Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs

Posts Tagged ‘1959


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.

Blog Day :

4357 Post No. : 15679 Movie Count :

4320

Hindi Songs in Bangla Film – 31
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In Balochistan province of Pakistan, there is a well-known Hindu temple, Hinglaj Mata Temple locally known as Nani Ka Mandir. This temple is regarded as one of the 51 Shaktipeeths and is revered by Hindus, Sikhs and Muslims from Balochistan and Sindh especially the Zikri Balochs who are also the patrons of the temple. The temple is located at the banks of River Hinglaj with a rock carved deity in a cave. This temple is ‘kul devta’ (family deity) of many Hindu khatri families of Sindh, Balochistan and also of some of those residing in India and abroad.

In olden times, visiting the temple involved a trek of around 250 kms from Karachi through the hot deserts and hilly terrains. Now, there is a road from Karachi which takes about 4 hours to reach the temple. In the bi-annual pilgrimage which takes place during Navratris in the months of April and October, thousands of pilgrim marches on foot to Hinglaj Mata Temple. On the way, pilgrims spend a night at Chandrakoop (Moon Well), a shrine of volcanic mud-filled well. It is believed that if pilgrims confess the sins committed by them during their life time while offering prayer at Chandrakoop, they become free from the sins.

Kalikananda Abadhut, a Bengali monk, wrote a travelogue of his pilgrimage to what he calls ‘Marutirtha Hinglaj’ (‘Desert Pilgrimage of Hinglaj’). Probably, he may have gone on pilgrimage before the partition. Based on this travelogue, Bikash Roy, the producer-director-actor, made a Bangla film with the same title which was released in 1959. The star cast included Bikash Roy as an Ascetic leading a group of pilgrims to Hinglaj Mata temple. Uttam Kumar and Sabitri Chatterjee, who later join the pilgrimage unintentionally, performed the role of a husband and a wife. Other actors included Anil Chatterjee, Pahari Sanyal, Chandrabati Devi, Sandhya Devi etc. The film was shot in Digha  in East Mednipur district of West Bengal whose topography closely matches to that of Hinglaj.

On the recommendation from Pradeep ji (Dr. Pradeep Kumar Shetty) who also pointed out that there was a Hindi song in the film, I watched the film with English sub-titles on a video sharing platform. The story of the film is as under:

Abadhut, an ascetic (Bikash Roy) is leading a group of pilgrims to Hinglaj Mata temple located in Balochistan. He is assisted by Popatlal (Pahadi Sanyal), Rooplal (Anil Chatterjee) and Bhairabi (Chandrabati Devi). There is also a priest who is conscious of traditions and caste system and expects everyone to follow strictly.

Before the departure from Karachi, Abadhut cautions the pilgrims that it is a long and arduous journey for days involving walking through hot desert sands and hilly tracks. The food is meagre and pilgrims will have to spend nights without any shelters. Since the water is scarce in the desert, Abadhut advises pilgrims not to share their water with others. All the pilgrims during the journey are to behave as ascetic and worked selflessly for other pilgrims when they are in need of assistance.

Abadhut also tells the story and significance of pilgrimage to Hinglaj Mata temple. When Lord Vishnu scattered the body of Sati all over the Indian sub-continent, the head fell on Hinglaj and thus became the holiest place among the 51 Shaktipeeths. Whoever has committed the sins, they can visit Hinglaj Mata temple only after confessing the sins at Chandrakoop, a volcanic shrine, located on the way to Hinglaj temple. Lord Ram is said to have visited Hinglaj to wash off the sin committed by him by killing Ravan.

While Abadhut is giving guidance to the pilgrims, there is a couple who have taken shelter at pilgrims’ base camp. They are Thirumal (Uttam Kumar) and Kunti (Sabitri Chatterjee). Kunti, a daughter of a wealthy merchant is already married but her husband has been missing for the last two years. She takes the help of Thirumal, a fake astrologer for finding her husband. During their meetings, they become close to each other. One day, Kunti runs away with Thirumal and they get married at the temple. But the society refuses to accept their marriage as her first husband is supposed to be alive though missing and both of them belong to different caste. After failing to find shelter, they are on the run and finally they take refuge in Karachi base camp of pilgrims.

Kunti suggests Thirumal to let follow the pilgrims so that at least for some days, they are safe. But Thirumal refuses. However, in the night a person tries to molest Kunti. Next morning, Thirumal agrees to be the part of the pilgrims. But by the time, pilgrims caravan has already left. Both try to catch up with the pilgrims but they have gone too far and taken a shelter during noon to avoid the harsh sun. Abadhut notices that a couple are walking towards him from quite a distance and then suddenly they fall on the sand. He sends his other pilgrims to look for them. They are brought to the pilgrims’ shelter in unconscious state. After few hours, they regain consciousness. Thirumal tells his story as to how he has grown up in Kolkata as an orphan and did all sorts of illegal work including stealing and how he met Kunti and got married. While catching up with the pilgrims, on the way, they were waylaid by dacoits and Kunti was raped.

After hearing the story, some pilgrims do not want Thirumal and Kunti as part of pilgrimage as they have committed the sins. After the incident, Kunti also feels that she is the sinner for loving Thirumal and a disgraceful woman because of which they are facing all sorts of problems in their life. So, she turns ascetics cutting off her relations with Thirumal who is devastated. He exhibits bouts of insanity. However, despite the murmur of protests from pilgrims, Abadhut takes care of both of them by postponing the journey by one day.

Next day, pilgrims start a long day’s journey. On the way, some pilgrims get dehydrated and are taken care by other pilgrims. But the priest is not able to walk. So Thirumal takes him on his back and walks towards the destination which is Chandrakoop. However, Thirumal suddenly feels suffocated as he is not able to remove the hands of the priest around his neck. He collapses unconscious. It transpires that the priest had already died on the way and Thirumala was carrying his corpse on his back  This event results in Thirumal getting once again the bout of madness. He leaves the caravan and walk aimlessly. In no time, he is found missing. Other pilgrims have no strength to search for him. They think that Thirumal would eventually return.

Finally, pilgrims reach Chandrakoop. After the bath, they visit the shrine of volcanic mud well to offer prayer and also to make the confession of their sins. If the confession is true, the muddy water in Chandrakup continues to boil. Otherwise it stops boiling. While Kunti is about to make her confession, she sees Thirumal on the opposite side on the top of a hillock. But in the streak of madness, Thirumal jumps in the boiling muddy water of Chandrakoop and gets submerged, never to return.

The journey continues to Hinglaj Mata temple and pilgrims complete the prayers. They are now on the return journey. However, Abadhut, Bhairabi and Kunti takes a detour and in the process, they lose direction. The long walk makes them dehydrated and fall on the sand unconscious. Some of the pilgrims rescue them but not Kunti who after regaining consciousness, had already proceeded towards Chandrakoop and jumped into the boiling mud well to join her husband, Thirumal. The bond which was cursed during their life time has become divine with their death.

The director has nicely attempted to make the pilgrims’ journey to run along with moral journey. The pilgrims’ group is a mix of all classes and caste but a priest in the group laments that pilgrims have forgotten the traditions and customs. He does not like to be touched by other pilgrims. He is uncomfortable with Abadhut drinking tea with local tribals. But when the priest gets dehydrated and requires to be carried, it is Thirumal, a sinner according to the priest, who carries him on his shoulder. It is the irony that the priest who is the strong follower of the traditions and religious customs, upon his death,  his last rites is carried out  in the desert without any religious ceremony.

There are few among the pilgrims who are of the opinion that it is a sin to allow Thirumal and Kunti to accompany them in the pilgrimage as they are the sinners. It is once again Abadhut who makes them understand that they need to weigh between sin and compassion. Otherwise abandoning both of them in the desert would tantamount to abetment of their death which is a sin. Lastly, those who are branding them as sinners have also committed the sins. Otherwise why they should visit Chandrakoop to confess their sins to get them washed off. And a confession made by one of the assistants, Popatlal is the worst kind as it related to infanticide.

The film makes us to ponder what is sin and what is virtuous. Perhaps, the answer lies in two lines of Sahir Ludhianvi in a song from ‘Chitralekha’ (1964):

ye paap hai kya ye punya hai kya
reeton par dharm ki moharen hain

‘Marutirtha Hinglaj’ (1959) has three non-Bangla songs of which two are vedic chants in Sanskrit. The third song is a Naat, “Tu Nishaan-e-Benishaan Hai” sung by Shankar-Shambhu Qawwaal and chorus. Lyrics writer is not known. Perhaps it may have been mentioned in the credit titles of the film which is displayed only in Bengali. The Naat is set to music by Hemant Kumar.

The situation of the song is that when the pilgrims take the halt for the day, Abadhut notices a bulky man coming from the opposite direction. He is Khan Sahab who has come to invite the pilgrims to his place where they can rest in shades and also have the advantage of having a well. He also invite pilgrims  to  join his group for the prayer in praise of the Almighty.

Video

Audio

Song – Tu Nishaan e Benishaan Hai (Marutirath Hinglaj) (1959) Singer – Shankar Shambhu Qawwaal, Lyrics – [Unknown], MD – Hemant Kumar
Chorus

Lyrics

ae ae ae
aa aa aa
tu nishaan-e-benishaan hai
tu bahaare-e-sarmadi hai. . .
tera dekhna ibaadat
ibaadat
tera dekhna ibaadat
teri yaad zindagi hai..
tera dekhna ibaadat
aa aa aa aa
teri yaad zindagi hai
aa aa aa aa
tera dekhna ibaadat
 
aa aa aa aa
ye sahi hai pur khata hoon
magar hoon to tera banda aa
ye sahi hai pur khata hoon
magar hoon to tera banda aa
tu agar mujhe nibha le
nibha le
tu agar mujhe nibha le..
teri banda parwari hai..
tu agar mujhe nibha le
aa aa aa aa
teri banda parwari hai
(aa aa aa aa)
tu agar mujhe nibha le
 
aa aa aa
mera daaman-e-gadaai
tere aage kyun na phaile ae
tera mulk do jahaan hain
tere ghar mein kya kami hai. . .
tera mulk do jahaan hai
tere ghar mein kya kami hai. . .
aa aa aa aa
tera mulk jo jahaan hai
 
tere dar pe sajde karna
ho karna
tere dar pe sajde karna
tujhe yaad kar ke rona aa
yehi hai namaaz meri
ho meri
yehi hai namaaz meri
yehi meri bandagi hai..
ye hi hai namaaz meri
aa aa aa aa
yehi meri bandagi hai..
aa aa aa aa
yehi hai namaaz meri
meri ee. . .

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

ए ए ए
आ आ आ
तू निशान ए बेनिशां है
तू बहार ए सरमदी है॰ ॰ ॰
तेरा देखना इबादत
इबादत
तेरा देखना इबादत
तेरी याद ज़िंदगी है॰॰
तेरा देखना इबादत
आ आ आ आ
तेरी याद ज़िंदगी है
आ आ आ आ
तेरा देखना इबादत
आ आ आ आ

ये सही है पुर ख़ता हूँ
मगर हूँ तो तेरा बंदा आ
ये सही है पुर ख़ता हूँ
मगर हूँ तो तेरा बंदा आ
तू अगर मुझे निभा ले॰॰
तेरी बंदा परवरी है
तू अगर मुझे निभा ले
आ आ आ आ
तेरी बंदा परवरी है
आ आ आ आ
तू अगर मुझे निभा ले

आ आ आ
मेरा दामन ए गदाई
तेरे आगे क्यों ना फैले
तेरा मुल्क दो जहां है
तेरे घर में क्या कमी है॰ ॰ ॰
तेरा मुल्क दो जहां है
तेरे घर में क्या कमी है॰ ॰ ॰
आ आ आ
तेरा मुल्क दो जहां है

तेरे दर पे सजदे करना
हो करना
तेरे दर पे सजदे करना
तुझे याद करके रोना आ
यही है नमाज़ मेरी
हो मेरी
यही है नमाज़ मेरी
यही मेरी बंदगी है॰॰
यही है नमाज़ मेरी
आ आ आ आ
यही मेरी बंदगी है॰॰
आ आ आ आ
यही है नमाज़
मेरी॰ ॰ ॰


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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4343 Post No. : 15649

Mention ‘Masti Bhara Hai Samaa’ – and there comes to mind an unforgettable sweet melody that will pull at the heart strings, no matter how many times you listen to it. Somehow, the duets that Manna Dey has sung with Lata ji or Suman Kalyanpur, under the baton of Dattaram, are melodies out of this world. Listen to “Ye Din, Din Hain Khushi Ke” from ‘Jab Se Tumhen Dekha Hai’ (1963), or “Na Jaane Khaan Tum The” from ‘Zindagi Aur Khwaab’ (1961), or “Boley Ye Dil Ka Ishaara” from ‘Santaan’ (1959), or “Pyaar Bhari Ye Ghataayen” from ‘Qaidi No. 911’ (1959), or “Bheegi Hawaaon Mein Teri Adaaon Mein” from ‘Shriman Satyawaadi’ (1960), or even the lesser heard “Mil Gaye Duniya Mein Jeene Ke Sahaare” from ‘Dark Street’ (1961) and “Yeh Nasheeli Hawa, Chha Raha Hai Nasha” from ‘Neeli Aankhen’ (1962).

Remembering Dattaram Wadker on the anniversary of his passing away today – 08 June, 2007. He was 78 when he passed away.

About 20 films to his credit and little over 120 songs, brings up his entire body of work across three decade of active career in the industry. This body of work is as an independent music director. More than that, he is also known for his work as a musician and an arranger, especially for the music director duo of Shankar Jaikishan. As a master precusionist, his work is as a tabla and dholak player is legendary. The beats that we hear in iconic creations like “Mud Mud Ke Na Dekh”, “Ramaiya Vasta Vaiya”, “Aa Ja Sanam Madhur Chandni Mein. . .”, “Jahaan Mein Jaati Hoon. . .”. And the duff that we hear being played in “Mera Naam Raju Gharana Anaam” and “Dil Ka Haal Suney Dil Wala”, has the fingers of Dattaram working the instrument.

But then, his work is not to be judged solely by the pace and rhythm of so many of his heart strumming melodies. His creative genius also brought to music lovers, such wonderful gems of melancholia – “Aansoo Bhari Hain Ye Jeevan Ki Raahen”, “Maalik Tere Jahaan Mein”, “Haal e Dil Hamaara, Jaane Na Bewafa Ye Zamaana. . .”, “Dil Dhoondhta Hai Sahaare Sahaare”, “Kabhi Kisi Ki Khushiyaan Koi Loote Naa”, “Hum Aapki Mehfil Mein Bhoole Se Chale Aaye”, “Mere Aansuon Pe Na Muskura.”, “Beete Huye Din Kuch Aise Hi Hain, Yaad Aate Hi Dil Machal Jaaye”, “Itne Bade Jahan Mein Apna Bhi Koi Hota”, and more. The versatility of this unsung music director is surely remarkable.

Today, we are bringing on board the fifth and final song of the film ‘Qaidi No. 911’ from 1959. Out of the five songs, the earlier four have made their appearance on this blog as per the following,

 

1 Meethi Meethi Baaton Se Bachnaa Zaraa 2005 29-Sep-09 Lata
2 Pyaar Bhari Ye Ghataayen 2457 9-May-10 Lata, Manna Dey
3 Tere Teer Ko Hamne Pyar Se Dil Mein Rakhh Liyaa 5234 2-Jan-12 Lata
4 Toone Mera Maine Tera Dil Le Liyaa 15592 9-May-20 Lata

All the songs of this film are written by Hasrat Jaipuri. Today’s song is a club dance song which is performed on screen by Minoo Mumtaz. The singing voice is that of Lata Mangeshkar and she is accompanied by Mehmood, who sings some words in his own voice. In the people who are viewing this performance, one can make out Sheikh Mukhtar who is disguised in traditional Arabic dress, and NA Ansari.

The film is produced and directed by Aspi Irani for the banner of Super Pictures, Bombay. The cast of actors is listed as Sheikh Mukhtar, Nanda, Mehmood, Dazy Irani, Honey Irani, Meenu Mumtaz, Mukri, Gajanan Jagirdar, Heeralal, Achla Sachdev, Protima Devi, Babu Raje, Tuntun, Uma Dutt, Nagpal, Altaf, Bhudo Advani, Fazlu, Mitthu Mian, Mohan Sandow, Rammurti, Shetty, Shafi, Gulab, Prem Sagar, Hanuman, Krishna Kumar, Bagla, Afsarjahan, and Muneera Begum etc.

So with this post, the film ‘Qaidi No. 911’ now becomes a member of the ‘yippeee’ club with all its songs now showcased here.

Song – Ye Khile Khile Taare, Hamaare Hain Ishaare  (Qaidi No. 911) (1959) Singer – Lata Mangeshkar, Lyrics – Hasrat Jaipuri, MD – Duttaram
Mehmood

Lyrics

aaa haa

ye khile khile taare
hamaare hain ishaare
ye khile khile taare
hamaare hain ishaare
aa ja re
aa ja re
aa ja re..ae..ae
aa ja aa bhi jaa
ye khile khile taare
hamaare hain ishaare
ye khile khile taare
hamaare hain ishaare
aa ja re
aa ja re
aa ja re..ae..ae
aa ja aa bhi jaa

rushqa
rushqa haah

tujhe duniya ka darr hai to palkon mein aa
tujhe duniya ka darr hai to palkon mein aa
mere dil ke chaman mein bahaaren to la
la la la
mere dil ke chaman mein bahaaren to la
hawaaein yahi bolen
nazaaron ka dil dole
hawaaein yahi bolen
nazaaron ka dil dole
main dekhoon tujhe ghoom ghoom ke

tendit farmaai
chick bam chicknaai
cham chik chicknaai
voooorrrrraaah

ye khile khile taare
hamaare hain ishaare
ye khile khile taare
hamaare hain ishaare
aa ja re
aa ja re
aa ja re..ae..ae
aa ja aa bhi jaa

rushqa
rushqa haah

mere hothon ko dilbar hansi bhi to de
mere hothon ko dilbar hansi bhi to de
mere pehlu mein aa ke khushi bhi to de
de de de
mere pehlu mein aa ke khushi bhi to de
ye raat bhi suhaani
kahe pyaar ki kahaani
ye raat bhi suhaani
kahe pyaar ki kahaani
qadam tere choom choom ke..ae

dhambu tikla
gulambu hoochaari shey
piye shuuurrraah

ye khile khile taare
hamaare hain ishaare
ye khile khile taare
hamaare hain ishaare
aa ja re
aa ja re
aa ja re..ae..ae
aa ja aa bhi jaa

rushqa
rushqa haah

dil ki baaten hamaari samajh bhi to le..ae
dil ki baaten hamaari samajh bhi to le
aaya koi shikaari samajh bhi to le
le le le
aaya koi shikaari samajh bhi to le
tu jaal mein na aana
ji hai taak (?) mein zamaana
tu jaal mein na aana
ji hai taak (?) mein zamaana
ishaare karoon jhoom jhoom ke

tendit farmaai
chick bam chicknaai
cham chik chicknaai
voooorrrrraaah

ye khile khile taare
hamaare hain ishaare
ye khile khile taare
hamaare hain ishaare
aa ja re
aa ja re
aa ja re..ae..ae
aa ja aa bhi jaa

ye khile khile taare
hamaare hain ishaare
ye khile khile taare
hamaare hain ishaare
aa ja re
aa ja re
aa ja re..ae..ae
aa ja aa bhi jaa

rushqa
rushqa haah

———————————————
Hindi script lyrics (Provided by Sudhir)
———————————————

आ हा

ये खिले खिले तारे
हमारे हैं इशारे
ये खिले खिले तारे
हमारे हैं इशारे
आ जा रे
आ जा रे
आ जा रे॰॰ए॰॰ए
आ जा आ भी जा
ये खिले खिले तारे
हमारे हैं इशारे
ये खिले खिले तारे
हमारे हैं इशारे
आ जा रे
आ जा रे
आ जा रे॰॰ए॰॰ए
आ जा आ भी जा

रूषक़ा
रूषक़ा हाह

तुझे दुनिया का डर है तो पलकों में आ
तुझे दुनिया का डर है तो पलकों में आ
मेरे दिल के चमन में बहारें तो ला
ला ला ला
मेरे दिल के चमन में बहारें तो ला
हवाएँ यही बोलें
नज़ारों का दिल डोले
हवाएँ यही बोलें
नज़ारों का दिल डोले
मैं देखूँ तुझे घूम घूम के

तेनडित फरमाई
चिक बम चिकनाई
चम चिक चिकनाई
वू॰॰ऊ॰॰र्रर्रर्रा॰॰ह

ये खिले खिले तारे
हमारे हैं इशारे
ये खिले खिले तारे
हमारे हैं इशारे
आ जा रे
आ जा रे
आ जा रे॰॰ए॰॰ए
आ जा आ भी जा

रूषक़ा
रूषक़ा हाह

मेरे होठों को दिलबर हंसी भी तो दे
मेरे होठों को दिलबर हंसी भी तो दे
मेरे पहलू में आके खुशी भी तो दे
दे दे दे
मेरे पहलू में आके खुशी भी तो दे
ये रात भी सुहानी
कहे प्यार की कहानी
ये रात भी सुहानी
कहे प्यार की कहानी
कदम तेरे चूम चूम के॰॰ए

ये खिले खिले तारे
हमारे हैं इशारे
ये खिले खिले तारे
हमारे हैं इशारे
आ जा रे
आ जा रे
आ जा रे॰॰ए॰॰ए
आ जा आ भी जा

रूषक़ा
रूषक़ा हाह

दिल की बातें हमारी समझ भी तो ले॰॰ए
दिल की बातें हमारी समझ भी तो ले
आया कोई शिकारी हमारी समझ भी तो ले
ले ले ले
आया कोई शिकारी हमारी समझ भी तो ले
तू जाल में ना आना
जी है ताक(?) में ज़माना
तू जाल में ना आना
जी है ताक(?) में ज़माना
इशारे करूँ झूम झूम के

तेनडित फरमाई
चिक बम चिकनाई
चम चिक चिकनाई
वू॰॰ऊ॰॰र्रर्रर्रा॰॰ह

ये खिले खिले तारे
हमारे हैं इशारे
ये खिले खिले तारे
हमारे हैं इशारे
आ जा रे
आ जा रे
आ जा रे॰॰ए॰॰ए
आ जा आ भी जा
ये खिले खिले तारे
हमारे हैं इशारे
ये खिले खिले तारे
हमारे हैं इशारे
आ जा रे
आ जा रे
आ जा रे॰॰ए॰॰ए
आ जा आ भी जा

रूषक़ा
रूषक़ा हाह


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Blog Day :

4313 Post No. : 15592

—————————————————————————
Blog 10-Year Challenge (2010-2020) – Song No. 27
—————————————————————————

“Qaidi No 911″(1959) was produced and directed by Aspi for Basant Pictures, Bombay. The movie had Shaikh Mukhtar, Nanda, Minoo Mumtaz, Daisy Irani, Mehmood, Mukri, Gajanan Jagirdar,Hiralal,Achla sachdev,Protima devi,Babu raje,uma dutt,tuntun,
Nagpal,altaf,Bhudo advani,fazloo,mithoo miya,mohan sandow,ram murthy,shetty,shafi,gulab,
prem sagar,hanuman,Krishan kumar,bagla,afsar jhan,munira begum & honey irani

On this day ten years ago, two songs were covered. One song from “Samundar”(1957) and one song from “Qaidi No 911″(1959).
“Samundar”(1957) has been YIPPEED by now. That leaves “Qaidi No 911″(1959) as the only candidate for Blog Ten Year challenge today.

“Qaidi No 911″(1959) had six songs in it. Four songs (including a multiple version song) have been covered in the blog.

Here are the details of the songs from this movie that have been covered so far:-

Song Posted On
Meethi meethi baaton se bachna zaraa Multiple version song 29-Sep-2009
Pyaar bhari ye ghataayen 9-May-2010
Tere teer ko hamne pyaar se dil mein rakh liyaa 2-Jan-2012

Latching on to this Blog Ten year Challenge opportunity, Prakashchandra has sent me the lyrics of a song from “Qaidi No 911″(1959). this song is sung by Lata. Hasrat Jaipuri is the lyricist. Music is composed by Dattaram.

The song is picturised as a roadside tamasha dance song on the beach of Chaupati I guess. Mukri is trying to attract customers for his bioscope, but the potential customers get diverted to watch the dance performance of Nanda. 🙂

The picturistion is somewhat reminiscent of “Don”(198) song,“Ee hai Bambai nagariya tu dekh babua”.

audio link:

video link:

Song-Toone mera maine tera dil le liya (Qaidi No 911)(1959) Singer-Lata, Lyrics-Hasrat Jaipuri, MD-Dattaram

Lyrics (audio link) (Provided by Prakashchandra)

toone mera maine tera dil le liyaa
haayye toone mera maine tera dil le liyaa
do nain milaa ke haaye rey deewaana kar diya
hoyye deewaana kar diyaa
hoyye toone mera maine tera dil le liyaa
do nain milaa ke haaye rey deewaana kar diya
hoyye deewaana kar diyaa

aaj ruk jaa deewaane
yehi hai apni marzi
pyaar ki raahon mein
aur chaahon mein aisi kya jaldi
aaj ruk jaa deewaane
yehi hai apni marzi
pyaar ki raahon mein
aur chaahon mein aisi kya jaldi
karo na phir ishaaraa
liyaa kyun dil hamaaraa
bataa do
bataa do kab kahaan aur kaisey
toone mera maine tera dil le liyaa
hoyye toone mera maine tera dil le liyaa
do nain milaa ke haaye rey deewaena kar diya
hoyye deewaana kar diyaa

baat sunn le bedardi
phiroon main ghaayal hirni
chaandni raaton mein barsaaton mein
lehraati gaati
baat sunn le bedardi
phiroon main ghaayal hirni
chaandni raaton mein barsaaton mein
lehraati gaati
ye kaissa teer chalaayaa
nazar na hamko aayaa
bataa do
bataa do kab kahaan aur kaisey
toone mera maine tera dil le liyaa
ho toone mera maine tera dil le liyaa
do nain milaa ke haaye rey deewaana kar diya
hoyye deewaana kar diyaa

bheekh de do ulfat ki
bharo jee dil ki jholi
pyaar ki raani hoon
deewaani hoon main aisi bholi
bheekh de do ulfat ki
bharo jee dil ki jholi
pyaar ki raani hoon
deewaani hoon main aisi bholi
ye kaisi aag lagaayi
kali dil ki khilaayi
bataa do
bataa do kab kahaan aur kaisey
toone mera maine tera dil le liyaa
hhoyye toone mera maine tera dil le liyaa
do nain milaa ke haaye rey deewaanaa kar diya
hoyye deewaana kar diyaa
hoyye toone mera maine tera dil le liyaa
do nain milaa ke haaye rey deewaanaa kar diyaa


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day?:

4306 Post No. : 15577

“Saazish” (1959) was directed by Surya Kumar for Filmistan. The movie had Ranjan, Nalini Chonkar, B M Vyas, P Kailash, Balraj, Husn Banu, Randheer, Kanu Roy, Badri Prasad, Ram Avtar, Sabita Chatterji, Indira Bansal, Bhalerao, Vitthaldas Panchotiya, Sulochana etc in it.

The movie had eight songs in it. One song has been covered in the past.

Here is the second song from “Saazish” (1959). The song is sung by Asha Bhonsle. Qamar Jalalabadi is the lyricist. Music is composed by S D Batish.

Only the audio of the song is available. It sounds like a club dance song to me. I request our knowledgeable readers to throw light on the picturisation of the song.


Song-Bachke zara hatke (Saazish)(1959) Singer-Asha Bhonsle, Lyrics-Qamar Jalalabadi, MD-S D Batish

Lyrics

ho ho ho
o o
bachke zara hat ke
zara hat ke
hat ke hat ke
ho
bachke zara hat ke zara hat ke hat ke hat ke
ban jaayega tamaasha
dekho na yoon palat ke
aji hat ke hat ke hat ke
o o o
bachke zara hat ke
zara hat ke hat ke hat ke

laralaralalala
laralaralalala
laralaralalarra
tedhi jahaan ki raahen chal khol ke nigaahen
bhoologe hosh saaheb jab do lagenge jhatke
ajo hatk hatke hatke
o o o o bachke
zara hat ke
ban jaayega tamaasha
dekho na yoon palat ke
aji hat ke hat ke hat ke
ho o o o
bach ke
zara hat ke
zara hat ke hat ke hat ke

laralaralala
laralaralala
laralaralala
main hoon jawaan kayaamat
dekho meri karaamat
aayi hai jiski shaamat
wo mere paas phatke
aji hatke hatke hatke
o o o o
bachke
zara hat ke
ban jaayega tamaasha
dekho na yoon palat ke
aji hat ke hat ke hat ke
o o o bach ke zara hat ke
zara hat ke hat ke hat ke

laralaralalala
laralaralalala
laralaralalala
mudna huzoor mudna
ooncha bahut na udna
mudna huzoor mudna
ooncha bahut na udna
varna patang hazrat
neeche giregi kat ke
aji hat ke hat ke hat ke
o o o o
bachke zara hat ke
ban jaayega tamasha
dekho na yoon palat ke
aji hat ke hat ke hat ke
o o o
bachke zara hat ke
zara hat ke hat ke hat ke


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4297 Post No. : 15552

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Blog 10-Year Challenge (2010-2020) – Song No. 22
—————————————————————————

This day ten year ago (23 april 2010) was long long ago and it was an entirely different kind of world those days. Those were the days when people were supposed to go for work and that too on time. 🙂 You were questioned if you were late for work. 🙂

Now a days, we have to prove that we are going for work and why this work is important. Only people doing “important” work are supposed to go out of work these days. 🙂

I was supposed to be someone whose work was “important” then as well as now. That is a justification why I was postin only two or three posts those days as well as now a days. 🙂

Three songs were covered on the blog on 23.04.2010 :-

Song Movie title-Year Remarks
Bhoole se muhabbat kar baithaa Dil Hi To Hai-1963 All songs covered
Mukhdaa dekh le praani zaraa darpan mein Do Behnen-1959 04 of 07 songs posted
Bhalaa karne waale bhalaayi kiye jaa Ghar Sansaar-1958 All songs covered

As can be see from above, two out of three movies represented that day ten years ago have been YIPPEED. “Do Behnen” (1959) is the only movie that qualifies for “Blog Ten Year Challenge” today.

The movie “Do Behnen”(1959) was produced by Kailash Kapoor, JP Sehgal and Prakash Seth and directed by Kedar Kapoor. The movie had Shyama (double role), Rajendra Kumar, Chand Usmani, Ram Mohan, Tiwari, SK Prem, Mumtaz Begum etc in it.

Following four songs (out of seven) from “Do Behnen”(1959) have been covered in the past :-

Song Posted On
Mukhdaa dekh le praani zaraa darpan mein 23.04.2010
Sainyyaa pyaaraa hai apna milan 21.06.2011
Main natkhat ik kali 02.07.2011
Jhuk jhuk jhola khaaye re badariya 20.06.2017

This song, the fifth song from the movie to appear in the blog, is a mujra song. It is sung by Lata. Kavi Pradeep is the lyricist. Music is composed by Vasant Desai.

I am unable to identify the actress lip syncing the song. I request our knowledgeable readers to help identigy her.

Lyrics of this song were sent to me by Avinash Scrapwala.

Video

Audio

Song-Arre jaa main baaz aayi o sainyya tere pyaar se (Do Behnen)(1959) Singers-Lata, Lyrics-Kavi Pradeep, MD-Vasant Desai

Lyrics(Provided by Avinash Scrapwala)

haan aa aa
kiski ankhiyon se deen maine ankhiyaan aa ladaa
haaye ye to saudaa badaa
mujhko o o o mehengaa padaa aa
aaj kehti hoon main
karke ae ae dil ko kadaa aa
jaa re jaa zaalima
tu hai chiknaa aa aa ghadaa

waah waah Chamelibaai kya baat hai

are jaa
ho o o
jaa main baaz aayi
o sainyyaa tere pyaar se
jaa main baaz aayi
o sainyyaa tere pyaar se
dil naa lagaaun main
be-imaan yaar se ae ae
dil naa lagaaun main
be-imaan yaar se ae ae
jaa main baaz aayi
o sainyyaa tere pyaar se ae

maine tujhe jaan liyaa
are harjaayee ee ee
maine tujhe jaan liyaa
are harjaayee
ab naa chalegi yahaan
teri chaturaayi ee
ab naa chalegi yahaan
teri chaturaayi
muhabbat ke waade toone
kiye hain hazaar se ae
jaa jaa
are jaa jaa
arrey jaa main baaz aayi
o sainyyaa tere pyaar se ae

badaa banaa phirtaa thha re
oh o o o
badaa banaa phirtaa thha re
mera chitchor tu u
badaa banaa phirtaa thha re
mera chitchor tu u
sunaa hai ke jaaya karta
ab kahin aur tu oo
sunaa hai ke jaaya karta
ab kahin aur tu
khoob khel khelaa zaalim
bholi bhaali naar se ae
jaa jaa
arrey jaa jaa
arrey jaa main baaz aayi
o sainyyaa tere pyaar se ae

badaa sabak seekha tujhse
maine bhool bhool mein ae
badaa sabak seekha tujhse
maine bhool bhool mein ae
Khushboo kabhi naa milti
kaagaz ke phool mein ae
Khushboo kabhi naa milti
kaagaz ke phool mein ae
ankhiyaan ladaaye kaun
ho o ankhiyaan ladaaye kaun
jhoothhe dildaar se ae
jaa jaa
arrey jaa jaa
arrey jaa main baaz aayi
o sainyyaa tere pyaar mein ae
dil naa lagaaun main
be-imaan yaar se ae
jaa main baaz aayi
o sainyyaa tere pyaar se ae
jaa re jaa
jaa re jaa
jaa re jaa aa
jaa re jaa

————————————-
Devnagri Script lyrics (provided by Avinash Scrapwala)
—————————————

हाँ आ आ
किस की अंखियों से
दी मैंने अँखियाँ आ लड़ा
हाए ये तो सौदा बड़ा
मुझको ओ ओ ओ महेंगा पडा आ
आज कहती हूँ मैं
करके ए दिल को कडा आ
जा रे जा ज़ालिमा
तू है चिकना आ आ घडा

वाह वाह चमेलीबाई क्या बात है

अरे जा
हो ओ ओ
जा मैं बाज़ आयीं
ओ सैंय्या तेरे प्यारे से
जा मैं बाज़ आयीं
ओ सैंय्या तेरे प्यारे से
दिल ना लगाऊं मैं
बे-ईमान यार से ए ए
दिल ना लगाऊं मैं
बे-ईमान यार से ए ए
जा मैं बाज़ आयीं
ओ सैंय्या तेरे प्यारे से ए

मैंने तुझे जान लिया
अरे हरजाई ई ई
मैंने तुझे जान लिया
अरे हरजाई
अब ना चलेगी यहाँ
तेरी चतुराई
अब ना चलेगी यहाँ
तेरी चतुराई
मुहब्बत के वादे तूने
किये है हज़ार से
जा जा
अरे जा जा
अरे जा मैं बाज़ आयीं
ओ सैंय्या तेरे प्यारे से ए

बड़ा बना फिरता था रे
ओह ओ ओ ओ
बड़ा बना फिरता था रे
मेरा चितचोर तू ऊ
बड़ा बना फिरता था रे
मेरा चितचोर तू ऊ
सुना है के जाया करता
अब कहीं और तू ऊ
सुना है के जाया करता
अब कहीं और तू ऊ
खूब खेल खेला ज़ालिम
भोली भाली नार से ए
जा जा
अरे जा जा
अरे जा मैं बाज़ आयीं
ओ सैंय्या तेरे प्यारे से

बड़ा सबक सीखा तुझसे
मैंने भूल भूल में ए
बड़ा सबक सीखा तुझसे
मैंने भूल भूल में ए
खुशबू कभी ना मिलती
कागज़ के फूल में ए
खुशबू कभी ना मिलती
कागज़ के फूल में ए
अँखियाँ लड़ाए कौन
हो ओ अँखियाँ लड़ाए कौन
झूठे दिलदार से ए
जा जा
अरे जा जा
अरे जा मैं बाज़ आयीं
ओ सैंय्या तेरे प्यार से ए
दिल ना लगाऊं मैं
बे-ईमान यार से ए ए
जा मैं बाज़ आयीं
ओ सैंय्या तेरे प्यार से ए
जा रे जा
जा रे जा
जा रे जा आ
जा रे जा


This article is written by Sadanand Kamath, a fellow enthusaist of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4290 Post No. : 15542 Movie Count :

4283

———————————————–
Hindi Songs in Bangla Films – 24
———————————————–

‘Gali Theke Rajpath’ (Bangla film, 1959) was written and directed by Prafulla Chakraborty. The star cast included Uttam Kumar, Sabitri Chatterjee, Chhabi Biswas, Anup Kumar, Chhaya Devi, Tulsi Chakraborty, Bikash Roy, Shyam Laha, Sheela Paul, Helen, Jahar Roy etc. I have watched the video of a moderately edited film on one of the video sharing platforms. Probably, the film’s VHS tape was damaged as I found some  ‘jumps’ in the continuity of the film’s story. Unfortunately, English sub-titles are not available. A short synopsis on the cover of the VCD of the film helped me to understand the film’s story in a proper perspective.

The film opens with Raja (Uttam Kumar), a small-time thief coming out of the jail and Bhola (Anup Kumar), his close associate receives Raja outside the jail. Both of them discuss the plan for a bigger heist.

One day, Mala (Sabitri Chatterjee) arrives in their neighbourhood with her father (Tulsi Chakraborty) to reside in the locality where Raja and Bhola stay.  In the first meeting with them at the time of getting down from the bus, Bhola helps Mala and her father in bringing out their belongings from the bus. But in doing so, he picks her father’s wallet. Finding his wallet missing, Raja decides to pay the fares on their behalf to impress them to be of helping nature. Within few days, Raja and Bhola became closer to Mala’s father, though Mala keeps  a distance without offending them.

Mala is the only earning member by working in the theatre. She is not aware of Raja’s real identity. He tries hard to impress her to gain her attention.  In the meantime, Gobardhan (Bikas Roy) has been trying to stalk Mala in his efforts to make her join films. She tells Raja and Bhloa about her problems with Gobardhan which results in both of them punishing him on more than one occasions. All these actions of the duo create good impression on Mala who starts liking Raja.

In line with their plan to strike something big, Raja and Bhola get acquainted with a businessman Datta (Chhabi Biswas) and impress him into lending them money for their business which does not exist. Datta gives them the financial support as well as goods with a proviso that if  they sell the goods,  he would give them concession. However, being thieves and cheaters, both of them decide neither to return the money nor the goods.

One day, Raja and Bhola are seen picking someone’s pocket in a bus in which Mala is also travelling. She comes to know the real side of Raja. She starts avoiding him. Having lost Mala, Raja decides to reform himself and becomes a changed man. He gives up pickpocketing and cheating business much against the advice of his close friend, Bhola. And then Bhola also falls in line with Raja as for him, his unimpeachable friendship with Raja is more important than his notorious vocation.

Raja approaches businessman Datta and tells him the actual truth about his activities and his love for Mala. The fact is that Datta was already aware of Raja and Bhola’s nefarious activities. He was handling with a reformist approach by testing them with financial help to start a business and become the good citizens.  Datta goes and meets Mala and asks her to forgive Raja. Raja once again regains Mala’s love and the film has a happy ending.

When I watched this film, I was getting a feeling that I was watching a Bollywood film. The story of the film was nowhere near to the quality of most of the Bangla films with strong story lines. However, to the credit of the film’s director, Prafulla Chakraborty and of the main actors like Uttam Kumar, Sabitri Chatterjee, Anup Kumar and the veteran Chhabi Biswas, there was not much of dull moments in the film. The director ensured that Uttam Kumar and Anup Kumar in the roles of petty thieves with their light comical performances remained the likeable characters for the audience in their roles throughout the film.

‘Gali Theke Rajpath’ (1959) has 3 songs all of which sound like Bollywood songs insofar as musical compositions are concerned. Of the three songs, one song is in Hindi and the remaining two Bengali songs are solos sung by Asha Bhonsle and Manna Dey. Incidentally, Manna Dey sung for Uttam Kumar for the first time in this film in which he had also done yodelling.

I am presenting the only Hindi song in the film, “Tere Liye Aaya Hai Le Ke Koi Dil’ sung by Geeta Dutt. The song is picturised on Helen as a dance song in a  thieve’s den in which Uttam Kumar is present. The song is written by Naqsh Layallpuri. The musical score is that of Sudhin Dasgupta, the younger brother of Kamal Dasgupta. The tune of the song sounds somewhat similar to one of the Hindi film songs of the 50s which I am not able to recall. The song has  OP Nayyar style of composition.

Enjoy one more Helen song among the umpteen songs, Geeta Dutt sang for her in Hindi films.

 

Video (Partial)

Audio (Complete)

Song – Tere Liye Aaya Hai Le Ke Koi Dil (Gali Theke Rajpath) (Bangla) (1959) Singer – Geeta Dutt, Lyrics – Naqsh Lyallpuri, MD – Sudhin Dasgupta

Lyrics
(Based on Audio Version)

tere liye aaya hai leke koi dil
le le nazaraana o bhole qaatil
tere liye aaya hai leke koi dil
le le nazaraana o bhole qaatil
tere liye aaya
 
kitne haseen hain ye palkon ke saaye
dekh tujhe koi ishaaron se bulaaye
kitne haseen hain ye palkon ke saaye
dekh tujhe koi ishaaron se bulaaye
rahegi na pheeki
bahaaren zindagi ki
aa tujh ko khushi ki
dikhaa doon manzil
rahegi na pheeki
bahaaren zindagi ki
aa tujh ko khushi ki
dikhaa doon manzil
tere liye aaya hai leke koi dil
le le nazaraana o bhole qaatil
tere liye aaya
 
husn ke mele mein aa ke albele
wo dil hi nahi hai jo dil se na khele
husn ke mele mein aa ke albele
wo dil hi nahi hai jo dil se na khele
kehti hai fasaana
nighaahen mastaana
tuhe to samjhaana
bada hai mushqil
kehti hai fasaana
nighaahen mastaana
tuhe to samjhaana
bada hai mushqil
tere liye aaya hai leke koi dil
le le nazaraana o bhole qaatil
tere liye aaya
 
jalwe dikhaati yun nazaren bachaana
kar ke bahaana kisi ko tarsaana
jalwe dikhaati yun nazaren bachaana
kar ke bahaana kisi ko tarsaana
chhod ye adaayen
jo dil ko jalaayen
aa mil ke banaaye
suhaani mehfil
chhod ye adaayen
jo dil ko jalaayen
aa mil ke banaaye
suhaani mehfil
tere liye aaya hai leke koi dil
le le nazaraana o bhole qaatil
tere liye aaya. . .

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

तेरे लिए आया है ले के कोई दिल
ले ले नज़राना ओ भोले क़ातिल
तेरे लिए आया है ले के कोई दिल
ले ले नज़राना ओ भोले क़ातिल
तेरे लिए आया

कितने हसीं हैं ये पलकों के साये
देख तुझे कोई इशारों से बुलाये
कितने हसीं हैं ये पलकों के साये
देख तुझे कोई इशारों से बुलाये
रहेगी ना फीकी
बहारें ज़िंदगी की
आ तुझको खुशी की
दिखा दूँ मंज़िल
रहेगी ना फीकी
बहारें ज़िंदगी की
आ तुझको खुशी की
दिखा दूँ मंज़िल
तेरे लिए आया है ले के कोई दिल
ले ले नज़राना ओ भोले क़ातिल
तेरे लिए आया

हुस्न के मेले में आ के अलबेले
वो दिल ही नहीं है जो दिल से ना खेले
हुस्न के मेले में आ के अलबेले
वो दिल ही नहीं है जो दिल से ना खेले
कहती हैं फसाना
निगाहें मस्ताना
तुझे तो समझाना
बड़ा है मुश्किल
कहती हैं फसाना
निगाहें मस्ताना
तुझे तो समझाना
बड़ा है मुश्किल
तेरे लिए आया है ले के कोई दिल
ले ले नज़राना ओ भोले क़ातिल
तेरे लिए आया

जलवे दिखाती यूं नज़रें बचाना
कर के बहाना किसी को तरसाना
जलवे दिखाती यूं नज़रें बचाना
कर के बहाना किसी को तरसाना
छोड़ ये अदाएं
जो दिल को जलाएं
आ मिल के बनाएँ
सुहानी महफिल
छोड़ ये अदाएं
जो दिल को जलाएं
आ मिल के बनाएँ
सुहानी महफिल
तेरे लिए आया है ले के कोई दिल
ले ले नज़राना ओ भोले क़ातिल
तेरे लिए आया. . .


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day: 4270 Post No.: 15498

“Mr John”(1959) was produced by Nigam and directed by Indar for N K Productions, Bombay. The movie had Shyama, Johny Walker, Helen, Lalita Pawar, Ifthikhar, Krishnakumari, Mumtaz, Tuntun, Mohan Choti, Kamal Mohan, Sampson, Uma Dutt, Ravi, Champal Lala, Rashid, Daraaz, Wahid, Genious, Tiwari, Ramlal, Anil, Singh, Jaani, Ghouse, Tarun Kumar, Ajay Kumar, Ajeet, B Fazl e Kareem, Mukhtaar, Pt Baijnath etc in it.

The movie had seven songs in it. Four of these songs have been covered in the past.

Here is the fifth song from “Mr John”(1959) to appear in the blog. The song is sung by Lata and Rafi. Jaan Nisaar Akhtar is the lyricist. Music is composed by N Datta.

Only the audio of the song is available. My guess is that this song is picturised on Shyama and Johny Walker. Nevertheless, I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Mujhe dekho hoti der (Mr John)(1959) Singers-Lata, Rafi, Lyrics-Jaan Nisaar Akhtar, MD-N Datta

Lyrics

mujhe dekho hoti der
khade kyun mera rasta gher
sajan ghar jaane do o
sajan ghar jaane do
o karo haaye na ye andher
na lo yoon hamse nazren pher
ki dil bhar jaane do o o
ki dil bhar jaane do

sajan ghar jaane do o

na dekho din na dekho raat
karo kyun chhed mere saath
na dekho din na dekho raat
karo kyun chhed mere saath
kahin chhoona na mera haath
karoongi phir na tumse baat
karoongi phir na tumse baat
sajan ghar jaane do o
sajan ghar jaane do
ho karo haaye na ye andher
na lo yoon hamse nazren pher
ki dil bhar jaane do o
ki dil bhar jaane do

sajan ghar jaane do o

jo dekhen gorey gorey gaal
na bigde kaise dil ka haal
jo dekhen gorey gorey gaal
na bigde kaise dil ka haal
na baaton mein hamen do taal
raho aankhon mein aankhen daal
raho aankhon mein aankhen daal
ki dil bhar jaane do o
ki dil bhar jaane do

mujhe dekho hoti der
khade kyun mera rasta gher
sajan ghar jaane do o
sajan ghar jaane do
sajan ghar jaane do o

aji ye dil hai be-aaraam
zara to pyaar se lo kaam
aji ye dil hai be-aaraam
zara to pyaar se lo kaam

karoge kya mujhe badnaam
arre hone ko aayi shaam
arre hone ko aayi shaam
sajan ghar jaane do o
sajan ghar jaane do
mujhe dekho hoti der
khade kyun mera rasta gher
sajan ghar jaane do o
sajan ghar jaane do
ho karo haaye na ye andher
na lo yoon hamse nazren pher
ke dil bhar jaane do o
ke dil bhar jaane do

sajan ghar jaane do o o


This article is written by Sadanand Kamath, a fellow enthusaist of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4224 Post No. : 15428 Movie Count :

4252

Hindi Songs from Bangla Films -17
——————————————————
Bengali film industry has given us many eminent film directors. If I list the names in chronological order, the first name that comes to my mind is Debaki Kumar Bose who had directed classic films like ‘Chandidas’ (1932), ‘Puran Bhagat’ (1933), ‘Vidyapati’ (1937), ‘Nartaki’ (1940) etc. Next in line is P C Barua known for classic films like ‘Devdas’ (1935). ‘Mukti’ (1937), ‘Jawaab’ (1942) etc. Then we have Nitin Bose, Phani Majumdar, Bimal Roy etc. In respect of parallel cinema, names of Satyajit Roy, Mrinal Sen, Ritwik Ghatak, Tapan Sinha, Rituparno Ghosh etc are well known not only in India but also internationally. This list is not exhaustive as their names came to my mind mainly because they were associated with Hindi films.

During the last few months, I have been selectively watching Bangla films on video sharing platforms. In this way, I became aware of some more directors for the first time. Among them, one of the directors whose film direction I liked is that of Ajoy Kar. I have seen his films like ‘Harano Sur’ (1957), ‘Saptapadi’ (1961), “Saat Paake Bandha’ (1963). I have also gone through the details of his other films on the net. His films are mostly based on unusual story line. Being a cinematographer himself, his films are full of some fine black and white photography. In fact, his photography ‘speaks’ dialogues for the actors on whom the shots have been framed. His four films have received National Film Awards for the best feature film/Certificates of Merit in Bengali film category.

Recently, I watched one more of his film, ‘Khelaghar’ (1959) which strengthened my view that Ajoy Kar was one of the greatest Bengali film directors whose name has, by and large, remained unknown to non-Bengali film audience. He had no occasion to direct any Hindi film although one of his Bangla film ’Saat Paake Bandha’ (1963) was remade in Hindi as ‘Kora Kaagaz’ (1974) with Anil Ganguly as director.

‘Khelaghar’ [1959 (Playhouse)] was a suspense film based on a patriotic theme of pre-independent India with more prominence to human relationship. The story was written by Salil Sen Gupta who also wrote dialogues for the film. The main cast consisted of Uttam Kumar, Mala Sinha, Chhabi Biswas, Asit Baran, Salil Datta, Preeti Majumdar, Ashish Mukherjee, Khagen Pathak, Dhiraj Das etc. Hemant Kumar was the music director for the film.

The story in the film revolves around a revolutionary, Gautam Chatterjee (Uttam Kumar) and Ruchira (Mala Sinha), the daughter of the Police Insepctor Banerjee (Chhabi Biswas). The film starts with a scene in which revolutionary Gautam who has been awarded death sentence by hanging has escaped from the jail. After deceiving the police forces, he accidentally enters into a compound of the Police Inspector’s residence and climb the pipe leading to a bedroom where Ruchira is sleeping. He gags her and tells that to save his life, he is forced to do this act. After discarding his jail uniform and wearing Police Inspector’s casual dress, he leaves the house and remains elusive to the police.

In the meanwhile, Ruchira’s marriage has been fixed with a foreign-return boy against her wish but she agrees to the marriage to keep her father’s word. The prospective husband’s constant interference in her personal matters creates a rift between them and Ruchira avoids meeting him. Her father is bent upon marrying her with the boy despite Ruchira’s dislike for him. One day, after heated arguments with her father over her marriage, Ruchira runs away from home in the night. Her father sends his police to bring her back. In trying to dodge the police, Ruchira lands alone in a shady street where a group of goons try to catch up with her. A well-dressed person saves her from the goons. The person is none other than revolutionary Gautam who though recognises Ruchira, refrains from mentioning it while Ruchira fails to recognize him. Both introduce each other with their false names and background.

Having failed to convince Ruchira to go back to her home or take shelter in a women’s hostel, Gautam arranges for a small room for her stay with the help of his Hindi speaking associate (Asit Baran). In the meanwhile, the police forces are looking for Gautam. After getting a tip off from an informer, the police raid the house in which Ruchira is staying where Gautam has come on a visit. But his associate who has already got a wind of the police raid, makes both of them to escape from the back door. While Gautam knows that police had come to catch him, Ruchira thinks that her father had sent the police force to take her back home.

After this incidence, Gautam’s associates suggest him to leave Ruchira as the risk to his life by associating himself with a daughter of the Police Inspector is very high. They also think that she could be a mole from the police to catch him. But Gautam rejects the proposals and arranges her stay in a room of his associate’s house. Over a period of time, Ruchira starts liking Gautam who also likes her but he downplays his feeling towards her as he has no future for a settled life with noose around his neck already waiting.

While Gautam is having a meeting with his associates in an underground hideout, police forces raid the place. While trying to run away from the place, Gautam is hit by a bullet on his leg. Somehow, he escapes from the police dragnet and reaches to Ruchira who tends him. At this point, he tells her to return to her father’s home as he knew from the beginning that she was the daughter of Police Inspector, Banerjee. Later, she also comes to know from an old newspaper with his photo that the person who has helped her is none other than the revolutionary Gautam to whom the entire police force is looking to catch him. Guatam once again tries to persuade Ruchira by telling her that the last few days they spent together was like a playhouse on a sand which would be swept away by sea waves. But Ruchira remains firm on her decision not to leave him in this situation.

After few days, Inspector Banerjee is shocked to get the news from an informer that his daughter is looking after the injured Gautam in a house. He calls for police force and lead himself for a raid. He asks Gautam to surrender but Ruchira comes in his way and tells her father that he can take Gautam over her dead body. Nevertheless, Gautam surrenders and he is taken to the police station. Despite repeated plea from her father, Ruchira refuses to return home with him by telling that she would stay back in her husband’s house. Though she has not married to Guatam, her it was her intention to let her father know.

Now, here comes the suspense part of the film. Next day after the re-arrest of Gautam, a person surrenders in front of the Inspector Banerjee claiming that he is the real revolutionary Guatam Chatterjee and he would prove this only in the court. In the retrial of Gautam, the real Gautam Chatterjee reveals that the arrested person is Shantanu Roy (Uttam Kumar) who is not a member of the Revolutionary Group but a poet and musician in whose house the revolutionary group used to meet occasionally. During one such meeting in his house, the police raid led by Inspector Banerjee Shantanu Roy held the door until all the revolutionaries including Guatam Chatterjee escaped from the back door. Since Inspector Banerjee addressed Shantanu Roy as Gautam Chatterjee, this gave an idea to Shantanu Roy to impersonate himself as Gautam Chatterjee to save the real Gautam Chatterjee.

The court pronounced the judgement giving 2 years of rigorous infringement to Shantanu Roy for falsifying as Gautam Chatterjee and having link with the revolutionary group. The film ends with Shantanu Roy telling Ruchira that after all, the playhouse is going to remain true as it is the question of few months wait.

The film is a ‘must watch’ for its superb story telling direction, the excellent performances by the main actors and the sublime black and white photography. Most of the scenes have been shot in the night in keeping with the theme of the film. That Ajoy Kar took some excellent close-up shots of Mala Sinha and Uttam Kumar, speak a lot about their acting ability. I never felt bored in watching this film which has English sub-titles.

I found only one song listed in the film on various sites which is a Bengali song rendered by Hemant Kumar. I came to know about a short (of about 2 minutes) Hindi song only after watching the film which I am presenting with this article. The song is ‘kehti hai mujhko duniya deewaana nashe mein hai’ sung by Mohammed Rafi and picturised on Asit Baran in the role of an associate of the revolutionary Gautam in the film. Since his dialogues in the film are in Hindi, the song has to be in Hindi which is set to music by Hemant Kumar. Going by the credit titles of the film, the song is written by S H Bihari.

Actually, Asit Baran is acting as a drunkard to get into a room where he is secretly scheduled to meet Gautam. Since the duration of the song is less than 2 minutes, probably no gramophone record of the song was made. Luckily, the video clip of the song is available. There is another two- line Hindi song sung by Rafi and picturised on Asit Baran.

By the way, Asit Baran was a well known actor-singer and playback singer who has acted and sung in Hindi films like ‘Saugandh’ (1942), ‘Kashinath’ (1943), ‘Wapas’ (1943), ‘Wasiyatnama’ (1945), ‘Manzoor’ (1949), ‘Parineeta’ (1953), ‘Suhag Sindoor’ (1953 ), etc. But for the song under discussion, Rafi sang for him. The reason is that by 1953, Asit Baran’s voice had somewhat deteriorated. In the film ‘Suhaag Sindoor’ (1953), songs sung by Shailesh Mukherjee may have been picturised on Asit Baran who was the lead actor in the film.

Enjoy this lesser known Rafi song.

Video link:

Song-Kehti hai mujhko duniya deewaana nashe mein hai (Khelaghar)(1959) Singer-Rafi, Lyrics-S H Bihari, MD-Hemant Kumar

Lyrics

kehti hai mujhko duniya
deewaana nashe mein hai
ha ha ha
wah
nashe mein hai
meri nazar se dekho
zamaana nashe mein ha….i
kehti hai mujhko duniya
deewaana nashe mein hai
meri nazar se dekho
zamaana nashe mein hai
hic
nashe mein hai

bhookha koi gareeb jab
raahon mein gir pada
bhookha koi gareeb jab
raahon mein gir pada
duniya ne ye kaha ke
uthhaana nashe mein hai
kehti hai mujhko duniya
deewaana nashe mein hai
meri nazar se dekho
zamaana nashe mein hai

ik jaam aur de de
ho saaqi tera bhala
de de saaqi kya kami hai
ik jaam aur de de
ho saaqi tera bhala
aakhir tera deewaana hai
maana nashe mein hai
kehti hai mujhko duniya
deewaana nashe mein hai
meri nazar se dekho
zamaana nashe mein hai
hic
nashe mein…..


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 4108 Post No. : 15259

Today’s song is a lovely duet by Lata and Hemant Kumar, from film Daaka-59. The film was made by Starland productions, Bombay for Hasmukh Kheda. The film was directed by Nanubhai Bhatt and the 6 songs of the film were written by Majrooh Sultanpuri (2 songs) and by Prem Dhawan (4 songs). Their music was composed by the King of Melody – Chitragupta. Dilip Dholakia was his assistant for this movie.

The cast of the film was Ashok Kumar, Nirupa Roy, Pran, Maruti, Smriti Biswas, Badri Pershad, Balam, Kesari, Kathana etc.etc. Songs of this film were recorded in 1956, but for reasons not known to us, the film was censored only in 1959 (25-11-1959). The length of the film was 12,698 feet and was in 14 reels.

Why I gave the details of the length and number of reels is that during the period of 50s, I remember how the films used to begin in the theatres. In Hyderabad city, once the show time was up, the theatre would be plunged in darkness and advertisements would start with slides or shorts. After this, usually there would be Indian News Reel or a Documentary of the Films Division. The Indian News reel was interesting and when some Cricket match was being played, here or abroad, some shots of the match would be shown. By this time, all the audience used to be in their seats. The first scene of the start of the main film was showing its Censor Certificate. It was at this time, when 99% audience used to read loudly in chorus, “14 Reels”, as if they had discovered some top secret ! Perhaps, it gave them an idea whether the film was a long one , normal or a short one.

Ashok Kumar (13-10-1911 to 10-12-2001) the Hero of this film, always surprised me. I wonder how much energy this man must have had. If you see his Career graph,it is most unusual. I am saying this because, normally an actor is at his best Performance level when he is young. As the age increases, his level diminishes and after a certain period, he is away from the Silver screen. In case of Ashok Kumar this is very different story. See the following chart and you will realise what I mean.

Period in years Aproximate Age No. of films done in the decade
Decade 1 (1936-1940 ) 25-30 years 12 (First film- Jeevan Naiya-1936)
Decade 2 (1941-1950 ) 30-40 years 23
Decade 3 (1951-1960) 40-50 years 55
Decade 4(1961-1970) 50-60 years 62
Decade 5(1971-1980) 60-70 years 85
Decade 6 (1981-1990) 70-80 years 60
Decade 7 (1991-1997 ) 81-86 years 13 (Last film- Aankhon mein tum ho-1997)

From 1936 to 1997 he acted in 310 films. That is a very long journey in films, of 61 years ! His first Heroine-Devikarani- was born in 1908 and the Heroine of his last film- Suman Ranganathan was born in 1974 ! He worked with Heroines from 4 generations (a film generation is counted as 15 years). Ashok Kumar ,in his career, paired with Devika Rani-she was 3 years elder to him in age- in 8 films, with Nalini Jayawant in 11 films and with Nirupa Roy in 21 films in 33 years’ period-from Bhai Bhai-56 to Dana Pani-89.

He had to sing his own songs. By that time the system of Playback had started, but actor singing his/her own songs also continued for some time. He sang 77 songs in 25 films. Effectively, his singing was halted by Mohd. Rafi, when he sang for Ashok Kumar in the film Saajan-47- a duet with Lalita Deulkar ( Humko tumhara hi aasra). After this Ashok Kumar sang one song each in film Chalti ka naam Gaadi-58, Aashirvad-68, Kangan-72, Khoobsurat-80 and finally in Shaukeen-82.

Look at his energy level in the above chart. As he grew up in age, his demand increased, he worked in more and more films till he was 86 year old. He was simply unique in this respect. May be Amitabh Bachhan is a match to him or even better than him because nowadays more films are made than before. I hope some contributor does this comparison in the same way.

When Ashok kumar started acting, he had a great problem. He did not know what to do with his hands. in all his early films, you will find him acting very awkwardly, because of this problem. When he acted in film Anjaan-41, this problem was solved. In this film he did a Doctor’s role, who is accused of a murder- which he did not commit. He had to be a detective to collect proof of his innocence and argue in the court also. During this period, he started smoking cigarettes and his ‘Hand’ problem was solved once for all. After this film, Ashok Kumar and his smoking became inseparable in every film ! (and also in private life) .

Ashok Kumar was one of those actors who did Natural acting in their films. Initially, that was not so, but after solving his ‘Hand’ problem in film Anjaan-41, he was one of the best such actor. Motilal, Sanjeev Kumar, Amol Palekar, Farooq Shaikh and Paresh Raval are some other names that came to my mind in this category.

For actress Smriti Biswas, film Daaka-59 was her last film. She quit films and married actor, director, producer and studio owner S D Narang.

Actress Smriti Biswas was born on 17-2-1932, in Calcutta in a middle class family. She was educated at home and she worked as child star in Bangla films, Sandhya and Dwandwa in the 1930s.

Hoping to make a better career, she shifted to Lahore. Here Pancholi studio gave her a break with the film Dhamkee-45. The film shooting started in 1943, but it was released in 1945. She got Raagini-45 in the same year. Its Director was Shanker Mehta. Two more of her films, viz Nek Dil-48 and Roop rekha-48 were also released there.

After Partition she returned to Calcutta. S.D.Narang, actor, producer and director also shifted to Calcutta along with her. He established his own Bengal National Studio and made Bangla and Hindi films with Smriti. Their ‘Ek Aurat’-48 was quite popular.

New Theatres cast Smriti in their film “Pehla Aadmi”-50 based on the story of Subhash Chandra Bose. It was directed by Bimal Roy. Both Smriti and Narang came down to Bombay. In the decade of 1950’s, she did about 21 films there. Daaka-59 was her last film. In 1960, she married S.D.Narang and retied from films, though she was still in demand. She has 2 sons. S.D.Narang died on 25-1-1986. She is in her 80s but enjoys life with family and friends.

Smriti Biswas did only about 27 films in her career, but her vivacious looks, sweet face and speaking style still reminds us of her roles.

Some of her more well known films are, Arab ka Saudagar-56, Bhai saheb-54, Lakhon mein ek-55, Samsheer-53, Aab e Hayat-55, Hum Safar-53 (opposite Dev Anand), Dilli ka Thug-58, Teen batti chaar Rasta-53, Baap re Baap-55 and Bhagam Bhag-56.

Recently I saw an article in Maharashtra Times of 14-4-2017. It was mentioned that She was living in a barely 500 square feet flat in Nashik, along with her two grown up, unmarried sons. All the property, Gold and money left by S D Narang was looted by other relatives and Smriti finds it difficult to pull on.

The Heroine of this film Nirupa Roy was a very unconventional actress of Hindi films. Her repertoire of roles was so varied that she could not be stamped with any one type of roles.

Nirupa Roy (4-1-1931 to 13-10-2004) was an enigma of Hindi Cinema. 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.( I remember our Raja ji once said that it was difficult to imagine Nirupa Roy in any other dress than a Saree.) She sang Bhajans,romantic songs,Comedy songs,qawalis,sad songs and peasant folk songs on the screen.

She changed her Heroes 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 a stunt Girl in 8 films. She even wrote a popular film song for film Samrat Chandragupta-58 ( Mujhe dekh chaand sharmaye – Lata).

Today’s song is a sweet duet of Lata and Hemant Kumar. Listening to some of their duets is a divine experience. Some of their duets like “yaad kiya dilne kahan ho tum”, “ye raat ye chandni phir kahan”, “gupchup gupchup pyar karen”, and ” Sanware salone aaye din bahar ke ” are some of the songs they made immortal in HFM. Lata’s voice never sounded sweeter with any other singer.

Today’s song is not as well known as the songs mentioned above, nevertheless this song has the hallmark of a Lata-Hemant Kumar duet song. It is a song that is best heard at night time- a “chhaayaageet” category song.


Song- Chaand ne kuchh kaha taaron ne kuchh suna (Daakaa)(1959) Singers- Hemant Kumar, Lata Mangeshkar, Lyrics- Prem Dhawan, MD- Chitragupta
Both

Lyrics

chaand ne kuchh kaha
taaron ne kuchh suna
baat hi baat mein jaane kya ho gaya
aankhen jhuk jhuk gayin
dhadkanen ruk gayin
kya bataaun mera dil kahaan kho gaya

chaand ne kuchh kaha taaron ne kuch suna
baat hi baat mein jaane kya ho gaya

hum to khud se hi nazren churaane lage
jaane kya soch kar muskuraane lage
hum to khud se hi nazren churaane lage
jaane kya soch kar muskuraane lage

ab to dil na kisi bhi bahaane lage
baat hi baat mein jaane kya ho gaya
aankhen jhuk jhuk gayin dhadkanen ruk gayin
kya bataaun mera dil kahaan kho gaya

raat aayi hai zulfen sanwaare huye
aankhon aankhon mein kya kya ishaare huye
raat aayi hai zulfen sanwaare huye
aankhon aankhon mein kya kya ishaare huye
bas hai itni khabar
hum tumhaare huye
baat hi baat mein jaane kya ho gaya

chaand ne kuchh kaha
taaron ne kuchh suna
baat hi baat mein jaane kya ho gaya


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 4106 Post No. : 15257

Today’s song is from the film Gokul ka Chor-1959. My last post was from film Gokul ka Raja-54. Its now time to get out of Gokul Town – after this post. Not that there are no more films on Gokul. There are still 2 more films with same title ” Gokul”, one of 1946 and the other of 1985. I always wondered why there were no films on Mathura or Vrindavan… two more places closely connected to Krishna. As far as Dwarka is concerned, there is a sole film ” Dwarkadheesh”, made in 1956.

During my school days, we boys always used to have 2 groups, one each who like Ram and Krishna. In our school annual functions,in the debating contest, boys from each group vehemently and enthusiastically spoke about their Group God – Ram or Krishna. From the young age itself, personally, I always adored Krishna. In my opinion, Krishna is more relevant in Kaliyug.

There were 4 Yugs
1. Satyug – 17,28,000 years
2. Tretayug – 12,96,000 years
3. Dwaparyug – 8,64,000 years
4. Kaliyug – 4,32,000 years

Shri Ram was the 7th incarnation (Avtar) of Lord Vishnu and he was born in the middle of Tretayug.
Krishna was the 8th Avatar and was born in the end part of the Dwaparyug.
The 4th yug is Kaliyug in which we are living.

Shri Ram ruled for 11000 years. He existed 1.75 million years ago.

Shri Krishna ruled for 125 years and died just one month before Dwaparyug ended and Kaliyug started. That is only 5122 years BCE, before Today. So mathematically also Krishna was closer to Kaliyug of today.

Shri Ram presented an ideal to follow Raj-Dharma, and all rules, regulations, Laws and Social Norms, irrespective of the sufferings. During his times, Praja used to follow the King. That is why there was a Ram Rajya, where ultimately the Evil paid for its misdeeds.

In Shri Krishna’s times, the world had changed and Krishna taught us how to live in today’s Yug, by Tit for Tat, not tolerating injustice, being street smart, using Chanakya type Neetis to achieve Goals. He provided lessons through his own behaviour, how to survive and be successful with Tact and Intelligence, how Karma is more important than Dharma, when it come to destroying the Evil. The whole Bhagwadgeeta is full of worldly advise.
That is why I feel Krishna is more relevant in today’s times. Ram is respected, Krishna is loved.

So much for the Ram and Krishna philosophies. Anyway, To Each His Own. I only expressed my views.
Interestingly, at a cursory count, I find that out of films on Ram (Ramayan and related) and Krishna (Mahabharat and related), 70% films are on Krishna and 30% films are on Ram. Even the film makers seem to consider Krishna as a better entertainer !

Now, coming to today’s film Gokul ka chor-59, it was made by Roopvani films for producer Sharad Pai. He was the son of Baburao Pai, one of the leading Film Distributors of yore and a partner of Prabhat Films. He joined after Keshavrao Dhaiber had to leave Prabhat, because he married the company Heroine Nalini Tarkhad, breaking the directorial agreement rule. For the same reason, V.Shantaram had also to leave Prabhat when he married Jayashree kamulkar, another Prabhat Heroine. But , funnily, S.Fattelal escaped this rule, because he had married Gulab aka Kamlabai, Prabhat Heroine of the Silent Era, before this rule was formulated ! (This Gulab aka Kamlabai is in the Prabhat Logo)

This film was directed by Vasant Painter and the music was by Sudhir Phadke. Information in details about Sudhir Phadke is already given by Sudhir ji, few years back and by me recently, so I will not repeat it.

However, Vasant Painter is a name not known to many Hindi film watchers.

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 aka Anandrao Painter died suddenly in 1916 and Baburao Painter went on to become the famous founder of Marathi films in the Silent Era.

By the time Vasant became 20 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. 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, Vasant Painter remained in Prabhat loyally, so he got the reward. 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 and Dagaa-77. Meanwhile he was producing and directing several Marathi films too. He had 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 cast of the film consisted of Kumkum. Romi, Manorama, Mohan Choti (real name Mohan Gorakshkar from Amaravati, Maharashtra) Ratnamala, Vasantrao Pehelwan, Madhav Kale, Madhu Apte, Polson etc.etc.

In any star cast of any film, after the names of main and known actors, there will be a line of names of actors who are not familiar and they can not be identified in the film, except by a few handful such experts. Information on these actors is neither collected nor compiled, leave alone their Bios being available. They are just names in the list. One such name in this list is Madhav Kale.

Madhav Kale was born in Nashik in 1903. After his school education at Nashik, he joined Deccan college at Poona and passed Intermediate course. He was interested in playing in dramas, which was opposed by his mother. But he used to take part in dramas while in college. He was a good singer too. Wanting to join films, he sent applications to many companies. Saroj and sharda companies responded. He acted in several silent films like Mukti sangram, Kanak kesari etc. He entered the Talkie films with Vikram Charitra-32, Mera Imaan-34 and Vishnu Bhakti-34. During this period, he got married in 1934.

He acted in 21 films. His last film was Gokul ka chor-59 (today’s film). He even directed one film, Sacha Sapna-42. He sang 13 songs in 7 films till 1942.

There is no information about him after this.

Another name in the cast is of Madhu Apte. His full name was Madhukar Shankar Apte. He was a Marathi stage and film actor predominantly, who successfully used his handicap of stammering to advantage, in delivering dialogues and creating humour by mistiming the dialogues. He was born on 1-3-1919 at Poona and died on 25-2-1993 at Poona.

Today’s song is sung by Sudha Malhotra and chorus. This is perhaps the first time I am presenting a song of Sudha Malhotra. Whenever her name comes up I remember her popular bhajan, ” Darshan do Ghanshyam nath more, aankhiyan pyaasi re”. I also remember that she is one of those few cine artistes, who try to hide that their debut in the films is through a non-descript film and who insists that a leading Music Director was responsible to launch her in films.

Sudha Malhotra first sang few songs in film “The Last message ( Aakhri paigham)”-1949, under MDs Abid Hussain Khan and Sushant Bannerji. However, in every interview, she has insisted that she debuted in film Arzoo-50 under Anil Biswas. The facts are available in HFGK for anyone to see.

(Some information for this post is taken, with thanks, from The Premier of Hinduism by D S Sarma, Marathi Cinema in Retrospect by Sanjit Narvekar and The Lost Treasure by Kamlakar P.)


Song-Aaya ri kaun sakhi apni nagariya (Gokul Ka Chor)(1959) Singer- Sudha Malhotra, Lyrics- Madhukar Rajasthani, MD- Sudhir Phadke
Chorus

Lyrics

Aaya ri kaun sakhi apni nagariya
apni nagariya
apni nagariya
praanon mein baaj rahi
meethhi baansuriya
meethhi baansuriya
meethhi baansuriya
padte hi paanv sakhi
dharti pe salone
chhalki umang bhari
man ki gagariya
man ki gagariya
o o o o
jeewan ke angna
aasha ka jhoolna
jhoole hain krishn kanhaai
jhoole hain krishn kanhaai
jeewan ke angna
aasha ka jhoolna
jhoole hain krishn kanhaai
jhoole hain krishn kanhaai
baanto badhaai
baanto
baanto badhaai
aaye krishn kanhaai
aaye krishn kanhaai
hohohohohohoho

sooraj ka tej laaya nainon mein bhar ke
sudh budh dev bhoole dekho tadke
maaya hansi ?? koi naya roop dharke
mukh par chaand khila nandkumar ke
dukh se ubaarne
dharti sanwaarne
jyoti nayi jagmagaayi
jhoole hain krishan kanhaayi
jeewan ke angnaa asha ka jhoolna
jhoole hain krishn kanhaayi
jhoole hain krishn kanhaayi
baanto badhaayi
baanto
baanto badhayi
aaye krishn kanhaayi
aaye krishn kanhaayi
ho ho
hohohohoho

baadal ka rang liye
paaras ka tan hai
bali bali jaaye sakhi
baanka man hai

gyaani ka gyaan laayi paawan kiran hai
bade bade jhoomen sakhi
ye to rain hai

jyoti ye karm ka
deepak hai dharm ka
vedon ki hai ye sachchaai
jhoole hain krishn kanhaayi
baanto badhaayi
baanto
baanto badhaayi
aaye krishn kanhaayi
aaye krishn kanhaayi
ho ho
hohohohoho


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This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

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