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

Posts Tagged ‘Actor-Singer


This article is written by Peevesie’s mom, 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.

Blog Day : 3745 Post No. : 14704

Happy Dussehra Atulites

Today’s song is a modern version of the Ram- Raavan story. It is from the 2001 supernatural thriller “Aks” produced by Amitabh Bachchan and Jhamu Sughand. Director was Rakeysh Omprakash Mehra. The movie had a star cast of Amitabh Bachchan, Raveena Tandon, Nandita Das, Manoj Bajpai and Amol Palekar in a special appearance. The songs were written by Gulzar and Anu Malik was the music director. Today’s song is in the voices of Amitabh Bachchan, Nandita Das and Kavita Mundra.

I like the touches of modernism that Gulzar has written into the song:
Lanka- Bharat baant diya hai.
Communication systems have changed- the song mentions phone lines are obsolete and emails were in use. (2018 even emails are rare)
And finally- jab tak ram hai raavan rahega (a real mirror to the times we are in)

Jai Bolo Shree Ram Ki.
Jai Maa Durge. Jai Mata Di.

Video

Audio

Song-Hat jaao raavan maaroongi baan (Aks)(2001) Singers-Kavita Mundra,Amitabh Bachchan, Nandita Das, Lyrics-Gulzar, MD-Anu Malik
Kavita Mundra + Nandita Das

Lyrics

(Whole lot of gibberish)

hat jaao raavan
maaroongi baan
raam ke paas hai teer kamaan
teer kamaan
arre jaao jaao
haha ha

hat jaao raavan
maaroongi baan
raam ke paas hai teer kamaan
teer kamaan

raavan ke paas hai gyaan hi gyaan
raavan hai tujhse bada vidwaan
bada vidwaan

lanka mein ja ja ke danka bajaiyyo o o
arre ja apne ghar mein tu shekhi dikhaiyo
jaanti nahin tu
arre sorry sorry sorry
jaanta nahin tu raavan ka dabdabaa aa
khol ke rak dega duniya ka dabba

haaan
chutki mein tujhko masal denge raam
mmm mmm
mmm mmm
mmm mmm

chutki mein tujhko masal denge raam
aedi ke neeche kuchal denge raam
kuchal denge raam
hoy
bolti bahut hai tu raam ki bachchi,
haan
bolti bahut hai tu raam ki bachchi
haran dikha ke le jaaunga sachchi
haran dikha ke le jaaunga sachchi
phir dekhenge jab aayega hanuman
ha ha ha ha ha ha ha

(dance ke taal)

ae aeeee
raavan hai raavan bol na zyaada
hasti hai kya teri paaltu piyada
poonch mein aag laga ke,
teri sone ki lanka jala doongi

arre gi nahin ga ga ga
okay,
sone ki lanka jala doonga

haan
sita ko bandi banaya hai toone aee,
raam ko jaake bata doonga

hmmm ha ha ha ha ha
arre sagar kaise paar karega,
paani mein gir ke doob marega
arre lanka bharat baant diya hai
phone ka taar bhi kaat diya hai
phone ka taar bhi kaat diya hai

hanuman
hanuman
hanuman
hanuman
hanuman
hanuman
hanuman bhaiyya e-mail kar do
mmhm mmhm mmhm mmhm
hanuman bhaiyya e-mail kar do
raam ko mere jaldi khabar do
jaldi khabar do
mmhm mmhm mmhm mmhm
aa aa ha
aa aa ha
aa aa ha

raavan hey raavan yudh ho jaye
haan ho jaaye ho jaaye ho jaaye
paapiyo se duniya shudh ho jaaye
arre lanka ka danka bajta rahega
jab tak raam hai raavan rahega,
jab tak raam hai raavan rahega
jab tak raam hai raavan rahega,
jab tak raam hai raavan rahega
raavan rahega
haan raavan rahega,
raavan rahega
arre bhai raavan rahega yaar

ha ha ha ha

raam ke roop hazaaron hai raavan
raghupati raghav patit paawan
patit paawan
raam ke roop hazaaron hai raavan
raghupati raghav patit paawan
patit paawan

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

Blog Day : 3745 Post No. : 14703

“Sangam”(1941) was directed by Junnarkar for Navyug Chitrapat Limited, Poona. The movie had Meenakshi, Vatsala Kumthekar, Sundarabai, Malti gupte, Baby Devi, Salvi, Damuanna Malwankar, Jog, Nandu khote, Vinayak etc in it.

This forgotten movie had 14 songs in it. One song from the movie is covered in the past.

Here is the second song from “Sangam”(1941) to appear in the blog. The song is sung by Sundarabai. Amritlal Nagar, a famous and prominent Hindi writer is the lyricist of this song. Music is composed by Dada Chandekar.

Seeing that Sundarabai acted in the movie as well, one can guess that this song was picturised on herself.

I request our knowledgeable readers to throw light on the details of this rare movie.


Song-Sakhi shyaam na aaye nahin aaye(Sangam)(1941) Singer-Sundarbai, Lyrics-Amritlal Nagar, MD-Dada Chandekar

Lyrics

sakhi shyam na aaye
nahin aaye
dharke mori chhatiyaa
sakhi shyam na aaye
nahin aaye
dharke mori chhatiyaa
sakhi shyam na aaye
nahin aaye
dharke mori chhatiyaa
aa aa aa aa
aa aa aa aa
dharke mori chhatiyaa

dhoodhnat hari van van raadha
jaaye chhipe kit kaanha aa aa
dhoodhnat haari van van raadha
jaye chhipe kit kaanha
haan
paany padoon ab aao mohan
saawan ban gayi ankhiyaan
haan aan
sawan ban gayi aankhiyaan
sakhi shyaam na aaye
nahin aaye
ghar khelne chhatiyaa
sakhi shyam na aaye
nahin aaye
dharke mori chhatiyaa

jal bin meen bhajan bin meera
jal bin meen bhajan bin meera
tarpat praan gaanwaye
aao madhav main balihaari
aao madhav main nalihaari
aao madhav
aao madhav
aao madhav
main nalihaari
chain padat din raatiyaan
sakhi shyam na aaye
nahin aaye
dharke mori chhatiyaa
sakhi shyam na aaye
nahin aaye
dharke mori chhatiyaa


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 : 3744 Post No. : 14702

“Akela” (1941) was produced by Kikubhai Desai and directed by Pesi Karani for Great India Pictures, Bombay. The movie had Mazhar Khan, Bibbo, E Billimoria, Miss Moti, Pratima Devi, Bose, Mohammed Hadi etc in it.

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

Here is the second song from “Akela” (1941) to appear in the blog. The song is sung by Bibbo. P L Santoshi is the lyricist. Music is composed by Khan Mastana.

Only the audio of the song is available. Seeing that Bibbo, the leading actor-Singer of those days is in the cast, it is clear that the song was picturised on herself.


Song-Lagti hai chot jigar mein (Akela)(1941) Singer-Bibbo, Lyrics-P L Santoshi, MD-Khan Mastana

Lyrics

lagti hai jab chot jigar mein
lagti hai jab chot jigar mein
nikla karti haay
lagti hai jab chot jigar mein
nikla karti haay
haay haay mein chhupi kahaani
samjhi na koi baat
haay haay mein chhupi kahaani
samjhi na koi baat
lagti hai jab chot jigar mein
nikla karti haay

samjhe usko ek baar jo
chot kisi ki khaay
samjhe usko ek baar jo
chot kisi ki khaay
din din baras baras se beete
din din baras baras se beete
kachhu na aur suhaaye
kachhu na aur suhaaye
naina rahat hain daras ke pyaase
naina rahat hain daras ke pyaase
kab aayen
kab aayen
kab aayen


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 : 3742 Post No. : 14697

“Raja Rani” (1942) was directed by Najmul Hasan Naqvi for Atre Pictures, Bombay. The movie had Vanmala, Sunalini Devi, Maya Devi, Trilok Kapoor, Baby Vimal, Mazhar Khan, Navin Yagnik, David, Bal Govind etc in it.

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

Here is the second song from “Raja Rani” (1942) to appear in the blog. This song is sung by Baby Vimal. Seeing that Baby Vimal figures in the cast of the movie, we can guess that the song was picturised on her as well.

Pandit Anand Kumar is the lyricist. Music is composed by Khan Mastana.


Song-Main ek niraali gudiya (Raja Rani)(1942) Singer-Baby Vimal, Lyrics-Pt Anand Kumar, MD-Khan Mastana

Lyrics

main ek niraali gudiya
main ek niraali gudiya
main ek niraali gudiya
main ek niraali gudiya
mere nanhe nanhe paanv
mere nanhe nanhe paanv
pair mein jhaanjar jhanjhana baaje
pair mein jhaanjar jhanjhana baaje
mere chhote chhote kaan
mere chhote chhote kaan
kaanon mein baali cham cham chamke
kaanon mein baali cham cham chamke
jaise gagan ke taare
haan haan jaise gagan ke taare
main ek niraali
ek niraali
ek niraali
haan haan haan
main ek niraali gudiya
main ek niraali gudiya
main ek niraali gudiya

chhamchham chhamchham paayal baaje
chaacha ke ghar jaaun
chhamchham chhamchham paayal baaje
chaaha ke ghar jaaun
meethhe meethhe geet sunaakar
chaachi ko bahlaaun
meethhe meethhe geet sunaakar
chaachi ko bahlaaun
main ek niraali
ek niraali
ek niraali
haan haan haan
mai ek niraali
ek niraali
ek niraali
haan haan haan
main ek niraali gudiya
main ek niraali gudiya
main ek niraali gudiya

kunj kunj mein chhup chhup jaaun
kheloon aankh michauli
boondaniyon ke taal pe naachoon
boloon prem ki boli

main ek niraali
ek niraali
ek niraali
haan haan haan
main ek niraali
ek niraali
ek niraali
haan haan haan
main ek niraali gudiya
main ek niraali gudiya
main ek niraali gudiya


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 : 3741 Post No. : 14695

“Garib”(1942) was directed by Ramchandra Thakur for National Studios, Bombay. This movie had Surendra, Rose, Baby Meena, Veena Kumari, Santaka, N A Ansari, Agha, Pesi Patel etc in it.

The movie had twelve songs in it. Six songs from this movie have been discussed in the past. Here is the seventh song song from “Garib”(1942) to appear in the blog. This song is sung by Surendra. Safdar Aah Sitapuri is the lyricist. Music is composed by Anil Biswas.

Only the audio of this song is available. It is clear that this song was picturised on Surendra himself.

I have not been able to get a few words right in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.


Song-Mohabbat ki duniya hai sabse niraali (Garib)(1942) Singer-Surendra, Lyrics-Safdar Aah Sitapuri, MD-Anil Biswas

Lyrics

mohabbat ki duniya hai sabse niraali
mohabbat ki duniya hai sabse niraali
tasawwur hai sab kuchh har pehlu hai khaali
tasawwur hai sab kuchh har pehlu hai khaali
mohabbat ki duniya hai sabse niraali
mohabbat ki duniya hai sabse niraali

tu hi tu nigaahon mein apni basa hai ae ae
tu hi tu nigaahon mein apni basa hai
jahaan chaaha tasveer teri bana li
jahaan chaaha tasveer teri bana li
mohabbat ki duniya hai sabse niraali
mohabbat ki duniya hai sabse niraali

shikaayat hai shiqwe ?? tu hai
shikaayat hai shiqwe ?? tu hai
bade lutf ki hai ye bazm e khayaali
bade lutf ki hai ye bazm e khayaali
mohabbat ki duniya hai sabse niraali
tasawwur mein sab kuchh pehlu hai khaali
mohabbat ki duniya hai sabse niraali


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 : 3737 Post No. : 14685

“Gunjan” (1948) was a Nalini Production movie. It was directed by V Desai. The movie had Trilok Kapoor, Nalini Jaiwant, David Abraham, Pande, Balraj Sahni, Veena Kumari, Purnima, Narmada Shanker etc in it.

The movie had nine songs in it. Two of these songs, both sung by Mukesh, have been covered in the blog long ago, viz on 2012 and 2013.

Here is the third song from “Gunjan” (1948) to appear in the blog. This song is sung by Nalini Jaiwant. Vrajendra Gaud is the lyricist. Music is composed by Ashok Ghosh.

Only the audio of the song is available. It is clear that the song was picturised on Nalini Jaiwant herself who was not only the leading lady of the movie but also the producer of the movie..


Song-Kiska saath nibhaaun nibhaaun (Gunjan)(1948) Singer-Nalini Jaiwant, Lyrics-Vrajendra Gaud, MD-Ashok Ghosh

Lyrics

kiska saath nibhaaun
nibhaaun
ye hai sooraj ye hai chanda
main sandhya si rahi beech mein
kiska saath nibhaaun nibhaaun
kiska saath nibhaaun nibhaaun
ye hai sooraj ye hai chanda

sooraj tan mein aag lagaata
bhole man ko chaand sataata
sooraj tan mein aag lagaata
bhole man ko chaand sataata
main samjhaati khadi akeli
peeda kise sunaaun sunaaaun
kiska saath nibhaaun nibhaaun
ye hai sooraj ye hai chanda

tan hai sooraj ke bandhan mein
tan hai sooraj ke bandhan mein
chaand
chaand chhipa man ke gunjan mein
chaand
chand chhipa man ke gunjan mein
main samjhaati ulajh rahi hoon
kuchh bhi samajh na paaun
nibhaaun
kiska saath nibhaaun nibhaaun
ye hai sooraj ye hai chanda


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 : 3732 Post No. : 14677

“Garib”(1942) was directed by Ramchandra Thakur for National Studios, Bombay. This movie had Surendra, Rose, Baby Meena, Veena Kumari, Santaka, N A Ansari, Agha, Pesi Patel etc in it.

The movie had twelve songs in it. Five songs from this movie have been discussed in the past. Here is the sixth song song from “Garib”(1942) to appear in the blog. This song is sung by Surendra. Pt Indra Chandra is the lyricist. Music is composed by Anil Biswas.

Only the audio of this song is available but it is clear that this “expression of love” song was picturised on Surendra himself.


Song-Haseenon ko karlo salaam (Garib)(1942) Singer-Surendra, Lyrics-Pt Indra, MD-Anil Biswas

Lyrics

o haseenon ko kar lo salaam
salaam more raaja
haseenon ko kar lo salaam
salaam
salaam more raaja
haseenon ko kar lo salaam
aankh lag jaaye to bas jaao wahin
dil machal jaaye to mit jaao wahin
aankh lag jaaye to bas jaao wahin
dil machal jaaye to mit jaao wahin
zara kar lo shaheedon mein naam
zara kar lo shaheedon mein naam
naam
naam more raaja
haseenon ko kar lo salaam
salaam more raaja
haseenon ko kar lo salaam

husn waale salaamat hain apne yahaan
husn waale salaamat hain apne yahaan
wo hamen chhod kar aur jaayen kahaan
wo hamen chhod kar aur jaayen kahaan
roz khali hai apna mukaam
roz khaali hai apna mukaam
mukaam
mukaam more raaja
haseenon ko kar lo salaam
salaam more raaja
haseenon ko kar lo salaam
salaam
salaam


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.

Blog Day :

3729 Post No. : 14670 Movie Count :

4010

Today’s song is from an old film School Master-1943. This was a Sun Art Pictures film, produced and Directed by the veteran C M Luhar. The Music director was Ninu Majumdar. There were 10 songs in the film. 5 were by Pt. Indra and 5 were by Pt. Bharat Vyas. Our today’s song is by Bharat Vyas. It is a duet sung by Karan Dewan and Rajkumari. The cast of the film was Jeevan, Maya Banerjee, Karan Dewan, Kaushalya,Gope, Rajkumari Shukla, Susheel kumar and others.

I have not seen this film, but have seen the same name film of 1959. I do not know if their stories were same, but the Hero was same- Karan Dewan. Actor Jeevan was in contract with Prakash Pictures during this period and was taken on loan from them officially for this film. The film of 1959 was a remake of a Kannada film of the same name made in 1958. The film was so popular that besides Hindi a remake in Telugu was made in 72, Tamil in 73, Malayalam in 64 and in Odiya in 85. It was also remade in Kannada in 2010. All these films had the same title School Master. The first Kannada film was inspired by a Marathi film ” Oon Paus ” ( ?? ???? ), which was, in turn, inspired by a Hollywood movie “Make way for Tomorrow”-1937. So much for the originality of Indian film makers !

Believe it or not,but LUCK plays a great role in Film Industry.

I am not talking about the ‘Rags to Riches’ or ‘Riches to Rags’ stories in the film industry. They are there,ofcourse,for everyone to see.

I am thinking about all those geniuses and and born actors,who could never make it to the top.I am thinking of those extras,who came all the way from far off places,with a dream in their eyes and finally ended up as ‘Junior Artists’ -a respectful term for Extras.

I am also thinking of all those Talented Composers,like Sajjad Hussain,Daan Singh,Vinod,Sardar Malik,C.Arjun,Shridhar Parsekar and few others,who,despite their Talents and art could never make it great in the Film Industry.

I am also talking about those superfine actors who were sensitive,talented,hardworking but could not make it to the Top in their lives.

I am also talking about those actors, who were very good looking, but not very good in expressions and acting,but still made it to the Top for some period.Those actors, after whom the producers were running with fat moneybags and those actors who got much more than what they actually deserved for their ‘acting’.

Interestingly,in each decade of the 40s, 50s and 60s there was at least one actor who had an extraordinary luck which took him to the top-but not for long.These actors worked with Top actresses of their times,got the best songs and films were made only for them.

In the 40s, it was KARAN DEWAN. he came to the Silver screen with Punjabi film ‘Puran Bahadur’,but it was Ratan -44 which made his life.The music of Ratan made history and he became a STAR overnight.He was a good-looker,but acting wise he was nothing.His luck was so strong that after Ratan-44,roles came to him in scores and he acted with the best Heroines of his days-like Nargis, Meena Kumari, Nalini Jaywant, Suraiya, Madhubala, Noorjahan, Munawwar Sultana, Swarnalata, Meena Shorey, Kamini Kaushal, Geetabali, Vaijayantimala, Sandhya etc etc….

Once his luck worn out, he had to work as a Production Manager with B R Chopra.When he died, only his colleagues from the Cine Artists’ Association, Chandrasekhar and Manmohan Krishna attended his funeral-nobody else from the film industry !

The ‘Chikana’ Hero of the 50’s was BHARAT BHUSHAN. Though he started with Chitralekha -1941 ( he was in the role of a disciple in the Ashram and was No 17 in the credits of the film!),he became famous because of the musical films of the 50s. He did about 180 films in his career and worked,without exception,with all leading Heroines of his times.he also got the best songs of the decade.
However he never won any acclaim for his acting skills.He always survived with best music and beautiful heroines. Once this supply receded,his days were numbered and he spent his last days in difficult times.

In the 60s and the third in this list was PRADEEP KUMAR,whose top period was late 50s and all 60s, though his last film came in 1994-2 years after his death. Acting wise he was most ordinary,but in looks he always looked Royal. Roles of Princes and Kings suited him best. I don’t remember the film name,but in one film he is shown begging on the road,but even there he was looking like as if he was the king of beggars ! He did many films as a Police Officer,but even in that role he looked a ‘Raees” policeman !

Handsome all Three-they also had one thing common amongst them- Their brothers produced many films (not all) for them, and everyone died in conditions not befitting their images.

Jaimini Dewan made films( including Ratan) for Karan Dewan.

R.Chandra produced films for Bharat Bhushan

and

Kalidas was the producer for many of Pradeep Kumar’s films.

Dewan Karan Chopra aka Karan Dewan ( 6-11-1917 to 2-8-1979 ) youngest of three brothers was born at Gujranwala, Punjab (now in Pakistan), British India. He studied in Lahore, where he became interested in Journalism and started editing a film magazine in Urdu, Jagat Lakshmi. One of the local distributors he met was Tarachand Barjatya, who was then the Manager of Chandanmal Inder Kumar’s distribution office at Lahore. Through his connection with Barjatya he landed in Calcutta, and in 1939, made his acting debut as Puran in the Punjabi feature film Puran Bhagat

Dewan started his film career with the role of Puran in Puran Bhagat in Punjabi in 1939 in Calcutta. It was produced by Raisaheb Sukhlal Karnani and directed by Roop K. Shorey’s father R. L. Shorey. His second film Mera Maahi (1941) was also a Punjabi film, directed by Shankar Mehta at Lahore and starring Ragini and Manorama. This was the movie in which he sang songs for the first time in the movies under the baton of legendary music director Shyam Sunder. Later, in Rattan, he sang for the first time in Hindi movies for Naushad. B R Chopra, then working as a film journalist in Lahore, helped Karan Dewan to get in touch with Devika Rani, who invited Dewan to come to Bombay. When this did not help Dewan get films, he taught “Urdu pronunciation to actors and actresses”.

In 1944, Karan Dewan acted in Rattan, a musical romantic drama, directed by M. Sadiq, which became one of the most popular films of that year. “A tremendous hit”, it paired Dewan with Swarnalata. His decisive film was Rattan (1944), which was produced by his brother Jaimini Diwan, and this movie had turned out to be the biggest hit of 1944. He also sang songs in this movie under music director Naushad, and his song “Jab Tum Hi Chale Pardes” became popular. He sang in films such as Piya Ghar Aaja (1947), Mitti Ke Khiloune (1948) and Lahore (1949). His other important films were Zeenat (1945), Lahore (1949), Dahej (1950), Bahar (1951) and Teen Batti Char Rasta (1953). Known as a “jubilee star”, about twenty of his films are stated to have been jubilee (twenty-five weeks or more) hits.

Dewan married co-actress Manju in 1944 following the release of Rattan, in which she had a character role. By 1966, he was working as a casting agent for the film unit of Maya (1966). He continued to work in the 1960s and 1970s playing supporting parts in films such as Apna Ghar (1960), Shaheed(1965), Jeene Ki Raah (1969) and Nadaan (1971), with the last film in which he was credited being Sohanlal Kanwar’s Atmaram (1979).

He worked in 73 films and sang 18 songs in 9 films. He worked with all leading actresses of his times,including Noorjehan and Nargis. At the end of his career, however, he was down financially and had to work as a Manager with B R Chopra’s company. When he died, except two workers of Cine artistes association, no one else from Film industry was present.

Film industry is one industry where men and women have to work together. Whether it is Actor-director or Singer-Composer, for the sake of work they have to spend much time together. No wonder then that Cupid does his work overtime. Sometimes there are mutual attraction and at times there are one sided fires burning. In most cases the one sided fire is extinguished in a very painful way, like what P L Santoshi faced with actress Rehana or the slap Sanjiv Kumar got from actress Nutan.

There were cases when love of Dilip kumar for Madhubala, died in the High court witness Box, when he gave evidence against her father in the ‘ Naya Daur ‘ legal case. Dev Anand’s love with Suraiyya ended happily for Dev Anand with him marrying Kalpana Kartik, but Suraiyya stayed “Unmarried”, in his ” yaad”, throughout her life. Here the villain was her so called ” Grand mother “, who actually was her own mother, as documented in the book “Stars from another sky” by Saadat Hasan Manto !

The successful 2-way traffic usually ended with a marriage. We can see marriages between producers and Actresses( Himanshu Rai-Devika rani and W Z Khan and actress Nina), directors and singers/actresses ( Nalini jaywant-Virendra Desai, Shaukat Hussain-Noorjehan, Geeta Dutt-Guru Dutt, Lalita Pawar-G.P.Pawar, Rattanbai-Hafiz Khan), Actors and Actresses ( Arun Ahuja-Nirmala devi, Snehprabha Pradhan-Kishore Sahu, Dev Anand-Kalpana Kartik, Dharmendra- Hema Malini, Rajesh Khanna-Dimple Kapadiya, Amitabh Bachchan-Jaya, Abhishek-Aishwarya, Kishore Kumar-Madhubala, Premnath-Bina Rai, Karan Dewan-Manju Desai, Marutirao Pehlwan-Tara Devi.)

There were some odd combinations like Satyendranath Athiah-Bhanu Athaiya (Lyricist-Costume designer),Lyricist-Singer (Amar Verma-Manik Verma), Singer-villain (Shakti Kapoor- Shivangi Kolhapure),Music teacher-student ( Roshan-Ira Moitra, Hemant Kumar-Bela Mukherjee, C.Ramchandra-‘Ben’ Ratan Thakur), and even a singer-Orchestra player (Vinita Amladi-Krishna Chakravarty) and lastly between singer-singers ( Jyoti-G M Durani, Gauhar Karnataki- Bal Gandharva). There were those pairs who were singers-actors ( Amirbai- Himalayawala,Rafiq Gazanavi- Anwari bai).

The interesting group, however,was that of Composer-Singers ( Sudhir Phadke-Lalita Deulkar, Asha Bhosle-R D Burman, Naashad-Premlata, Anil Biswas-Meena Kapoor, Pannalal Ghosh-Parul Ghosh, Khayyam-Jagjit Kaur, Ghulam Haider-Umrao Zia begum, Kamal Dasgupta-Firoza begum, Ninu Majumdar-Kaumudi Munshi).

Ninu (Niranjan) Majumdar was born on 9-9-1915 in a Gujarati Nagar Brahmin family of Baroda (Vadodara). Ninu was a pet name that he became famous by. His real name was Niranjan, which he later used as a pen name in his Gazals. His father, Nagendra Mazumdar made silent films. He was also a Music Director and Lyricist in his times. Ninu Majumdar’s name is variously written as Mujumdar, Muzumdar, Majumdar and Mazumdar.

After the early influence of Faiyaz Khan, Mazumdar’s search took him to various routes and he studied different kinds of music before he came into his own to become one of the first Gujarati Sugam Sangeet (light music) singer. He soon graduated to composing his own music and writing songs. Apart from classical music, the earlier influence was also of Ravindra Sangeet. This was at the time when Bengali language enjoyed prestige among Gujaratis of a kind that was comparable to the status of French among the English speaking nations. He grew out of it in a few years.

The more lasting influence on his music was that of folk songs and semi-classical music of Uttar Pradesh (U.P.) like the Hori, Chaiti, Barkha Biraha as well asThumri and Dadra. He learned these during his stint in U.P. where he did farming for some years and also kept in touch through association with people like Satyendra Trivedi, a connoisseur of music and the “Thumri Queen”, Siddheshwari Devi, a family friend and his wife Kaumudi’s Guru.

Ninu’s ambition, even when he started his schooling in music at Baroda, was to become a music director in films. From 1937 onwards he participated in light Gujarati musical programmes. He also produced several features for All India Radio. From 1954, Mazumdar worked with all India Radio in Mumbai for over 20 years as Light Music Producer. He would have liked to take part in Hindi programmes too but the shortage of Gujarati artists forced him to concentrate on programmes in that language.

When in charge of music for the newly launched Vividh Bharati, that had to compete with Radio Ceylon without using any film music (film music was not played on AIR for several years due to conflicts over contracts and royalties), he successfully produced programmes inviting Salil Chaudhary, Kanu Ghosh and others from Bombay Youth Choir or IPTA and using voices of Manna Dey and other well known artists. Later when the issue of royalties was settled between the film producers and AIR, Mazumdar was the first to produce the popular Jaymala Programme by interviewing eminent persons from the film industry.

A career in films was also cut out for Ninu Mazumdar, as his father, Nagendra Mazumdar, was a dramatist and film producer. Nagendra was not much of a musician but he imparted his son training in music from the very early days.

Ninu found the field restricted, in a way in films, because of the need of working at a very fast pace and with view to pleasing the majority among the public. Ninu tried to introduce a new trend in film music, that of, adding a classical touch by borrowing from the old masters like Surdas. These attempts met with considerable success in Gopinath, a picture in which Ninu had interest as a producer as well.

It was in films made in the forties that a young Ninu Mazumdar’s voice could be heard. He sang with Sardar Akhtar in “Uljhan”, with Amirbai Karnataki in “Paristan” and Meena Kapoor in “Gopinath”.

He provided music for Jail Yatra and Gopinath, two of the earliest Raj Kapoor films. It is well documented by now that the Yashomati Maiyase Poochhe Nandlala song in RK movie Satyam Shivam Sundaram is a direct lift from Mazumdar’s Aai Gori Radhika in Gopinath.

He also composed music for several Gujarati Films like “Jeevano Jugari”, “Okha Haran”, “Sharad Poonam” etc.

He sang and penned quite a few of his songs. Amongst others who sang for him were Meena Kapoor, Shamshad Begum, Geeta Dutt, Suraiya, Hameedabanu, Pradeepji, C.H.Atma, Ameerbai Karnataki, Raj Kapoor, Shankar Dasgupta, S.D.Batish, Lakshmi Shankar, Talat Mehmood, Siddheshwari Devi, Rajkumar, Nalini Mulgaonkar, Dilip Dholakia, Ajeet Merchant, Shobha Gurtu, Sarla Bhide, Lata Mangeshkar, Asha Bhosale, Manna Dey, Kishori Amonkar, Usha Mangeshkar, Leela Mehta, Premlata Naik, Kishori Ghia, Suman Kalyanpur, Kaumudi Munshi,etc.

Vetern composer Ninu Mazumdar passed away on March 3 2000. Some of his songs have become so popular that people often do not even remember who wrote or composed them.

He gave music to 19 Hindi films – Black out-1942,Amanat, Masterjee, School Master, Kiran, Paristan, Rangila Dost, Main kya karun, Gudiya, Jail yatra, Gopinath, Kuch naya, Aflatoon, Pul, Raj ratan, Ram Shastri, Teen Tasweeren, Bhai Saheb-54 and Punam ka chaand-67.

He sang 28 songs in 13 films and directed 1 film-Kuchh naya-48

His son Uday gave music to TV serial ” Buniyaad ” in the 80s.

The Director CHIMANLAL MULJIBHOY LUHAR ( 1901-1948) was a Chemistry graduate from Bombay University. He started writing as a critic and author in journals like Beesvin sadee, Navchetan and Bombay Chronicle. He joined film line as a lab Assistant in Kohinoor studios in early 20s. Soon he became a noted cameraman for several documentaries, with K.D.Brothers, Bombay,under a British cameraman of Prince of Wales’ official entourage. After a brief stint at Rajkot with Saurashtra Films and a longer one at Krishna Films-where he shot 20 films, he joined Sharada Studios with ‘Dagabaz Duniya-1926 and several stunt films by Master Vithal. He turned a producer for a few stunt films. Later he was a partner in Sharda films and a Director with Sagar Movietone(1934-1940). From 1941 to 46 he worked for Prakash Pictures. He directed Sassi Punnu-32,Silver King-35 Talash-E-haq (first film of Nargis, made by Jaddanbai)-35, Do deewane, Kharab Jaan, Capt. Kirtikumar, Dynamite, Kaun kisika, Sewa Samaj, Saubhagya, Darshan, Station master, School Master, Uss paar and Bindiya. He died at the young age of 47 years,in 1948. He had established his own production outfit ‘Sun Art Pictures’ in 1943, but he made only 3 films with it -School Master-43, Uss Paar-44 and Bindiya-46, before he died, after a prolonged illness.

I have heard 6 songs of this film and I was,honestly,impressed with the songs. There are 2 songs by Ninu Majumdar himself and 2 duets of Karan Dewan and Rajkumari. Both the duets are light comedies. With today’s song the film School Master – 1943 makes its Debut on the Blog.

(credits- HFGK,wiki, Prof.Yadav’s book, star portraits,encyclopedia of Indian Cinema, Filmdom-46, inhe na bhulana, Filmindia-43 and my notes)


Song-Mera khuli hawa mein bangla (School Master)(1943) Singers-Karan Dewan, Rajkumari, Lyrics-Bharat Vyas, MD-Ninu Majumdar

Lyrics

Mera khuli hawa mein bangla
mera khuli hawa mein bangla
bangle mein balam akela
kahaan hai meri banglewaali

kahaan hai teri banglewaali
pardesi des paraaya
jahaan teri kahin banglewaali

ho aisi banglewaali
ho aisi banglewaali
roop ho kaali
chaal matwaali
kahaan hai teri banglewaali
pardesi des paraaya
jahaan teri kahin banglewaali

bangle de(?) baanke sanwariya
bangle de(?) baanke sanwariya
?? aankh milaaye najariya
?? aankh milaaye najariya
hamre dil mein unki maala
unke munh mein gaali

kahaan hai meri banglewaali
bangle mein balam akela
kahaan hai meri banglewaali

dilon beech deewaar na kheencho
dilon beech deewaar na kheencho
phool chaaho to kaliyaan seencho
phool chaaho to kaliyaan seencho
aao pujaari khadi pujaarin
aao pujaari khadi pujaarin
liye prem ki thhaali
haan liye prem ki thhaali
haan liye prem ki thhaali

kahaan hai meri banglewaali
bangle mein balam akela
kahaan hai meri banglewaali


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.

Blog Day :

3718 Post No. : 14651 Movie Count :

4003

Today’s song is from the film “Das Baje” aka “Ten O’ Clock”-1942. It was a Prabhat film, directed by Raja Nene. The lyrics and the story was by Pt. Mukhram Sharma ‘Ashant’. The music director was Keshavrao Bhole. The cast included Paresh Banerji, Urmila, Vasant Thengdi, Baby Shakuntala ( Debut film) and many others. This was a bilingual film in Hindi and Marathi (Daha Vajta).

When Silent film making was in full swing in the 20s and 30s, there were as many as 217 film making companies, spread over different centres like Bombay, Poona, Kolhapur, Nashik, Calcutta, Madras, Bangalore and Lahore mainly. Not all were very active, but few big companies like Madon, Prabhat, Maharashtra, British Dominion, Imperial,Kohinoor, krishna, Sagar, National, Sharda, Laxmi, Surya and United were some of the leading companies, based on their number of films produced. Not all the film makers had their own studios, they used to get the films made in others’ studios.

After the advent of the Talkie and end of making silent films, most of these 217 film companies closed down. However big companies like Imperial, Prabhat, Maharashtra, Kohinoor, krishna, Ranjit etc had their own studios and they started making Talkie films regularly. As the film industry grew bigger some more studios like Bombay Talkies, New Theatres, Pancholi etc came up and flourished. newer studios kept on coming. Some outside film makers like Ramnik lal Shah and Haribhai Desai from Bangalore came to Bombay and started their studios for making Talkie films. All of them flourished in the growing market.

Each studio had its own culture, rules and a battery of actors, directors, MDs etc on monthly pay rolls. Some big studios like Ranjit had, at one time, more than 700 people on its rolls. The Indian Government had even opened a Ration shop, inside their compound for the benefit of employee families. New Theatres, Bombay Talkies and Prabhat too had a sizable number of staff on its rolls. The studios had their own shooting facilities, about 3 to 6 shooting floors, props etc. in all these studios, there always was a Father figure, who controlled all the matters of the studio. For example, Baburao painter for Maharashtra film co., V Shantaram for Prabhat, Chandulal Shah for Ranjit, Sohrab Modi for Minerva, Himanshu Rai for Bombay Talkies, Chimanlal Desai for Sagar, B N Sircar for new Theatres, Dalsukh Pancholi for Pancholi, Lahore etc etc.

As the years passed by, the studio system became weak. There were many reasons. Two of the main reasons were..1. during the war period lot of Black money flowed into film production. producers, Financiers and the Distributors became dictators in star selection story, music…everything. They lured big stars from other studios by offering much more money. Thus studio system slowly became a freelance contract system. 2. more important reason was that due to the short sightedness, autocratic behaviours, use and throw attitudes, bad decisions/habits of the owners, many well known studios were deserted by its stars. Due to gambling of the owners, Sagar and Ranjit studios crumbled and due to Ego clashes of Titans, New Theatres was destroyed. Some stars felt that that prabhat and Minerva took undue advantage of them and new actors did not want to get tied up with one studio.

Reportedly, some studio owners were infamous for cheating their stars while signing contracts. Names that are involved in this are that of Sohrab modi (Meena Shorey, Jyoti), W.Z.Ahmed of Shalimar studios (Sitara Kanpuri ), V.Shantaram (Shanta Apte, B.Nandrekar and S.Purushottam).

When the studios broke up, they gave way to new establishments. Sagar gave way to National and mehboob studios, Bombay Talkies fragmented into Filmistan, N R Achaya films and later filmalaya, New Theatre directors started their own companies like Bimal Roy, Barua, Nitin Bose etc., Prabhat made way for Rajkamal, Nene production, Alhad Chitra of Dharmadhikari etc.

Today’s film Das Baje -42 was a film made at the time when Prabhat’s disintegration had started. Shantaram had already walked out to start Rajkamal. After film Das Baje-42, during 1943, another batch of Raja nene, Shantaram Atavale, Datta Dharmadhikari and Keshavrao Bhole left Prabhat, while film Ramshastri was in the making. K.Bhole however, completed the music composition of film Ramshastri before leaving Prabhat.

In the cast of Das baje-42, you will find a name Urmila- in some films she is named as Urmila Devi also. She was not a very good looking actress, but she compensated for it with her good acting. Urmila Talwar was born in 1921 at Panja Sahib, Rawalpindi district of United Punjab. her father, who was a Civil Contractor, died when she was only 5 year old. She did not get much education but could read and write as well as talk fluently, Urdu, Hindi and English.

She started her career with a small uncredited role in film Mirza Sahiban-33. She was the younger sister of Mirza in this film. After some more small roles, she got her major role in film Aasuon ki Duniya-36. After this, she did not look back and did Punjab Lancers-37, kahan hai manzil Teri-39, Hurricane special-39, Flying Ranee-39, Desh Bhakt-40, Sasural-41, Sajjan-41, Mere Sajan-41, Naari-42, Das Baje-42, Call of youth-42, Badal -42, Apna Paraya-42, Tamash-42, Kirti-42, Salma-43 and last film Bansari-43. After this Urmila got married and stopped working in films, for some time, may be for raising a family. She resumed working in films and acted in another 20 odd films till 1952. Sometimes she was mentioned as Urmila Gupta also. She had sung 12 songs.

Das Baje was the film from where Pt. Mukhram Sharma came to Hindi films prominently. He left Prabhat after writing songs and story of Ramshastri-44.
Pt. Mukhram Sharma was born in Poothi village of Uttar Pradesh, India on 29 May 1909. He studied Sanskrit and was brought up in Meerat. He worked as a Hindi and Sanskrit language teacher while continuing writing poetry and short stories for local magazine.

Sharma narrated one of his stories to one of his friends in Meerut who was associated with Hindi film industry. On his friend’s request, who was impressed with Sharma’s stories, Sharma to visited Mumbai (then Bombay) in 1939. But, he did not get any work in Mumbai so Sharma moved to Poona, Maharashtra with his family. He joined Prabhat Films owned by filmmaker V. Shantaram as a Marathi language tutor to new comers at the salary of Rs 40 per month.

From 1940 to 1942 he was there and wrote songs for Sant Dnyaneshwar-40, Sant Sakhu-41 and Das Baje-42. During this period Sharma got involved with a Marathi actress Shanta Mujumdar and married her. In 1942, Sharma got his break by penning lyrics and dialogue of the Hindi-Marathi bilingual film Das Baje. The film was directed by Raja Nene, starring Urmila and Paresh Banerji. He worked with Nene on more films like Taramati, based on mythological love story of King Harishchandra and Taramati where actress Shobhana Samarth played the title role. He worked on more mythological films like Vishnu Bhagwan and Nal Damyanti. Sharma’s next film was Marathi Film Stree Janma Hee Tujhi Kahani (1952) which was with director Datta Dharmadhikari. The film was based on Sharma’s earlier short story Aaj Ka Sawaal, later recreated in Hindi as Aurat teri yehi kahani (1954) by Chaturbhuj Doshi.

Meeting initial success, Sharma moved to Mumbai where his first film released in 1954 was Aulad. He won the first Filmfare award in the Best story (1955) category He continued writing for films like Vachan (1955), Ek hi rasta (1956), Dushman, Sadhana (1958), Santaan, Do Behneh, Talaq (1958), Dhool ka Phool (1959), Samadhi, Pyar kiya to darna kya(1963), and Humjoli (1970). Sharma’s films often dealt with prevailing social issues. For Sadhana (1958) which described the life of a prostitute, Sharma had initially approached director Bimal Roy who requested to change the ending. Sharma refused for any alternation to the story and approached B R Chopra who made the film . Sharma also worked with filmmaker L V Prasad for his Hindi film, Daadi Maa (1966), Raja aur Rank (1968), Jeene ki raah (1969), and Main sundar hoon (1971), with AVM Prodn for Do kaliyan (1968) and with Gemini Studios for Gharana (1961), Grahasti (1963).

Sharma took retirement from film writing after the release of Naukar (1979) and Sau din saas ke (1980) and moved to Meerut.

He got 3 FF awards for Best story, Sangeet natak Academi award in 1961 and many other awards too.

Sharma died on 25 April 2000 at the age of 92 at his residence in Meerut.

Film India of Baburao Patel, famous and popular from 30s to the 50s, reviewed about 50 films every year. he was so critical that his praise would come only for 10% films. In his opinion, 60% films were poor, 30% were so-so and only 10 % were watchable. In the january 1943 issue of Fil India, he has reviewed film Das Baje-42, in which he criticised every aspect of the film. he had only good words for the Debutante child artiste baby Shakuntala 6 years old, as the only redeeming point in the film. However, as was usually the case, despite his criticism, the film was a grand success commercially and it was appreciated also. Here is the story of the film…

Asha (Urmila) and Dilip (Paresh Bannerji) study together in college and are in love with each other. While Urmila comes from a wealthy family, Dilip is poor but academically brilliant. His family consists of a young eight-year-old sister (Baby Shakuntala), whom he takes care of. Trouble arises when Urmila’s father wants her to marry Dr. Ramesh (Vasnt Thengdi), who comes from an equally wealthy family, and has just returned from abroad after completing his medical studies. Asha agrees to sacrifice her love at her father’s insistence and frail condition. During the wedding ceremony, Asha faints and the marriage is postponed. Dr. Ramesh tends to her and she informs him of her love for Dilip. She then tells her father that she will only marry Dilip and he agrees. Dilip meets with an accident when he is struck by a car. He comes under Dr. Ramesh’s care who has to operate on him. For some moments, Dr. Ramesh is faced with either having the woman he loves or saving Dilip. In the end he goes with his conscience and operates successfully on Dilip.

Let us now listen to the song from this film. It is sung by Urmila and Paresh Banerjee. With this song, the film and singer Urmila make Debuts on the Blog.

(credits- Filmography by Dr. Verma,Encyclopedia of Indian Cinema, Manto’s book ‘ Dastavez’-vol 5, Film Directory, wiki, Hindi filmon ke geetkar,MuVyz, HFGK, Cinerang by Isak Mujawar and my notes.)


Song-Aaj ki duniya kal se nyaari (Das Baje)(1942) Singers- Paresh Bannerji, Urmila, Lyricist- Pt. Mukhram Sharma, MD-Keshavrao Bhole
Both

Lyrics

aaj ki duniya
kal se nyaari
aaj ki duniya
kal se nyaari

ped niraale
paat niraale
ped niraale
paat niraale
bel niraali
phool niraale
bel niraali
phool niraale

rang niraala
gandh niraali
rang niraala
gandh niraali
goonje bhanwra
mahke kyaari

goonje bhanwra
mahke kyaari
aaj ki duniya
kal se nyaari
aaj ki duniya
kal se nyaari

khule gagan mein panchhi doley
khule gagan mein panchhi doley
meethhi meethhi boli bolen
meethhi meethhi boli bolen

gaan niraala
taan niraali
aaj sunaaye koyal kaari
gaan niraala
taan niraali

aaaj sunaaye koyal kaari
aaj ki duniya
kal se nyaari
aaj ki duniya
kal se nyaari

dukh ka parwat
chadhke hans kar
kaanten pathh ke
kuchal kuchal kar

dukh ka parwat
chadhke hans kar
kaanten pathh ke
kuchal kuchal kar

aaj niraala jeewan paaya
aaj niraala jeewan paaya
poori saari
saadh hamaari
poori saari
saadh hamaari
aaj ki duniya
kal se nyaari
aaj ki duniya
kal se nyaari
aaj ki duniya
kal se nyaari


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 : 3707 Post No. : 14632

Today’s song is from film the film Mahatma Vidur-1943. It is sung by Vishnupant Pagnis. This will be his second song on the Blog.

The song is written by Pt. Narottam Vyas and MD is H.C. aka Harishchandra Bali. The film was produced by Circo productions and directed by Parshwanath Alatekar. The cast of the film was Vishnupant Pagnis, Durga Khote, nayampalii. Baby Madhuri,Kalyani, David etc.etc.

Thousands of actors worked in Hindi films. All were not heroes, because to become Hero in a film, you require Luck or a God father. There were many One Film Wonders in Hindi films. Some worked in only one film and some worked only in one film worth remembering. So much has been written about this tribe, that I will not repeat it here. However, working in just one film or a film which records your name in the Hindi Film History for ever is something extraordinary. I remember just two such names, offhand, in this category, though, I feel, there could be few more such names. Knowledgeable readers can point them out in the comment section.

The names which I remember are Rajkumar Gupta, who did the role of Ajay in film Jagriti-1954 and Vishnupant Pagnis who did the main role in the film Sant Tukaram-1936 (Marathi version. Its Hindi version came up only in 1948). Rajkumar Gupta-who hailed from Ranchi-acted in only One film, Jagriti, arguably the most meaningful Children’s film ever, and his role of Ajay alongwith the movie has passed into folklore.

Vishnupant Pagnis did the immortal role of Tukaram in his first film and then lived the role throughout his life, though he did four more films in the same Genre of Saint films. His name became famous not only in India but also in other countries. This film was hailed as “one of the 3 Best films in the world” at the Venice Film Festival, where it won accolades. Records of his Bhajans from this film created records ( we too had these records in our house in the 1940s.)

Vishnupant Pagnis was born in a small place called Chicodi, near Kolhapur, on 1-11-1892, in a lower middle class family. After formal education, he was assisted by Shahu Maharaj of Kolhapur state to join a Drama company at the age of 10 years. He sang naturally, without any training from an expert. he was a popular artist doing female roles, till his entry in films. He shifted to work in various drama companies including “Lalit Kaladarsh” of Mama Varerkar- a name connected with many Marathi and Hindi films of that time. In 1913, he floated his own company ‘ Jagchitradarsh ‘, only to wind after two years in 1915. he continued working in dramas and doing female roles, for which he was famous in those times.

After a few years, he left drama acting and worked as a Music Teacher in Municipal school at Girgaum in Bombay. After his wife died, he lived with his friend Petkar. They started a Gold Jewellary shop “Pagnis Petkar and Mandali” in Girgaon.

When Prabhat Film company planned to make Sant Tukaram, a search was undertaken for the main role and the main female role. This was in early 1936 and he was selected for the role of Tukaram, while a worker in the Prabhat company-Gauri – was selected as his wife. The Director duo of the film- Damle and Fattelal- were not happy about his selection, because his name was associated with female roles. But this became his strong point for the film in which he portryed a soft, kind and loving Tukaram. He did the role so well that the film Sant Tukaram became an International Hit, in addition to running to full house in Non Marathi areas like Madras Presidency, covering Andhra, Tamilnadu, Kerala and Karnataka and also in Bengal and Punjab. he became an actor in great demand for Saint films. After the film Sant Tukaral, hundreds of people used to crowd in his shop at Girgaum to pay respects and touch his feet as Tukaram. He also always dressed like Tukaram thereafter !

Vishnupant Pagnis worked in for more films of the same genre, namely Sant Tulsidas-39, Narsi Bhagat-43, Bhakta Raj-43 and his last film Mahatma Vidur-43. He also gave music in two films, Sant Janabai- 38 and Sant Tulsidas-39. These two and Mahatma Vidur were also made in Marathi language. His most famous film Sant Tukaram was released in Hindi only in 1948, but without his songs, because he had died on 3-10-1943. The MD- Snehal Bhatkar sang his songs in the Hindi version.

Vishnupant Pagnis became immortal with just one film Sant Tukaram. Even today this film is shown and discussed in the film Institutes of many countries.Many books and essays and articles are published on this film. His performance as Tukaram has become a major reference-point in debates about Indian performance idioms: e.g. Kumar Shahani’s essay The Saint Poets of Prabhat, 1981; Geeta Kapur’s Mythic Material in Indian Cinema, 1987 etc etc.

Today’s film Mahatma Vidur-43 was made on the life of Vidur after he renounced his Royal heritage and displeased the Kauravas by joining the Pandav camp.The film was full of miracle scenes. The art direction was by the legendary Baburao Painter. Story was by mohanlal Dave and dialogeus and lyrics by Narottam Vyas and Mahesh Kaul.

How many of us really know anything about Vidur ? Not many, I am sure. Vidur was an important character in Mahabharat. He was the brother of Dhritrashtra and Pandu, thus an uncle of Kauravas and Pandavas. The story of his birth is interesting.

In the clan of Kuru, Vichitraveerya became the king. Bhishma did his marriage with Ambika and Ambalika, However, the king died without any issues. The Queen mother Satyavati requested the Rajpurohit and family mentor Bhishma to produce children for the clan. But due to his vow of Celibacy, he refused. Then Maharshi Vyas was called in to help, which he agreed. When he went to queen Ambika, she could not tolerate his Teja and closed her eyes. Hence Dhritarashtra was born without vision. Ambalika fell pale and she gave birth to Pandu, who was ill always. Finally a Daasi was asked to go with Vyasa. the Daasi enjoyed the intimacy and a very intelligent and learned Vidur was born. the meaning of word Vidur itself is skillful, intelligent and Philosophical.

In the great war, Vidur sided the Pandavas because they were on the side of Truth. He saved them many times from the plans of Kauravas, especially from the Lakshagriha fire. His advices and principles are known as Vidur Neeti. ( This is supposed to be the precursor to Chanakya Neeti in King Nand’s period.). After the war Vidur was made the PM, but he declined and went to the forest for doing Penance. Dhritarashtra, Gandhari, Kunti and Madri too went with him. Once when Dharmaraj-Yudhishthir- went to call on him, Vidur died in his arm, bestowing all his powers to him. The others with him also died later in a forest fire.

The film was directed by Parshwanath Alatekar. Tbhis name too must be unknown to most people. Altekar (1897-1957) was from Kharepatan i n Ratnagiri, the coastal Konkan area of Maharashtra. he was educated in Kolhapur and graduated from Sangli. he abandoned Law studies to direct a drama in 1922. Basically a drama enthusiast, Altekar entered film world in Marathi and directed many films in silent era. He joined hands with Sarpotdar, Master Vithal and pendharkar brothers. In 1928, he made 4 films for Imperial film company, then for Saraswati Cinetone, Master Vinayak and Circo films. He made a few Tamil and Kannada films as well.

He floated his own company Natraj Cinetone and made Hindi/Marathi film Saathi/Savangadi in 1938 with Durga Khote and Mubarak. Meanwhile he worked for his pet drama group Natya Manwantar. Alatekar died on 22-11-1957 at Bombay. he directed 13 films including silent and Tamil/Kannada films. His Hindi films were Vasavdatta-34, Saathi-38, Mera Haque-39, Geeta 40 and Mahatma Vidur-43.

Let us now listen to Vishnupant Pagnis singing a song from film Mahatma Vidur-43. The film makes its in debut in the Blog with this song.

(Credits- Hindu Dharma Granth by Pt. Shrinivas, Encyclopedia of Indian Cinema, Film Directory, Prabhat Cinema by Bapu Watwe, Marathi Chitrapat sangeetkar kosh, HFGK, MuVyz and my notes)


Song-Har kaam mein rahte Prabhu hamaare (Mahatma Vidur)(1943) Singer-Vishnupant Pagnis, Lyrics-Pt Narottam Vyas, MD-Harishchandra Bali
Chorus

Lyrics

Har kaam mein rahte
Prabhu hamaare
Har kaam mein rahte Prabhu hamaare
hare muraare
hare muraare
hare muraare
hare muraare

mata kheti sab kuchh deti
mata kheti sab kuchh deti
bhare ann bhandaare ae
bhare ann bhandaare ae
hare muraare
hare muraare
hare muraare
hare muraare

chalta pyaara kargha pyaara charkha
chalta pyaara kargha pyaara charkha
karta rahta dhan ki varsha
karta rahta dhan ki varsha
dhakta badan hamaare
dhakta badan hamaare
hare muraare
hare muraare
hare muraare
hare muraare

ye jeewan sarvas(?)??
ye jeewan sarvas(?) ??
balram krishn ki maiyya
balram krishn ki maiyya
ham jeete un ke sahaare
ham jeete un ke sahaare
hare muraare
hare muraare
hare muraare
hare muraare

mukti ka panthh na dooja
mukti ka panthh na dooja
sab kaam prabhu ki pooja
sab kaam prabhu ki pooja
nij kaam hi jan ko taare
nij kaam hi jan ko taare
hare muraare
hare muraare
hare muraare
hare muraare
hare muraare
hare muraare
hare muraare
hare muraare
hare muraare
hare muraare


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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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