Posts Tagged ‘1956’
Jaam e mohabbat laayee hoon
Posted on: May 11, 2024
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 : |
5776 | Post No. : | 18303 |
“Dilli Darbaar”(1956) was directed by Chandrakant for Gandhi and Choksi, Bombay. The movie had Sumitra Devi, Rehana, Veena, Prem adeeb, Sapru, S N Tripathi, babu Raje, Uma Devi, Radha Rani, Minu, Helen, kammo, R s Dubey, Radheshyam, Rajesh Sharma, Raj Sood, Raj Kaushal, Arjun singh, Neerja, Noorjahan, Sarla Kapoor, Kanta, Ulhas etc in it.
The movie had five songs in it. One song from the movie has been covered in the past.
Here is the second song from “Dilli Darbaar”(1956) to appear in the blog. The song is sung by Asha Bhonsle and female chorus. Shailendra is the lyricist. Music is composed by S N Tripathi.
Only the audio of this song is available. The song sounds like a dance song. I request our knowledgeable readers to throw light on the picturisation of this song.
Song-Jaam e mohabbat laayee hoon (Dilli Darbaar)(1956) Singer-Asha Bhonsle, Lyrics-Shailendra, MD-S N Tripathi
Chorus
Lyrics
jaam e mohabbat laayi hoon
masti ban kar chhaai hoon
itna kehne aayi hoon
kya
dil le le aur dil de de
koi dil le le aur dil de de
dil le le aur dil de de
koi dil le le aur dil de de(aa aa aa)
dil le le aur dil de de
koi dil le le aur dil de de(aa aa aa)
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
ek nazar par ae dil waalon
dil ka sauda karti hoon
ho ho ho ho
ek nazar par ae dil waalon
dil ka sauda karti hoon
jo mera deewaana ho
main bhi us par marti hoon
ho ho ho ho
main bhi us par marti hoon
mujhko sab se ulfat hai
pyaar khushi ki daulat hai
aankhon ki ye chaahat hai
kya
dil le le aur dil de de
koi dil le le aur dil de de
dil le le aur dil de de
koi dil le le aur dil de de(aa aa aa aa)
dil le le aur dil de de
koi dil le le aur dil de de(aa aa aa aa)
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
saari duniya jhoom uthhi hai
mehfil hai armaanon ki
ho ho ho ho
saari duniya jhoom uthhi hai
mehfil hai armaanon ki
pyaar ki shamma lehraayi
bheed lagi parwaanon ki
ho ho ho ho
bheed lagi parwaanon ki
chanda jaisi soorat hai
phoolon jaisi rangat hai
lekin dil mein hasrat hai
kya
dil le le aur dil de de
koi dil le le aur dil de de
dil le le aur dil de de
koi dil le le aur dil de de
dil le le aur dil de de
koi dil le le aur dil de de
Haseenon se koi poochhey
Posted on: April 28, 2024
- In: Duet | expression of love | Feelings of heart | Guest posts | Lalita Deulkar songs | Post by Arunkumar Deshmukh | Rare song | Song sung by relatives | Song sung by spouses | Songs of 1950s (1951 to 1960) | Songs of 1956 | Sudhir Phadke songs as a singer | Sudhir Phadke-Lalita Deulkar duet | 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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5763 | Post No. : | 18288 |
Today’s song is a duet from the film Sajni-1956. This song is of some significance. It is a song sung by a pair of Husband-wife. Of course this is not unique. Earlier also there were a few such songs by Husband-wife pairs. What is significant is that this was their last duet in a film. The pair was Sudhir Phadke and Lalita Deulkar Phadke. What’s more, with this song Lalita ended her film singing career also !
Film Sajni-1956 was not a famous film. In fact it was an obscure film, hardly known to most people. Produced by a couple – P.R.Patkar and Isabel Clifford, the film was directed by Vasant rao Painter. He was the nephew (son of Anandrao Painter) of the famous Kala Maharshi Baburao Painter, owner of the Maharashtra Film Company, Kolhapur. Many stalwarts of the early Silent and Talkie films emerged from this film company, where they got an all round training in filmmaking. Some of the famous names are V.Shantaram, Master Vinayak, Baburao Pendharkar, Fattelal, Damle, Dhaibar etc.
Vasant Anandrao Painter was born in a village near Kolhapur on 13-8- 1913. His father Anandrao, along with cousin Baburao Painter wanted to make films. Anandrao had bought a second hand Projector, which he turned into a Camera and shot a short film also. Unfortunately, Anandrao Mistry or Anandrao Painter died suddenly on 22-10-1915.Vasant Painter was only a 2 year old baby at that time. Baburao Painter went on to become the famous founder of Marathi films in the Silent Era.
By the time Vasant became 16 year old,the Silent film era was in full swing and many films were made in Kolhapur, Poona and Bombay. He had a liking for painting,so he picked up poster painting work,first in Maharashtra Film company and later in Prabhat film company when it was started in Kolhapur. Actually Damle and Fatelal were keen on helping him as he was the son of Anandrao, from whom they had learnt so many things. They called him to work in Prabhat. He did all jobs,including assisting in cinematography and direction.
His first break came when he was 33 year old. He got an opportunity to direct Prabhat’s film ” Gokul”-46 and later on ” Seedha Raasta”-47. After V.Shantaram had left Prabhat to start his own Rajkamal,Vasnt painter remained in Prabhat loyally, so he got the reward. Prabhat decided to make the film “Namdev” and Vasant was selected as a director. The cast was fixed and other arrangements done, but due to financial reasons the film was cancelled. Anyway, he got another opportunity. Actress Kamala Kotnis had floated a production company,Kamala Chitra Ltd..She invited Painter to direct her film,’Sati Ahilya’-49. Snehal Bhatkar was the MD.
Painter directed ‘Bhishma Pratignya’-1950. This was, probably,the only Mythological film Nargis had acted in, with Shahu Modak. His other films were, Murliwala-51, Devyani-52, Sajni-56, Patit paawan-55, Gokul ka chor-59, Pyar ki jeet-62 . Meanwhile he was producing and directing several Marathi films too. He won 9 awards,including the prestigious ” V.Shantaram Award”. Vasant painter died on 31-5-2006, leaving behind him 6 daughters and 1 son.
The film had music by Sudhir Phadke and his assistant for this film was Vishnu Govind Jog, who became a world famous Violinist in his later life. He played in several concerts all over the world, including the Madison Square Garden in New York. He was a Sangeet and Natak Academy Award winner in 1980 and Padma Bhushan in 1983. The cast of the film was Sulochana, Anup Kumar, Lalita Pawar, Sapru, Krishna Kumari, Gope, Maruti, Nimbalkar and many others. The songs were written by Narendra Sharma (5 songs) and today’s song was by Nakshab Jarachavi.
Like any other language, there are writers and authors in Marathi too, who write on old films and old actors etc from the vintage Hindi films. One such author calls himself ” Babu Moshoi “. His articles are published regularly in newspapers, magazines etc. He has written several books. His real name is Hemant Desai. Another such writer in Hindi and Gujarati is Vithal Pandya. I have many such books in my library. Through these books I get to know old actors and their information, sometimes. I get surprised at many names as I read about some names about whom I had never known. For example, do you know who did King Dashrath’s role in films Bharat Milap-42 and Ramrajya-43, or the role of Kanva Muni in film Shakuntala-43 ? Who was the actress in Kaushalya’s role in Ramrajya-43 or Ram Vivah-49 ?
This actor was I. T. Nimbalkar and this actress was Shanta Kothari (nee Shanta Kumari). These were artistes from Silent film era, spilled over the Talkie films. They started as Hero and Heroine, but shifted to character roles, as the time went by. In our film industry, such cases are not new. In fact such type of actors who remained practically unknown to later generations of audiences, were highly respected by film people during shootings. Their seniority and work was respected.
This is a very good practice in the industry, by directors and other actors to give respect to old timers. Raj Kapoor used to send his car to fetch Bhudo Advani for shootings of film Boot Polish scenes. Hrishikesh Mukherjee kept special chair for Master Shiraz, during the shooting of film Guddi. He also ensured to feature Shiraz in the film credits. These are only samples to stress what I have said. Not every such matter is published but it is a special feature of the industry.
I try to gather information on such unknown and forgotten artistes and write on them. Not everytime I am successful, but I have written about many such actors, directors, Music Directors etc. Some of them are Omkar Devaskar, Zunzar rao Pawar, Ganapat rao Bakare, Shankar rao Vazare, Naseem Junior, Shamim Jr, Altaf, Urmila, Ranjana, Kusum Deshpande, Vasant rao Thengadi, Jamshed ji etc etc. Today, we will know more about one such old time actor who was prolific and worked in films of Bombay and Calcutta.
I.T.Nimbalkar aka Indurao T. Nimbalkar ( he was always credited as only ‘Nimbalkar’ in all films) was born on 6-12-1893, in Kolhapur state. This was the time Kolhapur was slowly developing as Kalapur (hub of arts) and the seeds of film making were being planted there. Baburao Painter, one of the original film makers had started his ” Maharashtra Film Company” on 1-12 1917.
Baburao, Damle, Fattelal etc were taught painting By Anandrao Painter, who was an extraordinary painter of those times. All these people, along with V Shantaram, Keshavrao Dhaiber and few more also joined Baburao Painter’s Maharashtra Film company. True that, film making had started even earlier in Maharashtra, but Baburao Painter is credited with making films a form of art and spreading it on a larger canvas of India.
Indurao Nimbalkar grew up in this atmosphere in Kolhapur. He passed his Matriculation exam and also did a diploma in Printing. Nimbalkar was six feet tall and had a good physique. He was expert in riding, swimming and wrestling. He did 1000 sit-ups every day. Shahu Maharaj, the king of Kolhapur encouraged all arts as well as development of lower castes. Arya Samaj had a ‘ Gurukul’ in Kolhapur. Impressed with Nimbalkar’s education and body, Shahu ji appointed him as Editor of the weekly ‘ Arya’ and secretary of Gurukul.
One day Baburao Painter, along with assistant V Shantaram visited his press and offered Nimbalkar a role in his proposed film Sairandhri. Shahu Maharaj also permitted and encouraged him ,so Nimbalkar joined the film line. He was already famous due to his fiery editorials and now people came to see his shootings too. However, due to money shortage, the film did not complete. ( It was later made in 1919, but with different cast. V Shantaram made coloured Sairandhri in 1933 with Nimbalkar again).
Nimbalkar acted in many silent films like Baji Deshpande, Khazanchi (directed by Moti gidwani- England returned), Lanka, Kismet (directed by Baburao Patel) etc etc. After the closure of Maharashtra F. Co., Nimbalkar was invited by V Shantaram to do Vishvamitra’s role in its first Talkie film ” Ayodhya ka Raja” -1932, in Hindi and Marathi. After this, he did Jalti Nishani-32, Sairandhri-33, Maya Machhindra-32, Sinhagadh-23 etc.
After this, Nimbalkar went to Calcutta on invitation and worked in films made by Radha Films, Laxmi Studios, Devdatta films and New Theatres. From 1934 to 1938, he acted in 12 Hindi films. He was provided a Bungalow, car with driver, servants etc. His son studied in local school there. Returning to Bombay he worked as an assistant director to Keshavrao Dhaiber for film ‘Nandkumar’-38, made by his Jayashree Films. Next 2 years he shuttled between Calcutta and Bombay. He did King Dashrath’s role in Prakash films’ Bharat Milap-42 and Ramrajya-43 in this period.
He was invited by V Shantaram for acting in his first film under banner of Rajkamal- Shakuntala-43. Nimbalkar did the role of Kanva Muni in it. He later also acted in Jeevan yatra-46, Subah ka tara-54, Parchhain-52, Teen batti char rasta-53, Toofan aur Diya-56, Z Z Payal baje-55. Earlier he did Aapki sewa mein-47, Prarthana-44,Nal Damayanti-45, Seedha Rasta-41, Gokul-46, Apna Ghar-42, Maharathi karna-44, Seeta Swayamvar-48. He worked in Pyasa-57, Mera Naam Joker-70, Amar Prem-60 etc etc. From 1928 to 1970 he acted in over 250 films.
His wife Sushila was also educated and looked after his home and children. She never visited any sets in her life time. Nimbalkar died on 17-1-1973 at Kolhapur. (Thanks to an article in book Chandraat-चांदरात by Babu Moshoi, in addition to my notes, HFGK, muVyz, CRTWF, Encyclopedia of Indian Cinema and Film India magazines).
Two interesting trivias before I conclude this post. The first is Sudhir Phadke and Lalita Deulkar got married on 29-5-1949. Phadke’s close friend Mohd. Rafi did one wonderful thing. He sang a specially prepared and well rehearsed ” Mangalashtak” (an 8 stanza Marriage song in Marathi) in their marriage !
The second trivia is, Lalita became a famous singer with a duet with Rafi “Hum ko tumhara hi aasra” from film SAAJAN-1947 and she ended her career with a duet from film SAJNI-1956 !
(Acknowledement- I sincerely thank Shri Syed Zafar Shah ji for making the above very rare song available to us for discussion, on my request. He has always been very helpful.)
With today’s song, all songs of this film are covered and the film is YIPPEED !
Song- Haseenon se koi poochhe (Sajni)(1956) Singers- Lalita Deulkar, Sudhir Phadke, Lyricist- Nakshab Jarachavi, MD- Sudhir Phadke
Both
Lyrics
Taqdeer ka likha hua
taula nahin jaataa
dil hai ke sambhaale se
sambhaalaa nahin jaataa
sambhaalaa nahin jaataa
haseenon se koi poochhe
sataa kar humko kya logey
haseenon se koi poochhe
sataa kar humko kya logey
jalaa kar humko kya logey
mitaa kar humko kya logey
jahaan tak jaan baaqi hai
likhaa qismat ka bharte hain
aa aa aa aa aa
jahaan tak jaan baaqi hai
likhaa qismat ka bharte hain
o o o o
ye soorat hai
ye haalat hai
na jeete hain
na marte hain
na jeete hain
na marte hain
marte hain
mitaa kar humko kya logey
sataa kar humko kya logey
jalaa kar humko kya logey
haseenon se koi poochhe
sataa kar humko kya logey
jalaa kar humko kya logey
mitaa kar humko kya logey
wahaan majboor paa kar
dekh tum par julm hote hain
wahaan majboor paa kar
dekh tum par julm hote hain
yahaan taqdeer ke maare
na hanste hain
na rotey hain
yahaan taqdeer ke maare
na hanste hain
na rotey hain
rote hain
rulaa kar humko kya logey
jalaa kar humko kya logey
mitaa kar humko kya logey
haseenon se koi poochhe
sataa kar humko kya logey
jalaa kar humko kya logey
mitaa kar humko kya logey
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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5697 | Post No. : | 18215 |
“Hamaara Watan”(1956) was produced by Ramesh Vyas and directed by Jayant Desai for Navkala Niketan, Bombay. The movie had Bina Rai, Premnath, Agha, Ram Singh, S N Tripathi, Kumkum, Jagdish Kamal, Ramesh Sinha, S Azeem, Habeeb, Nazeer Kashmiri, Md Rafi, Md Ali, M. Sandow, Hanuman, Md Hussain, Bela Sarkar, Jaya Rao, Maya Das etc in it.
This costume movie had ten songs in it that were penned by three lyricists. Asha Bhonsle’s voice was there in as many as eight of these songs.
Two songs from the movie (both sung by Asha Bhonsle) have been covered in the past.
Here is the third song from “Hamaara Watan”(1956) to appear in the blog. The song is sung by Lata Mangeshkar. It is the only song sung by her in the movie. S H Bihari is the lyricist. Music is composed by Hemant Kumar.
Only the audio of this song is available. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this melancholic song.
Song-Chaand ko daagh lagaa chaand hamaare aajaa (Hamaara Watan)(1956) Singer-Lata, Lyrics-Raja Mehdi Ali Khan, MD-Hemant Kumar
Lyrics
lagaata hai zamaana boliyaan
yoon hamko tadpa ke
sare baazaar lut’tee hai
mohabbat dekh le aake
aaja
aaja
aaaaaja
chaand ko daagh laga
chaand hamaare aaja
aaj aankhon ka har ik ashq pukaare aaja
chaand ko daagh laga
chaand hamaare aaja
pyaar kee laaj na lut jaaye bachaa le aa ke
hamko saiyyaad ke panje se chhuda le aa ke
bahte hain aankhon se ab ashqon ke dhaare aaja
aaj aankhon ka har ek ashq pukaare aaja
chaand ko daagh laga
chaand hamaare aaja
aandhiyaan loot na len haay mere husn ka ??
bujh na jaaye kaheen ashko se mohabbat ka charaag
gham se dil choor hai
ashqon ke sahaare aaja
chaand ko daagh laga
chaand hamaare aaja
aaj aankhon ka har ik ashq pukaare aaja
chaand ko daagh laga
chaand hamaare aaja
Jo ishq ki aag mein jalte hain
Posted on: January 5, 2024
- In: Background song | Devnagri script lyrics by Sudhir | Guest posts | Lyrics by Prakashchandra | Lyrics contributed by readers | Post by Sadanand Kamath | Rafi solo | Rafi songs | Songs Available Only on Film's Soundtrack | Songs of 1950s (1951 to 1960) | Songs of 1956 | Yearwise breakup of songs
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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5649 | Post No. : | 18144 |
‘Hatimtai’ (1956) was produced under the banner of Basant Pictures and was directed by Homi Wadia. The cast included Jairaj, Shakila, Meenakshi, BM Vyas, SN Tripathi, Krishna Kumari, Menaka, Sheikh, Vasant Pehlwan, Dalpat, Sardar Mansoor, Habib, Mithoo Miya, Aga Shapoor, Ranibala etc. The film was made in Gevacolour which was an additional attraction for cinegoers those days. It was one of the most talked about films, may be because of its special effect scenes.
Probably, this was my first film which I had watched in the theater. I do not remember much about the film. A few scenes which got engraved in my mind from my childhood were that there was a parrot in which the life of the magician was kept. Hatim Tai kills that parrot, the magician is dead thus ending his atrocities. Two songs from the film had remained in my memory from my childhood – “Parwar Digaar-e-Alam, Tera Hi Hai Sahaara” and “Uii Amma Main Kaahe Ko Bazaar Gayi Thhi“. I also remember one of the seven questions which Hatimtai was to correctly answer – “neki kar kuhen mein daal” (do good deeds and pour that in the well, i.e. do good and then forget it). I remembered it because I got confused as to why one should do good deeds if one has to throw them in a well. The underlying meaning which I now understand is that one should do good deeds without any expectation of rewards.
I enjoyed watching the film in my childhood. The film ran for many weeks. Recently, I watched the film on a video sharing platform. I do not recall much except what I have mentioned above. The film did not give me the ‘thrill feel’ which I had experienced when watched in my childhood. But watching the film now has enabled me to assess the character of Hatimtai who, I feel, is depicted as an ideal man and not like the character of the Superman which I had that impression in my childhood. Hatimtai had strengths and weaknesses just like any normal man would have. His main strength was that he was generous and helpful for the needy ones without any expectation of rewards. His weakness was that sometime fears stalk him during his journey to find the answers to seven questions. He gets easily attracted towards a few angels which he encounters in his journey.
‘Hatimtai’ (1956) had 9 songs written by Raja Mehdi Ali Khan (6), Chand Pandit (1), Akhtar Romani (1) and B D Mishra (1). All the songs were set to music by SN Tripathi and most of them are pleasant to the ears. Seven songs have been covered on the Blog. I am presenting 8th song, “Jo Ishq Ki Aag Mein Jalte Hain” rendered by Mohammed Rafi. The song is written by Chand Pandit. The song appears towards the end of the film when Husna Pari’s father gives permission to Hatimtai (Jairaj) to marry Husna Pari (Shakila) after having fulfilled his condition of Gulnar (Meenaxi) from the curse of stone to the life. However, Husna Pari can marry a human being only if she gives up her wings.
It is a background song when Husna Pari’s wings are set on fire to get rid of them. The first stanza of the song is written for Husna Pari which says that those in the flame of intense love are not afraid of fire. The second stanza depicts the character of Hatimtai, describing his nature to help those in need, if necessary, by sacrificing his life. He believes in God and is an upholder of truth. The last verse of the song, “Hashr Tak Zinda Rahega Naam Hatimtai Ka” indicates that Hatimtai is not immortal character. His name will be remembered till the day of judgement.
It appears that the song under discussion was not released on gramophone records. So, I have culled out the song from the film to make a video clip of the original soundtrack.
Video Clip:
Song-Jo ishq ki aag mein jalte hain (Hatimtai)(1956) Singer-Rafi, Lyrics- Chaand Pandit, MD-S N Tripathi
Lyrics (Provided by Prakashchandra)
jo ishq ki aag mein jalten hain
angaaron se kab darte hain
wo phool samajh kar sholon se
hans hans kar khela karte hain
ulfat ke pyaare jalwon mein
parizaadon ke par jalte hain
Allah ki kasam iss jalne mein
insaan hi phoolte phalte hain
[dialogues]
doosron ke waaste jo khelta hai jaan par
jaan jiski hai nichhaawar
aan aur imaan par
dil se aashiq hai khudaa kaa
dilruba sachchaai ka
hashr tak zinda rahega
naam Hatimtai kaa…..aaaa
——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————
जो इश्क़ की आग में जलते हैं
अंगारों से कब डरते हैं
वो फूल समझ कर शोलों से
हंस हंस कर खेला करते हैं
उलफत के प्यारे जल्वों में
परीज़ादों के पर जलते हैं
अल्लाह की क़सम इस जलने में
इंसान ही फूलते फलते हैं
[संवाद]
दूसरों के वास्ते जो खेलता है जान पर
जान जिसकी है निछावर
आन और ईमान पर
दिल से आशिक है खुदा का
दिलरुबा सच्चाई का
हश्र तक ज़िंदा रहेगा
नाम हातिमताई का॰ ॰ ॰
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.
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Blog Day : |
5637 | Post No. : | 18127 |
Mohammed Rafi – 99th Birth Anniversary and Centenary celebration.
So here comes the birth anniversary of Rafi Sahab. This marks the end of 99th year since Rafi Sahab was sent to this world as a ‘farishta’ some like to believe. Farishta-sifat person most Rafi fans agree to it. As if we have seen a Farishta ever, even if the creation was ever visible to human eye.
Farishte = Angels = Almalaika
The Angels dwell in the heavens, are not prone to descend on earth without reason.
“Farishta” as a being are described as a “lot of bright lights” or “brilliant lights in the sky”. The Prophet(pbuh) described seeing the ‘Farishte” as they were coming down from the skies, as the sky was filled with “Roshni”. This happened when the Prophet heard the news of death of a dear friend. As he proceeded towards the Sahaba’s house, he saw the skies were full of brightness and lights. As he entered the place of the departed friend, he could see those ‘Farishte” have descended from the skies and have filled up the room where the Sahaba lay soulless. I am not recollecting the name of the ‘Sahaba’(The Prophets companion). The people saw the Prophet enter the room and he was walking forward in a zig-zag fashion. As the Prophet(pbuh) was able to see the ‘Farishte” who had literally filled the room, which the other Sahaba were not seeing.
It so happened once, that one day I went to visit a friend in Audit section in the office.That day all were present for a meeting.They had two rows of tables facing each other with a narrow space in between. Naturally, all tables had chairs on both sides, for visitors, guests etc. Since my friend was sitting right at the end of the rows, I had to walk in between the tables and due to the chairs in between, I had to navigate them and walked in the zig-zag manner. I remembered the incident of Farishte having descended from the sky upon the death of the ‘Sahaba”, I had heard in a reputed preacher’s video sometime back.
Nothing special about this, but since I had heard about it, and remembered it that time, so repeated here too. We are after all talking about Farishta-sifat. Farishta is a pure entity, with no vices and sins. It is not possible for humans to be that pure. Small children are usually referred as such, because they have come to the world with a pure heart, yet to be contaminated with worldly temptations and desires.
It is not a small thing, that people consider Rafi Sahab to be as pure of heart as a small child and a Farishta. In the renaissance, the angels are depicted as a ‘Cherub” in small children. All the civilized society believes that all children are born pure as angels. But these little angels are too much to handle, for the present generation and the population replacement ratios are fallen around the world in negatives. All religious beliefs consider children to be a blessing.
We, on our part should consider ourselves to be blessed enough, if we see, encounter, interact and know with one or two such self-less and pure humans in our lifetimes. Those who are innocent as a child and pure as snow fallen from the sky.
o nanhe se farishte,
tujh se ye kaisaa naataa
kaise ye dil ke rishte,
o nanhe se farishte
tujhe dekhne ko tarse,
kyun har ghadi nigaahen
bechain si rahatii hai.n,
tere liye ye baahen
mujhe khud pataa nahin hai,
mujhe tujhse pyaar kyun hai,
o nanhe se farishte,
naazuk saa phool hai tu,
kisi aur ke chaman kaa
khushbu se teri mahke,
kyun baagh mere man kaa
meri zindagi mein chhaayi,
tujhse bahaar kyun hai,
o nanhe se farishte,
tu kuchh nahin hai meraa,
phir bhi ye tadap kaisi
tujhe dekhte hi khoon mein,
uThatii hai ik lahar sii
har waqt mujhko rahtaa,
teraa intzaar kyun hai,
o nanhe se farishte,
tujh se ye kaisaa naataa
kaise ye dil ke rishte,
o nanhe se farishte
happy birthday to you happy birthday to you
happy birthday to you happy birthday to you
So wrote, Prem Dhawan for the 1969 film “Ek Phool Do Mali” rendered by Rafi Sahab himself. The birthday song is so apt for Rafi Sahab’s own persona as we relate to it today.
On this note I am sharing here some thought of Ajatshatru on Rafi Sahab, which I found on a blog, posted by a kind soul.
दिल की तिज़ोरी में सहेज लें रफ़ी साहब पर अजातशत्रुजी के वक्तव्य
-इन दिनों रफ़ी की आवाज़ को सुनना, जब वे दुनिया में नहीं हैं, एक अजीब से अनुभव से गुज़रना है।आज उन्हें सुनकर जवानी के और गुज़रे कितने सालों के आत्मीय डिटेल्स नज़र आते हैं और निकट की किसी ख़ास आत्मीय चीज़ के खो जाने की कसक सताती है।
-यह कमाल रफ़ी को जन्म से हासिल था कि वे अहिन्दू और अमुसलमान होकर भजन तथा नात ऐसी गा जाएँ कि मुस्लिम भजन सुनकर पिघल उठे, हिन्दू नात सुनकर बह जाए और आदमी का आँसू जाति-धर्म भूलकर ज़मीन पर टपक उठे।
-रफ़ी के भजन सुनकर आपको याद आता चला जाएगा कि एक हिन्दू मोहम्मद रफ़ी था कोई… जो प्रभाती और संध्या-वंदन बन कर हमारे गुज़रे जीवन में आया था और गौ की रोटी के आटे-सा हमें नर्म-नर्म सानकर चला गया।
-काश ! ऐसा होता कि लिखे हुए अक्षर गाने लगते तो मैं आपसे क़ुबूल करवा लेता कि रफ़ी इस दुनिया के लिए कितना बड़ा तोहफ़ा थे !
-अपने में मसरूफ़ रफ़ी प्रेम-गीत को इतनी बुलंदी और मिठास से गाते हैं कि उनके बजाए ख़ुद मोहब्बत पुकार करती महसूस होती है !
-रफ़ी ? उनके बारे में तो अल्फ़ाज़ पीछे छूट जाते हैं। अपनी प्रणय-पुकार में वे ऐसी मेलडी रचते हैं कि मिश्री के पहाड़ सर झुकाते जाते हैं और कानों की वादी में फूल झरते जाते हैं।
-रफ़ी साहब शब्दों की आत्मा में उतरकर गाते थे। अर्थों को वे सब तरफ़ से बरसाती की तरह ओढ़ लेते हैं और फिर ख़ुद ग़ायब हो जाते हैं। तब शून्य गाता है, भाव ख़ुद अपने को गाता है। एक-एक ल़फ़्ज़ ख़ुशी में, दु:ख में, इबादत में, भक्ति में, कातरता में डूबकर रस की चाशनी टपकाता हुआ आता है। रफ़ी ख़ूब जानते हैं कि गाने का अर्थ है भाव। शब्द अर्थ में घुल जाए और भाव सीधे गायक की “एब्सेंस’ में से निकलकर फ़िज़ॉं को तरबतर कर दे। यही वजह है कि रफ़ी साहब की आवाज़ और आवाज़ के पीछे की ख़ामोशी पाकर, गीत ज़िंदा हो उठते हैं।
-मंच पर रफ़ी को गाने वाले शौकिया अक्सर भूल जाते हैं कि रफ़ी शब्द गाते हुए भी शब्दों के पार रहते थे और तभी शब्द को चा़र्ज़्ड कर उसे नई आग से वापस भेजते थे। मात्र ल़फ़्ज़ों को गाने वालों को समझना चाहिए कि गाना लौटता तो ल़फ़्ज़ों में है, पर वह जाता ल़फ़्ज़ों के पार मौन में है। यही गायन के भीतर गायक का मौजूद रहना है और उसी गायन के भीतर ग़ायब रहना भी !
-रफ़ी हमें हैरान करते हैं। हैरान इसलिए कि वे किस सादगी से गाते हैं और किस अधिकार से भाव को ज़िंदा करते हैं। कुछ इस तरह कि संगमरमर पिघलकर हवा होता जा रहा है और हवा वापस फूल में तब्दील होकर सुगंध का ताजमहल खड़ा कर रही हो।
-रफ़ी की गायकी कितनी सीधी और सच्ची है. फूल की तरह हवा में लहराते हुए और गायन के लिये प्रवाह बनाते हुए.प्यारे लफ़्ज़ और लफ़्ज़ भी वैसे जैसे कि पहले हमारे मोहल्लों में फ़क़ीर सुबह सुबह दरवज्जे पर ऐसे ही गाते थे और गु़रूर , छल-कपट के ख़िलाफ़ जगाते थे।
-रफ़ी साहब का गाना यानी ‘एफ़र्टलेस’ रवानी और उसी के साथ जज़्बात की लौ को तेज़ और तेज़ करते जाना.इसे ही कहते हैं पानी में आग लगाना या हवा में से जलती हुई मोमबत्ती पैदा कर देना.आप ख़ुश होते हैं…परेशान होते हैं…रिलीफ़ महसूस करते हैं…सोचते हैं;अरे सब कुछ इतना आसान है और खु़द से निजात पाने के अहसास में ठहरते हैं कि गाना ख़त्म होते ही वापस पत्थर का संसार लौट आता है और रोज़मर्रा के पत्थर में तब्दील हो जाते हैं।
-रफ़ी साहब की तारीफ़ में कुछ भी कहना ल़फ़्जों को ल़फ़्जों की कब्र में उलटना-पुलटना है और कब्र में ही रह जाना है। एकमात्र इंसाफ़ या ढंग की बात यही है कि हम गीत को सुनें और चुप रह जाएँ। ऐसा चुप रह जाना सबसे बोल पड़ना और सबसे जुड़ जाना भी है।
I have luckily found a Rafi Sahab, which in spirit, fits all the above descriptions of Rafi Sahab’s singing. Or it is no sheer luck or co-incidence. Every other unknown song of Rafi Sahab is like a fresh flower now. I am sure that those listening to this song for the first time too, will find it to be so pure as dew drops on the flowers. It is from 1956 film “Shaikh Chilli”, composed by Vinod. It is a solo song written by Pandit Indra.
Rafi Sahabs tally in the blog is showing as this:
| Singer | Number of songs in the blog | Total number of songs sung |
|---|---|---|
| Rafi | 3293 | 4846 |
So, we have made it to the Rafi centenary year with more than 1500 known songs yet to appear in the blog. We are very close to 3300th mark of Rafi song in the blog. Looks like it is going to happen today. I am myself very late with this song post. I am familiar with the song, and have heard it before too, when I saved the link. Very much a special Rafi Shaili song of 50’s decade. Now with AI, the trend of getting other singers’ songs in Rafi Sahab’s style and voice has started. But who needs other people’s song artificially created, when we have the real ones, 1000s of them still to know, listen and enjoy. But AI is on a march to prove its relevance. For the millions of Rafi ‘parwaane’,‘deewane’ and ‘mastaane’, not relevant.
Video(part):
full audio :
Song-Ek baar humse pyaar karke dekh lo (Sheikh Chilli) (1956) Singer-Rafi, Lyrics-Pt Indra Chandra, MD-Vinod
Lyrics
Ek baar aaar
ek baar
ham se pyaar
kar ke dekh lo
ham se pyaar
kar ke dekh lo
phir guno na guno na
gun taada
ae gun taada
tere husn ne ham ko pachhaada
haay pachhaada
arey guna na guna na gun taadaa
ae guna na guna na gun taadaa
tere husn ne ham ko pachhaada
pachhada
pachhada
suno ji
ek baa…..aaar
hamen dhoondhne ko
door kahin jaana na padegaa
hamen dhoondhne ko
door kahin jaana na padegaa
aji khud chale aayenge
bulaana na padegaa
aji khud chale aayenge
bulaana na padegaa
dil hamen doge to
pachhtaana na padegaa
pachhtaana na na na na
pachhtaana na na na na
pachhtaana na na na na
pachhtaana na na na na
pachhtaana na padegaa
padegaa
aye dildaar
aye dildaar
aitbaar
kar ke dekh lo
ham se pyaar
kar ke dekh lo
phir guno na guno na
gun taada
ae gun taada
tere husn ne ham ko pachhaada
haay pachhaada
arey guna na guna na gun taadaa
ae guna na guna na gun tadaa
tere husn ne ham ko pachhaada
pachhaada
pachhaada
suno ji
ek baa…..aaar
tum laajawaab ho
tumhaara nahin jawaab
jab tum ho
saamne to
kyun chaahen yeh sharaab
jab tum ho
saamne to
kyun chaahen yeh sharaab
kis baat ka gilaara
kar lo zara hisaab
kab tak tumhaare saathh
rahegaa yeh shabaab
kab tak tumhaare saathh
rahegaa yeh shabaab
shabaa…aab
na rahegaa
na rahegaa
ek baa…..aaar
arey ek baar
beqaraar
kar ke dekh lo
ham se pyaar
kar ke dekh lo
phir guno na guno na
gun taada
ae gun taada
tere husn ne ham ko pachhaada
haay pachhaada
arey guna na guna na gun taadaa
ae guna na guna na gun taadaa
tere husn ne ham ko pachhaada
pachhaada
pachhaada
suno ji
ek baa…..aaar
Jeewan gaadee chaltee jaaye
Posted on: December 22, 2023
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 : |
5635 | Post No. : | 18124 | Movie Count : |
4868 |
Today’s song is from the maiden film Hotel-1956.
The film was made by Bright Light Productions, Bombay. After the II World War, a lot of Black Money came into the film industry. People having this type of unaccounted money were on the look out for investing it clandestinely so that they could earn legitimate profit on it and a part of their money could become White. Many times it was also a way to show huge losses and escape from the Income tax levies. In addition, Film industry glamour was an added attraction. Moving and mixing with well known stars and the late night parties where wine and women were freely available were very alluring too. some of such financiers had an ambition to become Director or an actor and their ill gotten money was helpful to fulfil such desires. So, during the period of 1946 to the mid-50’s, one can find few ‘ onetime’ directors and actors in the credits of films. In the Geet kosh, one will find the column of ‘producer’ blank in many such films, as remaining anonymous was an early escape from drawing attention.
For today’s film the banner name was a new name and I have not found this name ever again in any film. The producer also remained unnamed. The film was directed by Manmohan Sabir – a half Hindu and half Muslim sounding name. But then this type of names were not uncommon, especially the Surnames. I know many Hindu people having surnames like Bakshi, Munshi, Khankhoje, Dabir, Syed etc. Most such names were titles awarded by the Muslim rulers and the subsequent generations carried them, first proudly and then by habit. In Hyderabad state, where I grew up in the Nizam’s rule, the Kayasth community was in the uppermost level in Government services and such Muslim names were pretty common among them. In my college, one Administrative officer’s name was ” Mehboob Narayan” ! In later years, such names disappeared, were hidden or discarded by changing them.
Coming back to Manmohan Sabir, he directed 10 films namely, Akash-53, Sheeshe ki deewar-54, Hotel-56, Pehli mulaqat-57, Bhagwan aur Shaitan-59, Superman ki wapsi-60, Lucky number-61, Zinda Laash-86, Waqt ka Badshah-92 and Share Bazaar-97. He also wrote 36 songs as a Lyricist in 8 films barring Pehli Mulaqat and Waqt ka Badshah from above list. He died on 26-8-2002.
Most of the Atulites and our regular readers know that I used to write details of every film I saw from the late 40’s to end 60’s in my diary. I had filled up a total of 136 diaries/exercise books with such information. After I joined in the job with Glaxo Laboratories, I was posted all over India locations and I carried 2 cartons full of diaries with me. Finally, when I settled in Bombay, these cartons got a place in one of the lofts of my flat. When they were taken down and opened finally, somewhere in 2010, many of them were unreadable due to faded ink, torn, damaged by termites and by folded pages etc. However a major trove of this treasure was useable and used by me from time to time. After ensuring that all the information is either used or recorded elsewhere, these diaries finally got their ‘Mukti’.
Film Hotel-1956 ( originally titled as Grand Hotel) was seen by me and I had noted down its story and other details in my diary. However, being damaged too much I destroyed it, but only the last part of the film story remained with me. The available part did not give me any idea as to the complete story, as it was seen 67 years ago. When I chose today’s song for posting here, I wished I had the complete story. Then I did the only sensible thing. I wrote to shri Har Mandir Sing Hamraz ji, requesting him to send me the xerox copy of the film booklet of film Hotel-1956, if he had it. As expected and as he is a very helping person, within few hours I got film’s full story from the booklet. Thank you, Sir ji, for your prompt response. This will enable our readers to know about the film in totality. I have added the last portion of the story to the film booklet story, because booklets do not give the story end of any film.
The cast of the film was Geetabali, Jairaj, Jaswant, Shammi, Ram Mohan, Jankidas, Pran and others. Here is the story……..
Jaswant got a job and a place to stay, thanks to the help of Lala Lalchand. Lala’s daughter Geeta had just completed her matriculation. Love blossomed and they got married. Next day, Jaswant got a telegram informing him that he had won Rs. 5 lakhs in the crossword contest. The news came in the newspapers also. There was a big celebration.
Pran, a crook, plans to rob Jaswant of this money. He sent his moll Kitty to lure Jaswant and steal his money. Kitty had her own plans. Within few days, Kitty is murdered and Jaswant is arrested on suspicion of her murder. Inspector Simon was appointed and he started his investigation.
Geeta was sure that Jaswant cant do such work as murder. She meets the inspector and helps him in the investigations. Finally, it is found that Pran has murdered Kitty, as he came to know that she had planned to run away with Jaswant’s money and thus cheat Pran. He is arrested.
All is well when Jaswant returns home.
For this film there were 2 MDs. One was a pair of Suresh-Talwar and the other was S.D.Batish. Out of the 7 songs only 4 songs are credited- 2 to each MD. Rest are uncredited. Many people think that Suresh-Talwar is one person. They were 2 different persons. They were supposed to be the most successful C grade MDs around. They limited their operations to Action films only, though they did do few social and religious films also. Starting with Hotel and Sair e Paristan (both 1958), they did Teerthayatra, Fashionable Wife and Sahil-1959,with D C Datt, their most famous film. Geeta Dutt’s song ‘Khatm kar de dastaan’ was included in her ‘Rare Gems’ cassette by HMV. Another landmark film was Lady of the lake-1960. The song ‘Zun zun baaje’ was included in the best of Sudha Malhotra’s list by HMV. They also gave music to Elephant Queen, Jungle Boy, Rashtraveer Shivaji, Tilismi Duniya, Tarzan and Jadugar and finally Char Chkram in 1965.
Suresh, the Gujarati partner of this pair, also gave music independently to many films. Suresh Kumar- a name not many readers can recollect. readers from Gujarat, perhaps, may remember his name as Suresh kumar Shah had given music to some Gujarati films. Sursh kumar Shah had a 4-fold career in films.
FIRST he started his Musical career with a Gujarati film-” Choodi Chandiyo”-1950 and continued to give music to 22 Gujarati films, the last being-Maaru Saasario sona ni khaan-1998.
SECONDly, he paired with other Music Directors-with Shailesh Mukherjee in Suhag Sindoor, with Talwar and Shankar Dasgupta in ‘Hotel’-1956 and only with Talwar in another 11 films, the last film being-“Char Chakram’-1965.
THIRDly, he gave music independently to 11 films, starting with-Jadui Angoothi-1964 and ending with- Waqt se Pehle-1985.
Thus he featured in 22 Gujarati films and 24 Hindi films as a Music Director.
FOURTHly, he gave music to some Marathi films also, like Gharcha Bhedi, gadbad Ghotala and kuldeepak etc.
I have learnt that these days he lives in Parle, mumbai and is connected with Marathi dramas.
(Thanks to Harish Raghuvanshi ji for the above information on Suresh kumar Shah)
Today’s song is the first song of this film, which makes its Debut on our Blog. It is sung by S.D.Batish, but is composed by the other MD, Suresh-Talwar. Enjoy….
Song- Jeewan Gaadi chalti jaaye (Hotel)(1956) Singer- S.D.Batish, Lyricist- Manmohan Sabir, MD- Suresh – Talwar
Lyrics
Jeewan gaadi chalti jaaye
jeewan gaadi chalti jaaye
bin engine bin paani
koi na jaane kahaan se aayee
aur kahaan hai jaanee
jeewan gaadi chalti jaaye
phool wahee daalee se judaa ho o o
phool wahee daalee se judaa ho
dum bhar jo muskaaye ae
aankh se tapke moti ban kar
aur aansoo kahlaaye
shaam saweraa chamak(??) andhera
aaye aur phir jaaye
beete samay ki yaad suhaanee
reh jaaye ek nishaanee
reh jaaye ek nishaanee
jeewan gaadi chalti jaaye
subah suhaanee jab beete to
aaye saanjh ki belaa aa
jeewan pag par chaltaa raahee
jaaye aaj akelaa
chaar dinon kee duniyaadaaree
chaar dinon ka melaa
soch samajh pag dharna
gar na thhokar pade na khaanee
thhokar pade na khaanee
jeewan gaadi chalti jaaye
ek se din na rahe jagat mein ae ae ae
ek se din na rahe jagat mein
rut aaye rut jaaye ae
hanstee rotee is duniya mein
phool khile murjhaaye
do-dhaaree talwaar hai duniya
raas kise na aaye
jeewan apna behta paanee
samay ki ek kahaanee
samay ki ek kahaanee
jeewan gaadi chalti jaaye
Hamaari dawaai le lo
Posted on: December 16, 2023
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 : |
5629 | Post No. : | 18118 |
Today’s song is from the film Zindagi-1956. Films with the same title were made in 1940,47,56,64,77 and 2001. The word Zindagi was in 10 film titles till 2011.
Man has always been curious about the unknown future. For this he took refuge in consulting astrologers, palmists, numerologists, mantriks, priests and anyone who had the celestial powers. How far is Astrology reliable ? Is it a science or just an eye wash ?
My family had many astrologers. My Grandfather was a well known Palmist. My father, though he was a practicing criminal cases lawyer of the High court, was an expert astrologer. My elder brother specialised in Numerology and I became a student of Indian astrology. I say ‘Indian astrology’ because there is also astrology studied in western countries. Not many people know that western astrology is based on the Sun’s movement and it is called ” SAYAN ” system.The Indian astrology is based on Moon’s movements and it is called “NIRYAN ” system. Though the Sun does not move, only the Earth moves, for calculation purposes, relative placement of the Sun in 24 hours is called the Sun’s movement.
I have studied Indian Astrology for more than 50 years. When I was at Poona in the late 70’s, I was bestowed the title of “Jyotish Praveen” by Maharashtra’s highest Astrological Institute. I had a good collection of books on Astrology in Marathi, Hindi and English. My name and fame as an astrologer spread among relatives and friends’ circle. I enthusiastically practiced free astrological services to whosoever approached me. Based on the rush of visitors for this purpose, I must have been a reasonably reliable astrologer, I guess. Of late, since a few years I have given up this practice, as I am into old films and songs work. I have recently donated all my books to an emerging young astrologer from an interior town in Maharashtra. So, knowing about Astrology myself, I can definitely claim that Yes, Astrology is a science, not Hoax. Ofcourse, there will be people who do not believe in Astrology. So be it.
You must be wondering why I am elaborating on this . This is because the story of today’s film” Zindagi”-1956 is based on astrological predictions. At the end of the film, the Astrology expert says ” Astrology lost the faith of people due to those people who practiced it with half knowledge.” This is applicable to any other science, like Medicine, for example.If you go to an R.M.P. Doctor, who does not have much knowledge, can you get well ? Or do you have complications ? One great rule every wise astrologer follows is to Never predict about Death. Film Zindagi-1956 stresses this point in a very interesting way.
The film was directed by C.L.Dheer, who directed only 3 films – Bahu beti-53, Zindagi-56 and Aalingan-74. The music was by Mohd. Shafi, a one time assistant to Naushad for 14 years. He gave music to 19 films as Mohd. Shafi and to 7 more films as Shafi M. Nagri. These were all B and C grade films. Kaifi Azmi and R.M.A.Khan wrote the songs. The cast was Geeta Bali, Jaswant, Vijayalakshmi, baby Naaz, Gulab, Rasheed Khan, Krishnakant, Tuntun and others. The story of the film was….
Nandini was to get married to Amar. The astrologer was called to fix the date of marriage. After a lot of calculations the Astrologer declared the date 21st may, but not for marriage. This was a date on which Nandini was going to die. The parents had a great shock. Nandini, who was listening to all this from half a closed door, was devastated with this announcement. Parents did not know that Nandini had heard this. They hide it from her and anyway declare that the marriage date is fixed. Nandini and Amar start meeting and singing songs etc, as usual. But Nandini has taken a decision and as per that she fights with Amar on flimsy grounds and breaks the marriage. Amar was truly in her love. He gets shocked. Nandini’s friend Meera meets Amar to console him. They keep meeting, fall in love and declare that they want to get married. Nandini is devastated but knows about her death, so gulps all this.
The date of 21st May arrives. In the morning Nandini finishes all her work and writes her last letter to parents. The night comes . She is waiting for the time 12 midnight when she will die. When the clock nears 12, she hears steps outside. She is ready to welcome Yamraj. The clock bangs 12 strokes, the door opens and she closes her eyes. The room is lit. She opens eyes and finds Amar, Meera and her parents smiling at her. Nandini is confused. They all clap. Amar explains that he found out that the astrologer was a bogus person. Amar contacted another well known astrologer who saw her horoscope and said that she will not die but have a long life.
Amar and Meera explain that they did all the drama of their love and marriage. Amar said he will only marry Nandini. They did all this to make her realise that the Death can not be predicted by anyone and one has to have self confidence. At the end all is well and Amar weds Nandini.
Vijayalakshmi was an actress who is known to many, but her details are not known to many Here is her short bio, mainly based on her interview by Sudarshan Talwar ji and my notes.
Born Kamla Verma, in a tiny, unpublicized town called Nagina, in Uttar Pradesh, the twenty five year old Vijayalakshmi left her birthplace when only five months old.
She did her schooling in Mussoorie, where she was a boarder, her parents’ home being in Kotah. The war scare made her parents recall her while she was doing her Junior Cambridge, and she eventually matriculated from Delhi.
Both her parents being doctors (her father an eminent surgeon), Vijayalakshmi naturally drifted to the study of science in college at Agra, although she admits to being indifferent where the medical profession was concerned. After the Inter-Science examination, she was found to be under age for entrance to the medical college. So she did a third-year course in science and during this period was “discovered” for films.
In 1947, while still at college, Vijayalakshmi was offered a contract by a film company. Taken with the idea of becoming a film star, she told her parents about it.
Her father objected strongly (he still hasn’t reconciled himself to his daughter’s choice of profession), but her mother stood by the little girl.
“My mother has a habit of giving in to me on most occasions,” said Vijayalakshmi with a grateful smile. “And it was she who signed the contract on my behalf, because I was still under age.”
Vijayalakshmi came to Bombay, with a contract to work exclusively for the film company which had engaged her. Unfortunately, the film was never completed. But while she was in Bombay, Kamal Amrohi spotted her talent and invited her to work in “Mahal” which he was making for Bombay Talkies.
Then she went back to her home in Kotah, later to come back with her aunt to settle in Bombay – her mother being unable to accompany her because of her medical practice.
“Mahal”, in which she played “the other woman”, was a great success and Vijayalakshmi went on to make good in other films: “Shadi Ki Raat”, “Sagai”, “Bhola Shankar”, “Murliwala”, “Gohar”, “Bahu Beti”, “Bawre Nain”, “Gunah” and Raj Kapoor’s “Aah”.
Vijayalakshmi doesn’t really mind playing “the other woman,” but it is her contention that really good seductive roles are not forthcoming in Indian films. Besides, she feels that critics and audiences alike have liked her more in her “good girl” roles.
In “Aah” she once again played “the other woman.” “But that is because I have a great regard for Raj Kapoor,” she adds.
Listing her other preferences, Vijayalakshmi says that Nargis and Geeta Bali are her favorite stars, while she considers Ashok Kumar to be an outstanding actor. She has worked with both Ashok and Raj Kapoor and would like some day to be co-starred with Dilip Kumar.
Frank and outspoken, Vijayalakshmi is of the opinion that the Film Industry is no place for a girl to be entirely on her own, especially in matters of business. Now that her mother has retired and has joined her in Bombay, she consults her mother about her contracts. Recently, Vijayalakshmi entered into matrimony – with unfortunate results. Speaking frankly about her hasty marriage and her divorce, she said with head held high, “I am not ashamed of it.” And it seems to be with her a case of “once bitten, twice shy,” for Vijayalakshmi says she won’t soon think of marriage again.
She is Vaijyalaxmi, who started her career in Hindi films perhaps around late 1940s and Shanti (1947) might be her debut Hindi film. She gained prominence with Mahal (1949) where she was cast as Ashok Kumar’s jilted wife. Later, she kept on playing supporting roles in many films including Bawre Nain (1950), Aah (1953) [where she played Nargis’ elder sister], Toofan (1954), Marine Drive (1955), Tatar Ka Chor (1955) and Mughal-e-Azam (1960). She also played the lead in few films including Rishta (1954) where her role got favorable reviews as “a beautifully balanced role, very well sustained. Vijayalaxmi is utterly charming as the unfortunate bride and plays the part with sympathy, understanding, poise and grace.” Although mostly cast in supporting roles, she did bag some of the best songs composed in Hindi films including Khayalon mein kisi ke is tarah aaya nahin kartey (Bawre Nain), Ghabra kai jo hum sar ko takrayien to acha ho (Mahal, 1949) and Sunte the naam hum jinka bahaar sai (Aah, 1953).
She has acted in 45 films. Her first film was Shanti-1947 and her last appearance was in the film Kalakaar-1983.
Today’s song is sung by Balbir, Asha Bhosle and Usha Mangeshkar. Enjoy….
Song-Hamaari dawaai le lo (Zindagi)(1956) Singers- Asha Bhosle, Usha Mangeshkar, Balbir, Lyricist- Kaifi Azmi, MD- Mohd. Shafi
All
Lyrics
hey
Vrindavan se jadi mangaayi
himalaya se booti
aur Kaashi jee ne dhoyee bhigoyee
Ayodhya mein khoti
arre ?? chandrma
peethhi chhaani
?? chandrma
?? chhaani
jad se ?? sukhaayi
chaalis ?? amrit daalaa
tab ye banee hai dawaai
hamaari dawaai le lo
suno bade bhai le lo
hamaari dawaai le lo
suno bade bhai le lo
hamaari dawaai le lo
suno jee bade bhai le lo
hamaari dawaai le lo
suno jee bade bhai le lo
jiski naadi thhaam lo ik din
kabhi na achcha howe baabu
kabhi na achcha howe
aur dard na jaaye
chain na aaye
muft mein paisa khoye
babu muft mein paisa khoye
kadwi kadwi bike dawaai ee ee ee
kadwi kadwi bike dawaai
diya fakeera roye
bade aaye
chal hatt
bade aaye
dawaai le lo jee
hamaari dawaai le lo
suno bade bhai le lo
hamaari dawaai le lo
suno bade bhai le lo
hamaari dawaai le lo
suno jee bade bhai le lo
hamaari dawaai le lo
suno jee bade bhai le lo
ho o o o
raaje kya maharaaje kya
aejee kaise saadhu jogee
sun lo
kaise saadhu jogee
arre vaidh na dekha hoga
aisee dawa na dekhee hogee
aisee dawa na dekhee hogee
arre chamcha bhar ke jise pilaa do o o o o
chamcha bhar ke jise pilaa do
rog rahe na rogee
bade aaye
jaa jaa
kahaa maano dawaai le lo jee
hamaari dawaai le lo
suno bade bhai le lo
hamaari dawaai le lo
suno bade bhai le lo
hamaari dawaai le lo
suno jee bade bhai le lo
hamaari dawaai le lo
suno jee bade bhai le lo
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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