Posts Tagged ‘Actor-Singer’
Kyun hamne diya dil
Posted on: August 11, 2018
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 : | 3676 | Post No. : | 14564 |
Today’s song is from film Watan-1938.
This was a film made by Sagar Movietone. Those days, Sagar was a powerful film making company. They had the best of directors, big stars and MDs. Directors like Mehboob. Sarvottam Badami, Chimanlal Luhar, Ramchandra Thakur, Zia Sarhadi, Ezra Mir ( real name Edwyn Meyers), Virendra Desai,Nanubhai Vakil etc gave famous and popular films. However, not all films made by Sagar were High Class. Film ” Watan” was also one such film, which probably worked as a ‘ filler ‘ for Sagar. 1937 and 1938 were the Golden years for Sagar, in which the company gave popular films like Jagirdar-37, Mahageet-37, Gramophone singer-38 and 300 days and after-38.
Film Watan-38 had a cast of Kumar, Bibbo, Sitara Devi,Maya Banerjee, Yakub and other regulars of Sagar. The film also included Ram Marathe ( credited as Ramchandra), who became a very famous classical singer in later years. The film was directed by Mehboob and the music was by Anil Biswas. Initially Sagar had their favourite MD, S.P.Rane, who was a Maharashtrian from Gujarat. Out of Sagar’s first 18 films, Rane was MD for 15 films. Anil Biswas was associated with Sagar from film Manmohan-36, as an assistant to Ashok Ghosh. Independently, his first film was Jagirdar-37. Later he gave music to 11 more films of Sagar and 2 films of National Studios. he and director mehboob Khan teamed up in 6 films and were very good fiends-till a misunderstanding cropped up, after Sagar merged into National Studios. After this they never worked as a Team.( In 1956, Anil Biswas gave music to film Paisa hi Paisa, made by Mehboob Productions . However, the film’s director was Mehrish- who had insisted for Anil Biswas- and not Mehboob. During the film’s making, Mehboob avoided meeting AB and even left on foreign tour without meeting him even once ! ).
The Hero of the film Watan-38 was Kumar. Actually his real name was Syed Hasan Ali Zaidi. The change of his name to Kumar was part of an interesting story. Anyway, one can easily say that Kumar was the pre-cursor to the unlimited crop of various Kumars that we saw in the decades of 50s onwards.
In Hindi film industry, changing the name of the artiste was nothing new. One thing is sure. This trend of changing names was started by Kumar only. Many actresses changed their names after coming in films. Some did it because they wanted to hide their religion and some did it as there were artistes with the same name already in films. For example, Shyama. There were already 2-3 Khurshids in the films and her real name was Khurshid, so she changed it. Similarly, Meena Shorey’s name was also Khurshid. Some of the actresses who changed their names were, Jyoti, Renuka Devi, Purnima, Meena kumari, Madhubala, Rattanbai, Madhuri, Pramila, Sabita Devi, Bimla kumari, Indira Devi, Latika, Seeta Devi, Manorama, Nadira, Meera etc etc.
In case of male actors, the name changing percentage was mush less. Few cases like Ashok kumar, Kishore kumar,Ranjan,Dilip kumar,Manhar Desai and some more can be counted. Male name changing was seen in as late period as the 80s and 90s too. Cases in point are Rajesh khanna, Akshay kumar etc etc.
Actor KUMAR was born in the prestigious family of Syed s of Lucknow-UP in India,on 23-9-1903.His real name was SYED HASSAN ALI ZAIDI.
His family used to call him MIJJAN Miyan.
He was a handsome and tall person.He was keen on joining cinema,so he came to Calcutta and joined New Theatres. After doing side roles in Subah ka Tara and Zinda lash,he was hero in PURAN BHAGAT in 1933.Even Saigal was also in the film.The film was about to be released and suddenly communal riots broke out in Calcutta.The new Theatre management found it difficult to announce a muslim name of the hero of PURAN BHAGAT,in the tense atmosphere of Calcutta.The director of the film was kumar Debaki Bose,a person from a Royal family.He took a dicision and told Mijjan,” from today,I am giving you a part of my name.You will become KUMAR now.”This solved the film release problem and thus his name became KUMAR,then onwards.Truly enough,Debki Bose,thereafter, never used his name Kumar again in his life !
After doing Yahudi ki Larki,Kumar came to Bombay. First he worked in Sagar ( 5 films) , Imperial (2 films)and then joined Ranjit Studios.
In 1939,he married another actress PRAMILA ,who was actually a Jew, Esther williams. Pramila was later India’s FIRST Miss India in 1947.They got a son and a daughter Naqi Jehan(who too became a Miss India in 1967,exactly 20 tears after her mother. Naqi acted opposite Rajesh Khanna in Akhari Khat,as a Heroine.Later she married into the business family of Kamdar of Bombay and became mrs.Nandini Kamdar. Kumar had 3 sons from his earlier marriage.
Kumar did many films in Ranjit,but in 1942,he was removed from Ranjit.At the same time,his friend,CHANDRAMOHAN also left Minerva Movietone( reason-despite PUKAR-39 being a blockbuster,his salary was not increased inspite of a promise by Sohrab modi).They both decided to lauch own company and on 16-3-1942,SILVER FILM CO. was launched.Its first film was Jhankaar.They produced Bhalai,Bade Nawab Saab,Devar,Naseeb,Dhun and Bahana.Kumar acted in these films.he also directed Dhun and Bahana.
He produced and directed Aap-Beeti-1948 under his company,Kumar Studios.Then under Shama prodn. he made Nahle pe dehla,Dhoom Dham and Dilbar.
later in life he made badal aur bijlee and jungle king under Artists United films. Kumar worked in 73 films as an actor from 1932 to 1963.
From Najma in 1943,Kumar did only character roles in films like bhishm pratigya,Dayara,mahal,Shri 420,khiladi,Maalik,Baiju Bawra,yahudi ki ladki. His memorable role was in Mughal e Azam,that of the sculptor and a famous song-‘Aye mohabbat zindabad’ was shot on him. His last film was Raat aur Din (released in 1967)
In 1963, Kumar migrated to Pakistan, and started to work in Pakistani films without any delay. His son, S. A. Hafiz, who made Tauba, later became one of the best and well known directors of the country. Later he settled in USA. Kamal and Zeba played the lead in Tauba, which became a grand success. Kumar worked in quite a few Pakistani films, including Head Constable, Azad, Shabnam, Naela, Saiqa, Sajda (his own film), Hum Dono, Nadya Ke Paar, Ik Musaflr Ik Hasina, Baalam etc. Kumar died in 1982.
Film Watan-38 was directed by Mehboob Khan. He directed 8 films for Sagar and 1 (Aurat) for National Studios. This film, with a Muslim cultural backdrop, was released on the day of Eid. The film was dominated by grand sets and costumes. The story was usual. Conflict between Kazak and Tatar communities, lasted many generations. The film was a complete entertainment package, consisting of Dances, songs, war scenes, Enemity, Revenge, overwhelming costumes and love scenes, in a proportionate manner.
The music was composed by A.Biswas. All songs were written by Wajahat Mirza. Today’s song, ” Kyun hum ne diya dil ” by Sitara Devi was the most popular song of the film. There were total 10 songs. One of the songs-a duet by Anil Biswas and Bibbo was based on the tune made by kazi nazrul Islam ( Nazrul Geeti).
Today’s song is extremely enchanting and I would list it as the best song of Sitara Devi ( she sang 100 songs in 33 films). It truly sounds as a sad and remorseful song. The words of the song remind me of a duet by Surendra and Shamshad begum ” Kyun unhe dil diya” from film Anokhi Ada-48, composed by Naushad.
Song-Kyun hamne diya dil (Watan)(1938) Singer-Sitaara Devi, Lyrics-Wajahat Mirza, MD-Anil Biswas
Lyrics
Kyun ham ne diya dil
thha kiska ishaara
Kyun ham ne diya dil
thha kiska ishaara
aur kis ne kaha thha
ham tumse kahen kya
aur kis ne kaha thha
ham tumse kahen kya
Kyun ham ne diya dil
tha kiska ishaara
Kyun ham ne diya dil
wo khwaabon mein aana
dil mera churaana
wo khwaabon mein aana
dil mera churaana
aur deke ye jaana
aur deke ye jaana
kyun kaisa liya dil
aur keh ke ye jaana
kyun kaisa liya dil
kyun hamne diya dil
aankhon ka ishaara
kyun hamne diya dil
parwaana na aata
kyun shola jalaata
parwaana na aata
kyun shola jalaata
kabhi ishq bulaata(?)
kabhi ishq bulaata(?)
kaahe ko diya dil
ab ishq bulaata
kaahe ko diya dil
donon ne diya dil
aashiq(?) ka ishaara
kyun hamne diya dil
Aate hain wo aate hain wo
Posted on: August 10, 2018
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in 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 : | 3675 | Post No. : | 14562 |
Khaamosh hai zamaana chup chaap hain sitaare
The first line of the song, aayega aane waala aayega from ‘Mahal’ (1949) must have vibrated in the cinema halls many times when the film was released on October 13, 1950 (on Ashok Kumar’s birth day). How true it was! Just two months before the release of the film, the creator of the immortal melodies in the iconic film ‘Mahal’ (1949) breathed his last on August 10, 1950 in Harkishandas Hospital in Bombay (Mumbai) at the young age of 42 years.
Today, August 10th 2018 is the 68th Remembrance Day of Khemchand Prakash (12/12/1907 – 10/08/1950). In 1939, he was like a newly capped cricketer who attained the form in his very first assignment and remained in form most of the time. In a short span of 11 years in the Hindi film industry, he composed a little over 430 songs in around 45 films. His career graph was like ‘I came, I saw, I conquered’ the Hindi film music.
Khemchand Prakash was born in Sujangarh (presently in Churu district of Shekhavati region of Rajasthan) in the family of Dhrupad singers and kathak dancers belonging to Jaipur Gharana. The family had a long lineage of kathak dancers and dhrupad singers. It is said that some of them received the patronage of Mughal kings from the time of Akbar and continued the royal patronage until the death of Mohammed Shah ‘Rangeela’. Thereafter they had to seek royal patronage from other princely states like Jaipur, Jodhpur, Bikaner, Rampur, Lucknow, Gwalior etc. [Reference: Sunil Kothari’s book ‘Kathak – Indian Classical Dance Art’ (1989)].
Pandit Govardhan Prasad, the father of Khemchand Prakash was also dhrupad singer and kathak dancer who was in the royal court of Jaipur. Khemchand Prakash received training in dhrupad singing and kathak dance from his father in Jaipur. When he was still in his teen, he became the court singer and dancer in the royal court of Bikaner. Soon he got an opportunity to join the royal court in Nepal as a singer and dancer where he remained for the next 7-8 years.
Khemchand Prakash got an opportunity to work in New Theatres (NT) as a music assistant to Timir Baran who was the music director for ‘Devdas’ (1935). There has been some speculation for a long time that Khemchand Prakash composed tunes for two songs of ‘Devdas’ (1935). About 3 years back, Pavan Jha, in his Article reaffirmed:
Music director Daan Singh [(‘My Love’ (1970), ‘Bhool Na Jaana’ (1960s, UR)], who was a formal protégé of Khemchand Prakash for a year and half, had told me that two of the classic compositions from Devdas, ‘Dukh ke din ab…’ and ‘Baalam aan baso…’, were composed by Guruji (Khemchand) and yet his contributions as composer went unaccredited.
Another important event in the life of Khemchand Prakash during his New Theatres day was his comic role as an actor-singer in ‘Street Singer’ (1938) in which he performed and sang lo khaa lo madam khaana. It seems, he also had a small role in ‘Kapal Kundla’ (1939).
Sometime in 1939, Khemchand Prakash joined Prithviraj Kapoor, K N Singh and others in quiting NT and came to Bombay (Mumbai). Probably, he must have thought that with stalwarts like R C Boral and Pankaj Mullick, he had no scope for becoming a music director in NT. With Prithviraj’s connections, Khemchand Prakash got his first assignment as an independent music director for Supreme Pictures’ ‘Ghazi Salauddin’ (1939) and ‘Meri Aankhen’ (1939).
For ‘Ghazi Salauddin’ (1939), Naushad assisted Khemchand Prakash as the story of the film had a historical Muslim background. Two songs sung by Kalyanibai became popular from this film. With ‘Meri Aankhen’ (1939) which was released first, Khemchand Prakash’s association with Khursheed Bano – Ranjit Movietone’s actor-singer- began which churned out many popular songs.
Although these two films did not have a good run at the box office, the songs of the films were appreciated. Khemchand Prakash joined Ranjit Movietone as music director with ‘Paagal’ (1940), ‘Holi’ (1940) and ‘Diwaali’ (1940) in his bag. In all, he composed music for 26 films during his 5 years of association with Ranjit Moveitone.
Some of the films made under the banner of Ranjit Movietone in which songs composed by Khemchand Prakash became popular were ‘Holi’ (1940), ‘Pardesi’ (1941), ‘Chaandni’ (1942), ‘Tansen’ (1943), ‘Bharthari’ (1944), ‘Bhanwra’ (1944), ‘Mumtaz Mahal’ (1944) etc.
A special mention needs to be made about the song compositions of ‘Tansen’ (1943). In this film, two top actor-singers – K L Saigal and Khursheed Bano were teamed together for the first time. It was the first occasion for Khemchand Prakash as a music director to record the song rendered by K L Saigal. It was the first occasion to compose a song in dhrupad for K L Saigal. While the songs of Khursheed Bano were a blend of folk and raag based, that of K L Saigal were based mainly on classical raags.
After ‘Prabhu Ka Ghar’ (1945), Khemchand Prakash left Ranjit Movietone ostensibly for the differences with Sardar Chandulal Shah on engaging a new playback singer. After remaining inactive for about a year, he became a free-lancer during which he scored music for successful films like ‘Sindoor’ (1947), ‘Ziddi’ (1948), ‘Saawan Aaya Re’ (1949), ‘Rimjhim’ (1949), ‘Mahal’ (1949) etc.
Some of the lesser known songs composed by Khemchand Prakash which I like are as under:
| Songs | Singer(s) | Movie |
|---|---|---|
| Main albeli titli | Sitaara Devi | Meri Aankhen (1939) |
| Mori atariya hai sooni mohan nahi aaye | Khursheed Bano | Pardesi (1941) |
| Meri atariya pe aa jaa | Sitara Devi/Mukesh | Dukh Sukh (1942) |
| wo chaand ban muskuraa rahe hain | Ameerbai Karnataki | Vishkanya (1943) |
| Mere dheere se ghoonghat hataaye piya | Ameerbai Karnataki | Bharthari (1944) |
| teri pi pi ke pukaaron ne dil loot liya | Ameerbai Karnataki | Bhanwra (1944) |
| Mohabbat mein saara jahaan jal raha hai | Khursheed Bano | Shahanshah Babar (1944) |
| ye dil na mujhe yaad dila baaten puraani | Rafi/Shamshad | Saawan Aaya Re (1949) |
| Jagmag jagmag karta nikla chaand poonam ka pyaara | Kishore Kumar | Rimjhim (1949) |
| dekh gagan mein kaali ghata kya kehti hai | Nalini Jaywant | Muqaddar (1950) |
No discussion on Khemchand Prakash would be complete without the mention of his melodious song compositions for “Mahal’ (1949) in general and aayega aane waala aayega in particular. Probably, this was the first song in the genre of ‘haunting song’. The top popularity this song achieved after the release of the film relegated into background the other melodious songs of this film such as mushqil hai bahut mushqil and ghabra ke jo ham sar ko .
I had heard this song on the radio quite often during my childhood and teenage years. It was one of my favourite songs. During my gramophone record collection days in early 1970s, the 78 RPM gramophone record of this song (in two parts) was one of my early collections. It was then I came to know that the song was composed by Khemchand Prakash, a name unknown to me at that time. Due to the slow tempo in Part-1 of the song, I would play only Part-2 of the song on my record player on most of the time. After watching the song picturisation, now I am in a better position to appreciate Part-1 of the song as well.
It is said that after the marathon rehearsal of the song of about 6 minutes of duration, Ashok Kumar, Savak Vacha and lyricist Nakshab Jarchvi felt that the slow tempo in the song would not appeal to the audience. But Khemchand Prakash was very confident about the song becoming popular. He was supported by the director, Kamal Amrohi.
Khemchand Prakash’s prophecy came true. The song became a rage all over India. Radio listeners were asking as to who was the real singer since the name of ‘Kamini’ – the character Madhubala played in the film – was printed on the label of the 78 RPM gramophone record. Thereafter the radio anouncers started announcing the name of Lata Mangeshkar whenever the song was being played on the radio.
The musical hit of ‘Mahal’ (1949) made Madhubala a star to reckon with. Lata Mangeshkar’s playback singing career graph gained a quantum jump which helped her to become numero uno among the female playback singers and retain that status for about the next 5 decades. After being in the film industry for over a decade as a story/screen-play/dialogue writer and lyricist, Kamal Amrohi’s success in his first directorial assignment got him the recognition as a director. The debt-ridden Bombay Talkies under whose banner the film was produced, got a breather.
But Khemchand Prakash, the creator of the immortal melodies in the film was not there to witness the tremendous success of his songs. Just 2 months before the release of the film, he breathed his last on August 10, 1950. Although Khemchand Prakash had earlier composed many hit songs especially with Khursheed Bano and Ameerbai Karnataki, this one song , aayega aane waala’ has immortalised him forever in the history of Hindi film music.
As a tribute to Khemchand Prakash on his 68th Remembrance Day, I am presenting one of the rare songs from an obscure film ‘Chalte Chalte’ (1947) in which Khemchand Prakash composed 11 songs (including one multiple version song). All the songs were written by Lalchand Bismil Peshawari. The song is ‘aate hain wo aahista aahista haule haule’ sung by Patanjal and Meena Kapoor. The film was produced and directed by S K Malik under the banner of Malik Productions. The main cast included Patanjal, Latika, Sudha, Kanta Kumari, Anwari, Gope, K N Singh, Shekhar, Anjlina etc.
‘Chalte Chalte’(1947) was one of the films he was associated with after leaving Ranjit Movietone in 1946. After struggling for a year or so, I guess, he may have done some retrospection and decided to adapt to the changing scenarios in Hindi film music. Probably, this song may be the first song in which Khemchand Prakash was influenced by western music. Meena Kapoor’s singing of multiples ‘aa aa aa…’ before the start of new antaras add a feeling of joie de vivre. The symphony style orchestration mainly of violins at the beginning as well as in the interludes seems to be the contribution of Antony Gonsalves, the Goan musician, who had worked with Khemchand Prakash, Anil Biswas and Naushad when he joined them in the second half of the 1940s.
This is one of those humming melodies created by Khemchand Prakash which remained unknown to many admirers of vintage Hindi film songs.
With this rare song, ‘Chalte Chalte’ (1947) makes its debut in the Blog.
Song-Aate hain wo aate hain wo (Chalte Chalte)(1947) Singers-Patanjal, Meena Kapoor, Lyrics-Lal Chand Bismil Peshawri, MD-Khemchand Prakash
Lyrics
aate hain wo
aate hain wo
aahista aahista
haule haule
aate hain wo
aate hain wo
aahista aahista
haule haule
aaa
aa aa aaa aa
aa aa
aa aa
aa aa
aa aaa
aaaa
aate hain wo naazon ke paale
baanki tirchhi maang nikaale
aate hain wo naazon ke paale
baanki tirchhi maang nikaale
aahista aahista
haule haule
aaa aa aa
aa aa aa aaa
aa aa
aa aa
aa aaa
aa aaa
gulshan ki duniya ne chun chun ke pahne
gulshan ki duniya ne chun chun ke pahne
baanke sajeele phoolon ke gahne
baanke sajeele phoolon ke gahne
shabnam ne chaandni ke moti roley(?)
shabnam ne chaandni ke moti roley(?)
aahista aahista
haule haule
aate hain wo
aate hain wo
aahista aahista
haule haule
raat ki raani gesu sanwaare
ha ha ha ha ha
raat ki raani gesu sanwaare
ha ha ha ha ha
neele dupatte pe chamke sitaare
neele dupatte pe chamke sitaare
jhumke suraiyya ke kaanon mein dole
jhumke suraiyya ke kaanon mein dole
aahista aahista
haule haule
Kuchh bol bol panchhi
Posted on: August 8, 2018
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 : | 3673 | Post No. : | 14556 |
“Aaina”(1944) was directed by S M Yusuf for D R D Productions. This movie had Trilok Kapoor, Husn Bano, Kaushlya, Yakub, Gope, Yashodhara Katju, Rajkumari Shukla, Sulochana Chatterji, Mirza Musharraf, Leela Mishra, Sayyad Ahmad, Bibi, Sultan Bawa etc in it.
The movie had eight songs in it that were composed by two music directors viz Fatah Ali Khan and Gulshan Soofi. HFGK mentions three songs as composed by Fateh Ali Khan and two songs as composed by Gulshan Soofi. Music directors for three remaining songs are not known.
Six songs have been covered in the past.
Here is the seventh song from “Aaina”(1944). This song is sung by Kaushalya. Pt Phaani is the lyricist of this song. Music director for this song is not known. I have provisionally considered Gulshan Soofi to be the composer of this song.
Since Kaushalya has acted in the movie, so it is clear that the song was picturised on her as well.
Song-Kuchh bol bol panchhi (Aaina)(1944) Singer-Kaushalya, Lyrics-Pt Phaani, MD-Gulshan Soofi
Lyrics
kuchh bol bol panchhi
kuchh bol bol panchhi
ho o
par khol khol panchhi
ho o
par khol khol panchhi
kuchh bol bol panchhi
?? sej tujhko
par dekh
ud na jaana
par dekh
ud na jaana
moh lega man kisi ka
tera ye chahchahaana
tera ye chahchahaana
ho o
par khol khol panchhi
ho o
kuchh bol bol panchhi
kuchh bol bol panchhi
ho o
munh khol khol panchhi
ho o
kuchh bol bol panchhi
kuchh bol bol panchhi
aazaad aaj hai tu
kal ki magar na jaane
kal ki magar na jaane
kar lega qaid koi
kitne bhi kar bahaane
kitne bhi kar bahaane
ho o
mat dol dol panchhi
ho o
kuchh bol bol panchhi
kuchh bol bol panchhi
ho o
par khol khol panchhi
ho o
kuchh bol bol panchhi
kuchh bol bol panchhi
kuchh bol bol panchhi
kuchh bol bol panchhi
kuchh bol bol panchhi
kuchh bol bol panchhi
kuchh bol bol panchhi
Chahun oar chaandni chhitki hai
Posted on: August 6, 2018
- In: "chaayageet" song | Biography of actors | Biography of artists | Biography of singer | Feelings of heart | Guest posts | Post by Arunkumar Deshmukh | Rare song | Song of 1940 | Songs of 1930s (1931 to 1940) | Vatsala Kumthekar Solo Songs | Vatsala Kumthekar 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 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 : | 3671 | Post No. : | 14550 |
Today’s song is from Anuradha (1940). There were two more films made with the same title- one in 1960 and the other in 2014. Film Anuradha-1960 was the most well known film of these 3 films. The song of today is ” Chahun oar chaandni chitki hai.” It is written by Lajpat Rai and tuned by the veteran composer Badri Prasad. The song is sung by Vatsala Kumthekar.
Vatsala Kumthekar was one of those many aspirants, who dreamt of a bright career, plenty of money,name and fame and a happy retired life. To fulfil this dream, it was customary to go to Bombay and join films.
This is a Maya Nagari. Those who thought that all that glittered was Gold, suffered the bitter fruits of reality. In reality, Hindi film industry is a great leveller. This industry has taken some people from Rags to Riches and some others from Riches to Rags !
There are many cases where an artist reached a particular height of his career in professional life but when the end came, he died unsung, unknown and unatteneded. There are instances like Parveen Babi and Nalini Jayawant, whose death went unnoticed for days together and when news spread their bodies were beyond recognition. For many, the end was violent, like Sayeeda Khan, Director Brij and Shankar Dasgupta.
But the worst is when Death does not come fast and the last days are spent in penury, begging and in bedridden condition unattended.
Master Nissar, who once boasted of owning the only car in Bombay, other than the Bombay Governor, died in Kamathipura slums in Bombay penniless. His last rites were done by the Cine Artists Association.
The beautiful bubbly Meena Shorey died in Lahore in utter poverty and her last rites were done by charity. One time popular hero WASTI was found begging near Liberty Cinema in Bombay. Rattanbai, the famous singer was seen begging at Haji Ali Darga in Bombay. The wife of Khemchand Prakash also was found begging there by Naushad. Mohd.Rafi found Khan Mastana begging near a Dargah. Rajkumari, Vimmi, Bharat Bhushan, Master Bhagwan, Khan Mastana spent their last days very humiliated, in poverty and obscurity. We all know, by now, the sad story of Mubarak Begum living off the meagre earnings of her Auto-driver son, in a Bombay Zopadpatti, till her recent death.
The story of PARSHURAM, once a popular actor/singer of 1930s and 40s is very pathetic. Tabassum,who ran the record breaking TV program ‘Phool khile hain gaulshan Gulshan’, once stopped at a traffic signal. From her car,she saw a familiar face begging at every car. She immediately recognised Parshuram. She got down quickly,took him in her car to the TV studio. He was the same Parshuram who sang the famous song of Duniya na maane-1937 ‘Man saaf tera….’. He was cleaned, fed and robed in fresh clothes. Then she did his live interview on the TV and paid him Rs.1000/- on the spot. Later he got 1 or 2 film offers, but then he disappeared forever. He was a habitual drunkard. He was seen begging again. One day he died on footpath and was cremated by Municipality as an unclaimed body, before his relatives reached to claim the body.
Chandra Mohan, Shaikh Mukhtar, Cuckoo…………so many stories of sorrow and sad ends…….This is Bombay Film Industry-the Maya nagari.
Inspite of all this,still millions of people come to Mumbai with dreams in their eyes…..
Today we see the case of one such singer who scaled heights of popularity and then went to the Nadir from the Zenith….
VATSALA KUMTHEKAR was born in Bombay in 1909.Her family was a noted singers family from Goa. After schooling she got regular music training fro Ustad Barkat Ali,the elder brother of Bade Ghulam Ali Khan.She specialised in Thumaris.
Her beauty and sweet voice attracted many and she started holding Mehfils and Jalsas from 16-17 years onwards.her fame spread far and wide and she did programmes all over India. No wonder film companies ran after her.She started the career with Prabhat’s “WAHAN”-1937.
Then came Baanke Saanwariya, Madhu Bansari, Hurricane special, Jumbo ka beta, Aaj ki Duniya, Anuradha, Jai Swadesh, Aurat, Holiday in Bombay, Prabhat,Sangam,Lalaji,Aabroo, Jabaan, Aashirwad, Ishara and Rahat.
She was quite popular and many film personalities were keen to marry her. She got married in 1940, but her married life was bad. Her husband, Ibrahim Sheth, left her for another woman. After 3 years he returned to her. She readily accepted him and looked after him till he died. By now she had stopped getting films. After husband’s death, she almost became penniless and lost her mind. She shaved her head. She was seen roaming in Bombay like a mad woman and begging.
One day her dead body was found on Tardeo Bridge, Bombay. She was identified by some onlooker, but before the news reached the film industry, she was cremated by the Municipality as an unclaimed body.
Film Anuradha (1940) had a cast consisting of Maya Banerji, Trilok Kapoor, Jeevan, K N Singh, Vatsala, Shyamsundar, Anant Marathe , Agha etc.etc. Anant Marathe aka Anant kumar was the brother of actor and famous singer Ram Marathe. I was searching for his information for quite some time. My search ended when I found an article written by his son about his father.
Anant Marathe was born in 1936. In a career that spanned over 50 years, he was a witness to many changes and upheavals in the Hindi film industry. Born in Pune, in a family that was doing well for itself, he had three brothers and two sisters. Losing his father at the tender age of four, he was forced to give up education and begin work, to fend his family. In the process the family left Pune and came to Mumbai, the city that fed every soul.
The world of films, those days, was not an industry. It was just like a 9 to 5 job in an office. Anant Marathe, with his innocent looks, expressive eyes and inborn confidence, was chosen by Master Vinayak, to play a role as a child artiste in a hindi film, Chhayaa. In this film he played the role of a son, who for his own selfish means is used by his father, ( played by Late Shri Chandra Mohan).
The real breakthrough came when he was called for an audition at Prabhat Studios, the most distinguished film company of those days. This 1943-44 film was ‘ Ramshastri’, in which he was to play the part of Chhota (small) Ramshastri. Ramshastri Prabhune was the Supreme Judge of the Peshwa dynasty and known for his supreme judgement. Once he was selected for the role, his grooming as an actor really began. In the storyline, Chhota ramshastri was depicted as a boy who hates to study and loves to play whole day long. He would swim, roam about with his pet dog and enjoy life. For this role Anant marathe was made to learn swimming even though he was scared of water! He could not get along with the puppy dog, even though it was supposed be his pet. And to top it all, after shooting, the swimming and the sequences with the dog were edited from the film! The song, ‘Don ghadicha daav, yala jeevan aise naav” sung by him was very popular at that time. He received an award for his performance as Ramshastri from Bengal Film Journalists Association as the best supporting actor of the year. This film was screened in a number of National and International film festivals.
Film industry in South India was very active in early 50’s. Anant Marathe acted in a number of films produced by the South Indian film studios, namely AVM, Gemini studios etc. Shri Chettiar of AVM was planning a socio-mythological film on the life of a famous saint. The lead role was played Shahu Modak. The film in general was devotional and to bring in an interesting element, a comic character was created, in the form of the saint’s shishya ( pupil ). This role was offered to Anant Marathe and he displayed histrionics that astonished everybody on the sets.
The Director who groomed the great showman Raj Kapoor was Kidar Sharma and Anant Marathe had the privilege to work in one of his films, this time as a villain! The film was Hamaari Yaad Aayegi. This film also launched Tanuja, who would be known as a talented actress in the coming years. Anant Marathe played the role of a character called Pyarelaal, a very deceiving name for a villain! He is a suave character, moving about in the company of elite people but behind the cute face there is a monster of sorts, a wolf in sheep’s clothes. Anant Marathe, with his charming smile was very stunning, not only in his looks but in every move. Kidar Sharma was known to reward any actor who performed a great scene with a 4 anna coin, known as chavanni in those days. A chavvanni earned for a great shot was like an achievement. And Anant Marathe earned many, which he cherished till end.
His journey as an actor continued with great flourish. Since he could speak Marathi and Hindi fluently, he received offers from both Marathi and Hindi films. He was truly a bi-lingual actor.
Manoj Kumar was inspired by the life of Bhagat Singh, the great sikh patriot from Punjab and was planning a film on his life. Manoj Kumar and Prem Chopra were to play the roles of Bhagat Singh and Sukhdev respectively but casting for Raajguru, the third freedom fighter was still to be done, as Manoj Kumar wasn’t happy with the short-listed few, to play the role. Manoj Kumar heard about Anant Marathe, who had acted in many hindi and marathi films. Anant Marathe was asked to come over and meet Mnoj Kumar. One look at him and he had found his Raajguru! The experience of working in a truly patriotic film, that too with a thespian like Pran who played a cameo in Shaheed, was a very inspiring experience for him. Incidently Pran did not charge a single rupee for this role! Shaheed brought a wave of patriotism in the audience, they cheered and loved their heroes. The real mother of Bhagat Singh was felicitated at the premiere of this film at Delhi. She was moved by the performances of every actor in the film. What’s more, a special screening was arranged for the then Prime Minister of India, Late Shri Lal Bahadur Shastri, who praised the film and awarded certificates of honour to all the actors.
Anant Marathe acted in over 250 Hindi and Marathi films, out of which 71 films are Hindi. he also sang 5 songs in 5 Hindi films.When he made his foray in Hindi films, he was not very fluent in Hindi so he took lessons from a tutor who taught him the nuances of Hindi, thus improving the pronunciations so he could speak the language flawlessly. He also learnt English to give his persona the required sparkle, so important for a lead hero. He had to give up formal schooling due to circumstances that prevailed and may be he made up for it in this manner.
Some of the films he acted in are, Bhakta Bilwamangal (Durga Khote), Bhakta Gopalbhaiya (Amir Kanataki), Geeta (Chandra Mohan, Durga Khote), Gokul ( Kamla Kotnis, Sapru), Jivacha Sakha (Durga Khote, Sulochana), Malti Madhav (Durga khote, Baby Shakuntala), Nanda Kumar ((Durga Khote), Sant Janabai (Hirabai Badodekar), Seeta Swayamvar (Durga khote, Baby Shakuntala), Jawaee Majha Bhala, Choravar Mor, Bhintila Kaan Astaat, Shri Krishna Darshan ( (Durga khote, Usha Kiran), Sampoona Ramayan, Bharat Milaap and many more.
In “ Barkhaa”, he played the role of a doctor opposite Nanda. The song, “ Ek raat mein do-do chaand khile…” became an instant hit. “Bada bhai”, a film starring late Ajit, had him playing Ajit’s younger brother with Amita as the female lead. In “Sanskaar” also he played the lead role opposite Amita. He acted in some Gujrati films also.
In the early stages acting was like a job for him but soon it became a passion. All these years, while he worked in front of the camera as an actor, he learnt the finer details of film making, by observing, making mental notes. He had a flair for writing. In fact, he was a habitual diary writer. He wrote poems for small children and later they were published in the form of a book.
He had a good voice and was planning to be a singer but destiny had something else in store for him, a career in acting.
He wielded the megaphone in year 1974, for a marathi film named “Sonarana Tochala Kaan”, starring comedian and an intense actor Nilu Phule in lead role with Usha Chavan as the female lead. It was inspired by a Hollywood caper with famous comedian, Bob Hope in lead. The film was a huge success all over Maharashtra.
Soon he was set to direct a film in Hindi. After a detailed script was worked out by him, the producer backed out. Losing hope but not the spirit, he turned a new leaf and began work on his next project, once again in Marathi. The name of the film was “ Bijlee”, meaning lightning.
Rangat-Sangat Pratishthan, founded by the wife of late Shri Shahu Modak conferred the Manus puraskaar, an award on him for life-time achievement. The name for this award, for obvious reason is Manus (meaning human), a film by this name had Shahu Modak in a memorable role as a Havildaar.
Anant Marathe lived a content life. Having worked in films from the age of 8 took its toll on him and he passed away in 2002.
Film Anuradha-40 had 12 songs in it- all written by Lyricist Lajpat Rai. He seems to have written songs for only one more film, Deepak-40. The music was composed by Badri Prasad.This is the first song from this film here.I was pleasantly surprised when I listened to few songs from this film, because, contrary to Badri prasad’s earlier music and songs, these songs were sounding fresh. Looks like he was trying to be with the changing tastes of the audience. Sadly, he stopped giving music to films after just 3 more films-Vanmala-41, Madhusudan-41 and Zevar-42. He was, however, active as an actor and later as a choreographer for many years, till late 70s.
( Credits- HFGK, MuVyz, http://www.writewrong.wordpress.com, Isaq Mujavar’s books, Sun jaa dil ki dastaan by J V Kulkarni and my notes)
Song-Chahun oar chaandni chitki hai(Anuradha)(1940) Singer-Vatsala Kumthekar, Lyricist- Lajpat Rai, MD- Badri Prasad
Lyrics
chahun oar
chahun oar chaandni chitki hai
taaron ki basti basti hai
chahun oar chaandni chitki hai
taaron ki basti basti hai
main haay akeli
aa jaao
birha ki aag sulagti hai
chahun oar
chahun oar
ye mand mand vaayu ki lahren
sukh ke geet sunaati hain
ye mand mand vaayu ki lahren
sukh ke geet sunaati hain
chhed chhed man ke taaron ko
aise saaz bajaati hain
rom rom thhar thhar kaanpe ae ae ae
rom rom thhar thhar kaanpe
nanhi si jaan machalti hai
nanhi si jaan machalti hai
main haay akeli
aa jaao
birha ki aag nikalti hai
chahun oar
chahun oar
door door saagar ka paani
prem ka naad sunaata hai
door door saagar ka paani
prem ka naad sunaata hai
mast bana paagal sa doley
mast bana paagal sa doley
parvat se takraata hai
dol rahi hirday ki naiyya aa aa naiyya
dol rahi hirday ki naiyya
kaise paar utarte hain
kaise paar utarte hain
main haay akeli
aa jaao
birha ki aag sulagti hai
chahun oar
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 : | 3670 | Post No. : | 14548 |
“Ban Phool”(1945) was directed by Dhiren Lahiri for P R productions, Calcutta. The movie had Kanan Devi, Krishnkant, Debi Mukherji, Ahin Chaudhary, Roy Mohan, Shyam Laha, Dev Bala, Bijli, Hiralal etc in it.
This movie had nine songs in it. Three songs have een covered in the past.
Here is the fourth song from “Ban Phool”(1945) to appear in the blog.
This song is sung by Kanan Devi. Pt Madhur is the lyricist. Music is composed by Dhiren Mittar.
I have not been able to note down the lyrics to my entire satisfaction. I request our readers with keener ears to blanks/ help fill in the corrections wherever applicable.
With this song, 200 HFM songs from movies released in 1945 have been covered in the blog.
Song-Kali tu hi bata de hawa tu hi bata de(Ban Phool)(1945) Singer-Kanan Devi, Lyrics-Pt Madhur, MD-Dhiren Mittar
Lyrics
kali tu hi bata de
hawa tu hi bata de
chaman mein kaun aaya
kaun gaya aa aa
kali tu hi bata de
hawa tu hi bata de
kaise pyaar ho gaya
kaisi bahaar de gaya aa
kaise pyaar ho gaya
kaise pyaar ho gaya
kaisi bahaar de gaya aa
kali tu hi bata de
hawa tu hi bata de
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
hai pal mein badal gayi duniya
hain badal gayi pichhli kaliyan
aur naach uthhi jeewan ghadiyaan
ab chamak rahi mann phuljhadiyaan
mann phool raha
mann phool raha
mann pyaasa raha
mann doob gaya
mann phool raha
mann phool raha
mann pyaasa raha
mann doob gaya
paayal ki ab sun kar dum
tan man naache chham chham chham
duniya kehti tham tham tham
iqraar kiya to laaj hansi
inkaar kiya to pyaar hansa
iqraar kiya to laaj hansi
inkaar kiya to pyaar hansa
Piya milne naveli nadi jaaye re
Posted on: August 5, 2018
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in 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 : | 3670 | Post No. : | 14547 |
Is Raj Kapoor singing a song for himself?
That was my reaction (to myself) when I heard for the first time, the song ae duniya ke rahne waalon bolo kahaan gaya chitchor from ‘Dil Ki Raani’ (1947) on the Blog. I could not believe that it was Raj Kapoor’s voice. This happened just a few days after I joined the Blog in July 2011. At that time, I felt that this could be a case of giving credit to the actor on the gramophone record label on whom the song was picturised instead of accrediting the real playback singer who could be someone else. At that time, I was not even aware of Har Mandir Singh ‘Hamraaz’ saab’s publications, Hindi Films Geet Kosh (HFGK).
During early 1970s, I used to spend almost every week-end with my friends who were the admirers of the old Hindi film songs. I do not recall any conversation about Raj Kapoor (or for that matter, Dilip Kumar, Nalini Jaywant and Meena Kumari) singing the songs in the films for themselves. Of course, Ashok Kumar’s singing was well known because of the popularity of his songs from films like ‘Achhut Kanya’ (1936), ‘Jhoola’ (1941) etc.
Since then, a lot of water has flowed under the bridge. The publication of HFGK in the 80s and the advent of Internet have disseminated a lot more information relating to Hindi films and songs which were hitherto not known to most of us. Also, there are now film information sharing platforms like Recorded Music Indian Music (RMIM), Society of Indian Record Collectors (SIRC) and many other informal Groups. Also, we have our own Blog to revalidate the information on the Hindi film songs.
Coming back to Raj Kapoor as a singer, I have heard his voice in two other songs also – one each from ‘Jail Yatra’ (1947) and ‘Gopinath’ (1948). In my view, Raj Kapoor had a good singing voice worthy of becoming an actor-singer. His renditions were very close to that of the professional playback singers. As a testimony of Raj Kapoor as a good singer, watch this video as to how he has rendered the song ‘ae bhai jara dekh ke chalo’ from ‘Mera Naam Joker’ (1970) in a stage show presented by Raj Kapoor for the Indian Navy a few days before the release of his film in December 1970. In this show, while a few other songs from the films were rendered by Mohammed Rafi and Mukesh, Raj Kapoor had to sing this song as Manna Dey could not attend the stage show.
It is a well-known fact that Raj Kapoor was a musically inclined producer-director. He personally supervised all aspects of song compositions especially in the films which he produced and directed under R K Banner. Lata Mangeshkar in her chat with Indian Express has recently said:
Raj saab was a complete musician. He played the tabla, the harmonium and the piano. He composed songs and sang them in his own voice before handing them over to professional playback singers. He could have easily scored the music in his films. But he chose not to take credit for the music in his films.(Indian Express, March 20, 2018).
An old article written by Journalist Lata Khubchandani, which was reproduced in ‘Cineplot’, also confirm the musical inclination of Raj Kapoor. Later, she also wrote and published a book – ‘Raj Kapoor – The Great Showman (2005). In the words of Raj Kapoor, quoted by Lata Khubchandani:
From the earliest days, I have been interested in music. In fact, my first ambition was to be a music director. I even sang in my earlier films like Chitchor (probably, meant ‘Dil Ki Rani’), Chitor Vijay, Jail Yatra and Gopinath. When words fail, it is music that conveys much more than all words put together.
I wonder as to why Raj Kapoor did not become an actor-singer and left his ambition of becoming the music director in the back burner which he could have done easily for the films he was the producer-director-actor. I have also no idea as to when Raj Kapoor got interested in music. Probably his biographies should throw some lights in these matters. Since I do not have his biographies in my collections and they are not available online, I have relied on ‘circumstantial evidences’ to draw some conclusions.
When Prithviraj Kapoor was associated with the New Theatres, Calcutta (Kolkata) during 1933-39, the young Raj Kapoor was with him. He may have been influenced by the singing of K L Saigal. The autobiography of Kidar Sharma mentions that K L Saigal was a regular visitor to Prithviraj Kapoor’s house for musical soirees. Probably, the young Raj Kapoor may have also exposed to R C Boral who was composing songs for the films of New Theatres in which Prithviraj Kapoor acted. These environments may have attracted him towards the music.
Sometime in 1946, Raj Kapoor was put under the tutelage of Pandit Jagannath Prasad (a cousin of music director Khemchand Prakash). Mukesh was also learning the classical music from him. One day, when Mukesh was practising a particular raag , Raj Kapoor loved his voice and felt that his own voice paled in comparison with Mukesh’s voice. At that time, Mukesh had said to Raj Kapoor that he can take his voice. (Ref: The Hindu, June 16, 2003). How true it was to become in the later days. Although Mukesh sang 4 songs in Raj Kapoor’s first film in a lead role, ‘Neel Kamal’ (1947), none of these songs were picturised on Raj Kapoor. It was in ‘Aag’ (1948) that Mukesh became the voice of Raj Kapoor for the first time.
Just before his marriage in May 1946, Raj Kapoor was appointed as an Assistant in Prithvi Theatres and was associated with the production of one of its popular plays ‘Deewar’ (1946). In the review of the play, which appeared in May 1946 issue of ‘Filmindia’, the reviewer praised Raj Kapoor’s acting as a family servant in the drama and devoted one full paragraph on it. In addition to acting, he was the Art Director and assisted in light and sound arrangements and also to Ram Ganguli, the music director. Perhaps, all round experience gained from the play, ‘Deewar’ seemed to have encouraged him to produce, direct and act in the first film ‘Aag’ (1948) under his own banner. With this, Raj Kapoor appears to have decided to concentrate as director-actor and fulfil his ambition of becoming music director with a ‘back seat driving’.
As far as I know, Raj Kapoor sang 4 songs as an actor-singer out of which only one song as mentioned above has been covered in the Blog. The remaining 3 songs are as under :
| SN | Song | Co Singer | Movie |
|---|---|---|---|
| 1. | Piya milne naveli nadi jaaye re | Solo | Jail Yatra (1947). |
| 2. | Lehraaye mori laal chunariya | with Nalini Mulgaonkar | Jail Yatra (1947) |
| 3. | Jab se Dekha hai tumhen | Solo | Gopinath (1948) |
In Lata Khubchandani’s article referred to above, the name of ‘Chittor Vijay’ (1947) has propped up in which Raj Kapoor has reportedly sung a song. However, none of the songs of the film is available on line as far as I know.
I am presenting today, one of the rarest songs ‘piya milne naveli nadi jaaye re’ from ‘Jail Yatra’ (1947) sung by Raj Kapoor. The song was not available on YT until about 4 months back. The video was uploaded from the mp3 clip provided by Saregama. Since it was wrongly captioned, I have uploaded a new video of the song made by me by downloading mp3 clip from the Saregama website (with a small price). The song was written by Rammurty Chaturvedi and wa sset to music by Ninu Mazumdar.
Enjoy the song in the voice of Raj Kapoor which is probably based on one of the folk songs from Gujarat.
Song-Piya milne naveli nadi jaaye re(Jail Yatra)(1947) Singer-Raj Kapoor, Lyrics-Rammurty Chaturvedi, MD-Ninu Majumdar
Lyrics
piya milne naveli nadi jaaye re…ae
piya milne naveli nadi jaaye re
main akela chala dard dabaaye re
jiya mein liye haay re
jiya mein liye haay re
piya milne naveli nadi jaaye re
main akela chala dard dabaaye re
jiya mein liye haay re
jiya mein liye haay re
kaale baadal ghumad ghir aaye re..e
kale baadal
kaale baadal ghumad ghir aaye re
naache mor man mor ghabraaye re..ae
naache mor man mor ghabraaye re..ae
choom kaliyon ko
choom kaliyon ko bhanwra geet gaaye re
na aaj saha jaaye re
choom kaliyon ko
choom kaliyon ko bhanwra geet gaaye re
na aaj saha jaaye re
main akela chala dard dabaaye re
jiya mein liye haay re
jiya mein liye haay re
lata pedon se lipat laharaaye re
lata pedon se lipat laharaaye re
dekh-dekh ke umang lalchaaye re..e
dekh-dekh ke umang lalchaaye re..e
lata pedon se
lata pedon se lipat lahraaye re
mujhe chaaron oar soona dikhlaaye re
mujhe chaaron oar soona dikhlaaye re
kisi ki yaad aaye re
mujhe chaaron oar soona dikhlaaye re
kisi ki yaad aaye re
main akela chala dard dabaaye re
jiya mein liye haay re
jiya mein liye haay re
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 : | 3667 | Post No. : | 14541 |
| Blog Day : | 3667 | Post No. : | 14540 |
“Ban Phool”(1945) was directed by Dhiren Lahiri for P R productions, Calcutta. The movie had Kanan Devi, Krishnkant, Debi Mukherji, Ahin Chaudhary, Roy Mohan, Shyam Laha, Dev Bala, Bijli, Hiralal etc in it.
This movie had nine songs in it. Two of these songs have een covered in the past.
Here is the third song from “Ban Phool”(1945) to appear in the blog.
HFGK mentions this song as sung by Kanan Devi and chorus. But listening to this song, it becomes clear that the song is a duet sung by a male voice and Kanan Devi, with the male voice in fact singing bulk of the song. Uploader of the song mentions this sopng as sung by Dhirendra Chandra Mittar and Kanan Devi, where the male voice is the same as the music director. I have gone with that name for the male voice. I request our knowledgeable readers to throw light on the picturisation of this song as well as on the identity of the male voice.
Pt Madhur is the lyricist. Music is composed by Dhiren Mittar himself.
I have not been able to note down the lyrics to my entire satisfaction and there are words that I feel need correction. I request our readers with keener ears to suggest corrections in the lyrics wherever applicable.
Song-Ye dil hai tumhen pukaare (Banphool)(1945) Singers-Dhirendra Chandra Mittar, Kanan Devi, Lyrics-Pt Madhur, MD-Dhirendra Chandra Mittar
Both
Lyrics
Ye dil hai tumhen aen aen aen aen pukaare
Ye dil hai tumhen pukaare
Ye dil hai tumhen pukaare
jis din tumse milna hoga
haan chamkenge andhiyaare
chamkenge andhiyaare
chamkenge andhiyaare
chamkenge andhiyaare
aandhi aur toofaan mein
shaayad ham tum honge saath
phoolon ki sundar duniya mein
ham tum karenge baat
phoolon ki sundar duniya mein
ham tum karenge baat
ham tum karenge baat
tumko roz bulaane jaate
tumko roz
tumko roz bulaane jaate ae ae
aashaaon ke taare
aashaaon ke taare
aashaaon ke taare
aashaaon ke taare
Ye dil hai tumhen pukaare
Ye dil hai tumhen pukaare
yahaan nahin to
wahaan milenge
milna hamen zaroor
milna hamen zaroor
nahar kinaare khojoon main ke
paar ho ya door
nahar kinaare khojoon main ke
paas ho ya door
paas ho ya door
jeet hamaari aakhir hogi
jeet hamaari aakhir hogi
chaahe duniya haare
chaahe duniya haare
Ye dil hai tumhen pukaare
Ye dil hai tumhen pukaare
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