Posts Tagged ‘Aarzoo Lucknowi’
Jawaani sabko dhokhaa de
Posted February 23, 2021
on: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 : |
4603 | Post No. : | 16231 |
—————————————————————————
Blog 10-Year Challenge (2011-2021) – Song No. 13
—————————————————————————
This day ten year ago, which was 23 February 2011, saw 6 songs being covered in the blog from six different movies.
Here are the details:-
3553 | Loot liyo mandheer | Jawaani Ki Reet (1939) | 4 songs covered so far out of 8 |
3554 | Meri majbooriyon ne mera daaman chaak kar daalaa | Hospital(1943) | 4 songs covered so far out of 8 |
3555 | Saanwri soorat man bhaayi re piyaa | Adaa(1951) | Movie YIPPEED by now |
3556 | Meri zindagi mein tum kyun aaye | Goonj(1952) | 9 songs covered so far out of 11 |
3557 | Aah ko chaahiye ik umr asar hone tak | Mirza Ghalib(1954) | Movie YIPPEED by now |
3558 | Sa sa sa sa re | Naughty Boy(1962) | Movie YIPPEED by now |
Three movies whose songs ere covered ten years ago have been YIPPEED by now. The remaining three movies are eligible for Blog Ten Year challenge today.
“Jawaani Ki Reet”(1939)is one of them. This movie was directed by Hem chandar for New Theatres, Calcutta. The movie had Kanan devi, Najmul Hussain, Nemo, Jagdish, Bikram Kapoor, Kalavati, Nand Kishore, Chhabi Irani, Heera Bai, Raajlakshmi, Baid, Shor etc in it.
The movie had eight songs in it. Four songs have been covered so far.
Here is the fifth song from “Jawaani Ki Reet”(1939) to appear in the blog. The song is sung by Najmul Hussain. Aarzoo Lucknoi is the lyricist. Music is composed by R C Boral.
Only the audio of the song is clear. Those were the days of actors-singers so it is clear that the song was picturised on Najmul Hussain himself.
Lyrics of the song were sent to me by Prakashchandra.
Song-Jawaani sabko dhokha de (Jawaani Ki Reet)(1939) Singer-Najmul Hussain, Lyrics-Aarzoo Lucknavi, MD-R C Boral
Lyrics(Provided by Prakashchandra)
jawaani sabko dhokhaa de
jawaani sabko dhokhaa de
aap sanwaarey aap bigaadey ae
aap sanwaarey aap bigaadey ae
hansaake rulwaa de ae jawaani
hansaake rulwaa de ae jawaani
sabko dhokhaa de
jawaani sabko dhokhaa de
madmaathi rut bann`ke aaye
rang nikhaarey ae roop badhaaye ae ae
mast banaa ke mat paltaaye
sukh ke bhes mein aen aen dukh pahunchaaye
mast banaake mat paltaaye
sukh ke bhes mein aen aen dukh pahunchaaye
banaa mahal dhaa dey ae jawaani
sabko dhokha de
jawaani sabko dhokhaa de
roop ke angaarey dehkaaye
angaaron ko phool banaaye ae
roop ke angaarey ae dehkaaye
angaaron ko phool banaaye
phool ka joban mann lalchaaye
lalchaa kar jab chaah mein aaye
phool ka joban mann lalchaaye
lalchaa kar jab chaah mein aaye
door se hi tarka dey jawaani
door se hi tarka dey jawaani
sabko dhokha de
jawaani sabko dhokhaa de ae ae
Roothhe ko hai manaanaa
Posted July 7, 2020
on: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 : |
4372 | Post No. : | 15709 |
“Jawaani”(1942) was directed by Wajahat Mirza for National Studios, Bombay. The movie had Surendra, Jyoti, Husn Banu, Kayamali, Agha, Nawab, Dulari, Gulzar, A. R. Kabul, Sankata Prasad etc in it.
The movie had ten songs in it. Three song from the movie has been covered in the blog in the past.
Today (7 July 2020) is the 106th birth anniversary of Anil Biswas (7 July 1914 – 31 May 2003).
On this occasion, here is the fourth song from “Jawaani”(1942) to appear in the blog. This song ois sung by Surendra. Aarzoo Lucknowi is the lyricist of this song. Music is composed by Anil Biswas.
Only the audio of this song is available, but it is clear that the song was picturised on Surendra himself.
The audio is not very clear and some of the lyrics noted by me do not make sense to me, so I may have erred at a few places in the lyrics. I request our knowledgeable readers to help point out the errors as applicable.
Song-Roothhe ko hai manaana (Jawaani)(1942) Singer-Surendra, Lyrics-Aarzoo Lucknowi, MD-Anil Biswas
Lyrics
Roothhe ko hai manaana
Roothhe ko hai manaana aa aa
dukh deta hai khatakta kaanta
dukh deta hai khatakta kaanta
sooli se hai banaana
sooli se hai banaana aa aa
Roothhe ko hai manaana
Roothhe ko hai manaana
humko bhi hai chupke chupke
humko bhi hai chupke chupke
prem ka bal dikhlaana aa aa
prem ka bal dikhlaana aa
thhandi saansen ae ae ae
thhandi saansen seekh rahin hain
hawa ka rukh paltaana
Roothhe ko hai manaana
Roothhe ko hai manaana aa
Roothhe ko hai manaana
Ye hai badalti rut ka chakkar
is’se kya ghabraana aa aa
is’se kya ghabraana
Ye hai badalti rut ka chakkar
is’se kya ghabraana aa aa
is’se kya ghabraana
loot’ti jaati barkha tujhko
yahin hai laut ke aana aa
loot’ti jaati barkha tujhko
yahin hai laut ke aana
Roothhe ko hai manaana
Roothhe ko hai manaana aa
Roothhe ko hai manaana aa aa
dukh deta hai khatakta kaantaa
dukh deta hai khatakta kaantaa
sooli se hai banaana
sooli se hai banaana aa aa
Roothhe ko hai manaana
Roothhe ko hai manaana aa
Roothhe ko hai manaana
Aaye sajni shubh din aaye
Posted November 16, 2019
on:This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
Blog Day : | 4138 | Post No. : | 15298 |
Today’s song is from film Manzil-1936.
The film was made by Calcutta’s New Theatres. It was directed by P C Barua – who also acted in the film. P C Barua (24-10-1903 to 29-11-1951) had acted in 8 Hindi films and directed 14 films in Hindi. In film Jawab-42, he even sang one song. The lyricists for this film were Arzoo Lucknowi and A H Shor. The music was composed by R C Boral, duly assisted by Pankaj Mullick. Though there were 9 songs in the film, it seems only 4 songs were issued on commercial records. 2 songs are already discussed and today’s song will be the 3rd song from Manzil-36. The cast of the film was Jamuna, Molina Devi, P C Barua, Prithvirasj Kapoor, Nimo, K C Dey, Harimati, Sitara, Shor etc.etc.
In the first decade of Talkie films, films made by New Theatres, Calcutta were more popular than Hindi films made in Bombay. There were 3 reasons. One- Bangla films were strong on story content. Two- music was appealing – especially of Saigal films and three- their distribution network was very wide and strong, thereby reaching a larger audience. It covered, South, West, North, in addition to East and Burma.
The story content was strong, because almost every film was based on famous Bangla novels. This ensured that the audience was familiar with the theme and now they wanted to see and hear the characters from the book. Film makers from Bengal were all well educated and rarely resorted to made up stories. They invariably made films on famous novels. Films from Bombay were made either from folk tales, Parsi-Gujarati- Marathi stage dramas or on stories cooked up by the so called ” story Departments” of the studios.
While there were films based on stories by authors from many languages, the most such films were based on works from Bengal.The reasons were simple. The film makers from and in Bengal were educated and secondly,those film makers who shifted from Calcutta to Bombay, followed the same pattern. Thus many films were made on novels from Bengal. One name stands out ,whose works outnumber all other authors on whose novels Hindi films were made and that name is SARAT CHANDRA CHATTOPADHYAYA (Chatterjee)-1876-1938.
Other famous authors like Bankimchandra Chatterjee etc. were also used, but to my knowledge, more films were based on Sarat Babu’s novels. Except perhaps Devdas, his novels generally were spun around misunderstandings between Lovers,friends, relatives etc. and ended with happy events. These were entertaining, surely.
Some of his novels on which films were made are…
1. Devdas…1935,55,2002 and 2009. 16 films in 7 languages
2. Parineeta…1953 and 2005
3. Swami…1977(H) and 2008(B) (Antaratma)
4. Apne paraye…1980 (Nishkriti)
5. Chhoti Bahu…71 and 84 (Bindur Chhele)
6. Iti Shrikant…2004 (Shrikant)
7. Khushboo…54 and 75 (Pandit Mashai)
8. Majhli Didi…67 (Mejdidi)
9. Manzil…36 (Grihdaah)
10. Biraj Bahu…54 (Biraj Bahu)
11. Mana Desam…49 NTR’s Debut…Telugu (Vipradas)
12. Vagdanam-61 Telugu (Datta)
( This list is only indicative and not exhaustive)
Today we will listen to a song from film MANZIL-1936, produced by New Theatres, Calcutta. This film is based on Sarat’s “GRIH DAAH” (The inflammed Home).
The novel Grih Daah was first serialised in Bangla paper ‘Bharatbarsha’ in 1919. The novel was published on 20-3-1920 in Calcutta. The central theme of the novel was the conflict between the Bramho Samaj and the Traditionalists in those days.
To understand this theme one must know the background. In the late 19th century BRAMHO SAMAJ was established in Bengal by those Bramhins/ Bhadraloks who thought that it was now time for the Renaisance of the Bramhins who were stuck in the age old outdated customs and rituals. But there was a large group who strongly believed in Traditional ways, values and the customs. In the end of 19th century and the begining of 20th century this battle between these two groups became fierce. Bramhos wanted to be upto date with modern times.
Saratchandra belonged to the Tradionalists. Most of his novels advocated this. Ofcourse,his novels had captivating situations, literary values and very firm and strong Heroines which made his novels very popular. His stories were mostly woman-centric.
One point I must admire in Bengali film makers and that is that they were very loyal and true to the storylines on which the films were made. There was neither compromise nor ” Cinematic liberties” taken at all.
Manzil-36 was a story of this conflict.
MAHIM (Pramathesh Barua) is a poor but educated young man. His friend Suresh (Prithviraj Kapoor) is a rich playboy. ACHALA ( Jamuna ) is brought up in a modern Bramho family, who has the liberty to choose her own life partner. Both Suresh and Mahim love Achala. She chooses Mahim, impressed with his intellectual power and education, though she is also impressed with the riches of Suresh. After marriage, both move to another town. In a short time Achala gets disillusioned about Mahim, due to his poverty. She remembers Suresh. Once Mahim gets this doubt and they fight. Their relations become strained. Mahim falls ill seriously. Meanwhile Suresh arrives in that town and meets Achala. While treating and nursing Mahim, Achala is in two minds.
One day she elopes with Suresh, but in a month’s time she realises her blunder. She sees the playboy ways of Suresh and realises that he is not loving her truly. With remorse, she shows the courage to return to her husband Mahim. He also,with great magnanimity,forgives her and accepts her. Thus the traditional principals have won over the modern outlook.
The cast of this film includes Jamuna and Molina Devi, about whom, not much information was available here. Jamuna’s name is a ” same name confusion” case. I know atleast 3 Jamunas, who worked in Hindi films. Luckily, they all operated in almost different time periods, still Internet makes lot of mistakes in their Filmographies.
Jamuna ( 10-10-1919 to 24-11-2005) was the fourth of the six daughters of Puran Gupta, a resident of a village near Agra, India. Each of the sisters was named after an Indian river like Ganga, Jamuna, Bhagirathi etc. As destiny would have it, Jamuna came to reside in Calcutta, a leading film producing city in India. Originally from Gauripur of Assam’s Goalpara district (undivided), Jamuna was married to the legendary actor director Pramathesh Barua, or P.C. Barua, who died in 1951. She began her acting career in her husband’s famous production Devdas in 1936 and was the film’s lead character Parvati or Paro. She went on to make a number of memorable movies in Assamese, Bengali and Hindi, notably Amiri, Mukti, Adhikar and Sesh Uttar. She stopped acting after Barua died.
Jamuna made her film debut in the 1930s and played a small role in Mohabbat Ki Kasauti (1934), Hindi version of Rooplekha (Bengali), directed by P.C. Barua. A romance started although Barua, hailing from the native Indian state of Gauripur, Assam, was already twice married. As the actress, who was to play Parbati in Barua’s next venture Devdas (1935) reported inability to attend the studio on the very first day of shooting, Jamuna was called from Barua’s residence (she was living with him by then) and was asked to get down to work straight away without any preparation whatsoever. Thus she came to be the first Parbati of Indian talkies- Miss Light had played the role in the silent version of the enormously popular Sarat Chandra novel. Aishwarya Rai happens to the last so far and Devdas has been made and re-made a number of times. Jamuna played the same role in the Hindi version also and was accepted in this very first proper exposure as an actress in her own right.
She continued to act in Barua’s films like Grihadaha (1936), Maya (1936), Adhikar (1939), Uttarayan (1941), Shesh Uttar (1942), Chander Kalanka (1944) and the respective Hindi versions of each film. Barua had left the prestigious New Theatres in 1940 and was directing as well as producing his films. Thereafter she acted in a number of Barua directed Hindi movies like Amiree, Pehchan and Iran Ki Ek Raat. These films however did not add to the prestige of either to Barua or to Jamuna. Jamuna also acted outside Barua direction in three Bengali films Debar (1943) and Nilanguriya (1943) where she proved herself without Barua’s influence. Her last film Malancha (1953) was also outside Barua’s direction. She also starred in its Hindi version Phulwari (1953).
Barua’s death in 1951 when he was only 48 changed Jamuna’s life altogether. She had three sons by Barua, Deb Kumar, Rajat and Prasun. They were all minors at the time and the Gauripur estate refused to take any of their responsibilities. She had to wage a legal battle with the powerful and influential royal family to get her and her children’s dues and recognition. Time settled the matters and she was allowed ownership of the house with its vast adjoining land and also an allowance. Jamuna spent the rest of her life after Barua as a housewife, busy in bringing up her minor sons. She had to complete the unfinished film Malancha of course but bid adieu to the film industry soon after. Later in her life she did attend a number of functions to celebrate the centennial year of husband P.C. Barua and received felicitations from the Government of India and the state Government of Assam as the first Parbati of Indian talkies.
Her last days were not very comfortable and she was bedridden for more than six months prior to her death. She is survived by her three sons and their families and a host of relatives. According to her family members, she had been ill for some time, and the cause of death was illness related to old age. She died at her residence in South Kolkata. She had acted in 13 Hindi films. Her last film was Phulwari-51.
Molina being an uncommon name there was no other actress of this name. Molina Devi was born in 1917. She received training in acting from Aparesh Mukherjee, and made her debut, at the age of 8, in a silent movie. She was acknowledged as one of the leading actresses of the Bengali stage, with her professional career spanning more than three decades.
In 1924, she debuted in a silent film while at the age of 8 and thereafter worked as dancer mainly in the mythological and historical plays. She performed some memorable roles in Bengali as well as Hindi films. She got a break through in Puran Bhagat and, Molina played the title role in the movie, Rani Rasmani. She took various roles, even vamps in her early career such as in Pramathesh Barua’s Rajat Jayanti in 1939. She also directed a Kolkata based theatre troupe, M. G. Enterprises.
Molina worked in Rangana theatre as chief artist. She performed as a singer on radio and contributed for formation of Mahila Silpi Mahal, a welfare association for female artists of Bengal. Molina Devi’s high creative excellence had found expression in such diverse media as the stage, the film and the radio. As a founder of the M. G. Enterprise, now in its twenty-third year, she had been responsible for the success of such well-known plays as ‘Thakur Sri Sri’, ‘Rani Rasmoni’, ‘Jagatbandhu’ and ‘Bholagiri’.
She had been honoured and decorated by many eminent organisations and learned bodies. For her eminence in the field of Drama and her contribution to its enrichment , Molina Devi received the Sangeet Natak Akademi Award for Acting.
Her first husband was Jolu Boral and the second husband was actor Gurudas Banerjee.
Molina died on 13 August 1977 in Kolkata. She acted in 22 Hindi films. Her first Hindi film was Raaj Rani Meera-33 and last film was Babla-53. She also sang 11 songs in 4 Hindi films.
The singer of today’s song, Harimati Dua was one of the three singers of the First playbback song in Hindi Film History recorded for film Dhoop Chhaon-1935, along with Parul Ghosh and Suprova Sarkar.
She acted in 2 films and sang 9 songs in few films like, Manzil, Dhoop chhaaon, Maya, Ananth Ashram and Khudai khidmatgar.
Song-Aaye sajni shubh din aaye sab ki bigdi Raam banaaye (Manzil)(1936) Singer- Harimati, Lyrics- Aarzoo Lucknowi, MD- R C Boral
Lyrics
Aaye sajni
shubh din aaye
Aaye sajni
shubh din aaye
sab ki bigdi raam banaaye
sab ki bigdi raam banaaye
dekh dekh ke man lalchaaye
dekh dekh ke man lalchaaye
aankh mili
dil bhi mil jaaye
aankh mili
dil bhi mil jaaye
moh ka rasiya ras barsaaye
moh ka rasiya ras barsaaye
jalti agni maar bujhaaye
jalti agni maar bujhaaye
Aaye sajni
shubh din aaye
Aaye sajni
shubh din aaye
sab ki bigdi raam banaaye
sab ki bigdi raam banaaye
?? nahin hansi ye ro dena
?? to nahin hansi ye ro dena
na apni na wo kahin aap hi se ro dena
na apni na wo kahin aap hi se ro dena
sadabahaar bane ye tumhaara raaj suhaag
sadabahaar bane ye tumhaara raaj suhaag
jo sukh dukhon se mila hai
wo phir na kho dena
jo sukh dukhon se mila hai
wo phir na kho dena
ye rog wo hai jo dil ?? ke jaan leta hai
ye rog wo hai jo dil ?? ke jaan leta hai
usi ki jeet hai jo haar maan leta hai
usi ki jeet hai jo haar maan leta hai
Aaye sajni
shubh din aaaaaaaye
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 : | 4115 | Post No. : | 15267 |
Today’s song is from an obscure film Yaad-42, the first directorial adventure of actor – director Mazhar khan. He also acted as a Hero in this film, opposite Veena. Others in the film were Satish, Azuri, Indira Devi, Shehzadi, Haadi, Haroon, Ram Avtar, Devraj etc.etc. Lyricist for its 9 songs was Munshi Arzoo Lucknowi and the music was by K.Datta aka Datta Korgaonkar. Two songs of this film are already discussed, first one in 2014 and the second in 2016.
Neither have I seen this film, nor I could get any information on this film on internet or any book. Obviously, it seems to be just one of those films which come and go without leaving its mark on the way. In those days, like any other year, such non-descript films were made in plenty. Only few films were noticeable and discussed by critics in the Media, i.e. in Newspapers, because this was the only media available in those days.
As said in the beginning, Yaad -42 was not only the first directorial venture for Mazhar Khan, but it was also the first Debut Hindi film for its Heroine Veena. How Veena joined films and how she came to Bombay is a very interesting story. In one of the interviews she gave in November 1981, to Urdu film magazine ‘ Shama ‘, she herself has described all this. Let us also read it once again…
Veena was born as Tajwar Sultana, on 4-7-1926, at Quetta in Baluchistan (now in Pakistan). Her father was in Railways, so he was transferred many times and her education was done at various places, including Delhi. After her Matriculation, she was sent to a women’s college, with Hostel, in Amritsar. In those days, her brother Shehzada Iftekhar was an assistant Cameraman at Northern India Studios, Lahore. This studio advertised for a Heroine, for their new Punjabi film ” Gawandi “. (This brother Iftekhar is many times mistaken for actor Iftekhar- who was totally different. The story of love for Suraiya is of this brother and not that actor Iftekhar.)
A Bangali lecturer from Veena’s college had applied. A few days later, a team (including her brother) from Lahore came to interview her, but she was rejected as she did not know Punjabi well enough. Veena was very keen to apply, but her brother warned her about the family resistance. She prodded him to give her photo to the visitors. Seeing her photo, she was called to Lahore for screen Test. All this was without letting the family know.
One Saturday, Veena left for Lahore. Next day she gave the screen test, mouthing dialogues written by Wali Saheb. She was selected and offered the role. One of the producers- Sheth Kishorilal, suggested to change her name for the screen as Veena ( it was his daughter’s name) and she became Veena.
She completed film ‘Gawandi-42’, opposite Hero Shyam, in just one month and in the next one month, she did another film ‘ Ravi Paar-42′, opposite Hero S.D.Narang. All this was without family’s knowledge, but she was aware of the impending storm. She returned to college. News about her film work had already reached the college. She was thrown out of the college and the hostel for this.
When she returned home, as expected there was a great scene. She was scolded and locked in a room. Her family wanted to get her married, which she vehemently opposed. Her family went to the producers and demanded that the films be destroyed. Of course, this was was not accepted. Meanwhile, Veena had received film offers from Mazhar Khan, Mehboob, Bombay Talkies and Rajneet. She left her house with brother and reached Bombay. Mazhar khan paid her Rs.2000 per month with a Bungalow and a Car. She did her first Hindi film ” Yaad “-42. Then came Najma-43 from Mehboob, Rajputani-44 from Ranjit etc etc. She earned One lakh rupees per film.
Veena did about 100 Hindi films in her career, till she retired in 1983. Even after her husband, Al Nasir’s death in 1957, she continued to stay and work in India with her children. Veena died on 14-11-2004. ( adapted from her interview in Shama, November 1981. Thanks to book ” ye un dinon ki baat hai” by Yasir Abbasi).
In Hindi cinema world, some artistes are known for some specialty. They may not be great artistes, but certain aspect of their career is so famous that they are remembered. For example, ” Dattu Theka” of composer Dattaram was and is very famous in film music. He was a small time composer but became famous for this. Similarly another such person was Datta Korgaonkar alias K.Datta as he was popularly known. He was famous for his passion and intense attachment to Nurjehan’s singing. Though he composed her songs in only 2 films, after she left india, Datta almost felt like a paralytic person and virtually lost interest in his music.
K.Datta or Datta Korgaonkar alias Anna saheb, was born in Sawantwadi in Konkan area on 4-6-1908. He grew up learning to sing. His mother was a Bhajan singer. He started singing on stage during Ganesh utsav melas. He was called to Kolhapur in 1937 to give music to a Marathi film, Chandrarao Morey’-38. His first break in Hindi came in 1939 with Mera Haq,followed by Alakh Niranjan-40, Geeta-40 ( in Hindi and Marathi) and Yaad-42.
He first came face to face with Noorjehan in Naadaan-43. He was simply mesmerised with her voice and singing style. He composed 7 songs for Noorjehan. After doing Zameen-43 and Maharathi Karna-44, he again composed 4 songs for Noorjehan in film Badi Maa-45. His songs ‘ Diya jalakar aap bujhaya’ and ‘ aa intezar hai tera’ are evergreen songs of Nurjehan. He also gave a break to Lata and Asha to sing in a chorus with Noorjehan. It is very sad that initially, K.Datta’s name was not mentioned on the 78 RPM records of Badi Maa. Only on the ‘re-issue’ records his name came up.
His other films were Yateem-45,Shaahkaar-47,Rangmahal-48,meri kahani-48,Daaman-51,Gumaasta-51,Rishta-54,Harihar Bhakti-56 and Ajanabi-66. In film Daman-51, he gave the First duet of Lata and Asha. In all K.Datta gave independently music to just 17 films,plus one film Badmash-44,with Khan Mastana. His Marathi films were 12 from 1938 to 1965. After retirement in 1965,he spent his time in Bhakti, Pooja and Asrology. He used to have special Pooja on every Thursday,when Bhajans were sung. Many composers and other film industry people used to be his visitors. Naushad, C.Ramchandra, Madan Mohan, Sajjad Hussain etc were the regular visitors to Annasaheb. He died on 23-12-1978.
He was a Noorjehan believer to the core. To date K Datta remains the only top composer from Maharashtra to whom Noorjehan came first, Lata later. No one regretted Partition more than K Datta. Indeed, his creativity seemed to come to an end once Noorjehan left him high and dry by moving, with a song on her lips, to Pakistan. He once said, “Noor Jehan left for Pakistan and took my creativity with her”. The four Noorjehan numbers, as fashioned by K. Datta, are historically most important. Because it was hearing and absorbing these four nuggets of Noorjehan, while acting with her in `Badi Maa’, that Lata Mangeshkar learnt to shape her vocal technique. If Lata came to sound a Noorjehan replica for so long, the tonal base for this was laid, just imagine, by a robustly tall Maharashtrian from the ghats called K Datta in `Badi Maa’.The last number of Noorjehan fetched him the ultimate tribute from no less a movie stalwart than Mehboob Khan, who said: “Bhai Datta, yeh gaana to aap ne Khuda ke darbar mein baithe hue banaya lag raha hai” (“It sounds as if you created this song sitting in Allah’s abode”). K Datta used to play Ek anokha gham ek anokhi musibat ho gayi on a harmonium presented to him by O.P. Nayyar. How grimly significant that the one music director, O.P. Nayyar, who never in his life commissioned Lata, should have gifted that harmonium to the one Maharashtrian composer who believed only in Noorjehan!
There is one odd name in the cast of this film- Hadi. His full name was Mohammed Hadi. He was also known as Master Hadi, due to his knowledge of Music and singing. In early Talkie films, he gave music to films, singly and with other composers and also sang songs. But mainly, he was an actor from the Silent era. No wonder he was seen in some films of the First year of Talkie films of 1931, like Draupadi, in which he had played the role of Shakuni. he sang 3 songs also. He was seen in other films like Abu hasan-31, and Daulat ka Nasha-31. His acting in saubhagya Sundari-33 and Sulochana -33 was much appreciated. He is estimated to have acted in about 30 films till 1947.
The other interesting name that appears in the cast is of Shehzadi. The original actress Shehzadi was the sister of Alam Ara-31 heroine Zubeida and Sultana. All 3 sisters retired from films in or around 1936.
This Shehzadi was different. She was born in Bombay and was well conversant with Hindi, Marathi, Urdu, Gujarati, Bangla and English. She joined Bombay Talkies and made her debut in film Jhoola-41. She was in the famous Dance-song ” Main to Dilli se dulhan laya re” along with Mumtaz Ali. She worked in films of Chitra productions,Saubhagya Pictures, Star Productions and Asiatic productions. She was Heroine of Gope in film ” Haso Haso aye duniya walon”-47.
Her acting in Saheli-42 and Yaad-42 was much appreciated. She did 26 films from 41 to 47 period. She started her own Ratnakar Productions in 1947 and made film ” Utho Jaago”-47, with actor Ashiq Hussain as a Hero. Soon after Partition, she married Ashiq Hussain and they migrated to Pakistan.
Yet one more name is Indira Devi. She was an Anglo-Indian from Calcutta with original name-Eugenia Peterson. She started with Silent films in 1927 ,like Jaidev, jana,Punarjanma, Kapal Kundala, Ganesh janma, Rajsinha, Waman Avtar etc etc. She got married in 1930 and stopped working in films till 1935, to raise a family. She changed her name to Effie Hippolite, but for films she took name of Indira Devi. She started with film Wamaq Azra-35. She went on to do 21 films till 1947, after which there is no information about her. Probably, she migrated to Britain.
Today’s song is sung by Saraswati Rane. This is the 3rd song from this film to be posted here.
Song-Haay Raama tirchhi najariya ne maara (Yaad)(1942) Singer- Saraswati Rane, Lyrics- Munshi Arzoo Lucknowi, MD- K Datta
Lyrics
Haay Raama
haay raama
haay raama
tirchhi najariya ne
tirchhi najariya ne maara
haay raama
tirchhi najariya ne
tirchhi najariya ne maara
?? joban ??
nainan par
?? maara
aa aa
aa aa
haa aa aa aa
haay raama
tirchhi najariya ne
tirchhi najariya ne maara
aa aa aa aa
aa aa aa aa aa
haa aa aa aa aa
haa aa aa aa aa
?? nahin jaani
?? nahin jaani
baali umariya ne maara
aa aa
aa aa aa
aa aa aa
aa aa aa
haa aa aa aa
haay raama
tirchhi najariya ne
tirchhi najariya ne maara
haa aa aa
haa
haa aa aa
haa
haa aa aa
haa
haay raama
tirchhi najariya ne
tirchhi najariya ne maara
sagri raina mohe tadpat beeti
sooni sajariya ne maara
aa aa
aa aa aa
sooni sajariya ne maara
aa aa aa aa
aa aa aa aa
aa aa aa
aa aa aa
haa aa aa aa
haay raama
tirchhi najariya ne
tirchhi najariya ne maara
Pooranmaasi aayi hansaati
Posted September 26, 2019
on: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.
This article is his 800th article in the blog.
Blog Day : |
4087 | Post No. : | 15227 | Movie Count : |
4184 |
This is my 800th post on this Blog ! Simply unbelievable !! Seems like, I had just started writing about old films yesterday only !!!
When I look back on my journey of last few years, I see me, learning operating computers at the age of 71 years and then start writing posts from the 72nd year. In last 7 years, almost precisely, I wrote more than 800 articles on various Blogs and sites and even published one book ! Can all this be true ? God has been very kind to me, I would say.
The credit for my 800 posts here, goes to Atul ji, who was the one who motivated me to start writing. He is not very expressive in these matters, but his constant encouragement, help and facilitation in various ways, kept up my enthusiasm in writing. Our own Sudhir ji has also been very helpful consistently. Initially, my speed of posting articles was very noteworthy. Later on it slowed down. The reasons were many.
One reason was, as the time went by, besides increase in the contributors, many available songs were getting posted and so to get a song of choice for writing was becoming difficult. Initially the field was open, but as the songs’ availability decreased, the speed of posting also slowed down. It is certainly not because the ‘ contents have dried up ‘ . There is still so much to write about and the scope is still very wide enough to last for a long time.
Here are the details of my centuries:
Here are the details of my centuries:
article Number | Song | Blog post number | Date (blog day) | Period taken |
---|---|---|---|---|
First article | Surya wahi chandra wahi (Saavitri)(1937) | 6760 | 1-10-2012 (1536) | |
100th article | Aa ri sakhi main tohe preet sikha doon (Mahageet)(1937) | 7870 | 11-4-2013 (1728 ) | 192 days |
200th article | Jaago hey jaago jaago hey mahaakaal (Jagadguru Shankaracharya)(1955) | 9003 | 14-11-2013 (1945) | 217 days |
300th article | Hey Satyanaraya swaami (Maha Pooja)(1954) | 9895 | 10-6-2014 (2153) | 208 days |
400th article | Tu mi piaci caara(Bewaqoof)(1960) | 11082 | 21-4-2015 (2468) | 315 days |
500th article | Bedard tujhko pyaar kiya (Tajmahal)(1941) | 11976 | 6-4-2016 (2819) | 351 days |
600th article | Main patton mein chhupi kali hoon (Aandhi)(1940) | 13564 | 4-9-2017 (3335) | 516 days |
700th article | Shehron mein se sheher suna thha(Heer Ranjha)(1948) | 14773 | 2-12-2018 (3789) | 454 days |
800th article | Pooranmaasi aayi hansaati (Paraaya Dhan)(1943) | 15227 | 26-09-2019 (4087) | 298 days |
I thank all my well wishers and those who commented on the posts to convey their appreciations. That actually motivated me further to continue writing.
Today’s song is from film Paraya Dhan-43. this was a bilingual film in Hindi and Bangla (Bichar-43), directed by Nitin Bose.
After a spat with B N Sircar, Nitin Bose came to Bombay with his group of artistes. He had a contract with Chunnibhai Desai’s ” Shree Films” for 3 films. This Chunnibhai was the elder brother of Chimanlal Desai of Sagar Movietone (later of National studios and then Amar Pictures). His first film was a Bilingual in Bangle/Hindi- Paraya Dhan-1943. This was a flop. Then came ‘Mujrim’-44. This too was a flop. the third film was ‘Mazdoor’-45. For this film, Nitin Bose had advertised for a Hero. One day, 4 candidates were interviewed. First was Dev Anand, second was Rehman, third was Chetan Anand and the fourth was Nasir Khan. Nitin Bose rejected the first 3 and selected Dilip kumar’s brother Nasir Khan. Most unfortunately,this film also became a flop. Luckily,he was invited by Bombay Talkies to make a film in Bangla/Hindi,based on Tagore’s story ‘Nauka Doobi’. Hindi version was ‘Milan’,with Dilip Kumar and Meera Mishra and Ranjana etc. This film was a Hit and Nitin Bose firmed up his position in Bombay.
Film Paraya Dhan had music by Pt. Gyan Prakash Ghosh. While shifting from Calcutta to Bombay, Nitin Bose had brought few people with him. Pt. Ghosh was also one of them. He was a very big and highly respected name in Bengal. While in Bombay he gave music to 2 Hindi films, namely Paraya Dhan-43 and Mujrim-44, both directed by Nitin Bose. Unfortunately, both the films proved flops and Gyan Prakash Ghosh returned to Calcutta. He had done a small role in film Mujrim-44 also. Not much is known about Pt. Ghosh, outside of Bengal, so here is some information about him.
Jnan Prakash Ghosh (8 May 1909 – 18 February 1997) often known as ‘Guru’ Jnan Prakash Ghosh was an Indian harmonium and tabla player from Farukhabad gharana of Hindustani classical music and musicologist.
Born in a Hindu family with musical background in Kolkata. He was the grandson of Dwarkanath Ghosh (1847–1928), who founded Dwarkin in 1875 and invented the “Dwarkin harmonium”, popular in West Bengal, India. He graduated from the Scottish Church College of the University of Calcutta. He was keen in sports (he played soccer, hockey, polo and billiards). He also practised painting, but had to discontinue these due to an eye injury in a soccer match.
Then he turned to music. He was trained in vocals by Girija Shankar, Mohammed Sagir Khan and Mohammed Dabir Khan. He took tabla lessons from Ustad Masit Khan of the Farukhabad gharana and became his senior disciple and later from Ustad Feroze Khan of the Punjab gharana.
He worked for 15 years in All India Radio as a producer of music. He wrote pieces in classical music, light music, modern, orchestral, choral, and percussion styles.
He was the founder of Sourav Academy of Music and closely associated with the ‘Sangeet Research Academy’. He scored music for many Bengali films, Jadubhatta, Andhare Alo and Rajlakshmi o Srikanta (1958) are worth mentioning. One of his compositions was called Chaturang – involving tabla, pakhawaj, kathak and tarana. He would instruct disciples staying with him to practice late into the evenings and it is said that he would correct any errors that reached his ears.
He also gave music to 2 Hindi films,namely Paraya Dhan-43 and Mujrim-44. Both were directed by Nitin Bose, who had shifted to Bombay after his spat with New Theatres.
Amongst his notable students are tabla players Kanai Dutta, Shyamal Bose, Shankar Ghosh, Abhijit Banerjee, Anindo Chatterjee, and Nikhil Ghosh, Rajkumar Misra, singers Prasun Banerjee, Ajoy Chakrabarty, Suman Ghosh and Arun Bhaduri and instrumentalist Paul Grant. His birth centenary was celebrated on 7 May 2012, in Kolkata, with screening of documentary of him and performances by noted singers.
In 1974, he was awarded the Sangeet Natak Akademi Fellowship the highest honour conferred by the Sangeet Natak Akademi, India’s National Academy of Music, Dance & Drama. This was followed by the Padma Bhushan in 1984, given by the Government of India.(adapted from wiki, with thanks.)
The cast of the film was Leela Desai, Balwant Singh, Radha Rani, Maya Banerji, Sunalini Devi, Jagdish Sethi, Rajkumari Shukla, Baby Madhuri (Madhubala), Krishnakant – for whom this was his Debut film, and many others.
Today’s song is rather unique, in the sense that the singer is the most unexpected – Deena Sanghvi….she is none other than the famous and popular character artiste of Hindi films, Deena Pathak. Deena did not act in this film, but sang 1 solo and 1 duet. This is the only time she ever sang in Hindi films. That way, this is a rare song. Harish Raghuwanshi ji has confirmed that Deena Sanghvi and Deena Pathak are same. Before marriage she was Deena Gandhi. Her 2 sisters are Shanta Gandhi and Tarla Mehta. Deena’s first husband was Ramesh Sanghvi, but they separated soon. Later she married Baldev Pathak. They have 2 daughters.
Dina Pathak (née Gandhi; 4 March 1922 – 11 October 2002) was an Indian actor and director of Gujarati theatre and also a film actor. She also was an activist and remained the President of the “National Federation of Indian Women” (NIFW).
A doyenne of Hindi and Gujarati films as well as theatre, Dina Pathak acted in over 120 films in a career spanning over six decades. Her production Mena Gurjari in Bhavai folk theatre style, ran successfully for many years, and is now a part of its repertoire.
She is best known for her memorable roles in the Hindi films Gol Maal and Khubsoorat. She was a favourite of the Art Cinema in India where she played powerful roles in films like Koshish, Umrao Jaan, Mirch Masala and Mohan Joshi Hazir Ho!.
Her notable Gujarati films were Moti Ba, Malela Jeev and Bhavni Bhavai, while her well-known plays include Dinglegar, Doll’s House, Vijan Sheni and Girish Karnad’s Hayavadana, directed by Satyadev Dubey.
Dina Pathak was born in Amreli, Gujarat on 4 March 1922. She was enamoured of fashion and films, and while a teenager, started acting in plays and won acclaim from critics. She attended and graduated from a college affiliated to the University of Bombay (Mumbai). Rasiklal Parikh trained her in acting while Shanti Bardhan taught her dancing.
At a young age, she joined the Indian National Theatre as an actress. She became known for her student activism, where Bhavai theatre, a folk theatre form from Gujarat, was used extensively to create awareness about the British rule, in the pre-independence era; this led to her close association with Indian People’s Theatre Association (IPTA), along with her elder sister Shanta Gandhi and younger sister Tarla Mehta; while in Mumbai, she had an important hand in reviving the Gujarati theatre there, along with fellow Gujarati actors like Kailash Pandya and Damini Mehta.
At age 44, she made a comeback into films, with Basu Bhattacharya’s Uski Kahani (1966), for which she won the Bengal Journalists Association Award. She made four films in the 1960s, including Hrishikesh Mukherjee’s classic Satyakam (1969), Saat Hindustani (1969), starring Amitabh Bachchan in his debut role and the Merchant Ivory Productions, The Guru (1969). By the 1970s, she had become a favourite of art and commercial films alike, playing powerful motherly and grandmotherly roles. It was in these films that she became recognised as the Grand-Old-Mother of Hindi films.
Films that stand out in this era are Gulzar’s Mausam (1975), Kinara (1977) and Kitaab (1977), and sweet comedies like Basu Chatterjee’s Chitchor (1976), Gharaonda (1977) and also in an art cinema classic, Shyam Benegal’s Bhumika (1977), which saw her standing tall alongside another acting legend, Smita Patil, in her career’s best performance.
Just as the 1970s ended, she was seen in the comedy classic, Hrishikesh Mukherjee’s Gol Maal (1979), where she essayed the role of Kamala Shrivastava, a middle-aged woman who sportingly plays mother to Amol Palekar, who went on to direct her in his 1985 film, Ankahee. The next decade began with another career best, as a stern disciplinarian matriarch in Hrishikesh Mukherjee’s Khoobsurat in (1980), closely followed by Bhavni Bhavai (1980). In 1980, she was also awarded the Sangeet Natak Akademi Award. In all, she acted in 150 Hindi films.
Her first marriage was with Ramesh Sanghvi, but they separated soon. It was at this stage , she sang two songs in her first Hindi film Paraya Dhan-43, as Dina Sanghvi. Later she married Baldev Pathak and had two daughters, actresses Supriya Pathak (b. 1961) and Ratna Pathak (b. 1957 ). She completed her last film, Pinjar (2003), but died before its release, of heart attack, following a prolonged illness, on 11 October 2002 in Bandra, Bombay. (adapted from wiki, with thanks.)
Today’s song is very melodious. It is less than 3 minutes long. The duet is sung by Deena Sanghvi and Balwant Singh, with chorus. With this song, Music Director Gyan prakash Ghosh, singer Deena Sanghvi and film Paraya Dhan-43 make their Debut on the Blog.
(I thank shri Harish Raghuwanshi ji for providing me a Gujarati article on Deena Pathak and for confirming that Deena Sanghvi and Deena Pathak are same ).
Song- Pooranmaasi aayee hansaati (Paraaya Dhan)(1943) Singer- Deena Sanghavi, Balwant Singh, Lyricist- Aarzoo Lucknowi, MD- Gyan Prakash Ghosh
chorus
Lyrics
aayi
lalalalalalala
aayi
aayi
lalala
laallala
lalaala
lalala
pooranmaasi aayi hansaati
pooranmaasi aayi hansaati
raakhi haathon haath bandhaati
raakhi haathon haath bandhaati
mel milaati
prem badhaati
mel milaati
prem badhaati
lalalalaalla
lalala
pooranmaasi aayi hansaati
?? chanchal bela
laga hua phoolon ka mela
dilon ka sauda kya albela
dilon ka sauda kya albela
lalalalalalala
pooranmaasi aayi hansaati
kho baitha man aas ki maala
gum ho jaise chaand ka haala
kho baitha man aas ki maala
baag mein to hai phool kahaan se
goonth li maala jaise chaahe
kisne mere dil ko churaaya
ab tak koi bhed na paaya
soone ban mein pyaasa hokar
phirte phirte thhak jaaoge
ek hi maala goonth ke laao
dono baand ke ek banaao
ek hi maala goonth ke laao
dono baandh ke ek banaao
?? phir donon ko lagaao
?? phir donon ko lagaao
lalaala
laalalalala
laalalalal
lalala
pooranmaasi aayi hansaati
pooranmaasi aayi
aayeee
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : | 3610 | Post No. : | 14396 |
Today’s song is from an unknown film Fashion-1943.
The film was made by Fazli brothers and was, naturally, directed by one of them- Hasnain Fazli. The music was composed by Shanti Kumar Desai and the Lyricist was Arzoo Lucknowi. The cast of the film was Sardar Akhtar, Chandramohan,Sabita Devi, Bhudo Advani, Nazir Kashmiri etc.
The producers Fazli brothers were the sons of Khan Bahadur S M Fazal Rabb of Beharaich- about 125 kms from Lucknow in U.P. The elder brother was Hasnain and the younger brother was Sibtain. Hasnain Fazli was born on 12-1-1912 in United Province (today’s U.P.). His family belonged to the noble Sayyads of Allahabad. Hasnain was a graduate of Allahabad University. Though his father was a Khan Bahadur, a Government Jahagirdar and lifetime Magistrate, Hasnain refused to do any service and did not complete his I.C.S. studies, as expected by the family.
He had a creative mind. He joined film line. He was very keen on making a film on Muslim Society. In those days it was considered outrageous to produce a film on Muslim society for fear of the ire of the fundamentalists. However Hasnain broke the barrier and the first Muslim Social film Qaidi-40 was produced and directed by him under the banner of Film Corporation of India, Calcutta. Very cleverly, the film was made at Calcutta, ( though the film depicted life in Lucknow ), and not at Bombay to avoid any disruption in the making of the film. The film was made so well that it was received very well by all strata of population, including the Muslims and became a hit film. After this Hasnain made more Muslim social films like Masoom-41, Chowranghee-42, Fashion-43 and Ismat-44. These films discussed Muslim family life and problems etc.
His first directorial film was at his 23rd year- Triya Charitra-35. Then came Sajiv Murti-35, in which the Handsome Vijay Kumar from Himachal Pradesh was the Hero. Fazli brothers also made Dil-46, Mehendi-47, Duniya-49 and Khoobsurat-52. Hasnain was so talented that he himself wrote the film stories, screenplays and dialogues usually.
After the Partition, Fazli brothers migrated to Pakistan. Sibtain remained in Pakistan and Hasnain returned to India to make 2 more films. Later Hasnain too relocated to Lahore and died there on 16-7-1957. His brother Sibtain ( 9-7-1914 to 25-7-1985) who had directed 3 films in India, made 4 films in Pakistan, including the most popular Urdu film of madam Nurjehan-Dupatta-52.
The life story of Sardar Akhtar- Heroine of this film- is very interesting. Sardar Akhtar was a Punjabi Muslim born in Lahore in 1915. Her mother was a famous singer on the infamous Hira Mandi Road of Lahore. Akhtar learned singing from her mother and also other ustads. Her younger sister Bahar Akhtar was beautiful and a good singer. These sisters were famous as Daaro and Baharo in Lahore. Bahar was hired by United Players Corpn. of Lahore , as a Heroine in their film ” Qaatil Kataar “. Producer A R Kardar was also its Hero. They fell in love. Bahar was under strict surveilance by her mother, but with the help of a friend, Kardar abducted her and they were married. When this news reached her mother, Akhtar and her mother made a Police complaint against Kardar. Kardar and his unit members were arrested and kept in a lock up for few days for abducting a Minor girl. They were released when Bahar herself gave a statement in their favour. Kardar destroyed the negatives of his film to prevent Bahar from further acting in films.
After this episode Akhtar started working in dramas. She went to Calcutta and did a small role in the film Dhoop Chaaon-35. From there she came to Bombay and joined Saroj Movietone. She did films like Eid ka Chaand, Roop Basant and Naqsh e Sulemani and earned a good name. She acted in films of Minerva and Wadia-mostly stunt action films. Mehboob Khan gave her a big role in the film Aurat-40 and her image changed. She also did Mehboob’s film Roti, during which they got married on 25-4-1942. They did not have any issues but they adopted Saajid Khan, child star of film Son of India-62. After Mehboob’s death in 1964 May, Akhtar lived alone, occasionally visiting Sajid Khan, who had settled in USA.
Sardar Akhtar did 44 films. Her last film was Raahat-45. However, she did small roles in films Hulchal-71 and Bandhe Haath-74.
Sardar Akhtar sang 92 songs in 27 films. Considering that she was not a regular or playback singer, her 92 songs were highly creditable. Not even 50% of her songs came on gramophone records. During one of her US visits, Sardar Akhtar died there on 2-10-1984. She was a devotee of sufi saint Ashraf Khan, her co-star of many films including Roti-42.
The Hero of the film Fashion-43 was Chandra Mohan. It was a proof of the secular nature of our film industry that a Kashmiri Brahmin actor was selected to act in a predominantly Muslim film. Chandramohan was one of the most Handsome actors Hindi films ever had. He was like Master Nissar. Both of them lived lives of Kings, but died like beggars !
Chandramohan Watal was born on 24-7-1906,to Kashmiri Bramhin parents,in Narsinghpore in the Central provinces,i.e. today’s M.P. area. By the time he was around 15,his parents died and he was looked after by his Guardians. When he could no longer tolerate the guardian’s torture,he ran away to Delhi. A friend helped him to get a job as a Cinema manager. After few sundry jobs,he settled in Mangal Distributors. They sent him to poona to finalise a deal for ‘Sairandhri” being produced by Shantaram. Shantaram,impressed with Chandramohan offered him film roles,but he refused. After some time,when Shantaram’s film Amrit manthan was on the floor,Baburao Pendharkar left the company on salary increment issue and Shantaram sent an offer to Chandramohan again. This time he accepted it and did the unforgettable role of Villain Rajguru in Amrit Manthan-34. After doing Amar jyoti and Vahan,Chandramohan had a tiff with Shantaram and he left Prabhat,joining Huns pictures for Jwala. With jwala’s debacle,he came to Bombay and joined Minerva for Pukar which proved to be a Hit film. Then came Geeta(HIndi/marathi),Roti and a string of Historical movies.
In all Chandramohan did 32 films. His last released film was Chocolate-50. He earned lakhs and spent millions on Races and drinks. he never came drunk on the sets. In his last days,he suffered from hallucinations and saw Durga mata blessing him. he used to say,” Laxmi left me but Durga came to me.”
His role of Shaheed-48,in his last phase was very impressive. His last days were spent in loneliness and poverty.When he died,his consort Sheila had no money,so Cine Artistes assn. did his last rites. He died on 2-4-1949.
The Music Director of this film was Shanti Kumar Desai, a very talented but unlucky composer who rarely got support from any famous banner. His music was enchanting and tunes were superb, but Lady Luck did not favour him.
He was born in Amreli, Saurashtra, Gujarat state on 3-3-1908. His family was in service as Royal Musicians, so he was exposed to music from childhood.He was an expert Harmonium player. To start his career, he came to Bombay and worked in H.M.V. as a Broadcaster. Here he came into contact with many composers and learnt how they operated and made tunes etc. He was already giving music to Dramas, but wanted to join Film line as M.D. He got his first film Navbharat ( Jawanmard0-1934. In those days Gujarati producers and directors used to prefer Gujarati MDs. Thus out of his 36 films, 18 were done with Gujarati Directors like Sohrab modi, Nanubhai Vakil, V.M.Vyas(4 films), Kanjibhai Rathod, Dhirubhai Desai etc. He also gave music to Gujarati films.
He gave music along with Madholal Master, Rafiq Ghaznavi, Pannalal Ghosh, Shyambabu Pathak etc. Famous singers like Rafi, Manna Dey, Zohrabai, Amirbai etc sang in his films during their early careers. Even kishore kumar’s early film Sati Vijay-48 had music by Shanti Kumar Desai. He gave music to films of early era actors like Prem Adib, Mehtab, Sitara Devi, Leela Chitnis, Jal Merchant, Ashraf Khan, Rajkumari, Mazhar khan, Shanta Hublikar, Jairaj, E Billimoria, Kumar, Sardar Akhtar, Chandramohan, Shobhana Samarth, Durga Khote, Shahu Modak and Sulochana.
From 1934 to 1948, he gave music to 35 films and in 1964 his one film was released. He composed about 300 songs. He never got films from top banners like Bombay Talkies, Prabhat, Sagar or Minerva, otherwise his career would have been different.
He died on 6-1-1986. Some of his better known films were Bholi Bhikaran-36, Punarjanma-38, Anjaam-40, Suhaagan-42, Naukar-43, Ek din ka sultan-45 and Lav Kush-51.
Film Fashion-43 was a very neatly made film. The film and its music become quite popular. The film got the ” Best film of the year” award from Film India. Hasnain was also declared “The Best Director of the year” by Film India. The story of the film was woven around the usual conflict between the Fashionable woman v/s traditional housewife. After the success of film Gunsundari from Ranjit, this type of story was made into films in many guises and various Titles. Film Gunsundari itself was remade in 1948 by Ratibhai Punatar- Nephew of Ranjit’s Sardar Chandulal Shah. Nirupa Roy did the main role in 1948 version, while the original 1934 film had Gauhar Mamajiwala as the Heroine.
Here is the song by Sardar Akhtar. When you hear the song, you will never feel that a non professional non playback singer is singing. The tune reminds us the famous song ” 15 August ka din hai hame pyara, azaad hua aaj ke din desh hamara” .
( Credits- Who’s who in Indian film industry-1946 edition, Cinerang by Isak Mujawar, Rahe na rahe hum by Shantaram Mankikar, Wiki, MuVyz, and my notes )
Song-Tum pyaare ho jab dil ko to ye ghar bhi hai pyaara (Fashion)(1943) Singer-Sardar Akhtar, Lyrics-Aarzoo Lucknowi, MD-Shanti Kumar Desai
Lyrics
tum pyaare ho jab dil ko
to ye ghar bhi hai pyaara
tum pyaare ho jab dil ko
to ye ghar bhi hai pyaara
tum pyaare ho jab dil ko
to ye ghar bhi hai pyaara
ye ghar bhi hai pyaara
ye ghar bhi hai pyaara
har cheez yahaan ki hai tasalli ka sahaara
har cheez yahaan ki hai tasalli ka sahaara
tum pyaare ho jab dil ko
tum pyaare ho jab dil ko
to ye ghar bhi hai pyaara
ye ghar bhi hai pyaara
ye ghar bhi hai pyaara
neend aankhon mein la rahi hai ye bujhti hui batti
neend aankhon mein la rahi hai ye bujhti hui batti
is dil ki ?? mein hai aaraam hamaara
aaraam hamaara
aaraam hamaara
is dil ki ?? mein hai aaraam hamaara
aaraam hamaara
aaraam hamaara
ulfat ho to is hans ke jode ki tarah ho
ulfat ho to is hans ke jode ki tarah ho
donon hain kisi ek ke jeene ka sahaara
donon hain kisi ek ke jeene ka sahaara
tum pyaare ho jab dil ko
to ye ghar bhi hai pyaara
ye ghar bhi hai pyaara
ye ghar bhi hai pyaara
yoon nal ki taraf dekh ke thhandi na hon aankhen
thhandi na hon aankhen
yoon nal ki taraf dekh ke thhandi na hon aankhen
thhandi na hon aankhen
paani na sahi phir bhi hai paani ka sahaara
paani na sahi phir bhi
paani na sahi phir bhi hai paani ka sahaara
tum pyaare ho jab dil ko
to ye ghar bhi hai pyaara
ye ghar bhi hai pyaara
ye ghar bhi hai pyaara
har cheez yahaan ki hai tasalli ka sahaara
har cheez yahaan ki hai tasalli ka sahaara
tum pyaare ho jab dil ko
to ye ghar bhi hai pyaara
ye ghar bhi hai pyaara
ye ghar bhi hai pyaara
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.
This article is his 600th writeup in the blog.
Today’s song is from film Aandhi-40. The film was directed by Dinesh Ranjan Roy, music was by K.C.Dey and this song is sung by Pankaj Mallik and Radha Rani.
There is a reason why I selected this song. I wanted a song sung by Radha Rani, so that I get an opportunity to settle the issue of multiple Radha Ranis. ” Same name confusion ” is very common in the world of Hindi cinema. Luckily, the confusion existed only between 1931 and 1960. There are many many cases of same name Directors, Music Directors, Singers and Actors. Information on all names is extremely difficult to come by. Still I managed to write on 15 pairs of Same name Artistes in 3 articles and tried to clarify the confusions.
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.
“Nai Zindagi”(1943) was directed by S Khalil for United Films, Bombay. This “social” movie had Sheikh Mukhtar, Anees Khatoon, Yakoob, Satish, Gope, Najma, Qamar, laddan, Nazeera, Aghajaan, Badri, Akhtar Zia etc in it.
Read more on this topic…
Recent comments