his next two films, ‘Shole’ (1953) and his stalled film of 1947 – ‘Chaandni Chowk’ (1954) with his friend and partner financing these films. While ‘Shole’ (1953) did the average business, ‘Chaandni Chowk’ (1954) was a box office success.
In 1955, with the death of his partner, their joint venture in film production was dissolved. B R Chopra set up his own film production banner, B R Films. The banner’s logo had an interesting text in Latin, ‘Ars longa vita brevis’, meaning ‘Art is long, life is short’. The banner produced its first film, ‘Ek Hi Raasta’ (1956) with a theme of widow remarriage. It was a bold decision on the part of B R Chopra to produce and direct a film with such a sensitive subject in his maiden venture. But the risk paid off. The film scored a box office success.
B R Chopra produced and directed his next film, ‘Naya Daur’ (1957) with a theme of ‘man versus machine’. This was the film, with which Sahir Ludhianvi’s association with B R Films started as a full-pledged lyricist which continued until his death in 1980 with some break during 1976-79. In ‘Sadhna’ (1958), he took the subject of rehabilitation of a prostitute. In ‘Dhool Ka Phool’ (1959), B R Chopra portrayed the issues concerning the children born out of wedlock. In this film, B R Chopra entrusted the direction to his younger brother, Yash Chopra which was his maiden film as a director. Another brother, Dharam Chopra debuted as a full-time cinematographer with this film. Both these films were highly successful on the box office front.
B R Chopra experimented with his first songless film, ‘Kaanoon’ (1960) which focused on the capital punishment based on the eye witness and questioned whether one man’s words should cost another man’s life. It was a daring effort on the part of B R Chopra to produce the songless film especially at a time when the film songs had become one of the main ingredients for the box office success of the films. Later, he also produced another songless film, ‘Ittefaaq’ (1969) which happened to be last film B R Chopra and Yash Chopra worked together.
‘Gumraah’ (1963) was a personal triumph for B R Chopra as a director for his matured handling of a theme of extra-marital affair. He was successful in garnering sympathy for all the three protagonists of the film – Ashok Kumar as husband, Mala Sinha as his cheating wife and Sunil Dutt as the lover of Mala Sinha. By the way, in the same year (1963), ‘Ye Raaste Hain Pyaar Ke’ (1963) was released with a same theme.
‘Waqt’ (1965) was B R Chopra’s first colour. multi-starer and a high budget film. The film was directed by Yash Chopra. The usual ‘lost and found’ formula got reinvented with this film with sleek screen-play and dialogues. For the first time, a B R Film had elaborate sets and high glamour quotients. This film set the trend for Yash Chopra when he produced and directed films under his own banner.
During his 5 decades of association with Hindi films, B R Chopra produced 35 films and directed 20 films. Some of the major films he produced were ‘Hamraaz’ (1967), ‘Aadmi Aur Insaan’ (1969), ‘Daastaan’ (1973), a remake of ‘Afsaana’ (1951), ‘Dhund’ (1973), ‘Zameer’ (1974), ‘Chhoti Si Baat’ (1975), ‘Karm’ (1977), ‘Pati, Patni Aur Woh’ (1978), ‘The Burning Train’ (1979), ‘Insaaf Ka Taraazu’ (1980), ‘Nikkah; (1982), ‘Mazdoor’ (1983), ‘Tawaif’ (1984) ‘Aawaam’ (1987), ‘Kal Ki Aawaaz’ (1992), ‘Baaghbaan’ (2003), ‘Baabul’ (2006), ‘Bhootnath’ (2008) etc.
In 1972, Yash Chopra separated from B R Films and established his own banner, Yash Raj Films. This separation seems to have affected B R Films as most of his film made after Yash Chopra’s exit from B R Films, did not reach the level of successes as his earlier films got. However, B R Chopra undertook a mammoth work of TV serial ‘Mahabharat’ for Doordarshan with 94 episodes which were telecast during 1988-90. ‘Mahabharat’ became one of the most successful TV serials which was high TRP ratings even on the repeat telecasts.
‘Baaghbaan’ 2003) was a sort of a ‘come back’ film for B R Films followed by ‘Baabul’ (2006). However, B R Films could not sustain the new success as both B R Chopra and his son, Ravi Chopra passed away in 2008 and 2014 respectively. After ‘Bhootnath’ (2008), B R Films have not produced any film.
B R Chopra was conferred with Dadasaheb Phalke Award in 1998 in recognition of his contribution to the growth and development of Indian cinemas. He was awared Padma Bhushan in 2001.
‘Ek Hi Raasta’ (1956) was the first film produced and directed by B R Chopra under his own banner, B R Films. The star cast included Ashok Kumar, Meena Kumari, Sunil Dutt, Yashodhara Katju, Ravikant, Manik Kapoor, Uma Dutt, Nazir Kashmiri, Radhakishen etc. Kumkum and Radhika were the guest actors in the film.
The film had 8 songs (including one multiple version) of which 7 songs have already been covered on the Blog, the details of which are as under:
| Songs | Date of Posting | Singers |
|---|---|---|
| Chali gori pee ke milan ko chali | 31/01/2009 | Hemant Kumar |
| Saanwle salone aaye din bahaar ke | 21/04/2009 | Hemant Kumar -Lata |
| Bade bhaiyya laaye hain London se chhori | 11/04/2012 | Asha Bhosle |
| Chamka ban kar aman ka taara | 15/08/2012 | Lata-Hemant Kumar |
| Bekas ki aabroo ko neelaam kar ke chhoda | 27/11/2012 | Lata Mangeshkar |
| So ja nanhe mere tu to so jaa Multiple version song | 31/03/2021 | Hemant Kumar-Lata Mangeshkar |
On the occasion of 13th Remembrance Day of B R Chopra, I present a song ‘kaisi lagi jaaye to jaaye jiya’ from ‘Ek Hi Raasta’ (1956) rendered by Asha Bhosle and Usha Mangeshkar. The song is written by Majrooh Sultanpuri which is set to music by Hemant Kumar. It is a dance song in which Asha Bhosle and Usha Mangeshkar sing for Kumkum and Radhika respectively.
With this song, all the songs from ‘Ek Hi Raasta’ (1956) have been covered on the Blog.
Note: The early life sketch of B R Chopra is based on his interview recorded in 1995 after he was conferred ‘Filmfare Life Time Achievement Award’. The interview was published on April 4, 1997 in rediff.com.
Audio
Video
Song-Kaisi lagi kaisi lagi (Ek Hi Raasta)(1956) Singers-Asha Bhosle, Usha Mangeshkar, Lyrics-Majrooh Sultanpuri, MD-Hemant Kumar
Both
Lyrics
kaisi lagi
kaisi lagi
jaaye to jaaye jiya
laagi na chhoote aisi lagi
kaisi lagi
kaisi lagi
jaaye to jaaye jiya
laagi na chhoote aisi lagi
kaisi lagi
kaisi lagi
jaaye to jaaye jiya
laagi na chhote aisi lagi
kothhe pe main to khadi thhi bholepan mein
chori chori koi samaaya mere man mein
kothhe pe main to khadi thhi bholepan mein
chori chori koi samaaya mere man mein
dheere se bolo jiya
kaisi lagi
dheere se bolo jiya
kaisi lagi
aisi lagi
jaaye to jaaye jiya
laagi na chhoote
aisi lagi
kaisi lagi
kaisi lagi
jaaye to jaaye jiya
laagi na chhoote aisi lagi
jiya na maane ke ruk ruk machle
koi ye pukaare bache to zara bach le
jiya na maane ke ruk ruk machle
koi ye pukaare bache to zara bach le
haaye re haaye daiyya
kaisi lagi
haaye re haaye daiyya
kaisi lagi
aisi lagi
jaaye to jaaye jiya
laagi na chhote aisi lagi
kaisi lagi
kaisi lagi
jaaye to jaaye jiya
laagi na chhoote aisi lagi
dar ke maare kaleja mora dhadke
kahin more saiyyan ye chunri pakad ke
dar ke maare kaleja mora dhadke
kahin more saiyyan ye chunri pakad ke
laagoon main tohra piya
kaisi lagi
laagoon main tohra piya
kaisi lagi
aisi lagi
aisi lagi
aisi lagi
jaaye to jaaye jiya
laagi na chhoote
aisi lagi
kaisi lagi
kaisi lagi
jaaye to jaaye jiya
laagi na chhoote
aisi lagi
kaisi lagi
kaisi lagi
jaaye to jaaye jiya
laagi na chhoote
aisi lagi
Ek anaar aur sau beemaar
Posted on: October 5, 2021
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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‘Sipahsalar’ (1956) was produced by F C Mehra under his banner, Eagle Films and was directed by Mohammed Hussain. The star cast included Shammi Kapoor and Nadira in lead roles supported by Kamal Kapoor, Sham Kumar, Samson, S Nazir, Cuckoo, Helen, Kumkum, Uma Dutt, Jagdish Kanwal, Rajan Kapoor etc. It is apparent from what I have seen from a few photographs of the films on the internet that the film belongs to the genre of costume drama.
The producer of the film, Faqir Chand Mehra (29/08/1923 – 29/07/2008) was born in Peshawar. The family shifted to Bombay (Mumbai) in early 1940s when he got a job in Royal Indian Air Force on the ground duties. However, after some time, he got suspended from the Air Force for in-subordination. With a big family to be looked after, he started dabbling in various types of small businesses. Eventually, he got success in the small business of film distributions in Afghanistan. It all started with F C Mehra taking some cans of films to Kabul and showing in a theatre. With good responses from the local population, he started earning good money. So, this was the beginning of F C Mehra’s tryst with Hindi films.
F C Mehra expanded his business of film distributions in Mumbai. He even started buying rights for the distribution of films under productions. One of such films where he had bought the distribution rights was struck up. He took over the production of that film and completed the film. So, F C Mehra accidentally turned film producer with this film and his banner, Eagle Films was born. (I guess, the film was ‘Sakhi Lutera’, 1955).
‘Sipahsalar’ (1956) was F C Mehra’s first planned film as a producer. In this film, he repeated the director, Mohammed Hussain and most of the supporting cast from ‘Sakhi Lutera’ (1955) and also lyricist, Farooq Qaiser and music director, Iqbal. Hereafter, F C Mehra produced and released films on a regular basis covering the genres of costume, suspense, thriller, comedy, social drama etc. Some of his prominent films included ‘Mujrim’ (1958), ‘Ajee Bas Shukriya’ (1958), Ujaala’ (1959), ‘Singapore’ (1960), ‘Professor’ (1962), ‘Shikaari; (1963), ‘Amrapali’ (1966), ‘Prince’ (1969), ‘Laal Pathar’ (1971), ‘Manoranjan’ (1974), ‘Hamaare Tumaare’ (1977), ‘Sohni Mahiwal’ (1984), ‘Aakhri Adaalat’ (1988) etc.
According to his son, Umesh Mehra, his father used to get the daily shoot of his film processed on the same evening after the pack-up well before the digital era came when the film’s shoots are available to watch online. The rushes would be seen by him in the next day morning and will be discussed with the director, If need be, some parts of the shoots would be reshot. He was also probably first to compensate his film distributors when his films resulted in the losses to them. He had done so when ‘Amrapali’ (1965) did not perform well on the box office.
Besides, Eagle Films, the film production unit which was a partnership among his family members, F C Mehra had a stake in Natraj Studios, Andheri along with film producers, Shakti Samanta, Promod Chakravarty, Atmaram and others. He also owned Minerva theatre in Mumbai and Plaza theatre in Delhi in partnership with Shammi Kapoor and others.
Sometime in 2000, F C Mehra develops some medical problem which was diagnosed as dementia. Doctors had certified that F C Mehra was incapable of taking financial and legal decisions. The last 8 years of his life were spent in the midst of dementia and amnesia without being aware of what was happening around him. In 2006, a dispute arose between the elder son, Parvesh Mehra and three younger sons led by Umesh Mehra about their father’s property, a part of which was sold by Umesh Mehra by virtue of holding the power of attorney on behalf of his father. The matter went to the court which dragged on for a long time. In the meanwhile, F C Mehra died of massive heart attack on July 29, 2008 and his eldest son, Parvesh Mehra, the complainant in the court case, died in December 2020.
Coming back to ‘Sipahsalar’ (1956), Shri Arunkumar Deshmukh who had seen the film in the theatre, had written a synopsis of the film in the article covering one of the songs of the film on the Blog. The film has the usual story of a good king being overthrown by his evil prime minister. The story again runs on the usual pattern with the ousted king who has escaped to a neighbouring country, regrouping his forces to fight the evil prime minister. From his loyal forces, the king selects Shammi Kapoor as his Sipahsalar. He conducts raids with his troops in which he is captured. But Nadira saves him and they run away to the forest. From the photographs which I have seen, it appears that the film has all the required ingredients for box office success like romance, dances, stunts, fights, comical situations etc, Finally, the Sipahsalar successfully carries the campaign to regain the lost kingdom for his king at the cost of sacrificing his life.
‘Sipahsalar’ (1956) had five songs written by Farooq Qaiser and set to music by Iqbal. Four songs from the film have already been covered on the Blog as under:
| Songs | Date of Post | Singer/s |
|---|---|---|
| aankhon mein aankhen daal ke | 07/08/2012 | Asha Bhosle-Rafi |
| dil ne chheda hai taraana | 01/07/2013 | Asha Bhosle-Talat Mehmood |
| madr e watan madr e watan | 15/08/2017 | Rafi |
| ajee o jee tumehn dekh jiya jale | 13/09/2018 | Geeta Dutt |
I am presenting the fifth and the last and final song of the film, ‘ek anaar aur sau beemaar’, sung by Asha Bhosle and chorus. The song was not available on any video sharing platforms. I have made and uploaded the video clip of the song on a video sharing platform. From the lyrics as well as the garba beats, it would appear that the song was picturised on a group of dancers (led by either Cuckoo or Helen).
With this song, all the songs of the film have been covered on the Blog.
Acknowledgements: Some of the information about F C Mehra is sourced from an article written by Keyur Seta which appeared in Cinestaan. The references in the article about the court cases is sourced from indiankanoon.
Audio Clip:
Song-Ek anaar aur sau beemaar (Sipahsalar)(1956) Singer-Asha Bhonsle, Lyrics-Farooque Kaiser MD-Iqbal
Chorus
Lyrics
ek anaar aur sau beemaar
ek anaar aur sau beemaar
mushkil mein hai mera pyaar
o saajna
mushkil mein hai mera pyaar
kis’se churaaun main apni nazren
kis’se churaaun main apni nazren
kis se karoon aankhen chaar
o saajna
mushkil mein hain mera pyaar
shaam suhaani ritu mastaani
haan ritu mastaani
main hoon akeli dagar anjaani
dagar anjaani
jaaun mein kaise uss paar
o saajna
mushkil mein hai mera pyaar
ek anaar aur sau beemaar
mushkil mein hai mera pyaar
o saajna
mushkil mein hai mera pyaar
tirchhi nazar hai jee baanki adaa hai
jee baanki adaa hai
meri adaaon pe duniya fida hai
jee duniya fida hai
lootoon main kiska qaraar
o saajna
mushkil mein hai mera pyaar
ek anaar aur sau beemaar
mushkil mein hai mera pyaar
o saajna
mushkil mein hai mera pyaar
ghaayal karoon main jiya tirchhi nazar se
haan tirchhi nazar se
?? zamaana main guzroon kidhar se
guzroon kidhar se
kiski sunoon main pukaar
o saajna
mushkil mein hai mera pyaar
ek anaar aur sau beemaar
ek anaar aur sau beemaar
mushkil mein hai mera pyaar
o saajna
mushkil mein hai mera pyaar
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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