Posts Tagged ‘Actor-Singer’
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5032 | Post No. : | 16941 |
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Blog 10-Year Challenge (2012-2022) – Song No. 46
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This date ten years ago (28 April 2012) saw a whopping ten songs from ten different movies getting covered in the blog. Here are the details:-
| Blog post number | Song | Movie (Year) | Remarks |
|---|---|---|---|
| 5883 | Wo jo chaahne waale hain tere sanam | Duniya Rang Rangeeli (1957) | Movie YIPPEED by now |
| 5884 | Jaao na sataao rasiyaa | Roop Ki Rani Choron Ka Raja (1961) | Movie YIPPEED by now |
| 5885 | Bata do zara sakhiyon ree mere man ki baat | Chamak Chaandni(1957) | 2 songs covered out of 9 |
| 5886 | Suno zindagi gaati hai | Pagla Kahin Ka (1970) | Movie YIPPEED by now |
| 5887 | Ye ruki ruki hawaayen | Daaman(1951) | 8 songs covered out of 10 |
| 5888 | Aji biwi ko ghar pe bithhlaa ke | Minister (1959) | 3 songs covered out of 6 |
| 5889 | Hamne dekha hai tumhe aisa gumaan hota hai | Jee Chaahta Hai(1964) | Movie YIPPEED by now |
| 5890 | Tere khayaalon mein ham | Geet Gaaya Pattharon Ne (1964) | 5 songs covered out of 9 |
| 5891 | Tujhse nazar milaane mein | Meri Soorat Teri Aankhen (1963) | Movie YIPPEED by now |
| 5892 | Ye ladka haaye Allah kaisa hai deewaana | Ham Kisi Se Kam Nahin(1977) | Movie YIPPEED by now |
Six movies (out of ten), whose songs were covered ten years ago on this date have since been YIPPEED. Taht leaves us with four movies that are eligible for Blog Ten YEar Challenge today (28 April 2022).
“Geet Gaaya Pattharon Ne”(1964) is one of the eligible movies.
“Geet Gaaya Pattharon Ne”(1964) was produced and directed by V Shantaram for Shantaram Productions, Bombay. The movie had Rajhsree Shantaram, Jeetendra,
Surendra, Bharati, K.Date, Mai Bhide, Nana Palsikar, C.H.Atma, Paresh Kumar, Dalvir, Parshuram, Kamaal, Babloo etc in it.
“Geet Gaaya Pattharon Ne”(1964) had nine songs in it. Five songs have been covered in the past.
Here is the sixth song from “Geet Gaaya Pattharon Ne”(1964)to appear in the blog. The song is sung by C H Atma. Hasrat Jaipuri is the lyricist. Music is composed by Ramlal.
Onlty the audio of the song is available. Seeing that C H Atma, a K L saigal clone acted in the movie, it is clear that the song was picturised on him in the movie.
Lyrics and other details were sent to me by Prakashchandra.
audio link:
Song-Ek pal jo mila hai tujhko jeene ke liye (Geet Gaaya Pattharon Ne)(1964) Singer-C H Atma, Lyrics-Hasrat Jaipuri, MD-Ramlal
Lyrics(Provided by Prakashchandra)
har dard ki
ae yaar
dawaa ishq mein aen hai
jeeney ae mein mazaa nahin
mazaa ishq mein hai
din raat khudaa ko dhoondhtey hain jo log
keh dey koyee un se ae
ke khudaa ishq mein hai ae
keh dey koyi un se
ke khudaa ishq mein hai ae ae
ek pal jo milaa hai
tujhko jeeney ke ae liye ae
ek pal jo milaa hai
zahar peeney ae ke liye
is pal se ae nichod ley tu
sar-e-aam ??
hain dard hazaa..aar
ek seene ke liye ae
hain dard hazaar ek seene ke liye
likh detaa hai masti mein
kalam jo o taqdeer
ho jaaye ae gawaaraa wohi
kar wo o tadbeer
ye koshishein bekaar hain ae
ronaa aa aan aa bekaar
ban jaayein to mit`ati naheen
paththar ki lakeer
ban jaayein to mit`ati..eee naheen paththar ki lakeer
Ye bade sahab ka topaa hai
Posted on: April 22, 2022
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5026 | Post No. : | 16934 |
Today’s song is from the film Diwali-1940.
Going through the Film Index book, listing all Hindi films from 1931 to 2012, I was surprised to see that only one film was made with the title of Diwali. One more film was Diwali ki Raat-56. Similarly, only one film was made with the title Dussehra-1956. There are 2 films on Holi-1940 and 1984 while another was Holi ayee re of 1970. This is the end of Indian Festival films. 2 Films were made on Eid ka chaand in 1933 and 1964, Idd ka salaam-1976 and finally Idd Mubarak-1988.
I fail to understand, when so many films are made on Mythological stories, Gods, Arabian Night stories and Mughal Kings, why were the filmmakers disinterested in making films on Indian festivals ? It is ofcourse most unlikely, rather impossible, that any Indian producer will read my question and give a convincing answer. Likewise there are not many songs on Diwali or other festivals either. I found many songs on Holi and Rakhi, though. I don’t expect any explanation for this either !
I am not aware of the storyline or any other matter concerning today’s film. The film was made by Ranjit Movietone and was directed by Jayant Desai. Music was given by the inhouse MD- Khemchand Prakash. This was his first film with Ranjit. Before him Gyan Dutt was the resident MD who worked from 1937 to 1940. After Khemchand prakash left Ranjit, it was Bulo C Rani from 1945 onwards.
In the early era, Ranjit was one of the most powerful and famous filmmaking companies in India, boasting of famous and popular artistes on its payroll. owned by Chandulal Shah, Ranjit Movietone made,in all, 175 films during its existence. Calcutta’s New Theatres, however, stands tall at No.1 with 177 films to its credit.
Film Diwali-1940 had 13 songs, written by D N Madhok, Pt. Sudarshan and P L Santoshi, but HFGK does not credit any song to any Lyricist. The cast of the film was Motilal, Madhuri, Ishwarlal, Keshavrao Datey, Dikshit, Indubala, Suresh, Vasanti etc.etc. The name of Indubala is a misfit. She was a Bengali and did Hindi films mainly made by Calcutta producers in Calcutta and she acted during a period from 1932 to 1949. She sang 30 Hindi songs in 14 films She acted in 33 Hindi films. In most films, she did comic roles. Even in this film she is paired with comedian Dikshit ( of the Ghori-Dikshit pair of the 1930s films). Here is Indubala’s Biodata based on an article by Dr, J.P.Guha, with thanks to him.
Indubala’s mother was Rajabala, who along with sister Matibala and brother Tinkary worked in Motilal Bose’s The Great Bengal Circus, also known as Bose’s Circus or Professor Bose’s Circus. Harimati was the eldest sister of Rajabala and had a different life. Rajabala performed mainly as a trapeze artiste and got married to Motilal Bose at a temple in Ujjain, India. At the time he was then in his forties while Rajabala was still a teenager. The marriage was never accepted as legal by Motilal’s family. Motilal Bose’s first wife was Mrs. Annadamohini Devi.
Indubala was born in November, 1899 at Amritsar, where the circus party had gone for performance. Indu was born premature and Dr. Bidhumukhi Basu was taken to Amritsar from Calcutta to attend Rajbala. Such was the affection and concern of the husband for his young wife. Motilal’s interest in Rajbala dwindled later, supposedly because Rajbala showed no interest in going back to the circus after Indu’s birth and soon she was left to fend for herself. She came to Calcutta with her daughter and was given shelter by a Jiban Krishna Ghosh, who remained loyal to her till his death and also played a major role in establishing Indubala in her life as a performer. Once in Calcutta, Rajabala trained herself as a singer and Indubala’s first training in music was from her mother. The initial plan was to train Indu as a nurse and she was admitted as a trainee in a hospital in the Pataldanga locality of Calcutta. Indu did not take fancy in the job and ran away from the hospital, much to the disappointment of her mother, who never wanted her only daughter to be forced into a life of indignity.
After this incident Indubala’s musical training started. Although her father ignored wife Rajabala completely, he remained fond of his daughter and kept in touch with her and often invited her to his ancestral home where he lived during his brief visits to Calcutta and sent her a monthly pocket money of Rupees twenty till his death. Indubala’s first performance was at a gathering of distinguished guests where her mother was the chief entertainer. Each one of the guests appreciated Indu’s singing and thus began her formal training from Gouri Shankar Mishraji. Indu was only about twelve then. This also marked the entry of Indubala into the red light world. Amongst her trainers were Kali Prasad Mishra, Elaahi Bux and Miss Gauhar Jaan. Apart from music, Miss Gauhar Jaan, credited as Prima Donna of India, Indu also learned etiquette from the elder artiste and developed a close friendship with her. This association provided Indu with valuable musical knowledge and experience.
In later years she took training from Girin Chakraborty, Kamal Dasgupta, Subal Dasgupta, Jamiruddin Khan and Kazi Nazrul Islam. In time she came to be one of the major exponents of Nazrul songs and her songs along with those of Miss Angurbala and Kamala Jharia are still referred to for authenticity of lyrics and tunes of Nazrul songs. In 1916, Indubala recorded her first songs. She was brought into the record circle by Bhagabati Charan Bhattacharya and Mr. Manindra Nath Ghosh, alias Mantababu, himself a gramophone singer of repute. The first songs published as a record were Asha Phuraye Gelo, Sindhu Khambaj and Aar Mukhey Boley Ki Hobey, Kedara. The record number was P 4306. In the beginning she did not take any money from the Gramophone Company and as such was credited in the records as Miss Indubala (Amateur). She was not the first amateur artiste of the company but enjoyed the privilege of announcing her name at the end of each song saying “My name is Indubala”. The amateur status continued for a fairly long period. Later on she received Rupees two hundred per record and also received a royalty of five per cent over the sales. Her first songs of Nazrul on the disc were “Cheyona Sunayana” and “Rumjhum Rumjhum Ke Eley Nupur Paye”. The record number was P 11661. To Indubala also goes the credit of being the first Bengali artiste to record Hindustani songs for the Gramophone Company. For the Indian State Broadcasting Center, later named All India Radio, Indubala first sang on the second day of the radio company’s broadcasting in 1927 in Calcutta and went on singing in this medium for nearly fifty years. Over the radio, Indubala sang not only from Calcutta but from several other stations by special invitation all over India. Apart from discs and the radio, Indubala was well established by the thirties in cultural functions all over India. Frequent invitations used to come from Shahjahanpur, Pakur, Madras, Bangalore, Palanpur, Nagpur, Hyderabad, Oudh, Trivandrum, Vizagapattam, Ajmer, Coimbatore, Dacca and several other places.
In 1936 she was appointed court musician to His Highness, The Maharajah of Mysore. She received a monthly salary of Rupees two hundred and fifty and this continued till the time when the native princes faced withdrawal of privy purse. In all Indubala had recorded some two hundred and eighty songs, including about two hundred forty basic songs, the rest being from films. Indubala’s first stage appearance was in The Rambagan Female Kali Theatre, established by her mother Rajabala in 1922. Both mother and daughter took part in the plays and Indubala appeared in about twelve plays in this short-lived company which lasted for only two years and in 1924 she joined Calcutta’s most prestigious stage, The Star Theatre. She continued to appear on the stage mainly in singing roles and her songs were a major attraction in each of the plays. By rotation she acted in all the public theaters of Calcutta and even took part in the Hindi Parsee Theatre in 1945 and 1946, the plays being Ghar Ki Laaj and Jasoos. Her last appearance in the public stage was in the play Prithviraj in the role of Mehga at Star Theatre in 1950. Thereafter she worked in call shows till almost 1958.
Jamuna Puliney (1933) has been credited as her first film. This is probably because this was her first film contract although Ankh Ka Tara (1932) released before Jamuna Puliney. In all she acted in about forty eight films in Bengali, Hindi, Urdu, Punjabi, Tamil languages. In most of them, she had songs as a major attraction or else did comic roles as in Bengali Indira (1937) and Hindi Diwali (1940) to name a few. She did the role of Dhai Ma in both the versions of Swayamsiddha (1947). Thereafter she was not seen on the screen. As a playback singer she lent her voice in films like Alibaba (1937), Chandragupt (1934) in Hindi, Ab E Hayat (1933) in Urdu and Dil Ki Pyaas (1935) also in Urdu. She did not act in these four films. Indubala did not receive any major award apart from the Gold Disc given on behalf of His Master’s Voice. The government of India never considered her name for any award. The Sangeet Natak Academy however honoured her with a lifetime achievement award in 1975. The government of West Bengal, India however did arrange for a pension for which a lot of running about had to be done.
In personal life, Indubala was most humble and polite and bold in her behavior and was never ashamed to admit or discuss her origin. Even when established as a major singing artiste with an all India fame, she refused to move out to a respectable place leaving her residence in Rambagan, a notorious red light area of Calcutta. Indubala got herself involved in voluntary work for the uplift of fallen women and worked actively for their rights in society through various organizations, which were patronized by top political leaders of the time. She had some interesting hobbies like writing poetry and collecting perfumes.
Even at old age all the empty perfume bottles were kept within her view. She was fond of jewelry too and had a great collection, either purchased or gifted by admirers. These valuables vanished when she was too unwell to keep track of them. Her contemporary artiste Miss Angurbala was a close friend with whom she confided and shared the joys and sorrows of life and this friendship lasted till the very end. Indubala adopted a nephew of her mother’s friend Jiban Krishna Ghosh. The boy’s name was Pranab Ghosh. This foster son did not look after her mother very much when in old age Indubala suffered from conditions like cataract and then paralytic strokes. It was Dr. Badan Sengupta who made necessary arrangements for her treatment. She could not afford nursing homes and therefore was treated at state government hospitals in all occasions of illness.
The end came on the thirtieth day of November, 1984 after a prolonged illness during which again Dr. Badhan Sengupta looked after her as his own mother. Perhaps by coincidence her friend Angurbala died the same year.
Today’s song is sung by Vasanti and Suresh. Vasanti was a very well known and popular Child star. So was Suresh. However Suresh became an adult star in later years. I know of only 2 child artistes, who left the film world, though they were in great demand. First was Vasant, who got married at an appropriate age and left films. The second was Shashi Kapoor Sr. who quit a quite flourishing film career to pursue higher education. He spent his life as a Professor in an US University.
Let us now listen to the duet of Vasanti and Suresh.
Song- Ye bade sahab ka topa hai (Diwali)(1940) Singer- Vasanti, Suresh, Lyricist- Not known, MD- Khemchand Prakash
Lyrics
Ye bade sahab ka topa hai
ye memsaab ka baja
Ye bade sahab ka topa hai
ye memsaab ka baja
ye dholak Natthu dhobi ki
ye Kalkatte ka Raja
ye dholak Natthu dhobi ki
ye Kalkatte ka Raja
Ye bade sahab ka topa hai
ye memsaab ka baja
Ye bade sahab ka topa hai
ye memsaab ka baja
ye dholak Natthu dhobi ki
ye Kalkatte ka Raja
ye dholak Natthu dhobi ki
ye Kalkatte ka Raja
Raja ke ghar saab aaya
gitpit gitpit boley
Raja ke ghar saab aaya
gitpit gitpit boley
Raja Rani pade soch mein
kaun kiwaade kholey
Raja Rani pade soch mein
kaun kiwaade kholey
Natthu dhobi aaya re
Natthu dhobi aaya re
sang mein dholak laaya re
sang mein dholak laaya re
dhanak dhanak dhan dhanak dhanak dhan
dholak baaje re
dhanak dhanak dhan dhanak dhanak dhan
dholak baaje re
raja ke ghar topey waala
saath biraaje re
raja ke ghar topey waala
saath biraaje re
maange sodawater
oye
maange sodawater
Raja ?? baaje
Raja ?? baaje
maange sodawater
maange sodawater
Raja ?? baaje
Raja ?? baaje
haa aa ha ha ha ha aha
aah ha ha ha h ah
haa aa ha ha ha ha aha
aah ha ha ha h ah
haa aa ha ha ha ha aha
aah ha ha ha h ah
haa aa ha ha ha ha aha
aah ha ha ha h ah
hey
Prem ke pyaale de
Posted on: April 15, 2022
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5019 | Post No. : | 16927 |
Today’s song is from an old and not much known early era film from Minerva Movietone – Khan Bahadur-1937.
Minerva Movietone was owned by Sohrab Modi. Its first film was ” Atma Tarang-1937″, which was an out and out big flop, with just 20 persons in the audience for the First Day First Show ! Basically, proper advertising was missing, so people did not know anything about the film. The two earlier films featuring Sohrab Modi-jointly with his brother- were stage dramas shot as films, so with this background Modi failed to declare that this film was NOT like that. The 20 daring persons who came to see the film regretted deeply having come there. The film was made on a subject which was very dear to Modi himself – Celibacy or Bramhacharya, truly a ‘Dry’ subject. The heroine was Prabha, who was very beautiful. She featured only in 3 songs, whereas Modi was in 6 songs out of the 12 songs of the film !
In those days Sohrab Modi was influenced by the teachings of Shri Ramkrishna Mission, but his audience was not. With the failure of this film, Modi learnt a lesson that he should make films on subjects of the liking of the people and not his own liking. Then he studied what type of films were successful and popular and then he decided to make a film on a Muslim King who was brave and who did many good things for his people. Thus, the film Khan Bahadur was made and as expected, it did a good business at the Box office. Later Modi made films like Meetha Zahar-38 on ills of drinking, Divorce-38 on Husband -wife differences and Bharosa-40 on Incest. He had learnt his lesson well !
What does Khan Bahadur mean ? Is it a name or a Title or a popular decoration ? 1937 was a British Raj period. In those days the British awarded different titles to Public Achievers, kings and those who were Loyal to the crown. As such ” SIR ” and ” KNIGHTHOOD ” were the highest decorations already, but they were given to highly educated or the members of Royalties of India only. So, the British introduced 3 level Titles for the other public and small kings etc.
First Grade level…. Nawab Bahadur ( for Muslims) or Dewan Bahadur (For Hindus)
Second Level…. Khan Bahadur (Muslims) or Rai Bahadur (North Indian Hindus) or Rao Bahadur (South Indian Hindus) and
Third level….Khan Sahib (Muslims) or Rai Sahib or Rao Sahib (Hindus).
The cast of the film Khan Bahadur-1937 was Sohrab Modi, Naseem Bano, Prem Adeeb, Sheela, Shareefa (mother of actress Husn Banu), Eruch Tarapore, M.Sadiq, Sadat Ali etc.etc. There were 12 songs in the film. The name of the lyricist is not known. The Music Director was B.S.Hoogan.
B.S.Hoogan…. Frankly, how many of us have really heard this name ? Maybe only a few. Until about 12 years ago, I was not even aware of this name. When I first came across this name B.S.Hoogan, in the list of Hindi composers,my first reaction was,what is this foreigner doing in Hindi Films ?
Further when I saw his name as MD in 10-15 films of the 30s, I became very curious and wanted to know more about him.As per my experience so far,I usually got information for any -or almost any-Film personality from my notes,Old cuttings,books,magazines,old articles etc ,or even from an obscure,less known Internet site,but in Hoogan’s case I always found myself at a dead end. There was simply NO information about him anywhere ! It was as if no one in India knew about him or as if he was from some alien planet.
I was perplexed.How can anybody from the Film industry,with so many films to his credit,be such an unknown person ? This was a challenge and I decided ,come what may,to find out about this elusive,dodging and unreachable B.S.Hoogan,at any cost.
Almost one year passed and I found a ray of Hope.
I visited the Blog of Mr.Kamalakar Pasupuleti ji. He is a writer on old films, music and an avid collector of old songs,besides having been an active RMIM worker.He is also a mine of information. Incidentally,he too is from Hyderabad-just like me,and being in the same age group,we enjoyed discussing matters relating to people and places in old Hyderabad of the 40s and 50s,when we were youngsters.Later on, he migrated to the USA.
On his Blog, he had written about Hoogan. He had located the nephew of Hoogan, in India and contacted him.He got some information from him about Hoogan. Although the info was not exhaustive, it was a great find. Kamalakarji himself had also written about Hoogan,from his interaction with people who had met Hoogan in Hyderabad. I wrote to kamalakar ji in the USA and he very graciously gave me permission to use all that material for this article.
At this juncture, my luck suddenly decided to cooperate and I found some info about Hoogan in a book.I even found out that the same nephew of Hoogan had uploaded 4 songs of Hoogan,(2 from Parakh-37 and 2 from Meetha Zahar-38) on Hamara Forum.
The nephew of Hoogan was one Prakash Raj. Once he appeared on the Internet forum through some member and he gave some more information. In addition Hoogan’s grandson- Mr. David Singh Hoogan, from Chittaranjan, W.B. appeared on Atul ji’s Blog and gave some more information as late as in 2020. With all this additional new information, I revised the old information and made up this revised new one. So it is not the same, as some may think. This Mr. Ashok Raj has written 2 books namely The Hero-Volume I, which has information on artistes of the Silent Era and upto Dilip Kumar. The second Book is also named The Hero-Volume II, discussing artistes from Amitabh to Khans and beyond. I have both these books with me. In these books the author has proudly mentioned that B.S.Hoogan was his Uncle. The books are also dedicated to Hoogan.
B.S.Hoogan was not a foreigner,he was very much an Indian.His name was BALWANT SINGH HOOGAN. He was tall,of wheat complexion and of medium build. He was born in 1901 at Firozpur, Punjab, where his family was settled. Earlier the family was in Lahore. He was a Kashmiri Brahmin. According to C.Ramchandra also,he was originally from Kashmir.
It seems Hoogan was keen to pursue higher studies in England, so he left Ferozpur. After reaching Bombay, he changed his mind and wanted to be in films being a Music Director.Before becoming a music director he seems to have learnt classical music and western music.He played many western instruments.
In the days of silent films,orchestras used to play in the theatres ,in front of or behind the screen.During the film also they played appropriate music pieces.It would add live pleasure with moving images. Hoogan learnt this music and conducting orchestra from his teacher, Mr.Victor Aimes,an Englishman,from the Albert Music Company. He learnt writing music in notations and conducting orchestra with a baton. He played in his orchestra of 12 musicians.
Hoogan looked impressive with a Black Tailcoat,Bow-Tie and Grey Trousers,as described by a Hyderabad Nawab,who had been personally introduced to Hoogan in Hyderabad in 1930.
B.S.Hoogan started his career as MD with Ajanta Cinetone of Mohan Bhavnani.He gave music to Afzal,Maya jaal,Rangeela Rajput(all 1933)Dard e dil,Dukhtar e Hind,Mazdoor,Sair e Paristan,Vasavdatta(all1934),Pyar ki maar,Registan ki Rani,Sone ka shahar,sherdil Aurat(all 1935), Begunah,khan Bahadur,Parakh(all1937),Meetha Zahar,Vijay marg(all 1938) and Sansar Sagar-1939.
Total films-18. Songs composed- 231.
Music Director C.Ramchandra, in his Marathi autobiography ( माझ्या जीवनाची सरगम ), wrote about Hoogan. When CR was working in Minerva, He worked with several Music Directors like Habib Khan, Bundoo Khan,Hoogan and finally Meer Sahib. CR learned something from every MD. Hoogan joined the company, in place of Habib Khan, the composer. He showed CR how the Desi Raag can be played on foreign musical instruments. He brought in many Goan orchestra players into the company. CR knew writing notations, Hoogan improved this. Hoogan liked CR very much. Hoogan would take CR with him to all big hotels of Bombay. Orchestras would be playing there. CR learned how those tunes could be indianised in his music here only.
Hoogan would make tunes and ask CR to write the notations. CR would hum those tunes and then improve the tunes. Hoogan would not know. Thus many of his tunes were used by Hoogan without knowing it. In the film Meetha Zahar-1938, Naushad was Hoogan’s assistant. Actors like Nissar, Bibbo, Sheila and Naseem Bano sang for him.
Hoogan had only one son-Avtar Singh. In Bombay, Hoogan contracted Tuberculosis. He started treatment and on doctor’s advise, left for hometown Ferozpur, with family. Soon his illness took a serious turn and B.S.Hoogan died in Ferozpore in September 1938, at the age of 37 only. In another few months, his wife too died and his son was taken care of by his maternal Uncle. The son Avtar singh got a job in Railways at Chittaranjan, W.B. and he moved there. He converted to Christianity. He had a son David who also settled in W.B. only. After conversion his family in Ferozpur broke off all contact with them. His story ends thus.
Prem Adib was new. He first started acting in the film Romantic India-36. Soon he came to Minerva and his film Khan Bahadur was released first and thus became his Debut film. In the early 40’s he became famous with his role of Shri Ram (along with Shobhana Samarth as Seeta) in the Mythological films of Prakash Pictures. Along with him, in this film, there was one more Debutante artiste, and her name was Sheela. Her real name was different. When she was named Sheela, she was the only actress with that name. However, later on many Sheelas entered Films, but luckily they did not cause any Same Name Confusion. Some other Sheelas were…..Sheila Ramani, Sheela Vaz, Sheela Mitra, Sheela Naik, Sheela Devi, Sheela Dalaya (only in the film Mughal E Azam) and Sheela Haldar.
SHEELA(real name-Roshan Ara) was born on 13-3-1925 at Solapur-Maharashtra. Her father was Station Master at Solapur Rly.Stn.
Once Sohrab Modi had come to Sholapur with his Drama company. He went to the station to make reservations and saw Sheela. They got to know each others and he proposed to give her roles in his films.Thus Sheela came to Bombay in 1936 and Joined Minerva Movietone as a singer/actress.
Her first film was Khan Bahadur-37, in which she sang and acted. Then came Jailor-38 in which she sang 4 solo songs under MD Mir Sahib.Then Divorce and Meetha Zahar came.
She became famous only after her songs in Pukar-39. Bharosa, Wasiyat and Sikander also gave her name and fame. In Sikander she had 6 songs out of total 7 songs. The famous song ‘ zindagi hai pyar se’ also had her voice in the chorus. She was Heroine in the film ‘ Wasiyat’-40,Ulti Ganga, Bhakta Raidas, Prithvi Vallabh,and Patharon ka Saudagar were all Minerva films.
She had also done films elsewhere- Aladdin and wonderful lamp, college Girl, gaibi Gola, jahan ara, keemti qurbani, Sansar naiya, Shaitan ka pash etc.
After 1943, she almost stopped working. Only in Beete Din-47 and lastly in Billi-49 she sang songs., which was a stunt film of Nadia and Cavas.
She had married the actor Rama Shukla, in 1947. He was a Kanauji Brahmin and they had terrible opposition to their marriage. The marriage was by Registration. Only 4 friends were present in the marriage. They had one son and one daughter. Rama Shukla died by Heart attack in the 50s.
Her voice had a peculiar mixture of Muslim style of Amirbai Karnataki and Marathi slant od Shanta Apte. There is an anecdote with one of her songs. When the film Pukar-1939 was in the making, C.Ramchandra was working as an assistant to MD Meer Saheb. He has mentioned in his autobiography also that in the absence of Meer sahib, he used to insert his tunes to songs as Meer saheb’s. This was known to many, except, maybe, Meer sahib himself. One of the very popular songs sung by Sheela ” Tum bin hamri kaun khabar le ‘ was actually composed by C.Ramchandra. This is supposed to be CR’s first composed song. The credit ,of course, went to Meer Sahib.
Today’s song is a duet sung by Sheela and Eruch Tarapore. Eruch Tarapore was a distant relative of Sohrab Modi and he worked only in Modi’s films. He worked in 16 films, right from Modi’s first film Hamlet-35 up to 1948. Eruch sang one song each in 3 more films, Meetha zehar-38, Jailor-38 and Phir milenge-43. He died in 1948.
Song- Prem ke pyaale de (Khan Bahadur)(1937) Singers- Sheela, Erich Tarapore, Lyricist-Unknown, MD- B.S.Hoogan
Lyrics
Prem ke pyaale de
Prem ke pyaale de
piyarwa bhole bhaale
piyarwa bhole bhaale
Prem ke pyaale de
Prem ke pyaale de
piyarwa bhole bhaale
piyarwa bhole bhaale/em>
dilbar ??
geet ?? ke geet suna de
dilbar ??
geet ?? ke geet suna de
Prem ke pyaale de
Prem ke pyaale de
piyarwa bhole bhaale
piyarwa bhole bhaale
nain se prem prem barsa
nain se prem prem barsa
aman ki ?? jaaye
nain se prem prem barsa
nain se prem prem barsa
aman ki ?? jaaye
gul khilaaye jaa daali daali
pyaare matwaale
gul khilaaye jaa daali daali
pyaare matwaale
bulbul buldul ?? bole bole
bulbul bulbul bole bole ja
?? tumhre kaale
piyarwa bhole bhaale
piyarwa bhole bhaale
Prem ke pyaale de
Prem ke pyaale de
piyarwa bhole bhaale
piyarwa bhole bhaale
Main tere gale ki maala
Posted on: April 12, 2022
- In: Actor-Singer song | Bibbo Songs | Devnagri script lyrics by Sudhir | Duet | expression of love | Feelings of heart | Guest posts | Love song | Lyrics contributed by readers | Post by Arunkumar Deshmukh | Song of 1938 | Songs of 1930s (1931 to 1940) | Surendra - Bibbo Duet | Surendra songs | Yearwise breakup of songs
- 2 Comments
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5016 | Post No. : | 16922 |
Today’s song is from an early talkie film ‘Gramophone Singer’ (1938).
The film was made by Sagar Movietone. It was directed by Ramchandra Thakur and Virendra Desai (owner Chimanlal Desai’s son and the first husband of Nalini Jayawant). The 15 songs of the film were written by Zia Sarhadi – who rose to great heights in the Indian film industry, but was humiliated, suspected and ill-treated in Pakistan. His end in Spain too was pathetic. Music Director for this film was Anil Biswas. The cast of the film was Surendra, Bibbo, Prabha, Bhudo Advani, Kanhaiyalal, Sankatha Oprasad, Gulzar and many others.
It is interesting to know the story of how Sagar Movietone came into being. Ardeshir Irani, the owner of Imperial Film Co. and the maker of India’s First Talkie film ‘Alam Ara’ (1931), was keen to get the famous and popular star of the films in those days – Master Vithal, into his stable. That time Vithal was with Sharada Film Company. He was unhappy there, because despite every film being a hit, his salary was never increased in spite of his request. To get Master Vithal with whatever means, Irani floated Sagar Movietone in 1929, so that his name was not involved in luring another company’s artistes. After an interesting episode of action in the High Court, Master Vithal joined Imperial through Sagar Movietone.
Once he got master Vithal, Irani lost interest in Sagar Movietone and he sold it to Dr. Ambalal Patel and Chimanlal Desai – his distributors from Bangalore to whom he owed money. After Irani separated, the company was wholly owned by Desai and Patel. Later Patel too left and Chimanlal became the sole owner of Sagar Movietone.
In those days, Sagar had a good collection of actors, actresses, directors and MDs on its payroll. Sagar went on to make several Hit films from 1931 onward. In 1934, Motilal joined the company and in 1935, the singing actor Surendra came. Sagar was on a victory roll and it became one of the major film making companies in India. In the form of Surendra, Sagar got an actor/singer, who would compete with KL Saigal of New Theaters, Calcutta as the “Bombay’s answer to Saigal” !
Surendra, however, was an educated (BA, LLB), intelligent person and he understood that Saigal was in a different league altogether. Instead of copying his style, Surendra cultivated his own identity. Sagar, however, ensured that the competition between the two got the desired reckoning and this showed in their pattern of films. As against ‘Devdas’ (1935), Sagar released ‘Manmohan’ (1936)’. After ‘President’ (1937) came ‘Jagirdar’ (1937) and after ‘Street Singer’ (1938) Sagar released ‘Gramophone Singer’ (1938). Nevertheless all these films became successful.
In the Hindi film industry, we read frequently about famous stars, actors/actresses of the early era who ended their last days in penury, illness, loneliness and misery. Many had to beg on roads for a living. Some of these cases are tear jerking too. However, even in those days there were some wise artistes who planned their afterlife thoughtfully and retired gracefully spending the rest of their life happily. Some names like SD Batish, Laxmi Shankar, Ranjan, Shashi Kapoor Sr., Mukund Roy Trivedi-MD, Durga Khote etc. come to mind in this connection. Actor Surendra too falls in this category. Before he retired from films, he established an advertising firm and made short films (Durga Khote also did the same). His sons expanded the business successfully.
‘Gramophone Singer’ was the debut film for both the directors, who bloomed in their careers later. Actress Prabha started with Sagar from this film onward. Kanhaiyalal became a regular actor with this film – instead of a Lyricist. Zohrabai Ambalawali sang her first song under the baton of Music Director Anil Biswas, in this film.
Surendra and Bibbo acted together in 6 films of Sagar Movietone. Their first film was ‘Manmohan’ (1936), in which their duet song “Tumhin Ne Mujh Ko Prem Sikhaaya” became a Hit in those days. Then came ‘Jagirdar’ in 1937 and ‘Dynamite’ in 1938. Like Motilal and Sabita Devi (* films), this pair too proved to be a ‘Hit Jodi‘. However, at the time of planning for the film ‘Gramophone Singer’, Surendra and Bibbo had some dispute and they were not on speaking terms. They even avoided each other. This problem was tactfully solved by director Ramchandra Thakur, who diplomatically lied to both separately that the other one was keen to work with her/him. Like true professionals both agreed and the film got through. Not only this, but they even worked in another 2 more films also !
The film is a story of a love triangle and Prabha did the role of Surendra’s wife in this film. Prabha is not known to most people. Let us know more about Prabha.
Prabha Rajpal was from a respectable Hindu family of Punjab. She was born on 6-6-1915 at Ludhiana. Her father was a high ranking government officer based at Lahore. All her education was done in Lahore. She was fluent in Urdu, Hindi, Punjabi and English.
Right from childhood, she was keen on working in films. Belonging to an orthodox family, there was opposition, but despite all this she entered films and her first film was ‘Jung Bahadur’ (aka ‘Dare Devil’) in 1935. After doing some films like ‘Dilawar’ (1936), ‘Awakening’ (1936), she left the Bhavnani camp and worked in Minerva’s film ‘Atma Tarang’ (1937) as the heroine opposite Sohrab Modi. She was very beautiful. Then she joined Sagar and worked in films like ‘Gramophone Singer’ (1938), ‘Ladies Only’ (1939), ‘Civil Marriage’ (1940). Later she became a freelancer.
In all she worked in 36 films in her career. She got married to Virender Ahuja, a cinematographer, and settled down after the film ‘Veerangana’ (1947). When her husband was one of the producers, she worked in the film ‘Shrimati ji’ (1952) and then retired from films. She died on 12-3-1975.
‘Gramophone Singer’ was a reasonably successful movie. Its lyricist was Zia Sarhadi. It had 15 songs, but only 4 Records having 8 songs came into the market.
The story of the film is….
Sundardas (Surendra) was a successful gramophone singer and lived in a town near Bombay. He was happily married to Mohini (Prabha) and had a baby boy also.The family was a picture of happiness, but….
Tilottama (Ishrat Sultana or Bibbo) was a famous singer of international reputation. She conducted foreign tours also. She lived in a luxurious flat in Bombay. She had heard the songs of Sunder and loved his voice. She was waiting to meet him.
Sunder had to visit Bombay often for song recordings etc. He was very friendly with Ghosh Babu (Bhudo Advani), owner of a Gramophone company. Rana ji (Kayam Ali) was a regular customer of Ghosh Babu. Once in a party given by Ghosh, Rana ji introduces Sunder to Tilottama. In the first meeting itself she fell in Sunder’s love. He too was impressed with her. Slowly their meetings increased and soon they were in deep love, Sunder forgetting about wife and child. Once they decide to go to Rampur – a resort. Here poor Mohini waits for Sunder for many days. The child falls ill too. Finally, Mohini decides to visit Bombay. There she learns everything about Sunder’s affair. She meets Madan (Sankatha Prasad), a singing partner of Tilottama, and a silent deep lover of hers too. They go to Rampur, but the pair is missing.
In the climax scene, Tilottama and Sunder are about to get married, when Mohini, her sick child and Madan reach the spot. Seeing his wife and ailing child, Sunder realizes his folly and returns to Mohini. Madan wins over Tilottama and the end is at Tilottama’s wedding party thrown by Ghosh Babu.
Today’s song is sung by Surendra and Bibbo.
Song- Main tere gale ki maala (The Gramophone Singer)(1938) Singers- Surendra, Bibbo, Lyricist- Zia Sarhadi, MD- Anil Biswas
Both
Lyrics
main tere gale ki maala
main tere gale ki maala
main tere gale ki maala
main tere gale ki maala
main tere gale ki maala
main tere gale ki maala
tu saagar main sarita
tu saagar main sarita
tu kavi main kavita
tu saagar main sarita
tu kavi main kavita
tu meri nazar ki jwaala
tu meri najar ki jwaala
main tere gale ki maala
tu meri najar ki jwaala
main tere gale ki maala
main tere gale ki maala
main tere gale ki maala
main tere gale ki mala
main tere gale ki mala
deepak bankar aag jala de
deepak bankar aag jala de
aag laga de aag laga de
aag laga de aag laga de
deepak ban sansaar jala de
deepak ban sansaar jala de
hans ab hans chal prem sikha de
hans ab hans chal prem sikha de
prem sikha de gwaala
tu prem sikha le gwaala
main tere gale ki maala
main tere gale ki maala
main tere gale ki maala
main tere gale ki maala
main tere gale ki maala
main tere gale ki maala
————————————————
Hindi script lyrics (Provided by Sudhir Kapur)
————————————————
मैं तेरे गले की माला
मैं तेरे गले की माला
मैं तेरे गले की माला
मैं तेरे गले की माला
मैं तेरे गले की माला
मैं तेरे गले की माला
तू सागर मैं सरिता
तू सागर मैं सरिता
तू कवि मैं कविता
तू सागर मैं सरिता
तू कवि मैं कविता
तू मेरी नज़र की ज्वाला
तू मेरी नज़र की ज्वाला
मैं तेरे गले की माला
तू मेरी नज़र की ज्वाला
मैं तेरे गले की माला
मैं तेरे गले की माला
मैं तेरे गले की माला
मैं तेरे गले की माला
मैं तेरे गले की माला
दीपक बनकर आग जला दे
दीपक बनकर आग जला दे
आग लगा दे आग लगा दे
आग लगा दे आग लगा दे
दीपक बन संसार जला दे
दीपक बन संसार जला दे
हंस अब हंस चल प्रेम सिखा दे
हंस अब हंस चल प्रेम सिखा दे
प्रेम सिखा दे ग्वाला
तू प्रेम सिखा दे ग्वाला
मैं तेरे गले की माला
मैं तेरे गले की माला
मैं तेरे गले की माला
मैं तेरे गले की माला
मैं तेरे गले की माला
मैं तेरे गले की माला
Nanhi bitiya byaah rachaaye
Posted on: March 27, 2022
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5000 | Post No. : | 16898 |
“Durga”(1939) was produced by Devika Rani and Himanshu Rai and directed by Franz Osten for Bombay Talkies, Bombay. The movie had Devika Rani, Rama Shukul, V H Desai, Mumtaz Ali, Peethawala, Saroj Borkar, Balwant singh, Lalita Deulkar etc in it.
“Durga”(1939) had ten songs in it. Two songs have been covered in the blog so far.
Here is the third song from “Durga”(1939) to appear in the blog.
Devika Rani is the singer. Lyrics are penned by Narendranath Tuli. Saraswati Devi is the music director.
Only the audio of this rare song is available. It is clear that the song was picturised on Devika Rani herself.
From the lyrics it is seen that the song is a “wedding” song. Whether it is a gudda gudiya wedding song or a real wedding song is not known, seeing that video of the song is not available.
Nevertheless, the fact that this song came to my notice just now and it is getting discussed today validates the oft made observation that some higher forces are overseeing this blog and it is these higher forces that often decide what songs are covered in this blog on what day. 🙂 The daughter of one of our regulars got married today and fate ordained that the blog celebrates the occasion with this song from the yore.
So we take this occasion to greet the recently wedded daughter of our regular contributor Avinash Scrapwala. We all wish Shivani and Jeegar a very happy, prosperous and long married life.
Song-Nanhi Bitiya Byaah Rachaaye (Durga) (1939) Singer-Devika Rani, Lyrics-Narendranath Tuli, MD-Saraswati Devi
Lyrics
Nanhi bitiya byaah rachaaye
dulha chadh haathi par aaye
Nanhi bitiya byaah rachaaye
dulha chadh haathi par aaye
baaje dhol mridang
?? rah jaaye dang
baaje dhol mridang
?? rah jaaye dang
laal chunariya kesari choli
sheesh chadhe chandal aur roli
laal chunariya kesari choli
sheesh chadhe chandal aur roli
kumkum pushp ka phool
maang bhare sindoor
kumkum pushp ka phool
maang bhare sindoor
baapu aaye doli chadhaaye
naina chham chham neer bahaaye
baapu aaye doli chadhaaye
naina chham chham neer bahaaye
maa ko bhaari ??
ghar ko ??
nanhi bitiya byaah rachaaye
dulha chadh haathi par aaye
baaje dhol mridang
chhalakat ??
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4998 | Post No. : | 16895 |
Today’s song is from the film Sasural-1941.
Most of the “Family Dramas”, especially from the Southern stables, depict the problems of the family after the new Bahu comes to the house. In majority cases “problem” means disputes between the Saas- Bahu or the torture meted out to the meak and humble, sanskari Bahu by the Saas and /or Nanad. We have seen many such films. And then we have also seen films where the Bahu is dominating and gives troubles to saas and sasur- going to the extent of throwing them out of their own house. The third and most enjoyable type of family drama is wherein the Bahu is Tit for Tat to the machinations of the irritating Saas and Nanad.
I have been watching movies for about 65-70 years in different languages like Marathi, Hindi, English, Telugu, Kannada, Tamil and even a few Bangla ones. This was because Hyderabad state, where I grew up, was a multilingual state having a substantial population of Marathi, Telugu and Kannada people and of course Urdu speaking Muslims-the Rulers. In the beginning, when I was about 10 to 12 years old, I used to be a ‘Chaperone’ to a group of old relatives in the family for going to the theatre to see the films. Their invariable choices were essentially Mythologicals or tear jerker family films. I have seen more such ‘crying’ or ‘miracle’ filled films in my childhood.
But besides the types of family films mentioned above, there is or rather was one more category, wherein the film story used to be , in which the ‘would be’ Sasural was described in detail or the film story was about the proposed Sasural. In such films, the marriage is fixed, but the Groom or the Bride is mistaken for a wrong person,causing misunderstanding between the pair, till the mistake is rectified to set the things right. I have seen such films too. One film of the 40’s I remember is ” Panghat”-1943, wherein the groom is mistaken for a wrong person. Another similar story was in the film ” Chitchor”-1976. Such films were quite fun to see, because except the actors in the film, everyone in the theatre knew who was the real groom or the bride ! This enhanced the enjoyment.
Today’s film Sasural-1941 is also of this type only. In this film, however, both the groom and the bride misunderstand each other for some other person, but luckily fall in love with the right companion. This film was made by Ranjit Movietone and was directed by Chaturbhuj Doshi. All 13 songs of the film were written by D N Madhok and the music was by Gyan Dutt. The cast consisted of Motilal, Madhuri, Nurjahan Sr., Kantilal, Urmila, Bhagwan Das etc.etc.
Motilal was one of the earliest actors who brought ” Natural acting” to films. Later on actors like Ashok Kumar, Sanjeev Kumar, Amol Palekar and few others practiced it to enrich their films. Most of the new age readers may not be knowing who the actress ” Madhuri” in this film was. The only Madhuri they know is Madhuri Dikshit (I too liked her). For their benefit I reproduce here, once again, a translation of my article on this actress Madhuri. This was originally written in Marathi for a periodical, which has ceased to exist anymore.
Place- Shanmukhanand Hall,Mumbai
Date 7-2-1999
Time- 7 p.m.
Programme- Felicitation to ‘ Stars from the Silent Era’
Organisers- ” Amrut” and ” Cine Society of Bombay ”
The entire hall was overcrowded. Not only all the seats were occupied, but people were standing wherever possible. Everybody wanted to see the Two STARS on the stage-Jairaj and Madhuri. Both were in their late 80s, but looked radiant and smiling. For Madhuri it was a surprise, that the organisers found her out after living in oblivion for over 50 years. She was simply overwhelmed with the people’s affection and love. For Jairaj,these things were not new. He has been around all the time.
Madhuri and Jairaj were a Popular pair in Silent film era. They worked as a lead pair in 3 films, one each in 1930-Rasili Rani, 1931-Warrior from the wild and 1932-My Hero. They came together after almost 70 years, on this stage.
Like many others, Madhuri too was an Anglo Indian. Her name was Beryl Claessen. She was born on 3-11-1913 at Delhi. Her father was a big officer in the Government. Her initial schooling took place in Nainital. She learnt music too,because she wanted to become a Music Teacher. However, she never became,but on a visit to Bombay she was picked up by producer Indulal Yagnik and she started acting in silent films.
Many Heroines in those days were Anglo-Indians,Europeans or Jew girls. Since silent films did not require speaking Hindi or Urdu ( or any language,for that matter),these girls were preferred,as the Indian audience loved their fair colour (Gori Mem). Additionally,these girls did not hesitate to give intimate scenes like kissing or doing stunts themselves. Most girls knew Horse riding,fencing and fighting.
In 1928,there was a Silent film Madhuri,but actress Sulochana(Ruby Myers) did this role and in 1932 there was a Talkie film Madhuri,in which also Sulochana only did the role. When the Talkie films era began most of the Anglo Indian girls became jobless,since they could not speak Hindi/Urdu nor could they sing a song-the two requirements for actresses in early era Talkie films. However,few intelligent and professional actresses learnt Hindi/Urdu language speaking. Madhuri and Sabita Devi (Irene Gasper) were two such clever girls who achieved proficiency in these matters.
Madhuri was very beautiful. After doing 17 silent films,she made her debut in Talkie films with ‘ Pardesi Preetam’-1933. Jaswantlal Nandlal directed his first film here. Her Hero was Raja Sandow. She did many films for Ranjit under the direction of Jayant Desai. From 1933 to 1942,she acted in 28 films. They were (not in order) Kashmeera, Mitti ka Putla, Noor e watan, Secretary, Lehri lala, Rangeela Raja, Sitamgarh, Prithviputra, Thokar, Raj Ramni, Diwali, Matlabi Duniya, Toofani Toli, Shama parwana, College Girl, Nadira, Veer Babruvahan, Zamin ka chaand, Ban ki chidia, Toofan Mail, Mehman, Sasural, Shadi, Ikrar, Vakil Saheb, Paapi, Mazaq and Dharm-45 …her last film.
In 1941,Madhuri got married and after completing films on hand, retired from Film line. After this, she simply disappeared for next 50 years without a trace,till the organisers of a programme located her. Bombay’s ” Amrut” and ” Cine Society of Bombay ” held a felicitation programme on 7-2-1999, for “Stars from the Silent Era”. For Madhuri it was a surprise that the organisers found her out after living in oblivion for over 50 years. She was simply overwhelmed with the people’s affection and love.
She and Jairaj were felicitated on that day.
Film Sasural-1941 story appeared in the December issue of Film India magazine review, in short. Our Sadanand Kamath ji had given it in 2016, in his comments. Here it is…
“The marriage of Vinod (Motilal) and Usha (Madhuri) is fixed, But Usha has not seen her would-be-husband. A mix-up of suitors happens when a fat servant (Kantilal) impersonates Usha’s would-be-husband. The detailed story is not revealed in the review probably to avoid the ‘suspense in the comedy of errors’. It is only towards the end of the film when the impersonation of suitors gets revealed while on a forest trail when Usha falls in the arms of Vinod and the fat servant (Kantilal) gets the maid (Nur Jahan Sr,) as the original suitors.”
The funny song is sung by Kantilal, Motilal and chorus. Kantilal was a favourite with Sagar Movietone initially and then Ranjit Movietone. he featured in all the 3 successive comedy films made by Ranjit in this war period, namely Musafir-1940, Pardesi-1941 and Sasural-1941. Chandulal Shah believed that his audience needed lauhter during the tensions created by the second world war.
KANTILAL CHHAGANLAL PACHCHIGAR ( Soni) was born on 18-4-1907 in Surat, Gujrat. He was from a Goldsmith family. Due to inherent interest in music,after college education he came to Bombay to try film singing.
His first film was ‘Bulbul e Paristan’-1934 from Vishnu Cinetone. Kikubhai Yagnik was the MD. Kantilal sang 2 songs in it.In 1935, he acted, sang and gave Music to Preet ki reet. He sang in 6 songs. From 1937 to 1941, he was with Ranjit Movietone and acted and sang in 16 films. He sang 40 songs under Khamchand Prakash and Gyan Dutt. Then came Gazi Salahuddin, Kangan, Holiday in Bombay and Kanchan. Kantilal sang 60 songs in 24 films under 5 MDs.
In 1943,he married Ushaben and acted in Gujarati films and Dramas.
He died on 17-6-1971.
Some of his films were, Tufani Toli, Ban ki chidiya, Billi, Gorakh Aya, Prithvi Putra, Adhuri Kahani, Nadi kinare, Aaj ka Hindustan, Achhut, Diwali, Holi, Musafir, Pardesi, Sasural, Shaadi etc.
Enjoy the comedy song….
Song- Bibi bole naahin kunda khole naahin (Sasuraal)(1941) Singers- Kantilal, Motilal, Lyricist- D N Madhok, MD- Gyan Datt
Lyrics
ho o o
khole naahin
bole naahin
ho kunda khole nahin
bibi bole naahin
ho kunda khole nahin
aji baahar pade re barsaat
bole naahin
bibi bole naahin
o kunda khole naahin
aji baahar pade re barsaat
bole naahin
bibi bole naahin
o kunda khole naahin
bibi bole naahin
baaman ke ghar kutiya re bhaunke
bole naahin
kuchh bole naahin
baaman ke ghar kutiya re bhaunke
ghadi ghadi mein ?? chaunke
baali umar dar jaat
bole naahin
bibi bole naahin
o kunda khole naahin
o ji baali umar dar jaat
bole naahin
bibi bole naahin
o kunda khole naahin
bibi bole naahin
kanya ke ghar chaandi sona
par kismat mein phata bichauna
bole naahin
bibi bole naahin
kanya ke ghar chaandi sona
par kismat mein phata bichauna
khaane ko hai bhaat
bole naahin
bibi bole naahin
o kunda khole naahin
aji khaane ko hai bhaat
bole naahin
bibi bole naahin
o kunda khole naahin
bibi bole naahin
aeji baahar pade re barsaat
bole naahin
bibi bole naahin
o kunda khole naahin
bibi bole naahin
miyaan ke ghar mein patli jo daal
miyaaan jee ladke chale sasuraal
o miyaan ke ghar mein patli jo daal
miyaaan jee ladke chale sasuraal
aji shaadi kar pachhtaaye
bole naahin
bibi bole naahin
ho kunda khole naahin
aeji shaadi kar pachtaaye
bole naahin
bibi bole naahin
o kunda khole naahin
bibi bole naahin
aeji baahar pade re barsaat
bole naahin
bibi bole naahin
o kunda khole naahin
bibi bole naahin
?? nain lade re
aeji bhaado ki kaali kaali raat
bole naahin
bibi bole naahin
o kunda khole naahin
aeji bhaado ki kaali kaali raat
bole naahin
bibi bole naahin
o kunda khole naahin
bibi bole naahin
o kunda khole naahin
bibi bole naahin
aeji baahar pade re barsaat
bole naahin
bibi bole naahin
o kunda khole naahin
bibi bole naahin
bole naahin
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4995 | Post No. : | 16891 |
Today’s song is a foot tapping song from the film Fashionable wife-1959.
Nepotism,Corruption and Lack of Nationalism are the 3 ills common to most Indians.These things have been so common that not only now they are deep rooted in our behaviour, but also we have stopped considering them as vices anymore. They are a part of our life in many ways.
Corruption at every level of every aspect of our living is practiced unabashedly. From giving bribes to a policeman for breaking a traffic rule to giving bribes to get a Govt. Contract has become an easy way to replace discipline and hard work. After 15th August and 26th January, torn Indian Flags on the road and in the dustbins as well as stealing Govt. property from Railway Coaches and Govt. offices is a routine sight we come across. The plum jobs going to close relatives of big officers is no longer considered a crime !
These are very irritating matters when they concern and trouble us. If it is not concerning us, we take them philosophically !
In India these 3 criminal vices are spread to all walks of life and are found in almost every department. Can our Film Industry be far off from this ? Certainly Not !
Those already successful and adorning a high pedestal position in the film line, try to push their children or siblings into this line, irrespective of whether they have the talent or not. For others ” The Casting Couch” is seen as a kind of corruption or ‘wilful’ bribing. Making films with distorted History intentionally and glorifying the historical characters who looted India and did unlimited harm to Indians is nothing but a lack of Nationalism !
Nepotism is one ill which has been there in the films from the beginning. Bringing sons and daughters-even the wife- as actors has been there always. The Heroine of the First Indian Talkie film “Alam Ara”-1931, Zubeida had her 2 sisters and mother in the film line. One of the actors of this film- Prithviraj kapoor practically became the father of Indian films. His all sons, Grandsons, great grandsons and daughters came into films.
Acting is not a Genetic quality. It is not necessary that every successful actor or director’s children can become successful actors automatically. More often than not the star sons and daughters have (luckily) failed, saving the audience the trauma of bearing their stony presence on the silver screen. There is a long list of such failed stars, star sons and star daughters, but I quote here only a few examples.
It is said that ‘No trees can grow under a Banyan Tree’. This is absolutely true and applicable in Film industry. Except in cases like the Kapoor family, i.e. Raj,Shammi and Shashi,who made their bright careers despite the shadow of their Father and other Brothers, we find that many of the sons,daughters,brothers or sisters of many popular and famous film stars were failures and never made it big in Hindi cinema.
We know cases like Suneil Anand, Nasir Khan, Tony Walker, Naina Sahu, Meera Joglekar, Ajit Chitnis, Rajendranath, Narendranath, Anup Kumar, Mallika, Khursheed Jr., Simple Kapadiya, Shivangi Kolhapure, Preeti Ganguly, Radhika and many more. In spite of having all the backing of famous family members, these and so many others just did not make it, because Talents are not always hereditary !
They all were given fair opportunities to display their talent on the screen , but unfortunately despite their honest effort their skill could not come out & the viewers were left unimpressed . They were selected by big banners and well experienced directors were there to guide them. But their talent remained hidden inside them and with their nonexistent artistry they disappointed their mentors. Non-actor Sohan Kapila was in the romantic lead of Filmistan’s Babar , which was released in 1960. Hemen Gupta , distinguished director ,who earlier had directed Anand Math for Filmistan ,directed the movie and it also had the winning combination of Sahir & Roshan. Dependable character actor Gajanan Jagirdar did the role of great Moghal Emperor Babar . But the movie flopped ,as the new hero failed pathetically to register any emotion on his face. A big jolt for Seth Tola Ram Jalaan ,who was already facing financial problems. Mr. Kapila appeared in 2-3 movies in inconsequential roles and disappeared from the scene forever . His daughter Padmini Kapila also pursued a film career ,but could not achieve much success .
There were many other actors like him ,who got a chance to appear opposite illustrious heroines , unfortunately their effort did not make any impact on the cine loving public. Watching their miserable performance on the screen , no film maker came forward to sign them . Out of sight is out of mind ,it was a matter of time when the public as well as the film industry forgot them.
Malhaar, as the name suggests, is a musical film produced by great singer Mukesh in 1951 . It had a story by veteran actor S K Prem & its evergreen music was composed by Roshan . The movie had newcomers Arjun & Shammi (Nargis Rabadi ). Arjun did get another chance in Daku Ki Ladki to please the viewers with his emoting before the camera, but could not succeed and it was the end of his career.
Rattan Chopra the lucky boy was selected for films , among hundreds of aspirants . Mohan Kumar had suffered a huge setback when Aman flopped .He took the newcomer for Mom Ki Gudia ,opposite Tanuja, with great hopes. Unfortunately , Mom Ki Gudia failed to dispel the gloom and sank to the rock bottom. Acting was not his cup of tea ,Rattan Chopra understood & wisely opted out of the race of stardom.
K. Amarnath introduced new comer Vijay Kumar in his 1954 offering Alif Laila opposite Nimmi & Asha Mathur . Sohan Kapila and Vijay Kumar had impressive physiques , but had no clue about acting. The movie had lilting music by Shyam Sunder ,which was his last contribution towards the film industry . Helen for the first time got a chance to perform solo in the movie & for many decades she remained on top. But for Vijay Kumar it was his first & last chance.
Another non actor Premendra was introduced by old timer Vijay Bhatt in Holi Aayee Re (1970),which was directed by his younger sibling Harsukh Bhatt. It was pathetic to watch Premendra unsuccessfully trying to showcase his imaginary ability in the field of acting .The movie flopped phenomenally & a huge investment made by Bhatt Brothers went up in a cloud of smoke. Premender with Kumud Chhugani in Holi Aayee Re.
There were some more like Pratibha Sinha, Archan Gupta, Jayant Gupta, Ashok Sharma, Nusrat Kardar, Rajeev kapoor, Manish kumar, Navinchandra, Aroop kumar, Prashant, Shalini, Kaycee Mehra, Vikram, Shekhar Suman, Deepak kumar, Ajay, Som Dutt and many more.
Among them, some film names which I remember off hand are Arjun in Malhar-51, Rattan Chopra in Aman-67,Mom ki Gudia-72, Vijay Kumar in Alif laila-54,Premendra in Holi aayee re-70, Deepak kumar in Aabroo-68, Ajay in Wapas-69, Som Dutt in mann ka meet-68, Vikram in Julie-75,Rajeev Kapoor in Raam teri Ganga maili-85, Shekhar Suman in Utsav-84, Kaycee Mehra in Chhabilee-60 and Mem Didi-61, Prashant in Sehra-63, Ashok Sharma in Hamari yaad aayegi-61, Ajit Chitnis in Aaj ki baat-55, Nusrat Kardar in Dard-47, Manish in SaraswatiChandra-68, Rajiv in Nayi umar ki nayi fasal-65, Aroop kumar in Bezubaan-62 etc etc.
All this came to my mind when I saw the film cast of Fashionable wife. The cast included Jaymala, Abhi Bhattacharya, Anup Kumar, Radhakishen, Manorama, Leela Mishra, Daisy Irani and many others. heroine Jaymala was the wife of the producer, director and the owner of the banner ‘Adarshlok’, Bombay – B.K.Adarsh. This was her Debut film as a Heroine. At first glance, one will tend to feel that being the director’s wife must have been her way to be the film’s Heroine. But to be fair, she was already in the film line before marriage, though not as a Heroine.
Jaymala was born on 21-8-1938 at kasur, Punjab. She always craved to become an actress. She came to Bombay along with a relative and got a small role in the film Mandir-1948.
Her first major film was Hazar pariyan-1957. Some of her films were Ramudada, Durga pooja, Harshchandra Taramati, Love and Murder, Spy in Rome, Rambha Haran, Balak, Sampoorna Teerth Yatra, Veer Arjun, Babruwahan, Aaj ka ye Ghar etc.
She acted in 24 films. She even sang a song in the film Fashionable wife-1959.
After marriage with Adarsh Lok,she debuted as a Heroine in FASHIONABLE WIFE-1959. She had a double role in this film.Then she continued with Adarsh Lok’s films as a Heroine only. After husband’s death, she managed his production company. Her last film was Private Life-1983, as a Heroine and a Producer. Her son Taran Adarsh is a famous film critic.
She died on 27-7-1997 in Mumbai.
It is a coincidence that my last post was also on a film where sisters were seen in double roles. Today’s film also has sisters in double roles again. The film story is…
FASHIONABLE WIFE-1959 was produced and directed by Adarsh Lok, the Music Director was the duo of Suresh-Talwar ( Assistant Johnny Gomes) and the lyricist was Bharat Vyas. Story,Screenplay and Dialogues were by Waheed Qureshi. The cast was Jaymala, Abhi Bhattacharya, Anup Kumar, Leela Mishra, Iftekar, Nazir Hussain, Achala Sachdev, Radha Kishen, Manorama etc.
Girdhari and Susheela were a couple who continuously fought over only one point-how to bring their twin daughters. Susheela wanted them to be traditional and Girdhari was keen on making them ultra modern” to face the new World’. Finally the couple separated with Ragini opting for the traditional Mother and Kamini staying with her Modern Papa.
Ragini marries Balraj(Abhi Bhattacharya) and she is very happy. However her Mother in law(Leela Mishra) is not happy with her and there are daily fights, culminating in Ragini leaving her house and doing social work independently.
Kamini marries Natwar(Anup Kumar), her Dance trainer and happily lives with him, enjoying life. She has no time for any household responsibilities. She spends quite a lot arranging frequent parties. Due to all this her young devar Raju runs away from the house and Natwar is also fed up with her.
In short both the girls have a spoiled family life.
There is comic relief in the form of Manorama and Radha Kishen, who are the neighbours.
After many twists, coincidences and meaningless happenings, the girls learn their lessons. The film tries to stress that Traditional ways are always better, but they also must mix a little modernity in keeping with the times.
At the end Girdhari and Susheela unite,so do Kamini-Natwar and Balraj and Ragini.
Today’s song is sung by Jaymala and chorus. This is the only song which she ever sang in films. With this song she makes her Debut as a singer,on our Blog.
In the second half of the 50’s decade, films were deeply influenced by Rock N Roll music. This song is also like that.
Song- Paschim se aazadi aayee fashion ki shehzaadi aayee (Fashionable Wife)(1959) Singer-Jaymala, Lyrics-Bharat Vyas, MD-Suresh Talwar
Chorus
Unnown male voice
Lyrics
paschim se aazaadi aayi
fashion ki shahzaadi aayi
hey hey ae
paschim se aazaadi aayi
fashion ki shahzaadi aayi
oonchi aedi bikhre baal
lovely lovely chaal
wo lad gaye log puraane
ha ha
ab aaye naye zamaane
ha ha
ye rang badalti nayi hawaayen
gaaye naye taraane
la lar la lar la lar la lar la la la
wo beet gaye afsaane
aa haa
ab geet hain naye banaane
aa haa
ye saadi aur salwaar badalkar
frock pant pahnaane
jhat se baal karo ye down
madam sar se pahno gown
madam m m m
ha ha ha ha ha
hey paschim se aazaadi aayi
fashion ki shahzaadi aayi
oonchi aedi bikhre baal
lovely lovely chaal
ye ghar ke jhanjhat tyaago
aa haa
picnic ke liye kahin bhaago
aa haa
bandhan ki kadiyaan tod phod
dharti ki pariyaan jaago
la la la lar la la la
la lar la la la la la
makeup har waqt sambhaalo
aa haa
sheesha har baar nikaalo
aa haa
in laaj bhari do aankhon par ek kaala chashma daalo
madam munh mein lo cigarette
khula hai aazadi ki gate
madam m mm
ha ha ha ha ha
hey
paschim se aazaadi aayi
fashion ki shahzaadi aayi
oonchi aedi bikhre baal
lovely lovely chal
honthon pe lagaao laali
baalon pe chadhhaao jaali
nakhoon badha ke sister
jhatpat dhoondho apna mister
lalalala
ha ha ha ha ha
aa ha ha ha
kho jaao dance mein
ho ho
haay romance mein
aha
kho jaao dance mein
hey
haay romance mein
very good
mast bahaaron se ye aati hai sada
banke fashinable wife
bana do aaj kisi ki life
banke fashinable wife
hey
paschim se aazaadi aayi
fashion ki shahzaadi aayi
oonchi aedi bikhre baal
lovely lovely chaal
Aayi jawaani pagli aayi re
Posted on: March 22, 2022
- In: "Aankh" song | Actor-Singer song | Blog Ten Year Challenge (2012-2022) | expression of love | Feelings of heart | Lyrics by Prakashchandra | Lyrics contributed by readers | Naseem Banu Solo Songs | Naseem Banu Songs | Songs of 1940s (1941 to 1950) | Songs of 1945 | Yearwise breakup of songs
- Leave a Comment
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4995 | Post No. : | 16890 |
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Blog 10-Year Challenge (2012-2022) – Song No. 34
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This date ten years ago (viz 22 March 2012) saw six songs rom six different movie getting covered in the blog. Here are the details:-
| Blog Post number | Song | Movie (Year) | Remarks |
|---|---|---|---|
| 5673 | Dil yaad mein kisi ki zara rone laga re | Begam(1945) | 4 songs covered so far out of 9 |
| 5674 | Raahi chal sambhal sambhal kar | Detective (1958) | 7 songs covered out of 8 so far. Final song not available |
| 5675 | Baaten kahin aur banaao | Batwaara(1961) | Movie YIPPEED by now |
| 5676 | Jawaab de ya na de bewafa salaam to le | Bambai Ka Chor (1962) | Movie YIPPEED by now |
| 5677 | Yahaan main ajnabi hoon | Jab Jab Phool Khile(1965) | Movie YIPPEED by now |
| 5678 | Mere soone jeewan ka aasraa hai tu | Aasraa (1966) | Movie YIPPEED by now |
Four out of 5 movies whose songs were covered on this day ten years ago have since been YIPPEED. Another movie is conditionally YIPPEED because one remaining song of the movie is not available.
That leaves us with only one movie that is eligible for Blog Ten Year Challenge today on 22 March 2022.
This movie is “Begam”(1945).
“Begam”(1945) was directed by Sushil Majumdar for Tajmahal Pictures, Bombay. It had Naseem Bano, Ashok Kumar, V H Desai, Vikram Kapoor, Prabha, Puri, Raj Biswas, Harun, Mehar Bano, Sharda, Indu etc in it.
The movie had nine songs in it. Five of these songs have been covered in the blog in the past.
Here is the sixth song from “Begam”(1945). The song is sung by Naseem Bano. Gpal Singh Nepali is the lyricist. Music is composed by Hari Prasanna Das.
Only the audio of the song is available. It is clear that the song was picturised on Naseem Bano herself.
Lyrics of the song were sent to me by Prakashchandra.
audio link:
Song-Aayi jawaani pagli aayi re (Begam)(1945) Singer-Naseem Bano, Lyrics-Gopal Singh Nepali, MD-Hari Prasanna Das
Lyrics(Provided by Prakashchandra)
aayi jawaani pagli aayi rey ae
aayi
aayi jawaani pagli aayi rey aey ae aayi
aayi jawaani pagli aayi rey
ho o o o o
duniyaa ne lee angdaayee rey
hho aayee
aayi jawaani pagli aayi rey
aankhein karti hain dil se baatein
haan dil se baatein
aankhein karti hain dil se baatein
haan dil se baatein
hanstey hain din aur gaati hain raatein
hanstey hain din aur gaati hain raatein
chor nigaahein chupke chupkey ae ae
chor nigaahein chhupke chhupke
ho o o oo
ghooghat mein sharmaayee rey ho o
aayi jawaani pagli aayi rey ae ae ae
aayi
aayi jawaani pagli aayi rey aey ae ae
masti mein chaar chaand lagaati hain ghataayein aen aen
hoo ooo oo ho o o
masti mein chaar chaand lagaati hain ghataayein aen
ho o o o ho o o
ho loriyaan deti hain inn aankhon ko hawaayein
hoo ooo oo ho o o o
hho loriyaan dethi hain inn aankhon ko hawaayein
hoo ooo oo hho o
ho o o dil mein umangein chhaayee rey aey ae ae
dil mein umangein chhaayee rey ho o o
duniyaa ne lee angdaayee rey
ho aayi
aayi jawaani pagli aayi rey ae
aayi jawaani pagli aayi rey aey ae ae
Duniya tere rang niraale
Posted on: March 20, 2022
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4993 | Post No. : | 16888 |
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Blog 10-Year Challenge (2012-2022) – Song No. 33
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This date ten years ago, viz 20 March 2022 saw as many as six songs from six different movies getting covered. Here are the details:-
| Blog post number | Song | Movie (Year) | Remarks |
|---|---|---|---|
| 5660 | Ghabra ke jo ham sar ko | Mahal(1949) | Movie YIPPEED by now |
| 5661 | Manzil to hai badi door | Bhai Sahab(1954) | 7 songs covered out of 10 by now |
| 5662 | Mausam e bahaar yaar | Sargam (1950) | Movie YIPPEED by now |
| 5663 | Pad gaye jhoole saawan rut aayi re | Bahu Begam(1967) | Movie YIPPEED by now |
| 5664 | Main to baanke nainon waali | Chhoomantar(1956) | Movie YIPPEED by now |
| 5665 | Main teri Heer hoon teri taqdeer hoon | Raftaar(1975) | Movie YIPPEED by now |
Five movies (out of six) whose songs were discussed on that date have since been YIPPEED. That leaves us with just one movie that is not yet YIPPEED and so is eligible for blog ten year chllenge today (20 March 2022).
That movie is “Bhai Sahab”(1954). It was directed by Ravindra Dave for Pancholi Productions, Bombay. The movie had C.H.Atma, Purnima, Smriti Bishwas, Ratan Kumar, Jagdeep etc in it.
The movie had ten songs in it. seven songs have been covered in the past.
Here is the eighth song from “Bhai Sahab”(1954) to appear in the blog. The song is sung by C H Atma. Shailendra is the lyricist. Music is composed by Ninu Majumdar.
Only the audio of the song is available. It is clear that the song was picturised on C H atma himself who was a die hard K L Saigal follower and this movie was his attempt to keep making movies in K L Saigal style. Hindi movies by that time had moved on from Saigal era. It was the last such movie with K l Saigal style songs.
Lyrics of this song were sent to me by Prakashchandra.
Song-Duniya tere rang niraale (Bhai Sahab)(1954) Singer-C H Atma, Lyrics-Shailendra, MD-Ninu Majumdar
Lyrics(Provided by Prakashchandra)
tere rang niraaley
duniyaa..aa tere rang niraaley
apni buraayee dekh sakey na aa aa
apni buraayee dekh sakey naa
auron ke dosh nikaaley
duniyaa aa tere rang niraaley
hamrey sukh mein aen sog manaayein aen aen aen
hamrey sukh mein aen sog manaayein
dukh mein dekhey tamaashaa aa aayye
dukh mein dekhey tamaashaa aa aan..aa
aastheen mein chhupke baithhey
dasney waaley ???
dasney waaley ??
duniyaa..aa tere rang niraaley
duniyaa..aa tere rang niraaley
mann mein aag nain mein aansoon
phir bhi hansnaa howey aey ae aey
phir bhi hansnaa howey ae
raaton ke sooney aanchal mein
premee kaa mann rowey
taaron kaa dil baithhaa jaaye
taaron kaa dil baithhaa jaaye
aah bharey ae andhiyaarey
duniyaa aa tere rang niraaley
duniyaa aa tere rang niraaley
Abhi to main jawaan hoon
Posted on: March 7, 2022
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 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 : | 4980 | Post No. : | 16862 | Movie Count : | 4587 |
Hullo Atuldom
March 7th sees Anupam Kher, the versatile actor, turn a year older. He has played characters beyond his calendar age in numerous films. He has played the archetypal villain with as much finesse as serious supporting roles. He has also tried playing characters which are comic but of course some of these have been over-the-top and mostly making faces, using odd hair-get-ups etc. would be used to create comic effect. But I think we can excuse this fine actor of these excesses as he used to balance them by doing roles as in “Daddy” (1989), Utsav (1984), Karma (1986), Rao Saheb (1985), Kaash (1987), Zevar etc.
He played Shahrukh Khan’s son-friendly father in a few movies, as also father to Salman Khan and other heroes of the 90s. But I have never been able to get over the fact that he played father to Anil Kapoor in one movie and grandfather in the next movie. Similarly, he has played friend, jija, father, grandfather etc to Rishi Kapoor. I can go on and on about the various actors with whom he played such characters. All of these just show the love this man has towards all things connected with films and movie making.
He turned producer in 2000 with “Bariwali” which was in Bengali and had his wife Kirron Kher play a lonely, sad, unfortunate, middle-aged woman. He directed ‘Om Jai Jagdish” in 2002. Additionally he has appeared in a few international television serials, and films. He has also been seen in Punjabi, Bengali, Tamil, Malayalam, Marathi films.
His brother Raju Kher is an actor as also his wife and her son (his step-son) Sikandar Kher are actors.
This was a song that I posted in 2020 on Anupamji’s birthday. There are so many choices available to go with today’s post. I have zeroed in on a song where we have Rishi Kapoor playing Anupam Kher’s ‘chela’ reminding us of Joy Mukherjee and I.S Johar in “Shaagird”.
This movie “Shreemaan Aashique” (1993) was directed by Deepak Anand and produced by Shakeel Noorani. The film starred Urmila Matondkar, Rishi Kapoor, Anupam Kher, Bindu, Reema Lagoo, Mehmood, Annu Kapoor etc. Music was by Nadeem-Shravan, Sameer and Noor Kaskar (never heard this name before) were the lyricists. I recently discovered that Anupam Kher has sung a few songs in movies and today’s song is one of them. The other voice in the song is Ahmed Mirza (never heard this name too).
I apologize to all the purists in subjecting them to this song, but we shall see the positive side that this actor didn’t mind making himself a buffoon too.
Wishing Anupam Kher health and happiness
Song-Abhi to main jawaan hoon (Shreeman Aashique)(1993) Singer-Ahmed Mirza, Anupam Kher, Lyrics-Sameer, MD-Nadeem Shrawan
Lyrics
abhi to main jawaan hoon
abhi to main jawaan hoon
abhi to main jawaan hoon
abhi to main jawaan hoon
umang hai jawaan meri
tarang hai jawaan meri
umang hai jawaan meri
tarang hai jawaan meri
ajab hai daastaan meri
jawaan dilon ki shaan hoon
abhi to main jawaan hoon
abhi to main jawaan hoon
abhi to main jawaan hoon
abhi to main jawaan hoon
abhi to main jawaan hoon
abhi to tu jawaan hai
abhi to tu jawaan hai
abhi to tu jawaan hai
abhi to tu jawaan hai
jawaani ko nikhaar le
ye zulf to sanwaar le
jawaani ko nikhaar le
ye zulf to sanwaar le
zara tu seedhi chaal chal
na ladkhada
sambhal sambhal
na ladkhada
sambhal sambhal
kamar teri kamaan hai ae
kamar teri kamaan hai
abhi to tu jawaan hai
abhi to tu jawaan hai
abhi to tu jawaan hai
abhi to tu jawaan hai
payjama kurta na pahan
deewaane up to date ban
payjama kurta na pahan
deewaane up to date ban
disco mein jaakar dance kar
ab khul ke tu romance kar
ab khul ke tu romance kar
ghabraata hai naadaan hai
ghabraata hai naadaan hai
jawaani ki tu shaan hai
abhi to tu jawaan hai
abhi to tu jawaan hai
abhi to tu jawaan hai
ab doodh pee
baadaam kha
uthh ke subah jogging ko ja
ab doodh pee
baadaam kha
uthh ke subah jogging ko ja
gaalon pe hongi surkhiyaan
jaayengi saari jhurriyaan
jaayengi saari jhurriyaan
tujhmein abhi tak jaan hai
tujhmein abhi tak jaan hai
abhi to tu jawaan hai
abhi to tu jawaan hai
abhi to tu jawaan hai
abhi to tu jawaan hai
abhi to tu jawaan hai
abhi to tu jawaan hai
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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