Posts Tagged ‘1958’
- In: "Sales pitch" song | Asha Bhonsle - Usha Mangeshkar duet | Asha Bhonsle songs | Children's song | Devnagri script lyrics by Sudhir | Duet | Guest posts | Lyrics contributed by readers | Post by Raja | Songs of 1950s (1951 to 1960) | Songs of 1958 | Usha Mangeshkar songs | Yearwise breakup of songs
- 13 Comments
This article is written by Raja, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
The 9th of June is the birthday of our beloved Arunkumar Deshmukhji, often fondly referred to as our in-house encyclopaedia. 🙂
Arunji, it takes me great pleasure to wish you a very happy birthday on this occasion – and I say this on behalf of all Atulites for whom you are a very special person.
Arunji, it would not be an exaggeration to say that ever since you got involved with this blog, it has gone to a totally different level altogether. When Atul started this blog in July 2008 (and I have been with it since then), his write-ups would describe the songs, the films and artistes to the best of his ability – and, as always, Atul did a 100% sincere job of it (as he does even today).
But (and I am sure Atul will not mind my saying this), Atul’s knowledge (and mine too, for that matter) was nowhere close to being of the level required to make this blog anything like the treasure-house of information and trivia it has become today.
For that, credit has to go to truly knowledgeable people like you (and some others – I don’t need to take names, they know who they are). If this blog could sing, it would probably be singing to you, saying “Khuda jaane kaisi suhaani ghadi thi…meri zindagi mein huzoor aap aaye” (I’ve deliberately mixed two lines to construct this). 🙂
Arunji, thanks to your ever-insightful comments and posts, I feel my knowledge of Hindi films of yesteryear is much more enriched than it was before. You provide so much background information, not just on a film but on everyone involved with it, that it gives a completely different and comprehensive understanding of the subject under discussion.
Very importantly, for me at least, your inputs give me a sense of the times. If you’re talking about the 1930s or 1940s, the stories you narrate make me understand those times better. When you talk about Hyderabad under Nizam rule, it transports me to that period.
I will always have fond memories of how you took the trouble to dig out information to answer what I thought was an innocuous query about artistes who migrated to Pakistan post-partition. I’d put this query out there – and completely forgotten about it. About a year later, after doing a lot of research, you responded to me on e-mail with a reply. I can never forget that!
But that is how you are, Arunji. Not just thorough – also very thoughtful.
This is only one side of your nature. Apart from your tremendous knowledge (which is why we call you our in-house encyclopaedia :-)), your attitude towards life itself is something I admire a lot. You’re always looking at things positively, sharing jokes and other interesting snippets on life, participating as much as possible in everything.
Another thing I like a lot is that you don’t keep getting into “hamaare zamaane mein sab achha tha, aaj kal sab bekaar hai” mode. 🙂 Whether a song is from 1930s or from 2017, you’re happy to appreciate it. Believe me, this is a very rare quality. 🙂
One of my fondest memories of recent years is that Bangalore gangout we had at Gajendraji’s place where finally the Bangalore gang got to meet you.
I could say a lot more, Arunji, but I will end this post here and move on to the song for today.
It is a light-hearted C Ramchandra composition – from a film I happen to have seen. (I’ve usually more comfortable posting songs from films that I have seen).
The film is ‘Kaarigar’ (1958). Starring Ashok Kumar and Nirupa Roy, it is about the travails of Ashok Kumar, a craftsman. His experiences looking for a job, how his wife copes with the situation, how he gets cheated, and so on.
As I close, once again wishing you a very happy birthday, Arunji. Can’t thank the blog enough for bringing us together into the Atulite family.
Video (Fragmented)
Audio (Complete)
Song – Boot Chappal Sandal, Mardaana Ya Zanaana (Kaarigar) (1958) Singer – Asha Bhosle, Usha Mangeshkar, Lyrics – Rajendra Krishan, MD – C Ramchandra
Chorus
Lyrics
boot chappal sandal
mardaana ya zanaana
hai sab ka ek ek aana
paalish hai ek ek aana
boot chappal sandal
mardaana ya zanaana
hai sab ka ek ek aana
paalish hai ek ek aana
na thugee hai na chori
halaal ka hai dhandha
na bheekh maange baabu
na maange hum chanda
paalish karte pait bharte
paalish karte pait bharte
chhod ke oopar waale ko
nahin kisi se darte
dabiya burush salaamat
hai apna yahi taraana
hai sab ka ek ek aana
paalish hai ek ek aana
boot chappal sandal
mardaana ya zanaana
hai sab ka ek ek aana
paalish hai ek ek aana
ragad ragad ke jooton ki
hum aise mael utaaren
nai naveli dulhaniya ko
jaise log sanwaare
ragad ragad ke jooton ki
hum aise mael utaaren
nai naveli dulhaniya ko
jaise log sanwaare
baat kahoon ik laala
hai joota tera saaf
lekin dil hai tera kaala
sachchi baat na maane
hai jhoothon ka zamaana
hai sab ka ek ek aana
paalish hai ek ek aana
boot chappal sandal
mardaana ya zanaana
hai sab ka ek ek aana
paalish hai ek ek aana
bhookh pet ko lagti jitni
utni karein kamaayi
kar nahin sakte bhalaa kisi ka
phir kyon karein buraai
bhookh pet ko lagti jitni
utni karein kamaayi
kar nahin sakte bhalaa kisi ka
phir kyon karein buraai
jooton ke daag hain dhote
aur taan ke lambi sote
saath na le ke jaaye
koi maal ya khazaana
hai sab ka ek ek aana
paalish hai ek ek aana
boot chappal sandal
mardaana ya zanaana
hai sab ka ek ek aana
paalish hai ek ek aana
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
बूट चप्पल सैंडल
मर्दाना या ज़नाना
है सबका एक एक आन्ना
पालिश है एक एक आन्ना
बूट चप्पल सैंडल
मर्दाना या ज़नाना
है सबका एक एक आन्ना
पालिश है एक एक आन्ना
ना ठग्गी है ना चोरी
हलाल का है धंधा
ना भीख मांगें बाबू
ना मांगें हम चंदा
पालिश करते पेट भरते
पालिश करते पेट भरते
छोड़ के ऊपर वाले को
नहीं किसी से डरते
डबिया बुरुश सलामत
है अपना यही तराना
है सबका एक एक आन्ना
पालिश है एक एक आन्ना
बूट चप्पल सैंडल
मर्दाना या ज़नाना
है सबका एक एक आन्ना
पालिश है एक एक आन्ना
रगड़ रगड़ के जूतों की
हम ऐसी मैल उतारें
नई नवेली दुलहनीया को
जैसे लोग संवारें
रगड़ रगड़ के जूतों की
हम ऐसी मैल उतारें
नई नवेली दुलहनीया को
जैसे लोग संवारें
बात कहूँ इक लाला
है जूता तेरा साफ
लेकिन दिल है तेरा काला
सच्ची बात ना माने
है झूठों का ज़माना
है सबका एक एक आन्ना
पालिश है एक एक आन्ना
बूट चप्पल सैंडल
मर्दाना या ज़नाना
है सबका एक एक आन्ना
पालिश है एक एक आन्ना
भूख पेट को लगती जितनी
उतनी करें कमाई
कर नहीं सकते भला किसी का
फिर क्यों करें बुराई
भूख पेट को लगती जितनी
उतनी करें कमाई
कर नहीं सकते भला किसी का
फिर क्यों करें बुराई
जूतों के दाग हैं धोते
और तान के लंबी सोते
साथ ना ले के जाये
कोई माल या खज़ाना
है सबका एक एक आन्ना
पालिश है एक एक आन्ना
बूट चप्पल सैंडल
मर्दाना या ज़नाना
है सबका एक एक आन्ना
पालिश है एक एक आन्ना
- In: Artist century song in blog | Asha Bhonsle solo | Asha Bhonsle songs | Calling the beloved | Century songs for the blog | Dance song | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Lyrics contributed by readers | Post by Sudhir | Songs of 1950s (1951 to 1960) | Songs of 1958 | stage dance | Yearwise breakup of songs
- 15 Comments
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
जब मैं छोटा बच्चा था, (and my, not just then. . . even now). . .
No, no I am not going to start a description of my ‘शरारती’ pranks and naughtiness. I am going to tell somethings about my favorite actor and songs; that my favorite male performer was Dev Anand. There was a charismatic attraction in his face, his smile with one out of line canine, his mannerism, and his style of dialogue delivery – all put together made for a striking package, that would steal hearts. I am talking of the time when films like ‘Baazi’ and ‘Jaal’ and ‘Taxi Driver’ continued to be popular in re runs, and continued to be discussed as iconic films. This popular set of films was shown more than once on TV, and it would be a gala Saturday/Sunday when a Dev Anand film was scheduled. Those were days when the weekly film shows were split across the two last days of the week. And needless to say, the break was very irritating. 🙂
That was for the days of the film shows. And for the rest of the week – well, it was the songs that would occupy the mind. My favorite of all times was (and is) “Ye Raat, Ye Chaandni. . .” from ‘Jaal’. As I look back on those days of childhood, and surmise, I realize that there is a set of songs that stood apart, even amongst the other thousand favorites. And practically all these songs belonged to Dev Anand on screen. Be it “Jaayen To Jaayen Kahaan”, or “De Bhi Chuke Hum Dil Nazraana. . .”, or “Hum Hain Raahi Pyaar Ke. . .”, or “Chup Hai Dharti. . .”, or “Dukhi Mann Mere. . .”, or “Haaye Haaye Haaye Ye Nigaahen. . .” or “Hai Apna Dil To Awaara. . .”, or “Khoya Khoya Chaand. . .” or “Dil Ka Bhanwar Kare Pukaar. . .”, or “Chupke Se Miley, Pyaase Pyaase. . .”, or “Gaata Rahe Mera Dil. . .”,or “Ye Dil Na Hota Bechaara. . .” and more. Mind you, all these songs were first heard on radio, and by association of the film name, one concluded that Dev Anand would have sung them on screen. And then, when the opportunity came to watch the film on TV, or in some cases, many years later, in the morning show re runs, when we would bunk the morning classes at college to go and see a favorite. Most of such films were seen, only to view the songs – how a wonderful favorite had been presented on screen. And for a Dev Anand movie, I would travel miles to the other end of the city even.
It was many years later, as the interest grew in film music, and the awareness spread from just knowing the lyrics and the tune of the song, to learning about the other members of the team who collaborated to create these wonderful melodies, that the realization settled in. That all these lovely songs of Dev Anand, that I adored and loved to sing to myself, had one thing in common – the music was composed by SD Burman. That added a new dimension to my awareness and appreciation of film music, and the name Sachin Da became associated with great music, all time and every time.
After this understanding settled in, I became more careful in noting the names of music directors and lyricists when I heard a song that would pull at the strings of the heart. And with that, I began to search for songs and films of this creator of magical music, other than those of Dev Saab. And with every film that I came across, I had these ‘Aha’ moments – OKay, so this song, which I have been liking for so long, is also a creation of Sachin Da, wow.
Let me pause and tell about the special occasion. You are right, we are not near any of his anniversaries. And the occasion was so imminent, we could not have waited for one of his days to come along. The special thing is that this post celebrates the 600th song of Sachin Da to be posted on our blog. Given that his portfolio of film songs numbers a little above 650, means that we have almost 90% of his work already accounted for on our blog. That certainly speaks volumes about his work.
Hailing from the north east part of the country,Sachin da is a princely composer, or we can also say, a prince of composers. He belongs to the royal families of Tripura and Manipur. His grandfather was the king of Tripura, and his mother was the daughter of the king of Manipur. His father was trained in classical music, and was a major inspiration in the life of Sachin Da. His father’s untimely and unexpected departure created some difficult situations in the household. The young Sachin decided to leave home. He spent time in the villages and forests of Tripura, and then went on to Calcutta, where he joined the radio station in 1932 as a singer. It was in 1932 itself that he recorded his first song on a 78 rpm record. One side of that record carries the classical composition “Ee Pathery Aaj Eso Priyo” and the second side has a folk song “Dakle Kokil Roj Bihaane”.
His reputation as a singer of note spread in Calcutta, and Pankaj Babu invited him to sing for New Theatres – for the film ‘Yahudi Ki Ladki’ (1933). However, the recording never took place, as in a shift of casting, Pahadi Sanyal was brought on board, replacing the young Sachin. It is noted that he played small singing roles in Hindi film ‘Selima’ (1935) and Bangla film ‘Bidrohi’ (1935). He went on to sing for some more Bangla films, and continued to record non film songs. His non-film repertoire is on the better side of 130, but majority of it is in Bangla. By the end of 1930s, he started getting independent assignments for composing music for films, starting with ‘Rajgee’ in 1937. The music of the film ‘Rajkumarer Nirbashan’ (1940) became very popular. He went on to compose for 17 Bangla films, in this phase of his career.
Not satisfied with the success and its rewards in Calcutta, he decided to move to Bombay in 1944. Veterans like Prithviraj Kapoor and KL Saigal, friends like Manna Dey (Sachin Deb had part of his training under KC Dey), had preceded him, and he too chose to head to the Bombay center. Filmistan’s ‘Shikari’ and ‘Eight Days’ were the first assignments that he bagged. The year was 1946. More films followed – ‘Chittor Vijay’ and ‘Dil Ki Rani’ both in 1947. And then, in 1947 came ‘Do Bhai’, and the Geeta Roy gem – “Mera Sunder Sapna Beet Gaya”. Rest, as they, is history, that lasted till 1975.
Coming to the song for today. As noted above, almost 90% of his work is already accounted for on our blog, and so, searching for a special song for today has not been easy. As I pored through the song lists of his films, I came across this wonderful folk melody, which I instantly picked for this post. Two reasons I did. For one, this song is one of those which, for the longest time, I did not know that it is composed by Sachin Da. The connect with the film, ‘Sitaaron Se Aagey’ (1958) did not happen till quite recently. The song has been a favorite since the radio listening days. The pace at which it flows is remarkable. A very heartening composition – the line “. . . bhool jaana naa. . .”, simply gets into the strings of the heart.
And yes, the second reason for this song, I was surprised that such a lovely melody has managed to keep away from the eyes of the team on this blog. And I wondered, how come this song is not posted so far. Anyway, we are getting to it today, as we celebrate six hundred songs of this peerless composer.
Majrooh Sultanpuri is the songwriter. The singing voice is that of Asha Bhosle. On screen, this song is performed by a very energetic Vijayantimala, and a chorus of dancing ladies. This is a stage song, and apparently, this is a audition performance. The seats in the theatre are empty and there are just two people in the audience – Ashok Kumar and Jagdish Sethi. Actually there is a third person also, sitting in the row behind these two, but I am not able to place a name. In the wings, there are other people present, notably Iftekhar and two others, who look familiar but once again, I am not able to place a name to them. The gentleman standing ahead of Iftekhar; is that Prem Dhawan? (yes, the name appears in the list of actors). The lady in this group turns away almost immediately as the camera pans in. I have feeling it is Raja Sulochana. I request other friends and readers to place confirm or correct.
[Ed Note: With inputs from Prakash ji and Nayan Yagnik ji, we now confirm that the third person sitting behind Ashok Kumar and Jagdish Sethi is Kundan; and that the persons standing in the wings with Iftekhar are Prem Dhawan and Raja Sulochana. Thanks Prakash ji, Nayan ji.]
It is a village scene, complete with fields, a scarecrow, a machaan, and also a peacock thrown in for good measure. The song is about calling home the beau, who has gone to faraway lands. The message is that the fields are blooming with the crop of ‘sarson’ (mustard), and it is time now to come home for the harvest. A lovely song, and as I said, a favorite from the radio listening days. The song leaves behind a feeling of cheerfulness in the heart. Enjoy.
Song – Aaj Kal Parson Mein Phoole Jab Sarson (Sitaaron Se Aage) (1958) Singer – Asha Bhosle, Lyrics – Majrooh Sultanpuri, MD – SD Burman
Chorus
Lyrics
oo oo ooooo oo
ho oo oooo ooooo oo
oo oo aaa aaa aaa aaa aaaaaa
ho ho ho ho ho. . .
ho oo oo ooooo
aaj kal parson..on..on..on
aaj kal parson
mein phoole jab sarson
videsi piya aa jaana
bhool jaana na
bhool jaana na
videsi piya aa jaana
aaj kal parson
mein phoole jab sarson
videsi piya aa jaana
bhool jaana na
bhool jaana na
videsi piya aa jaana
jeth mein jalan se. . .
jeth mein jalan se
pasina bahey tan se
to latt bikhraa jaana
bhool jaana na
bhool jaana na
oy latt bikhraa jaana
jeth mein jalan se
pasina bahey tan se
to latt bikhraa jaana
bhool jaana na
bhool jaana na
videsi piya aa jaana
jhoome kaare badra. . .
jhoome kaare badra
bahaun jab kajra
galey se lipta jaana
bhool jaana na
bhool jaana na
galey se lipta jaana
jhoome kaare badra
bahaun jab kajra
galey se lipta jaana
bhool jaana na
bhool jaana na
videsi piya aa jaana
hariyaali chhaaye. . .
hariyaali chhaaye
pawan lehraaye
kadam taley aa jaana
bhool jaana na
bhool jaana na
kadamb taley aa jaana
hariyaali chhaaye
pawan lehraaye
kadamb taley aa jaana
bhool jaana na
bhool jaana na
videsi piya aa jaana
aaa aaa ja
aa ja aa ja re aa ja
aaa aaa ja
aa ja aa ja re aa ja
aaj kal parson
mein phoole jab sarson
aaj kal parson
mein phoole jab sarson
videsi piya aa jaana
videsi piya aa jaana
bhool jaana na
videsi piya aa jaana
bhool jaana na
videsi piya aa jaana
bhool jaana na
videsi piya aa jaana
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
ओ ओ ओsss ओ
हो ओ ओss ओsss ओ
ओ ओ आs आs आs आs आssss
हो हो हो हो हो॰॰॰
हो ओ ओ ओsss
आज कल परसों॰॰ओं॰॰ओं॰॰ओं
आज कल परसों
में फूले जब सरसों
विदेसी पिया आ जाना
भूल जाना ना
भूल जाना ना
विदेसी पिया आ जाना
आज कल परसों
में फूले जब सरसों
विदेसी पिया आ जाना
भूल जाना ना
भूल जाना ना
विदेसी पिया आ जाना
जेठ में जलन से॰॰ए॰॰ए
जेठ में जलन से
पसीना बहे तन से
तो लट बिखरा जाना
भूल जाना ना
भूल जाना ना
ओय लट बिखरा जाना
जेठ मे जलन से
पसीना बहे तन से
तो लट बिखरा जाना
भूल जाना ना
भूल जाना ना
विदेसी पिया आ जाना
झूमे कारे बदरा॰॰आ॰॰आ
झूमे कारे बदरा
बहाऊँ जब कजरा
गले से लिपटा जाना
भूल जाना ना
भूल जाना ना
गले से लिपटा जाना
झूमे कारे बदरा
बहाऊँ जब कजरा
गले से लिपटा जाना
भूल जाना ना
भूल जाना ना
विदेसी पिया आ जाना
हरियाली छाए॰॰ए॰॰ए
हरियाली छाए
पावन लहराए
कदम्ब तले आ जाना
भूल जाना ना
भूल जाना ना
कदम्ब तले आ जाना
हरियाली छाए
पावन लहराए
कदम्ब तले आ जाना
भूल जाना ना
भूल जाना ना
विदेसी पिया आ जाना
आ॰॰ आ॰॰ जा
आ जा आ जा रे आ जा
आ॰॰ आ॰॰ जा
आ जा आ जा रे आ जा
आज कल परसों
में फूले जब सरसों
आज कल परसों
में फूले जब सरसों
विदेसी पिया आ जाना
विदेसी पिया आ जाना
भूल जाना ना
विदेसी पिया आ जाना
भूल जाना ना
विदेसी पिया आ जाना
भूल जाना ना
विदेसी पिया आ जाना
Ho chat mangni to pat shaadi
Posted on: May 7, 2017
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
Today’s song is from film Chaalbaaz (1958).
What an year 1958 was, in terms of musical films ! Most Music Directors had offered their best songs in this year. The popular playback singers were very busy and the musicians and the arrangers had a field day, running from this studio to that studio for rehearsals and recordings. The films that came in 1958 were full of wonderful music and one can not make choices in those films. Not only that but there was a variety of different Genres of films on offer. Historical, Costume, stunt,Mythologicals, social, Comedy….you name it and you would have it. A grade, B grade and C grade… all grades of films had A grade music. An example to quote would be “Hamen to loot liya mil ke husn walon ne…”a very popular qawwali from a C grade film like “Al Hilal “- 58.
Madan Mohan had 7 films in 1958 and almost all had superb music. Just take a look at these films of 1958… Panchayat, 24 Ghante, P.B.999, Samrat Chandragupta, Jasoos, Mausi, Do Phool, Police, Solva Saal, Sitaron se aagey, Talaq, Kaarigar, Amardeep, Yahudi, Baghi Sipahi, Sadhana, Light House, Dilli ka Thug, Adalat, Jailor, Aakhri Daav, Night Club, Khazanchi, Khota Paisa, Chandan,Kabhi andhera kabhi ujala, Mr. qartoon M.A., Mujrim, 12 o’clock, Howra Bridge, Phagun, Raagini, Sone ki chidiya, Lala Rukh, Phir subah hogi, Takdeer, Rambhakta Bibhishan, Savera, Detective, Parvarish, Suvarn Sundari, Sohni Mahiwal, Madhumati, Al Hilal, Naya Paisa, Aji bas shukriya………….
Film Chaalbaaz-58 too had very good songs, Chitragupta-the melody Maker being the composer for it. However the film being a stunt picture, songs from this film were not exposed to the elite or a larger section of population, hence it could not compete with other other film songs. As such the Indian public was drenched in lovely music from so many films in 1958 and for a stunt film there was no chance to showcase its music at all. The film had 7 songs- 5 written by Prem Dhavan and 2 by Anjum Jaipuri. Rafi, Lata, Asha,Geeta and Ram Kamlani had sung these songs. The main lead actors of the film were P.Jairaj and Nirupa Roy.
Nirupa Roy (4-1-1931 to 13-10-2004) was an enigma of Hindi Cinema. An ordinary lower middle class housewife turned into an actress due to need to survive. Funny thing was that it was her husband who had visited the studio to get a job as an actor and the studio selected his wife instead ! Nirupa Roy who acted in over 250 movies has been variously branded as a Goddess of Mythological films, a suffering wife of a poor farmer, a troubled housewife of social films, an acclaimed quintessential mother of Bollywood and even a Stunt film actress !
She has been a Heroine in 110 films, a mother in over 50 films,has been a Goddess in 50 Mythological films, a suffering wife in over 30 films and a Stunt girl in about 10 films. She sang Bhajans, romantic songs, Comedy songs, qawalis, sad songs and peasant folk songs on the screen.
She changed her Heros like “Badalate huwe saathi”. She did 18 films with Trilok Kapoor ( 50-65), 12 films with Balraj Sahni ( 53-72), 16 films with P.Jairaj ( 53-78), and 21 films with Ashok Kumar ( 56-89). She was Amitabh’s mother in 12 films and stunt Girl in 8 films. She even wrote a popular film song for film Samrat Chandragupta-58 ( Mujhe dekh chaand sharmaye – Lata).
Due to all this, one could never put any specific label to Nirupa Roy. God had given her a face which exuded Daya, Kshama,and Shanti all the time,so she suited best for the role of Goddesses in Mythological films. Not having a very beautiful face, she fitted very well as a poor farmer’s wife or a toiling,suffering middle class wife of a middle class husband. With heavy make up and Gaudy dresses, she could pass muster in Costume or Historical films. But while doing stunt films, same Nirupa Roy so ravishing,different and suitable ( in shirt and trousers) that one wondered if she was the same actress who did “Goddess “roles so convincingly ! This was possible due to her acting capabilities.
I have seen most of her stunt films. Recently, our own Raja ji said in one of his comments on the Blog that he can not think of Nirupa Roy in any dress other than a Saree or Salwar kameez ( not exact words, but with this meaning). I would stress that in films like Chaalbaaz-58 he could have seen Nirupa Roy in a different avatar all together. She has copied Fearless Nadia-almost, in being dressed in a shirt and trousers and by participating in various stunts and swordswomanship (like swordsmanship). The story of the film too was suitably built, with a trained Horse-Moti and a Trained Dog-Tiger too for masala effect.
The Director of film Chaalbaaz was Nanabhai Bhatt ( 12-6-1915 to 24-4-1999). He was her director in many films,because he directed mostly Mythological and stunt films only. Nanabhai was born as Yashwant ( pet name – Batuk) at Porbandar. Since he was the younger one he was called Nanabhai ( opposite to Motabhai-elder brother). This name continued till the end. His father was a doctor. After matriculation, he went to Mumbai in 1934, where his elder brother Balwant Bhatt was working. Balwant started with Imperial,shifted to Sagar and now was with Prakash pictures of Vijay and Shankar Bhatt. he got Nanabhai a job as Sound Recordist.Soon he graduated to Production Executive.He also wrote several screenplays.
In 1942 he directed “Muqabala”, for Homi Wadia, as Batuk Bhatt. Homi Wadia became his good friend. When Homi established his own Basant Pictures, Nanabhai joined him and directed his “Hunterwali ki Beti”-43, with Nadia again. He also did mauj, Jee Haan, Chaalis Karod etc. He directed about 50 films of various genres like Stunts, Mythologicals,crime, social, costume etc.
Nanabhai’s first wife was Hemlata. He also married Shirin banu, his Heroine of few films. To circumvent the Bigamy law, he married her in a Temple and that too in the presence of Hemlata ! He had 3 children from Hemlata and 6 from Shirin. Mukesh and Mahesh Bhatt are from Shirin. His children and grandchildren married is different religions.Thus his big family was an example of Secularism ! In addition to 9 children Nanabhai also produced 20 films under his own Deepak Pics and Gautam Chitra !
FILMOGRAPHY OF NANABHAI BHATT: 1942: Muqabala; 1943:Hunterwali Ki Beti; Mauj; 1945: Chalis Karod; 1946: Maa Baap Ki Laaj; 1947: Meerabai; 1949: Shaukeen; Veer Ghatotkach; Sudhaar; 1950: Hamara Ghar; Janmashthami; Veer Babruwahan; 1951: Lakshmi Narayan; Daman; Lav Kush; Ram Janma; 1952: Apni Izzat; Baghdad; Sinbad the Sailor; 1954: Toote Khilone; Watan; 1956: Kismet; 1957: Mr X; Ustad; 1958: Chaalbaaz; Son of Sinbad; 1959: Bazigar; Daaka; Kangan; Madam XYZ; Naya Sansar; 1960: Lal Qila; Police Detective; Zimbo Comes to Town; 1961: Teen Ustad; 1962: Baghdad Ki Raatein; Rocket Girl; 1963: Alapiranthavan; Bhootnath; Cobra Girl; 1964: Samson; 1965: Adhi Raat Ke Baad; Bekhabar; 1966: Shankar Khan; 1967: Arabian Nights; 1968: Jung Aur Aman; 1974: Jeevan Rekha; 1975: Balak Aur Jaanwar; 1976: Dharti Mata; 1981: Gajara Maru; 1982: Jaya Parvati Vrat.( Thanks to Harish Raghuwanshi ji and Encyclopedia of Indian Cinema for some information.)
Film Chaalbaaz was produced by his elder brother Balwant Bhatt and Ram Kamlani. Today’s song is only the second song to be posted here. It has a very melodious tune and is sung by Geeta Dutt and Mohd. Rafi. The story of the film is…
This is the story of the princess of a kingdom,who is very proud and selfish. She wanted her people to contribute for her crowning ceremony. Her army collected money from the people by force. A young son of a blind headman of a nearby village comes to Princes to complain against the army. He is arrested and hanged as a rebel.
Roopa (Nirupa Roy) his sister is shocked and wants to take a revenge. She dons a male costume and a hood and attacks the army people, snatching money from them and distributing to the people. She is soon declared as a rebel and becomes a wanted criminal.
Roopa and the Princess love the same young man-Randhir (P.Jairaj). Displeased with the Princess for her cruelty, Randhir leaves her court and joins Roopa and her fight against the army. He too is declared a rebel. They both are arrested by deceit and sentenced to death. Meanwhile the friends of Randhir and Roopa infiltrate the jail, liberate Randhir and Roopa.
There is a final show down when the princess and the army is attacked. A sword fight between Roopa and the princess takes place. No need to guess what will happen next. It happens same way and the end is sweet. Randheer becomes the King and Roopa becomes his Queen.
Song- Ho chat mangni to pat shaadi (Chaalbaaz)(1958) Singers-Geeta Dutt, Rafi, Lyricist- Anjum Jaipuri, MD- Chitragupta
Lyrics
ho chat mangni
to pat shaadi
na dil ko todo ji
bade lafde hain shaadi mein
ye lafde chhodo ji
ho chat mangani
to pat shadi
na dil ko todo ji
bade lafde hain shaadi mein
ye lafde chhodo ji
shaadi hogi bachche honge padega kamaana
muft ki roti khaane waale
karo na bahaana
aha shaadi hogi bachche honge
padega kamaana
muft ki roti khaane waale
karo na bahaana
ye rishta hai mohabbat ka
khushi se jodo ji
bade lafde hain shaadi mein
ye lafde chhodo ji
ho chat mangni to pat shadi
na dil ko todo ji
aha
bade lafde hain shaadi mein
ye lafde chhodo ji
shaadi hogi band bajega
karo na ghotaala
do din ki ye deewaali hai
phir hai deewaala
oho
shaadi hogi band bajega
karo na ghotaala
do din ki ye deewaali hai
phir hai deewaala
hain duniya mein bahut andhe
hamen to chhodo ji
bade lafde hain shaadi mein
ye lafde chhodo ji
gori rangat dil hai kaala
chali ho banaane
doodh se ujla naari ka man
arre o deewaane
arre gori rangat dil hai kaala
chali ho banaane
doodh se ujla naari ka man
arre o deewaane
ye dil le lo
wo dil de do
nazar na modo ji
bade lafde hain shaadi mein
ye lafde chhodo ji
ho chat mangni
to pat shadi
na dil ko todo ji
are baba re baba re
bade lafde hain shaadi mein
ye lafde chhodo ji
Mere man ne suni man ki baat
Posted on: April 4, 2017
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.
“Pehla Pehla Pyaar”(1958) was directed by Nanubhai Vakil for National Cine Corporation, Bombay. The movie had names such as Amarnath, Nadira, Ashita, Kammo, Majnu, Daljeet etc in it.
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Chhod atariya gaye saanwariya
Posted on: March 24, 2017
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.
“Naag Champa”(1958) was produced and directed by Vinod Desai for Vinod Films, Bombay. This mythological movie had the usual suspects in it, viz. Nirupa Roy, Manhar Desai, Kammo, Sapru, Sundar, Baby Uma, Lalita Pawar, C J apndey, Dubey, Santosh Kumar, Uma Dutt, Nemo, R Khanna, Chhotelal, Maqbool, Devchand etc in it.
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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.
“Saweraa”(1958) was produced by Ruby Sen and it was directed by Satyen Bose for Basu Chitra Mandir, Bombay. The movie had Ashok Kumar, Meena Kumari, Bipin Gupta, Leela Mishra, Kammo, Samson, Kundan, Bhagwan Sinha, Dhumal, Keshto Mukherji, Ramesh Sinha, anil, S N Bannerji, Bishan Khanna, Jamal, s K Singh, Brahm Bhardwaj, Ravikant, sailen Bose, Ratan Gaurang, Indar, Mohan Choti, Prem Dhawan, Narbada Shankar, Govind Sharma, Ramlal, Mumtaz Begam, Uma Khosla, Sheila Vaz etc in it.
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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.
“Khazaanchi”(1958), a remake of “Khazaanchi”(1941) was directed by P N Arora for All India Pictures, Bombay. The movie had Rajendra Kumar, Shyama, Helen, Balraj Sahni, Chitra, Manorama, Minoo Mumtaz, Rajan Haksar etc in it.
Read more on this topic…
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.
“Khazaanchi”(1958), a remake of “Khazaanchi”(1941) was directed by P N Arora for All India Pictures, Bombay. The movie had Rajendra Kumar, Shyama, Helen, Balraj Sahni, Chitra, Manorama, Minoo Mumtaz, Rajan Haksar etc in it.
Read more on this topic…
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