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

Posts Tagged ‘Actor-Singer


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

Blog Day :

4834 Post No. : 16617

When I joined this Blog’s activities in 2010, by way of comments, I used to first read the post fully. In one post our ATUL ji had said something which has been carved deep in my mind. He had said that “In India, people are interested in 3 things- Cricket, Films and Politics”. How true it is !

However, based on my experience of so many years in different fields all over India, I could add one more activity to the above three. And the activity is ” Branding”, Not the kind of Brands in the markets, what I mean is ” Labelling “, in other words. We Indians are quick in branding or labelling everything. In fact it is our very faourite pastime.

Some examples will explain what I mean. Take the case of Cinema – we branded Dilip Kumar as the Tragedy King, Meena Kumari as the Tragedy Queen, Jeetendra as the Jumping Jack, Mithun as Poor Man’s AB, AB as the Angry Young man etc etc. The branding did not change even after DK changed the track and acted in films like Azaad, Ram aur Shyam or Naya Daur etc. AB remained the same even after films like Chupke Chupke, Anand, Abhimaan or Amar Akbar Anthony. Same thing about other actors. Branding/Labelling or the Chhappa is for ever !

Take another example. We feel a Sikh must be either a Taxi Driver or in Army or Police, A Gujarati should only do business, A Bihari must only do Kheti, A Bengali must only read a book or write a book, A Marathi must only do a service in some company or Government etc etc. What if Sikhs are big businessmen, actors, singers ? What if a Gujju is a fine actor, Musician or a singer or a Politician ? What if the Biharis are the single largest group in the successful IAS Cadres (25 % in the last 10 years) ? So on so forth. But No – Branding is almost permanent !

Today we are going to talk about a Gujarati Saint. GUJARAT- the name itself evokes thoughts of Trade and Business. Due to their Business talents, Gujarat was known to Romans, Greeks and Persians, since the pre Christ era. Gujarat Maritime merchant history dates back to the First century after Christ.
Gujarat had produced many worthy souls who made the country proud of them. The top being Gandhi ji. Then there were Sardar Patel, Vikram Sarabhai(Space Ace), Morarji Desai, the Ambanis, Azim Prem ji, Parsis of Navsari, Narendra Modi, Amit Shah etc etc. In the religious field, Gujarat had its share with Jalaram Bappa, Narsi Bhagat, Dadu Dayal, Dayanand Saraswati, Rang Avdhoot ji, Rameshbhai oza, Hemchandra Surishwar, Pramukh Swami etc etc. (these are only indicative examples,not exhaustive).

India had been under the Mughal and the British rules for hundreds of years. A Nation of Hindu majority was ruled by the Minority Mughals, who perpetrated a lot of injustice and tried to destroy the Indian Culture with barbaric brutalities. This gave rise to the Bhakti movement to awaken the Indians and make them self conscious about their own strengths.

The Bhakti Movement was India’s own way to combat foreign attackers, cruel rulers and the sleeping people of India. The movement from 1300 to 1600 AD produced many religious Saints and social reformers from Kanyakumari to Kashmir and from Assam to Gujarat. Indian culture is such that the advice given by a religious saint is more acceptable than that given by a social reformer. Thus, in this hour of need, India’s Saints tried to teach message of reforms such as removal of Untouchability, freedom from Varnashram lifestyles, importance of education, Women’s emancipation and other such matters,through their poems, dohas, Abhangs and writings as well as kirtans. They tried to make the masses wake up against the ill effects of social practices that were being observed those days.

Saints appeared in ALL areas of India,during this period. However,due to language problems, knowledge and information about Saints in other regions trickled down very slowly. States which shared the use of Devanagari script were aware about them in a better way. Thus,Maharashtra,Gujarat,Rajasthan and the Northern Hindi belt states exchanged their knowledge about their saints more frequently than other regions such as Bengal, the Eastern states or the southern states where the scripts were different. Andhra and Karnataka were closer as their scripts are similar, except perhaps the alphabet ‘K’. Tamil and Malayalam scripts have Dravidian origins and were not easily accessible for the rest of India.

India is a Multi racial, multilingual and Multi religions country. It is not only one of the largest Democracies in the world, but also the largest Secular state in the world, where people from different faiths have been living together since centuries.

Many saints and religious leaders have played a significant role in keeping the mixed population of India as One Unit, when it was needed the most. A majority of Hindus, ruled by Muslim Mughals was a natural cause for social divisions, but Saints like Kabir, Surdas, Tulsidas, Ramdas, Tukaram, Ramanand, Narsi Mehta, Purandar das,Namdev, Guru Nanak Dev, Eknath, Bhakta Pundarikar, Rohidas, Mrutyunjaya and many such noble souls, did an excellent job of maintaining harmony amongst peoples of different faiths.

Today we will talk about the ADI KAVI of Gujarati-Narsimh Mehta aka Narsi Bhagat (1414 to 1486). He is one of the most popular saints of Gujarat. No wonder then,that the First Talkie in Gujarati was a film called NARSI MEHTA-1932. In Hindi too,”Narsi Bhagat ” was made as early as 1940. Vishnupant Pagnis (Sant Tukaram fame) had done the role of Narsi Bhagat in this film.(In the first Talkie film of Gujarat “Narsi Mehta”-1932 also this role was done by a Marathi actor Maruti Rao Pehelwan.)

The best Bhajan written by Narsi Bhagat is “Vaishnav jan to tene kahiye”. All Indians know that this was the most favourite Bhajan of Gandhi ji. Actually many people thought that he himself wrote this Bhajan !

Here is a short Biography of saint Narsi Bhagat –

Narsinh Mehta was born in Vaishnava Nagar community at Talaja and later shifted to Junagadh (then Jirndurg) in Saurashtra, Gujarat. He lost his parents when he was 5 years old. He could not speak until the age of 8. He was raised by his grandmother Jai Gauri.

He married Manekbai probably in the year 1429. Mehta and his wife stayed at his brother Bansidhar’s place in Junagadh. However, his cousin’s wife (Sister-in-law or bhabhi) did not welcome Narsinh very well. She was an ill-tempered woman, always taunting and insulting Narsinh Mehta for his worship (Bhakti). One day, when Narasinh Mehta had enough of these taunts and insults, he left the house and went to a nearby forest in search of some peace, where he fasted and meditated for seven days by a secluded Shiva lingam until Shiva appeared before him in person. On the poet’s request, the Lord took him to Vrindavan and showed him the eternal raas leela of Krishna and the gopis. A legend has it that the poet transfixed by the spectacle burnt his hand with the torch he was holding but he was so engrossed in the ecstatic vision that he was oblivious of the pain. Mehta, as the popular account goes, at Krishna’s command decided to sing His praises and the nectarous experience of the rasa in this mortal world. He resolved to compose around 22,000 kirtans or compositions.

After this dream-like experience, transformed Mehta returned to his village, touched his bhabhi’s feet, and thanked her for insulting him. In Junagadh, Mehta lived in poverty with his wife and two children, a son named Shamaldas, and a daughter for whom he had special affection, Kunwarbai. He revelled in devotion to his hearts’ content along with sadhus, saints, and all those people who were Hari’s subjects – Harijans – irrespective of their caste, class or sex. It also seems that he must have fallen into a somewhat ill repute for his close relations with Lord’s sakhis and gopis, Narsinh mehta’s women followers, with whom he danced and sang. The Nagars of Junagadh despised him and spared no opportunity to scorn and insult him. By this time, Mehta had already sung about the rasaleela of Radha and Krishna. The compositions are collected under the category of shringar compositions. They are full of intense lyricism, bold in their erotic conception and are not without allegorical dimensions, this saves the compositions from being something of erotic court poetry of medieval India.

Soon after his daughter Kunwarbai’s marriage (around 1447) to Shrirang Mehta of Una’s son, Kunwarbai became pregnant and it was a custom for the girl’s parents to give gifts and presents to all the in-laws during the seventh month of pregnancy. This custom, known as Mameru, was simply out of the reach of poor Narsinh who had hardly anything except intransigent faith in his Lord. How Krishna helped his beloved devotee is a legend depicted in ‘Mameru Na Pada’. This episode is preserved vividly in the memory of Gujarati people by compositions by later poets and films. Other famous legends include ‘Hundi (Bond)’ episode and ‘Har Mala (Garland)’ episode. The episode in which none other than Shamalsha Seth cleared a bond written by poverty stricken beloved, is famous not only in Gujarat but in other parts of India as well. The Har Mala episode deals with the challenge given to Mehta by Ra Mandlik (1451–1472) a Chudasama king, to prove his innocence in the charges of immoral behavior by making the Lord Himself garland Narsinh. Mehta depicts this episode. How Sri Krishna, in the guise of a wealthy merchant, helped Mehta in getting his son married is sung by the poet in ‘Putra Vivah Na Pada’. He went to Mangrol where, at the age of 79, he is believed to have died. The crematorium at Mangrol is called ‘Narsinh Nu Samshan’ where perhaps one of the greatest sons of Gujarat was cremated. He will be forever remembered for his poetic works and devotion to Lord Krishna. He is known as the first poet of Gujarati.

The role of Narsi Bhagat was done by Vishnupant Pagnis, a Marathi actor who became famous due to his role in film ” Sant Tukaram”-1936 by Prabhat Film co. Vishnupant Pagnis was born in a small place Chikodi, near Kolhapur, on 1-11-1892, in a lower middle class family. After formal education, he was assisted by Shahu Maharaj of Kolhapur state to join a Drama company at the age of 10 years. He sang naturally, without any training from an expert. He was a popular artiste doing female roles, till his entry in films. He shifted to work in various drama companies including “Lalit Kaladarsh” of Mama Varerkar- a name connected with many Marathi and Hindi films of that time. In 1913, he floated his own company ‘ Jagchitradarsh ‘, only to wind up after two years in 1915. He continued working in dramas and doing female roles, for which he was famous in those times.

After a few years, he left drama acting. In 1920, he worked in a silent film, Surekha Haran. In this film V Shantaram had also acted. After this he worked as a Music Teacher in Municipal school at Girgaum in Bombay. After his wife died, he lived with his friend Petkar. They started a Gold Jewellery shop “Pagnis Petkar and Mandali” in Girgaon.

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

Vishnupant Pagnis worked in 4 more such films, namely Sant Tulsidas-39, Narsi Bhagat-43, Bhakta Raj-43 and his last film Mahatma Vidur-43. He also gave music to 2 films, Sant Janabai- 38 and Sant Tulsidas-39 (Marathi). These two and Mahatma Vidur were also made in Marathi language. His most famous film Sant Tukaram was released in Hindi only in 1948, but without his songs, because he had died on 3-10-1943. The MD- Snehal Bhatkar sang his songs in the Hindi version.

Vishnupant Pagnis did the immortal role of Tukaram in his first film and then lived the role throughout his life, though he did 4 more films in the same Genre of Saint films.His name became famous not only in India but also in other countries, when this film was hailed as “one of the 3 Best films in the world”at the Venice Film Festival, where it won accolades.

Records of his Bhajans from this film created records ( we too had these records in our house in the 40s.) Even today this film is shown and discussed in the film Institutes of many countries.Many books, essays and articles are published on this film. His performance as Tukaram has become a major reference-point in debates about Indian performance idioms: e.g. Kumar Shahani’s essay The Saint Poets of Prabhat, 1981; Geeta Kapur’s Mythic Material in Indian Cinema, 1987 etc etc.

Today’s bhajan is a very good Bhajan. I like it very much. You may also like it.


Song- Mori Hundi sweekaaro maharaj re (Narsi Bhagat)(1940) Singer- Vishnupant Pagnis, Lyricist- Not known, MD- Shankar Rao Vyas

Lyrics

Mori Hundi sweekaaro maharaj re
saanvre giridhaari
Mori Hundi sweekaaro maharaj re
saanvre giridhaari
Mori Hundi sweekaaro maharaj re
saanvre giridhaari
mohe ek tihaaro aadhaar re
mohe ek tihaaro aadhaar re
saanwre giridhaari
Mori Hundi sweekaaro maharaj re
saanvre giridhaari

raakhi ?? Prahlad ki
liyo narsinh Avtaar
kamb phaari pargat bhaye
taaro bhoomi ko dhaar re
saanvre giridhaari
Mori Hundi sweekaaro maharaj re
saanvre giridhaari

pooji gopi chandan mori
tulasi kone ko haar
saancha gahna to mero saanwro
mori daulat hai jhaanjh khadtaal re
mori daulat hai jhaanjh khadtaal re
saanvre giridhaari
Mori Hundi sweekaaro maharaj re
saanvre giridhaari
bhajo Radhe Govind bhajo Radhe
bhajo Radhe Govind bhajo Radhe
bhajo Radhe Govind bhajo Radhe
bhajo Radhe Govind bhajo Radhe

bhajo Radhe Govind
bhajo Radhe Govind
bhajo Radhe Govind
bhajo Radhe Govind


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

Blog Day :

4833 Post No. : 16616

Hullo Atuldom

Another date of October for which I always need to write out a post for.

It being the birth date of an actor whose work I began liking post 1975- “Sholay” to be exact. I liked the way he delivered his dialogues. Some dramatic dialogues which he had casually uttered are iconic and classic and stuff which fans quote as legendary.

Remember ‘mere paas maa hai’ it was not said forcefully or with banging of fists or any such heavy add-ons. He was also given dialogues which were comic in nature -for example the cricket commentary in English that has made “Namak Halal” a movie worth watching; he even managed to squeeze in some comedy intto the fight sequence in the climax of the movie. But I always loved the late night scene in Asrani’s office when Amitabh Bachchan calls Asrani and Dharmendra for a meeting to discus the situation between Vasudha and himself. I know I need not mention that I am talking of the Hrishikesh Mukherjee ’70s classic “Chupke Chupke” and the expression that he had when he said “for safety’s sake main woh bhi batadoonga”- priceless. He was so nice at depicting his emotions and I may have mentioned this a few times in earlier posts about how the scene between Sanjeev Kumar and AB Sr. in “Khuddar” was memorable as both the actors spoke with their eyes. An added advantage the film industry had when working with AB Sr. was he was good in action sequences too and is known to have enacted many of them without using a body-double or ‘stuntman’ (in filmy parlance). He managed to overcome his awkwardness where dance (a necessity in Indian movies) was concerned. He has also tried his hand at singing for his characters; for which initially, he was made-fun-of as he was considered to be a tuneless singer but he has sung and many of them have been very popular with his fans.

Today’s post which celebrates this all-time favorite actor of mine turning a year older or a step closer to 80 has a song from the 2003 (can’t believe this film was 18 years back, time has just flown) B R films production and Ravi Chopra directed “Baghban”. It had music by Aadesh Srivastava and Uttam Singh and songs were penned by Sameer. Alka Yagnik, Hema Sardesai, Richa Sharma, Sneha Pant, Udit Narayan, Aadesh Srivastava, Sudesh Bhonsle and Amitabh Bachchan were the playback singers used.

This song is pictured with an emotional Raj Malhotra (AB Sr.) singing, and yearning for his wife Pooja (Hema Malini) who is staying with one of their sons and he himself with another son. The story of ‘Baghban’ was something which was popular in the 60s and early 70s; but even this movie was successful with the new generation moviegoers. This song can also been seen as proof of what I stated earlier in this post viz. “actors speaking with their eyes”; here it is Hema and AB Sr. They have played the old couple so convincingly. The song is sung by Amitabh Bachchan and Alka Yagnik.

Here is wishing the (once) Angry- Youngman, Shahenshah of Bollywood, Star of the Millennium, Big B or AB Sr. (people in entertainment industry have been addressing him in this manner for a few years now) a Happy Birthday and lots of good health.


Song-Main yahaan tu wahaan zindagi hai kahaan (Baagbaan)(2003) Singers-Amitabh Bachchan, Alka Yagnik, Lyrics-Sameer, MD-Aadesh Srivastava

Lyrics

main yahaan tu wahaan
zindagi hai kahaan

main yahaan tu wahaan
zindagi hai kahaan
main yahaan tu wahaan
zindagi hai kahaan
tu hi tu hai sanam dekhta hoon jahaan
neend aati nahin yaad jaati nahin ee ee
neend aati nahin yaad jaati nahin
bin tere abb jiya jaaye naa aa aa
main yahaan tu wahaan
zindagi hai kahaan

waqt jaise thehar gaya hai yahin
har taraf ek ajab udaasi hai
bekaraari kaa aisa aalam hai
jism tanha hai rooh pyaasi hai

teree soorat ab ek pal kyun nazar se hatati nahin
raat din toh kat jaate hain
umr tanha katati nahin
chaah ke bhi naa kuchh keh sakoon tujhse main aen aen
chaah ke bhi naa kuchh keh sakoon tujhse main
dard kaise karoon main bayaan aan aan
main yahaan tu wahaan
zindagi hai kahaan

jab kahin bhi aahat huyi
yoon laga ke tu aa gaya aa
khushboo ke jhonke ki tarah
meri saansen mehka gaya
ek woh daur thha
ham sada paas thhe ae ae
ek woh daur thha
ham sada paas thhe
ab toh hain faasle darmiyaan aan aan
main yahaan tu wahaan
zindagi hai kahaan
hmm hmm hmm
hmm hmm hmm
hmm hmm hmm

beeti baaten yaad aati hain
jab akela hota hoon main
bolti hain khaamoshiyaan
sabse chhupke rota hoon main
ek arsa huwa muskuraaye huye ae ae
ek arsa huwa muskuraaye huye
aansuon mein dhali daastaan aan aan
mai yahaan tu wahaan
zindagi hai kahaan
tu hi tu hai sanam dekhta hoon jahaan
neend aati nahin
yaad jaati nahin ee ee
neend aati nahin
yaad jaati nahin
bin tere ab jiya jaaye naa aa aa


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

Blog Day :

4829 Post No. : 16608

‘Anjaan’ (1941) was produced under the banner of Bombay Talkies and was directed by Amiya Chakraborty who made his debut as a director with this film. The star cast included Devika Rani and Ashok Kumar in the lead roles supported by Girish, P F Pithawala, V H Desai, Gulab, David, Fatty Prasad, Yusuf Suleiman, Master Suresh, Baby Madhuri, Rewashankar, Arun Kumar etc. For Devika Rani, it was her ‘comeback’ film after her last film ‘Durga’ (1939) and after the death of her husband, Himanshu Rai in 1940.

Another ‘first’ for the film ‘Anjaan’ (1941) was that R D Mathur, the US trained photographer who was assistant to Josef Wirsching, the German cinematographer of Bombay Talkies, made his debut as a Cinematographer for the film. He got this opportunity as Josef Wirsching, being a German, was jailed in India during the World War-II. R D Mathur earned his name as an ace cinematographer for his works in films such as ‘Mughal-e-Azam’ (1960) and Razia Sultana’ (1983). He also completed the cinematography work for ‘Paakeezah’ (1971) after the sudden death of the film’s cinematographer, Josef Wirsching.

Since the inception of the film productions by Bombay Talkies in 1935, Saraswati Devi and Ramchandra Pal used to be the music directors of all the films of Bombay Talkies released till 1940. ‘Anjaan’ (1941) was the first film of Bombay Talkies for which instead of Saraswati Devi or Ramchandra Pal, the music direction of the film was entrusted to Pannalal Ghosh, who had shifted from Kolkata to Mumbai in 1940 with his wife and playback singer, Parul Ghosh.

Pandit Pannalal Ghosh (24/07/1911 – 20/04/1960), the renowned flautist, who was the pioneer in introducing the flute as the musical instrument in the Hindustani classical musical concerts, had to start his initial musical career in the film industry in Kolkata at the age of 17 when he lost his father. He started with playing flute during the exhibitions of the silent films. When the sound films came into being, he became the music assistant, first to Kazi Nazrul Islam and thereafter to R C Boral when he joined the New Theatres as a musician. He had assisted R C Boral when for the first time, playback singing Indian films was introduced for ‘Dhoop Chhaaon’/Bhagyachakra’ (1935).

Pannalal Ghosh’s association with the film industry was mainly to earn money to take care of his family. His interest was to become a Hindustani classical musician with flute as his musical instrument. He formally became the ‘gadabandh’ disciple of Ustad Khushi Mohammed Khan and after his death, the disciple of Pandit Girija Prasad Chakraborty. Besides working for New Theatres, Pannalal Ghosh regularly participated in the programmes of the All India Radio, Kolkata as a flautist.

In early 1940, Pannalal Ghosh shifted his base to Mumbai along with his family as he felt that there was no recognition to his work in Kolkata. In Mumbai, he followed the same strategy – working in the films for sustenance and pursuing his interest in Hindustani classical music. He immediately got his first assignment as a music director for Kikubhai Desai’s film ‘Sneh Bandhan’ (1940). This was followed by ‘Anjaan’ (1941), ‘Basant’ (1942), ‘Sawwal’ (1943), ‘Duhaai’ (1943), ‘Bhalaai’ (1943), ‘Police’ (1944), ‘Beesvi Sadi’ (1945) ‘Aadhar’ (1945) etc.

However, Pannalal Ghosh could not get satisfaction with his work because of the way the Hindi film industry worked. During this time, Ustad Allauddin Khan of Maihar Gharana, the exponent of multiple musical instruments like sarod, sitar, flute, Veena etc. was staying in Mumbai. Pannalal Ghosh became his disciple at a time when he was already started giving public concerts. ‘Aandolan’ (1951) was his last film as a music director.

From 1955-60, Pannalal Ghosh took up the job as a Composer and Director of All India Radio, Delhi Vadhya Vrinda (Orchestra) and stayed in Delhi with his family. His connection with Hindi films was limited to playing flute as and when music directors called him to Mumbai. The best exmaples of his flute recitals can be found in the song main piya teri tu maane ya na maane from ‘Basant Bahaar’ (1956) and in the song mohe panghat pe nandlal chhed gayo re from ‘Mughal-e-Azam’ (1960).

I have always thought that the flute was a tiny musical instrument – may be not more than 12-18 inches long. I realised that it was not so when I when I saw the photographs of Pandit Pannalal Ghosh and Pandit Hariprasad Chaurasia playing with their long flutes. The credit for elongating the flute’s normal length to as high as 32 inches goes to Pandit Pannalal Ghosh with an extra 7th hole so that the tiny folk instrument becomes capable of playing Hindustani classical music in various raags. Over a period of time, flute has become one of the concerts’ music instruments along with other music instruments. Probably, Pandit Pannalal Ghosh was the first Hindustani classical musician to play the solo flute in public concerts.

Pandit Pannalal Ghosh died of a massive heart attack on April 20, 1960 when he was 48. He has left a large number of his disciples to keep his legacy alive.

The story of ‘Anjaan’ (1941) as under:

Indira (Devika Rani) is employed by Ranima (Gulab), the widow of the landlord as governess to look after her two children. Ramnath (Girish) is the Estate Manager to Ranima who loves Indira and to get her on his side, he is ready to turn to the villainous acts. Indira falls in love with Dr. Ajit (Ashok Kumar) who often visits Ranima for her medical check-up. Now, this turns into a love triangle. The more love between Dr Ajit and Indira blossom, the more villainous Ramnath turns. Ramnath falsely accuses Indira of secretly visiting to Ajit’s house in the night about which he complains to Ranima. Indira gets her services as governess terminated.

After hearing from Ajit about the wrong doings by Ramnath, it is too much for Ranima for her already weak heart leading to the further deterioration of her fragile health. Ajit administers her injection to revive Ranima but in vain. She is dead. Ramanth finds a good excuse to implicate Ajit on the charge of the murder of Ranima.

The news of the alleged murder by Ajit unnerves Indira as Ramnath tells her that he is going the lodge the murder charges against Ajit. She agreed to marry Ramnath provided he lets Ajit free from the murder charges. Hereafter, she avoids meeting Ajit which creates misunderstanding in his mind about Indira. He decides to leave the place for the city. Ajit decision to migrate to the city is too much for Indira. She decides to meet Ajit at the railway station to tell him the truth. After listening her, Ajit tells her to wait for his return from the city.

Ramnath comes to know about the double crossing by Indira. He lodges the charge of murder on Ajit who is arrested in the city. To prove the motive for the murder of Ranima, Ramnath removes some costly jewelries and declares as missing, pointing finger on Ajit. In the trial in the session court, Ajit argues himself. The judge is impressed by his arguments. But the evidences are all against Ajit. However, it is the two children of Ranima whose evidences clinche the judgement in favour of Ajit. Ramnath is handed over to the police and Ajit gets Indira.(With inputs from the review of the film which appeared in the September 1941 issue of ‘Filmindia’ magazine).

The film had 10 songs of which 8 songs have been covered on the Blog as under:

Songs Date of Posting Singers
Aayi paschim se ghata naunihaalon jaago 02/03/2015 Devika Rani
Main to tumse bandhi rahoon 11/12/2015 Devika Rani
Mere jeewan ke pathh par chhaayi ye kaun 20/10/2020 Ashok Kumar-Devika Rani
Chhalko chhalko na ras ki gagariya 20/01/2021 Rajkumari
Kheencho kamaan kheencho 26/01/2021 Ashok Kumar-Suresh-Rewashankar
Pyaare pyaare sapne hamare Triple version song 06/02/2021 Ashok Kumar-Devika Rani-Suresh-Rewashankar

I am presenting the last and the final song ‘saanwariya re saanwaria’ which has two versions – a duet sung by Arun Kumar Mukherjee and Susheela and a solo sung by Arun Kumar Mukherjee towards the end of the film. The song is written by P L Santoshi which is set to music by Pandit Pannalal Ghosh. The audio clip of the song is longer by one stanza. Hence the lyrics of the song is based on the audio clip.

My guess is that Arun Kumar Mukherjee sings in both the versions of the song on himself. From the side profile of his face during the singing, I notice some resemblance of Ashok Kumar on his face who was his maternal cousin. In the star cast, the name of Arun Kumar is mentioned.

With this two-version song, all the song of ‘Anjaan’ (1941) have ben covered on the Blog.

Acknowledgement: Some of the information on the early life of Pandit Pannalal Ghosh has been sourced from pannalalghosh.com.

Audio Clip (Duet):

Video Clip (Duet):

Video Clip (Male Solo):

Song-Saanwariya re saanwariyaa (Anjaan)(1941) Singers-Arun Kumar Mukherjee, Susheela, Lyrics-P L Santoshi, MD-Pannalal Ghosh
Both

Lyrics(Based on Audio Clip)

saanwariya re saanwariya
saanwariya re saanwariya
chal chal re chal re saanwariya
chal chal re chal re saanwariya
saanwariya re saanwariya
chal chal re chal re saanwariya
ek nagariya ham donon ki
ek dagariya aa
ek nagariya ham donon ki
ek dagariya aa
chal re chal re saanwariya
saanwariya re sawariya
chal chal re chal re saanwariya

raah kanteeli door thikaana aa
raah kanteeli door thikaana
phir bhi hamko chalte jaana
raah katili door thikaana
phir bhi hamko chalte jaana
beet jaaye chaahe saari umariya
beet jaaye chaahe saari umariya
chal re saanwariya
haan
chal re chal re saanwariya
sawariya re sawariya
chal chal re chal re saanwariya

main tera rahoon tu meri rahe
main tera rahoon tu meri rahe
haan saanwariya re saanwariya
saanwariya re saanwariya

main tera rahoon tu meri rahe
jaise din ke saath ujhera rahe
main tera rahoon tu meri rahe
haan saanwariya re saanwariya
saanwariya re saanwariya

aabaad rahe ham tum donon
aabaad rahe ham tum donon
aabaad hamaara dera rahe
bajta rahe ye iktaara
bajta rahe ye iktaara
madhur preet ki baansuriya
madhur preet ki baansuriya
chal re saanwariya
haan
chal chal re chal re saanwariya
saanwariya re saanwariya
saanwariya re saanwariya
chal chal re chal re saanwariya
chal chal re chal re saanwariya


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

Blog Day :

4820 Post No. : 16595

Hullo Atuldom

“Pukaar” (2000) was a Rajkumar Santoshi directed and Surinder Kapoor, Boney Kapoor, and Bharat Shah production. It had dialogues and screenplay by Anjum Rajabali and Rajkumar Santoshi, lyricists were Majrooh Sultanpuri (who wrote four songs) and Javed Akhtar (wrote two songs). A R Rehman was the music director. The cast was headed by Madhuri Dixit, Namrata Shirodkar, Anil Kapoor; Farida Jalal, Girish Karnad, Om Puri, Kulbhushan Kharbanda, Danny, Rohini Hattangadi, K D Chandran, Anjan Shrivastav, Govind Namdeo, Mukesh Rishi etc. in supporting roles. There was a surprise element in the cast, which I shall get to later in the post.

The movie was a fictional account of the terrorist problems plaguing India. We had Anil Kapoor playing Major Jaidev Rajvansh and Farida Jalal and Girish Karnad played his parents. Major Jaidev has Pooja (Madhuri Dixit) as his childhood friend who has been in love with him forever. The Major and his fellow officers manage to rescue a leading politician and also capture the terrorist (Abhrush played by Danny) who has masterminded the kidnapping of the politician (Govind Namdeo).

The movie had all the masala needed for calling itself a patriotic movie- terrorist (supposedly from Pakistan), corrupt politician, men in uniform who go beyond their prescribed calling in tracing/tracking the terrorist in spite of being severely wounded or even dying in the melee. The whole movie is set in some picturesque hill-town which has a colonial Town Hall where the climax takes place. The terrorists decide to blow up the town hall and its clock tower with the help of time-bombs and our severely wounded hero with his highly repentant girl friend (why the girl is repentant can be understood if one sees the movie)- who are both tied to structure- have all the time duration of the song/ event being held in the premises of the Town Hall to discover and deactivate the bombs.

We are having the song that is being staged during the climax with this post. It is sung by Lata Mangeshkar and written by Majrooh Sultanpuri. On screen the person lip-syncing the song is Lata Mangeshkar herself (the surprise element that I wrote about earlier). I was awed when I saw the song for the first time ever all those years back – 21 years back to be exact. She was only 71 then. The song has The Lata Mangeshkar playing herself and singing this plaintive appeal to end all violence. She appears in her trademark saree with a group of kids who also emote the song rather well. We can see Girish Karnad and Farida Jalal in the audience and Danny stealthily making his way into the premises using forged ID card.

We all know that Lata didi (as the whole entertainment industry addresses her) had faced the camera at the beginning of her career. Recently I received this video of a Marathi song where she appears with her sisters in the group of children singing at a party. Our blog also has the first ever song in Hindi which was for the marathi movie “Gaja Bhaau” (1943).

Same date, last year, Atulji has taken up the daunting task of trying to list every single Hindi movie where Lata Mangeshkar has even ‘hummed’ a line. That series was kicked off with this post. That is material for about 64 posts and at the rate of one-post per week we reached post number 53 this Monday, the series kick started on her birthday, last year.

I may not be a huge fan of this “Bharat Ratna”, but I always try to sing her songs and admire the way she modulates her voice to suit the situation, actor and emotion of the song. I love many of the songs she has sung but will not sit to enlist them here.

Me, with my feeling of being a candle in front of such a huge personality, also try to send a post/song to wish this Nightingale lots of good health and cheer.

Video

Audio

Song-Ek tu hi bharosa ek tu hi sahaara (Pukaar)(2000) Singer-Lata, Lyrics-Majrooh Sultanpuri, Md-A R Rahman

Lyrics

aa jaao ki sab mil ke
rab se duaa maangen
jeevan mein sukoon chaahen
chaahat mein wafaa maangen aen
haalaat badalne mein
ab der na ho maalik
jo de chuke phir le
andher na ho maalik

ek tu hi bharosa
ek tu hi sahaara
iss tere jahaan mein
nahin koi hamaara
hey ishwar yaa allaah ye pukaar sun le
hey ishwar yaa allaah hey daata
hey ishwar yaa allaah ye pukaar sunle
hey ishwar yaa allaah hey daata

hamse naa dekha jaaye
barabaadiyon kaa samaa
ujadi hui basti mein
ye tadap rahe insaan
hamse naa dekha jaaye
barabaadiyon kaa samaan
ujadi hui basti mein
ye tadap rahe insaan

nanhe jismon ke tukde
liye khadi hai ek maa
baarood ke dhuven mein
tu hi bol jaaye kaha
ek tu hi bharosa
ek tu hi sahaara
iss tere jahaan mein
nahin koi hamaara
hey ishwar yaa allaah ye pukaar sunle
hey ishwar yaa allaah hey daataa
hey ishwar yaa allaah ye pukaar sunle
hey ishwar yaa allaah he daataa

naadaan hain ham toh maalik
kyun di hamein ye sazaa
yaa hai sabhi ke dil mein
nafrat kaa zehar bhara
naadaan hain ham toh maalik
kyun di hamein ye sazaa
yaa hai sabhi ke dil mein
nafrat kaa zehar bhara

inhen phir se yaad dilaa de
sabak wohi pyaar ka
ban jaaye gulshan phir se
kaanton bhari duniya
ek tu hi bharosa,
ek tu hi sahaara
iss tere jahaan mein
nahin koi hamaara
hey ishwar yaa allaah ye pukaar sunle
hey ishwar yaa allaah hey daataa
hey ishwar yaa allaah ye pukaar sunle
hey ishwar yaa allaah hey daata
(meri pukaar sunle)
hey ishwar yaa allaah ye pukaar sunle (hey ishwar )
hey ishvar yaa allaah hey daata (yaa allaah)
hey ishvar yaa allaah ye pukaar sunle (meri pukaar)
hey ishvar yaa allaah hey daata (sunle)
hey ishvar yaa allaah ye pukaar sunle (meri pukaar)
hey ishvar yaa allaah hey daata (sun le)
hey ishvar yaa allaah ye pukaar sunle (meri pukaar)
hey ishvar yaa allaah hey daata (sun le)


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

Blog Day :

4820 Post No. : 16593

In the early 1940s, New Theatres (NT) was going through some lean period as some of its films like ‘Meenakshi’ (1942), ‘Saugand’ (1942), ‘Kashinath’ (1943), ‘Waapas’ (1943) etc could not garner box office success. During this period, there were exodus of some of the artists and technicians from NT to Bombay. In this background, NT produced ‘Udayer Pathe’ (1944) in Bengali with some new artists, new technicians and also with a new director, Bimal Roy who was the Cinematographer and the Editor with NT. The film became a big box office success, recouping to some extent the lost glory of NT.

Buoyed by the fresh success, NT decided to remake Hindi version, ‘Hamraahi’ (1945) with more or less the same star cast that were in the Bangla version. The star cast included Binota Bose (her first and the last Hindi film as an actress) and Radhamohan Bhattacharya in the lead roles, supported by Tulsi Chakraborty, Rekha Mullick, Debi Mukherjee, Hiralal, Ramesh Sinha, Manorama, Maya Bose, Devbala etc.

Incidentally,as reported in The Daily Telegraph’s E-paper, the lead actor, Radhamohan Bhattachraya’s 100th birth anniversary was on September 27, 2021. Bangla film fraternity gathered in Kolkata to pay tribute to him especially by actors who had worked with him. At the end of the gathering, one of his film, ‘Udayer Pathe’ (1944) was screened for the audience.

‘Hamraahi’ (1945) did not get the same success at the box office as was with its Bangla version. DVD of ‘Hamraahi’ (1945) is not available for viewing on any of the video sharing platforms. So, I watched the Bangla version, ‘Udayer Pathe’ (1944) with English sub-titles. The story of the film is the theme of rich-poor conflicts. The idea of making the film on rich-poor conflicts may have come when NT produced a documentary film on the Bengal famine of 1943 which was directed by Bimal Roy. The story of the film is as under:

Anup (Radhamohan Bhattacharya) is a middle-class journalist staying with his mother and a sister, Sumitra (Rekha Mullick). Anup gets a job at industrialist, Rajendranath’ office as a as a Publicity Officer. He also writes speeches for Rajendranath (Ramesh Sinha in Hindi version) which are well appreciated and Rajendranath attains a status of an intellectual.

Anup meets Gopa (Binota Bose) in a library where he comes to know that Gopa is the daughter of Rajendranath whose wife had falsely accused his sister, Sumitra of stealing from his house when she attended a party on the invitation of her school friend, Gopa, Anup decides to leave the job. After some persuasion by Rajendranath’s son, Souren (Debi Mukherjee), Anup agrees to complete the speech he was writing for Rajendranath. Souren in return agrees to get Anup’s novel printed.

Gopa gets hold of the manuscript of Anup’s novel. After reading it, she is impressed with the viewpoints he has about the rich-poor class struggles. She starts meeting Anup quite often. In the meanwhile, the novel is printed and released but instead of Anup’s name, the novel carries the name of Sauren as the author. Anup is not in a position to prove the wrong-doing of Souren, Instead, he decides to take up the issues of the workers in factories of Rajendranath. Gopa also gets involved with workers’ union to understand their problems. Anup becomes popular among the workers and becomes the leader of the workers’ union.

Souren is not happy with this development. He hires goons to to disturb the workers’ meeting during which Anup gets hurt. Gopa arrives to take care of him. The next day, the photograph of Gopa with Anup becomes a scandalous news. Rajendranath bars Gopa from meeting Anup. He also visits Anup’s house requesting him not to meet Gopa in future which Anup agrees under the impression that Gopa regretted her decision to join him as told to him by Gopa’s father. But it was not true as Gopa decides to leave her father’s house to join Anup for the betterment of underprivileged.

It is interesting to note that the film ends with Gopa driving a car to catch-up with Anup who has decided to leave the place. As soon as she locates him walking on the road, she abandons the car and walks with Anup for ‘udayer pathe’ (new path of dawn). In a way, the film became ‘udayer pathe’ for Bimal Roy as well as a renowned director. Later, he directed ‘Do Beegha Zameen’ (1953) with more or less the similar theme of rich-poor conflicts.

Generally, in the films with the story of rich-poor conflicts, capitalists have been mostly shown as a ruthless exploiters of the working class. The leaders representing the working class have often been shown with militant attitude. In ‘Udayer Pathe’/Hamraahi’, Bimal Roy has shown the characters representing the capitalist and the labourer in a restraint manner. There are no rhetoric dialogues for one-upmanship. Even the romantic relationship between Anup and Gopa have been kept in a very restrain fashion. In the film, they meet mostly in the context of understanding and solving the problems of workers with an undertone of liking for each other.

The story of ‘Udayer Pathe’/Hamraahi’ was written by IPTA writer, Jyotirmoy Roy. After the tremendous success of ‘Udayer Pathe’, Jyotirmoy Roy wrote a full-fledged novel in Bengali on the subject which became among the best seller novel.

‘Hamraahi’ (1945) had 7 songs (including one song in Bangla) of which 5 songs have been covered in the Blog. I am presenting the 6th song, ‘hansi chaand ki aaj niraali’ sung by and picturised on Binota Bose. The song has been written by Munshi Zakir Hussain which is set to music by R C Boral. Actually, the tune of this song is almost the same as that of the Bangla version of the song, chander hasir bandh bhengechhe which was written and composed by Gurudev Rabindranath Tagore and used in ‘Udayer Pathe’ (1944).

I have watched the Bangla version of the song which is available in the film ‘Udayer Pathe’ (1944). The song has been beautifully picturised in a full moon light setting. I have given below the link to the Bangla version of the song just to get an idea as to how the song was picturised in Hindi version of the film. The background behind the song picturization is as under:

After attending the workers’ meeting, Gopa and Anup are on their way to return to their respective homes. On the way, they find moonlit path. Gopa desires to spend some time to enjoy the nature in the midst of moon light. It is at this point, Anup reminds her of the commitment she had made to sing a song for him. He says that it is a perfect setting for singing a song. She sings the song full of description of the nature (prakriti varnan) which is Gurudev Rabindranath Tagore’s one of the favourite themes. Munshi Zakir Hussain’s lyrics for Hindi version retains some parts of the ‘prakiriti varnan’ with some different imageries, probably to fit words in the pre-composed tune of Gurudev Rabindranath Tagore.

I heard both the versions of the songs only a few days back. But the songs often linger in my mind for the beautiful nature poetry woven with melodious tune.

Audio Clip:

Video Clip (Bangla version)


Song-Hansi chaand ki aaj niraali (Hamraahi)(1945) Singer-Binota Bose, Lyrics-Munshi Zakir Hussain, MD-MD-R C Boral

Lyrics

hmm hmm hmm hmm
hmm hmm hmm hmm
man ko lubhaanewaali ee ee
hansi chaand ki aaj niraali
man ko lubhaanewaali
andhere ko door hataa ke
phailaaye ujiyaali ee ee
hansi chaand ki aaj niraali

daudi hawaa chaman mein aaye ae
ye nahin jaane kaun bulaaye
ae ae ae ae ae ae
phool phool par man bharmaaye
phool phool par man bharmaaye
phirti daali daali ee ee
hansi chaand ki aaj niraali

aasmaan bhi jhoom rahaa hai
chandan tilak lagaaye ae ae
aasmaan bhi jhoom rahaa hai
chandan tilak lagaaye ae ae
phire magan hanson kaa jodaa
apne pankh milaaye
swarg desh ki kaun ye baalaa aa aa
dhoondh rahi phoolon ki maalaa aa aa aa aa
aaj ye kaise deep jalaati
kaisi ye deewaali ee ee
hansi chaand ki aaj niraali
man ko lubhaanewaali ee ee
hansi chaand ki aaj niraali


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

Blog Day :

4813 Post No. : 16583

Today’s song is from an 84 year old film- Duniya Na Mane-1937.

The film is considered as a Landmark film in India and a major milestone for its director V. Shantaram. The film was made by Prabhat Film Company of Poona. In those days Prabhat was considered as one of the leading film companies, which gave meaningful yet entertaining films. Many of its films were based on Social evils like Child marriages, Dowry, life of Prostitutes in society etc.

Shanta Apte, Heroine of today’s film had a role of a rebellious bride who is forced to marry an old widower with grown up children. In her personal life alsoshe was a rebellion. In the beginning of her career, her Mentor was her elder brother Baburao Apte, who not only looted her money but also had a daughter from her- as per many sources.Later on after her death, Nayana Apte- a Marathi stage and stage actress of B grade, had announced openly that she was the daughter of Shanta Apte. Very soon, in her career, Shanta Apte had thrown her brother out of her life.

Another example of her fiery nature is when Baburao Patel of Film India Magazine wrote an objectionable comment about her, she entered forcefully in his cabin, with a cane and beat him in presence of his staff. Next day, baburao patel wrote about it in his magazine ! Prabhat film company which had supported her by giving her roles in 6 films for the beginning of her career, tried to punish her by not allowing her to work outside Prabhat and they were not giving her any work here also. Shanta Apte sat for a ” Fast unto Death” near the gates of the company, giving interviews to newspapers and magazines, till the management bowed to her and released her from their contract !

Film Duniya na mane-37 was a very successful film. In those days, there was a healthy competition between Calcutta’s New Theatres and Poona’s Prabhat. Both were giving good, clean and successful films. But there was a difference. In that period films directed by P.C.Barua were quite popular. Unfortunately, most of his initial films were Tragedy films wherein the hero used to die at the end. Starting with Devdas-1935 films came with tragic ends. Though these films fared well at the Box office, V.Shantaram was of the view that these films were making young people pessimistic. To counter this trend, Shanataram coined a slogan ” Life is for Living” and his films ended with this type of message. ( In the next decade, something like this happened to Dilip Kumar, when in most of his films during the late 40’s to the mid 50’s His film hero died in the end. In this case the audience was not affected. Dilip kumar himself was depressed psychologically so much that he had to consult a Psychiatrist from London! ).

The cast of the film Duniya na maane-37 (Kunku in Marathi) was Shanta Apte, Keshavrao Datey, Shakuntala Paranjpye, Raja Nene, Vasanti, Parshuram etc etc.

I wish to draw your attention to one actress here and she is SHAKUNTALA PARANJPYE. Hardly anyone knows about this lady. She was one of the highly qualified actresses from a very prestigious lineage. She had achieved many laurels before joining films and after leaving films. She was an actress, author, Politician, Film, TV and stage actor, Radio artiste and a lady educated in the U.K. She had worked internationally. She is probably the only film artiste to get Padma Bhushan and her daughter too got Padma Bhushan later on. I know of only one more film artiste in the film industry, who had done work at the International level, was an author, actor, director, writer and lyricist…Dewan Sharar.

Let us take a look at the life story, in brief, of Shakunatala Paranjpye.

Shakuntalā Parānjpye (17 January 1906 – 3 May 2000) was a writer and a prominent social worker. She was a member of Maharashtra Legislative Council during 1958–64, and was a nominated member of Indian Rajya Sabha (Upper House of Parliament) during 1964–70. In 1991, the Government of India awarded her the Padma Bhushan title in recognition of her pioneering work in the field of family planning since 1938.

Shakuntala Paranjpye was the daughter of Sir R.P.Paranjpye the first Indian to be Senior Wrangler at the University of Cambridge, an educationist, and India’s High Commissioner to Australia during 1944–1947.
Shakuntala studied for the Mathematical Tripos at Newnham College, Cambridge. She graduated there in 1929. She received a Diploma in Education from London University the next year.

Shakuntala worked in the 1930s with the International Labour Organization in Geneva, Switzerland. In the same decade and in the 1940s,, she also acted in some Marathi and Hindi movies.

Shakuntala wrote many plays, sketches, and novels in Marathi. Some of her work was in English.

A Hindi children’s movie, Yeh Hai Chakkad Bakkad Bumbe Bo, which was based on a Marathi story by Shakuntala was released in 2003.

Shakuntala was married for a short time to a Russian painter, Youra Sleptzoff. She had a daughter, Sai Paranjpye, by him in 1938. Soon after Sai’s birth, she divorced Youra, and reared Sai in her own father’s household.
Sai Paranjpye is a noted Hindi movie director and screenwriter. She is known for her comedies and children’s movies. In 1991, the Government of India awarded her the Padma Bhushan title in recognition of her artistic talents.

She wrote many books. Some of them are….
1.Three years in Australia
2. Sense and Non sense
3. Kahi ambat kahi goad (Marathi)
4.Desh Videshichya Lok katha (Marathi)

She acted in 13 films- Sairandhri-33, Parth Kumar-34, Bhedi Rajkumar-34,Bhakta Prahlad-34, Typist Girl-35, Sone ka Shahar-35, Kali Waghan-35, Bahadur Beti-35, Duniya na maane-37, Sultana Chand Bibi-38, Jeevan Jyoti-38, Stree-38 and Paisa-41. She sang 9 songs in 4 films-Typist Girl,Sone ka shahar, Stree and Paisa.
Shanta Apte (23-11-1916 to 24-2-1964) worked in 22 films and she sang 84 songs in 20 films.She gave music to film-Main abla nahin hoon-1949.

The story of film duniya na mane-37 was……..

Neera [Marathi]/Nirmala [Hindi](Apte) is trapped into marrying the old widower Kakasaheb (Date). He is a progressive lawyer with a son and a daughter of Neera’s age. She refuses to consummate the union, claiming repeatedly that while suffering can be borne, injustice cannot. After facing many hurdles including an aunt (Vasishta), her mother-in-law, and a lascivious stepson Pandit[M]/Jugal[H] (Nene), her husband has a change of heart and magnanimously commits suicide, enjoining Neera to marry someone more suitable. The change occurs mainly through his widowed daughter Chitra[M]/Sushila[H] (Paranjpye, a noted social worker off screen) who provides a forcefully feminist movement in a speech to the young bride.

As many as six songs from “Duniya Na Maane”(1937) have been covered i the blog. Out of 12 songs in the movie, only seven songs are available.Here is the seventh song from “Duniya Na Maane”(1937). This song is sung by Vasanti. Munshi Aziz is the lyricist. Music is composed by Keshavrao Bhole.


Song-Bharat shobha mein hai sabse aala (Duniya Na Maane)(1937) Singer-Vasanti, Lyricist-Munshi Aziz, MD- Keshavrao Bhole

Lyrics

Bharat shobha mein hai sabse aala
har maheene mein rang niraala
Bharat shobha mein hai sabse aala
har maheene mein rang niraala
vasant mein rangraliyaan manaa ke
baishaakh bhi chala hanste hansaate
vasant mein rangraliyaan manaa ke
baishaakh bhi chala hanste hansaate
Bharat shobha mein hai sabse aala

har maheene mein rang niraala
ras bhara joban dharti pe jhoome
sooraj ?? se shobha ko choome
prem se kiran laga isi ne (?)
jeth ashaadh ke kitne maheene
bijli chamke baadal bhaage
dekh ke moran naachan laage
Bharat shobha mein hai sabse aala
har maheene mein rang niraala

saawan mein har mukh pe hansi thhi
Krishna janam ki man mein khushi thhi
?? ki paawan jhoola ke jhoola
baag hara bhara phoolon se phhoola
?? ki paawan jhoola ke jhoola
baag hara bhara phoolon se phhoola
Bharat shobha mein hai sabse aala aa aa aa
har maheene mein rang niraala
Bharat shobha mein hai sabse aala aa


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

Blog Day :

4788 Post No. : 16544 Movie Count :

4504

Today’s song is from the film Pratigya-1943.

In HFGK the name of the film in Hindi is correct-” प्रतिज्ञा ”, but in English it is written as ” Pratigya “. I do not understand why it could not be written correctly as ” प्रतिज्ञा “. Even film Sant Gyaneshwar-1940 had the same problem. In Hindi it is written correctly, but in English it is Gyaneshwar. Some English language scholars must solve this puzzle. My guess is, because in colloquial Hindi language ज्ञ is pronounced as ग्य . Like ग्यान for ज्ञान . HFGK must have opted for this spelling. It is funny – in Hindi it is written correctly, but in English, this way. If it was the other way round, I could have understood, since colloquial Hindi is Gya. I can’t somehow digest this awatar of English words !

Film Pratigya-43 was made by Chitra productions and was directed by Nandlal Jaswantlal. He was one of the few foreign trained directors of Hindi films. Unfortunately, he died quite young and suddenly. The music director for this film was Ninu Majumdar ( it is not mentioned in HFGK, but Harish Raghuwanshi ji has confirmed it). Incidentally, his father was also working in this film. The cast of the film was Motilal, Swarnalata, Baby Meena (Meena kumari), Veena Kumari, Nagendra (Ninu Majumdar’s father), Hari Shivdasani (father of Babita), Bhudo Advani, Majid etc.

Motilal was one of my favourite actors because his acting was so natural and casual. In the film industry, there were few other actors too like – Ashok kumar, Balraj Sahni, Sanjeev Kumar etc. of course the senior most and the first such actor was Motilal. While his first film Shehar ka Jaadu came in 1934, Ashok Kumar’s first film Jeevan Naiya came in 1936. Initially Ashok Kumar’s acting was not natural, it was very awkward. He did not know what to do with his hands. Because of this dilemma, his acting became theatrical. However in his 13 th film-Naya Sansar-41 in which his role was of a Journalist, he had to smoke in the role. This actually solved his hand’s problem completely and from this film onwards his acting became mature and very natural. But the ‘cigarette in hand’ became his trademark in almost every film.

Motilal started his career in Sagar Movietone.In his first film his Heroine was a senior actress Sabita Devi. Their pair became so popular that they acted in 10 films together. Sabita Devi and Motilal’s first movie as a pair in the famous Sagar Movietone, was Lure of the City (aka Shaher ka Jadoo) which released on 29 th September 1934 at the Imperial Cinema Bombay. This movie was directed by Kaliprasad Ghosh and music was composed by K.C.Dey (the blind singer). Cast : Sabita Devi, Motilal, M.Kumar, K.C.Dey and Kamalabai.

This was the sound debut of Kaliprasad Ghosh at Sagar after a few successful movies directed in the silent era. Mehboob Khan was earlier selected for the lead role and was later replaced by Motilal. This was actor Motilal’s debut film and Motilal – Sabita made the best couple of the Sagar Film Company since then in many other movies under the banner of the Sagar such as, Silver King (1935), Dr Madhurika (1935), Lagna Bandhan (1936), Jeevan Lata (1939), Kulvadhu (1937), Kokila (1937), three hundred days and after (1938) and later in Sudhama Films in Ap Ki Marzi (1939) and Minerva’s Prarthana (1944).

Motilal earned millions and spent millions. He loved a good life. He was fond of good food, good clothing, good wine and a Royal lifestyle. He played on Race course and had few Race Horses too. He was the first actor to have his own small aeroplane. He had a Pilot’s licence. However, in his last days, he lost everything and became a pauper.

” A broken and a defeated man, he did not live to see the release of the one film he produced. ‘Chhoti Chhoti Baaten’ (1965)– a very close autobiographical presentation of his own life, turned out to be a production disaster for him. The loss of finances and assets may not have meant much to him, but it was the turning away of the ones he considered to be lifelong friends that probably broke him completely.

Near the end of his days, he was suffering with health problems, and was in the hospital. His pet project ‘Chhoti Chhoti Baaten’, was nearing completion, but the remaining work was moving very slowly due to financial and other difficulties. Anil Biswas, whom he had given the music composition responsibility, was those days in Delhi, working for All India Radio. He came to visit Motilal. In the hospital, Motilal implored Anil Biswas to complete the music for the film, so that it could be made ready for release. Anil Biswas responded, almost heartlessly, asking to be paid for the work that was already done and for the remaining work for background music. Motilal was stunned. And then he passed away a few days later. The work on the film was eventually completed through the efforts of Mukesh, his cousin, who convinced Anil Biswas to complete the work on the film. The film got critical acclaim and also won a special certificate of merit from the President of India, as part of that year’s national awards. Alas, but he himself was not around to see it.” ( an extract from Sudhir ji’s post, with thanks.)

In the cast of this film there is a name Veena Kumari. Today’s song is also sung by Veena Kumari and Amirbai Karnataki. We all know that there was another famous actress Veena in the same period. Here is a fresh case of ” SAME NAME CONFUSIONS “. In my first book, released in 2018, I had clarified about 56 artistes coming under the SNC category. In the last one and half years I have discussed 14 such new artistes and including today’s case, there will be 16 artistes. The total comes to 72 and surprisingly there are 36 Males and 36 female artistes in this group, so far. However, I feel, as the time passes by, there are still few more cases yet to come to light and that, finally in this, the females will outnumber the males in numbers.

One of the reasons for this could be that in the early era, actresses came from Muslim Tawayef families or even poor families. In such families, the girls’ names were pretty common – like Nurjahan, Zubeida, Khurshid, Naseem or Shameem etc. Those who came first in films kept their original names, others had to change their names. But even then, the limited stock of names created problems. For example, Khursheed Akhtar changed her name to Shyama, but there were already 2 Shyamas working in films. One more example was today’s case. Originally Nurjahan, changed name to Veena Kumari, but there was another Veena working in films.

The trouble with same names is when you want to write about them, their Filmography is mixed up. Secondly, most sites, blogs and Fb pages invariably mix up even their Bio data, in addition to Filmography. My B.P. goes up when I see this . Whenever possible, I try to give explanations to make corrections, but every time it is not possible. Further they quote from sites like Wiki and IMDB, who are the major culprits in creating, sustaining and nurturing the same name confusions.

Anyway, let us now see who this Veena Kumari was. Her original name was Nurjahan. Her father was a landlord in Lucknow. She was born in 1916. As per customs of those times, she never went to school, but being well to do, got private tutors and she learnt Urdu and English sufficiently to read and speak. She was a typical good looking girl. She was very fond of seeing silent films with her father. When the Talkie films started, her interest grew much more and she decided to join films. She was a natural good singer too and this helped her get into films.

Her first film was Inteqam-33, where she worked without any fees. Here she was credited with her real name Nurjahan. In the 1939 film Swastik, made by Mohan Pictures, she became the Veena kumari-heroine of Jeevan. She continued working in films like Radhika,Asra and Kasauti- all 1941, Gharib and Zevar in 42, pratigya, masterjee and Chiragh in 43, Mujrim-44, Gunjan and Shauhar in 48. Shauhar was made by her own banner-Dil-Sitan arts. The film was directed by her. Her last film was Basera-50. She sang 22 songs in 7 films. She was quite good at singing. When you hear her today’s song, you will agree with me.

Now let us see what proves they were 2 different persons. Firstly, Veena Kumari started her career much earlier than Veena. Secondly, Veena started acting in Punjabi films in 1941 only and then came to Bombay for film Yaad-42, Najma-43,Rajputani-44, Humayun-45 etc. Thirdly, Veena kumari was a B grade actress and her films were made by smaller banners, whereas, from the beginning, Veena was in the Big league of Mazhar khan, Ranjit, Mehboob, Kardar, K.Asif, Minerva etc. Fourthly, Veena kumari stopped working in 1950, while Veena continued till 1983. The most important point was, Veena could not sing, whereas Veena kumari sang 22 songs in 7 films. All this clearly separates them as different actresses.

Veena acted in about 100 films in her 40 years’ career. Her Biodata is available freely on the Internet as well as on this Blog. So much for the Same Name Confusion in this case.

Now let us listen to today’s song. With this song, film Pratigya-1943 makes its Debut on this Blog.


Song- Hum kidhar chale ri sakhi hum kidhar chale (Pratigya)(1943) Singers-Veena Kumari, Amirbai Karnataki, Lyricist- Unknown, MD- Ninu Majumdar
Both

Lyrics

Hum kidhar chale ri sakhi
Hum kidhar chale
le chali taqdeer jidhar
hum udhar chale

Hum kidhar chale ri sakhi
Hum kidhar chale
le chali taqdeer jidhar
hum udhar chale

pal mein yahaan pal mein wahaan
hum chale na jaane kahaan
pal mein yahaan pal mein wahaan
hum chale na jaane kahaan
is dagar kabhi to kabhi us dagar chale
is dagar kabhi to kabhi us dagar chale
le chali taqdeer jidhar
hum udhar chale
le chali taqdeer jidhar
hum udhar chale

barsaat ka din hai
saawan ka maheena
barsaat ka din hai
saawan ka maheena
ban ban mein bajaati hai koyal ?? veena
barsaat ka din hai
saawan ka maheena

pyaar ke mausam mein sakhi hum kidhar chale
is pyaar ke mausam mein sakhi hum kidhar chale
le chali taqdeer jidhar
hum udhar chale
le chali taqdeer jidhar
hum udhar chale

aa main tujhe le chaloon saajan ki nagariya
aa main tujhe le chaloon saajan ki nagariya
beech ke panghat pe sakhi bhar le gagariya
teri bhar le gagariya
beech ke panghat pe sakhi bhar le gagariya
teri bhar le gagariya
tujh to milegaa tera saajan ?? tale
tujh to milegaa tera saajan ?? tale

hum jidhar chale
hum jidhar chale
le chali taqdeer jidhar
hum udhar chale
le chali taqdeer jidhar
hum udhar chale
hum kidhar chale ri sakhi
hum kidhar chale
le chali taqdeer jidhar
hum udhar chale


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

Blog Day :

4782 Post No. : 16535 Movie Count :

4499

Today’s song is from a film which is 86 years old- Pardesi Sainya-1935.

When I choose a film song for a post, there is always a thought behind it. Sometimes the cast consists of some actor who spilled over from the silent era and is on the verge of ending his career now. Sometimes the Director or the Music Director is absolutely unknown or a first timer on our Blog. Such and similar matters arouse my interest and I start gathering information about these people. Many times, I am the first person to write about that actor or director etc.

Not many people understand the importance of these things but from a Historical point of view, it is very important. Sometimes information of just one paragraph also has to be culled from half a dozen sources. perseverance and consistency are required to get such information. Even today’s film is one such film where some revealing names are there.

Film Pardesi Sainya alias My Darling aka Chaand ka Tukda-1935 was made by Gandharva Cinetone. In those days two names for a film was a common matter, but here there are 3 names. This was a company owned and floated by Baburao patel, before he started his famous Film Magazi8ne-” Film India”. Patel began this banner in the Silent Era and his first Directorial venture was a Silent film-” Kismat”-1931…the year India had entered the Talkie Era. His first Talkie film was Mahananda-33. Then came maharani-34, Bala Joban-34 and last in the first segment was Pardesi Sainya-35. The banner had a second segment after 9 years, with films Draupadi-44 and Gwalan-46, both to promote Susheela Rani- a Konkani good looking singer/dancer and a journalist of sorts. She failed in films, but joined Film India magazine as a Sub Editor, only to become a Sub-kuchh by marrying Baburao Patel !

The music was composed by one Dinkar Rao Amembal – a name hardly anybody has heard. Not only now but even in those days. later on he became famous is another thing. His elder brother A.Sunder Rao was a good Harmonium player and younger brother A Bhaskar Rao was already in the film line as a composer.

Collecting information about Dinkar Rao has been a tiring job and I had to take extra efforts.Finally I collated information on Dinkar Rao from several sources. I present here today, for the first time-as far as I know, information on Dinkarrao Amembal On any Blog discussing old films and music.

DINKAR RAO AMEMBAL AKA D’ AMEL…….Dinkar Rao was born on 24-9-1909 in Guwahati (Assam) in a CXhitrapur Saraswat Bramhin family of South Canara. The family was known as a Music loving family. He studied upto Matriculation in Ganapati High School at Mangalore. After that his family shifted to Bombay.

Dinkar was never trained in classical music by any expert. He had a sweet voice and he was self taught. He started his B.Sc. studies in Fergusson College, Poona. In the final year, he left studies and returned to Bombay. He joined Indian States Broadcasting company ( a precursor to All India Radio), as a singer and instrument player on contract basis in 1927. He was a Harmonium expert like his elder brother A.Sunder Rao- who had a Music career in south India. Dinkar Rao had master Krishnarao Phulambrikar as his Idol. After 1947, when Harmonium was banned in India by the Congress Government, he learnt Flute and Violin. He became an expert in Brass Flute.

In 1935, he started V.U.B. Orchestra. He used his name as D’Amel and broadcast several self made musical melodies on Radio. After establishment of All India Radio, his orchestra was taken over and became Akashvani Orchestra. In 1935, Dinkar Rao entered the film line.

As a Music Director he gave music to 3 films independently. They were Rangeela Nawab-35. In this film he did a small role and sang one song also. Then came Pardesi Sainya-35 and Bombshell-35, which he also directed. After 12 years, he gave music to film Beete Din along with another composer M.Rauf Osmania. His younger brother A.Bhaskar Rao was already a Music Director in Hindi films.

In 1936. Dinkar Rao was appointed Programme Director in the newly formed All India Radio, Bombay station, wherein he served till 1967. As a Director he worked with Shridhar parsekar, Alla Rakha Khan, Master Ibrahim etc etc. He was famous for creatively introducing several new popular musical programmes. While in All India Radio, he worked closely with the German Jew Walter Kauffmann, who is credited to be the inventor of the famous A.I.R. Signature tune, which is played before a Station starts on All India Radio.

He worked with many poets of Marathi and presented their songs. He served A.I.R. for 35 years including his earlier services. He was awarded by Music Research Academy of Calcutta. he was a devotee of Sufi Saint Ashraf Khan (this Sufi Saint was a Hindi film actor and singer. He had also been a popular actor on Gujarati stage dramas).

In later years Dinkar Rao became totally deaf in one year’s time. He died suddenly on 6-2-1990 at Bombay. ( I thank parrikar.org, kamath.com, Prakash Burde and Madhav Imarte for the above information.)

The cast of the film was Mubarak, Padma Devi, Shirin bano,Azurie, Raja pandit, Kamal Bhivandkar, Vaskar, nandu khote and many others. Actress padma devi was from Bengal and a spill over from the Silent Era into the Talkie films. She had a special relationship with Baburao patel. She used to move around in his magazine office at will in later times. When Susheela Ranitook over as a Sub Editor of the magazine initially and then as the ‘ Sub Kuchh’ of Patel, she cleverly cut off the association of padma Devi and baburao patel to have total control.

Raja pandit was an actor and a singer. His first film was Sati mahananda, then came Maharani-34, bala joban-34, Bhikaran-35 and Pardesi Sainya-35-his last film in Hindi. he sang songs in every film. After this he turned to marathi films and became a producer/Director. Kamal Bhivandkar did a child role in this film. She was about 12 years of age. She became friendly with Raja Pandit. Kamal became a popular big Heroine, with a new name Ratnamala and acted in big banner films in Hindi. Raja pandit and Ratnamala got married when she was hardly 16 year old. She continued to be a successful actress inb Hindi and later in Marathi films. Raja Pandit was a failed producer/director. After a few years they separated. They had a son-Jay Kumar, who died young, in an accident.

Shirin bano was the eldest sister of actress Poornima (Meher Bano). She acted in 18 films and then got married to director Nanabhai Bhatt. Mahest Bhatt and Mukesh Bhatt are their sons. Nandu Khote was the father of Shubha khote- the bubbly actress of the 50’s and 60’s, in Hindi and Marathi films.

I have written short notes on these actors because their full details would have made this post unwieldy and very long, which normally readers avoid to read. I also dislike long posts. While there is no rule on the ideal length of a post, I try to remain within an average of 40 to 50 lines or near to it.

No information on the storyline or other details of this film. Today’s song is a duet of Shirin Bano and Raja Pandit. The Lyricist is not mentioned in HFGK, but the MD was Dinkar Rao Amembal.

With this song the film Pardesi Sainya-35 and the Music Director Dinkar Rao Amembal make their Debut on this Blog.


Song-Na chhedo mohe ro doongi Piyarwa (Pardesi Sainyya)(1935) Singers- Shirin Bano, Raja Pandit, Lyricist- Unknown, MD- Dinkar Rao Amembal

Lyrics

Na chhedo mohe
ro doongi
piyarwa
Na chhedo mohe
ro doongi
piyarwa
Na chhedo mohe
ro doongi
piyarwa
Na chhedo mohe
ro doongi
piyarwa

apni garaj kahat lahal
hamri baari munh phulaat
apni garaj kahat lahal
hamri baari munh phulaat
apni garaj kahat lahal
hamri baari munh phulaat
Na chhedo mohe
ro doongi
piyarwa
Na chhedo mohe
ro doongi
piyarwa
Na chhedo mohe
ro doongi
piyarwa
Na chhedo mohe
ro doongi

aisa baanka naujawaan
kya hai koi doosra
aisa baanka naujawaan
kya hai koi doosra
aisa baanka naujawaan
kya hai koi doosra
mastaana deewaana
parwaana meri jaan
mastaana deewaana
parwaana meri jaan
mastaana deewaana
parwaana meri jaan

chhatiya dikhat
daani doobat
balma kaahe hansat jaat
chhatiya dikhat
daani doobat
balma kaahe hansat jaat
chhatiya dikhat
daani doobat
balma kaahe hansat jaat
na chhedo mohe
ro doongi
piyarwa
na chhedo mohe
ro doongi
piyarwa
na chhedo mohe
ro doongi
piyarwa
na chhedo mohe
ro doongi
piyarwa
Apni garaj kahat lahal
hamri baari munh phulaat
Apni garaj kahat lahal
hamri baari munh phulaat
Apni garaj kahat lahal
hamri baari munh phulaat
na chhedo mohe
ro doongi
piyarwa
na chhedo mohe
ro doongi
piyarwa
na chhedo mohe
ro doongi
piyarwa
na chhedo mohe
ro doongi


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

Blog Day :

4773 Post No. : 16522 Movie Count :

4496

Today’s song is from a stunt film-Ji Haan aka Yes Please-1945. Made by Gautam Chitra, Bombay, it had a pair of Directors-Babubhai Mistri and Ramnik Bhatt. All songs were written by Pt. Indra and the music was composed by S N Tripathi. The cast was full of the usual members of stunt films… Master bhagwan, Agha, Shanta Patel, Meera, Gulab, Azeem, Anant Prabhu etc.etc.

The 8 songs of this film give us some idea about the film. Out of the 8 songs, 5 are Comedy songs. 5 songs are sung by Shanta patel, 2 are by Meera and 1 is a chorus song Shanta Patel or Meerawere really not singers by any standards. getting them to sing for the movie clearly indicated a measure to save on cost of the production. All these stunt films were made on a tight budget. Because of this, the investment was less and profits were more. As there was a fixed audience in almost every town for such films, the distributors did not mind to invest or buy the rights for various circuits.

Nowadays, one film costs around 5 to 10 crores to make it. If some A+ grade star is featured, then the cost can go up to 25 to 30 crores also. In this context, if I were to tell you that in the 40’s decade a stunt film was made within just one Lakh, would you believe it ? You ought to, because thats what was required, according to Master Bhagwan-the stunt film expert of those days. During the first decade i.e. the 30’s, the cost was about 40 to 50 thousand rupees only, inclusive of everything.

As the decade of the 50’s was a Gold mine for Mythological and Religious films (124 films in 10 years), the 40’s was a storehouse for stunt films. The Cast, Director and the Production House were fixed. Lyricist and the MD depended on availability at cheaper cost or those who wanted an opening to films. Sometimes in the 60’s and the 70’s, the C grade films were the last resort for even the one time well known MDs. Composers like Anil Biswas, C. Ramchandra, Chitragupta and few others gave music to such films, for survival.

Names of stunt film actors is an interesting matter. Some common and regular names one found in Action/Stunt films are, Nadia, Boman Irani, Sayani,Bilimoria bros, Cooper sisters, Zohra Khatun, Ameena Khatun, Khatun Bai, Prakash, Adjania, Noorjehan (sr.), Moosa Pehelwan, Vasantrao Pehelwan, Baburao Pehelwan, Marutirao Pehelwan, Azim bhai, Basheer, Ali, Bachha, Chandra Rao,Harishchandra Rao, Shankar Rao,Master Bhagwan, Mirajkar, Jamshed ji, John Cavas, Lalita Pawar, Navin chandra…and many such names.

Kamran, Afghan Sandow,Habib, Ismail,, Dalpat, Dilawar, Leela Pawar, Leela Gupte, Shanta Patel, Usha Shukla, Madhuri, Dhondu, Shaikh, Nazi, Nishi, etc were a guarantee of 2-3 hours of exciting times. Forget the music or a coherent sensible story. Fighting, Fencing, Riding and a mix of Comedy and Dance was an assured entertainment.

In addition to all this, actors with odd and weird names were to be always found in stunt film casts. Have you ever heard actors with names like Bajarbattu, Phool Kumari, Maruti pehelwan, Batata, Mitthoo Miyaan, Fatty Prasad, Boken Chattu, Minu the Mystic, Manchi Tuthi, Gareeb Raja, Kurbaan Jaoon, Pandit Dukhi, Vilayatu, Loveji Lavangiya, Adam Sandow, Sandow Safar, Dunlop, Chic Chak and a very strange name CHEMIST ! This name is found in 5-6 films.

In the cast you will find a name Meera. This is aname for ‘ Same Name Confusion.’ At the same time, in the same period, there were 2 actresses named Meera. The Meera who acted in this C grade stunt film lasted a longer time. Meera’s real name was Muriel Alexander. She was born on 10-11-1919. She was from a respectable family. her father was Superintendent-local Audit in AG’s office. Brother E. Alexander was an All India level cricketer. She passed her Inter Science exam from Benaras Hindu University. It was through one Mr. Seal, who was a manager in Adarsh Chitra, she got her first break in film Dolti Naiya-34 and Shah E Iran-34 but film Dhuwandhar-1935 was released first.. This was the Debut film of Leela Chitnis also. It is not known if she sang any song in that film,as no records are available. My guess is that,besides acting,she must have sung a few songs in that film.

Her name later appears as an actress and singer in the film Bhabhi-38,in which she sang 3 solo songs. from 1935 to 1938,she must have sung many songs,but singers names are not mentioned. Thus many singers’ credit must have been lost in those years.Same case was with Amirbai Karnataki also. After Bhabhi,her name appears in Nirmala-38 and vachan-38 in which she sang 1 solo and 3 duets. She acted and sang songs in films of Ranjit, Prakash and Minerva Movietone.

She was married to Mr. R.N.Singh, Revenue Minister of Charkhari state.

As per information available, Meera acted in Shah E Iran-34,Dolti Naiya-34, Dhuandhar-35, Bhabhi-38, Vachan-38, Adhoori Kahani-39, Tatar ka chor-40, Paak Daman-40, Chingari-40, Darshan-41, Armaan-42, Meri Duniya-42, Mauj-43, Dr. Kumar-44, Krishna bhakta Bodana-44, Ji haan-45, Sham Savera-46, Ye hai Duniya-48, Sansar-51, Ilzam-54 and Hanuman Janma-54. She only sang in Nirmala-38 and Ulti Ganga-42. She sang 17 songs in 7 films.

Then there is also an actress named Gulab in the film cast. The First actress from Kashmir to work as a Heroine in Hindi films was GULAB. Her real name was Saraswati Devi. She was born on 10-6-1908 at Jammu. She joined Krishna Film Company in 1924. Her first silent film ‘Krishna kumar’ came in 1925. She worked in 60 silent films. Her last silent film was ‘Dagabaz Dushman’-32, made by East India Film co.Bombay.

Her first Talkie film was Suryakumari-33, made by Vishnu Cinetone. It was directed by Dhirubhai Desai. She sang one song ‘more preetam jab ghar aaye’ composed by Kikubhai Yagnik. Then came Baburao Patel’s ‘Bala Joban’-34, Sewa Sadan-34 and Nai Duniya-34 ( Debut film of Rajkumari and Jayant). In this film Gulab sang 2 songs.

Gulab was very beautiful and quite popular in the film industry. Some of her films were Bambai ki sethani-35, Challenge-37, Bharosa-40, Pyas-41, Ek Raat-42, Station master-42, Gaali-44, Rattan-44, Mann ki jeet-44, Mirza Sahibaan-47, Lahore-49, Badi Behan-49, stage-51, Post Box 999-58, Chhabili-60 etc etc. She acted in 160 films. Her last film seems to be Haqeeqat-64. She also sang 22 songs in 11 films.

Today’s song is also a comedy song. With this song, the film Ji Haan-1945 makes its Debut in the Blog.


Song- Haaye mora sainya to sattebaaz hai (Jee Haan)(1945) Singer- Meera, Lyricist- Pt. Indra, MD- S N Tripathi

Lyrics

Haaye mora sainya to
ho mora sainya to
sattebaaz hai
Haaye mora sainya to
sattebaaz hai
chhakke panje ka
ghar mein hi raaj hai
chhakke panje ka
ghar mein hi raaj hai
Haaye mora sainya to
ho mora sainya to
sattebaaz hai

ghar mein na tel na chaawal na genhu
ghar mein na tel na chaawal na genhu
aaj khatre mein handiya ki laaj hai
haay khatre mein handiya ki laaj hai
Haaye mora sainya to
ho mora sainya to
sattebaaz hai
chhakke panje ka
ghar mein hi raaj hai
chhakke panje ka
ghar mein hi raaj hai
Haaye mora sainya to
ho mora sainya to
sattebaaz hai

sainyya to motor mein pam pam kare hai
sainyya to motor mein pam pam kare hai
haan pam pam kare hai
haan pam pam kare hai
aur ghar mein
aur ghar mein choohon ki aawaaz hai
haay ghar mein choohon ki aawaaz hai
Haaye mora sainya to
ho mora sainya to
sattebaaz hai
chhakke panje ka
ghar mein hi raaj hai
chhakke panje ka
ghar mein hi raaj hai
Haaye mora sainya to
ho mora sainya to
sattebaaz hai

mehndi lagaa kar main naihar se aayi
mehndi lagaa kar main naihar se aayi
haan naihar se aayi
haan naihar se aayi
aur aaj
mere gobar bhare haathh aaj hain
mere gobar bhare haathh aaj hain
Haaye mora sainya to
ho mora sainya to
sattebaaz hai
chhakke panje ka
ghar mein hi raaj hai
chhakke panje ka
ghar mein hi raaj hai
Haaye mora sainya to
ho mora sainya to
sattebaaz hai

sakhiyon to pahnen
sona aur chaandi
sakhiyon to pahnen
sona aur chaandi
haan sona aur chaandi
haan sona aur chaandi
aur yahaan
yahaan peetel ke hi
saare saaz hai
haay peetel ke hi
saare saaz hai
Haaye mora sainya to
ho mora sainya to
sattebaaz hai


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

Blog Day :

4771 Post No. : 16520 Movie Count :

4495

Today’s song is not only from an unknown and very obscure film, it is also a 84 year old film and the song too is that old. May be that is the reason why even its Lyricist, the Music Director, the Heroine and most of the cast members are all unknown. Maybe because it was made in Lahore, the local actors must have been taken in and so they are not much known or heard about. This is precisely the reason why I chose a song from this film. This gives me an opportunity to dig up information from various new sources, which may not be so common and available to most people. Even otherwise very few people take so much effort to get desired information. It took me several days to gather information about the MD, the Lyricist and the Heroine, but I am glad that at the end I have something to offer to our readers, which may be rare and difficult to find.

Film Prem Yatra-1937, the film in discussion, was made by New orient Films at Lahore. This social film was directed by Profulla Roy. Prafulla Roy ( Born on 1-1-1892 at Kushtia, Bengal) started his career in the silent era by directing 2 silent films. His first talkie film in Hindi was Ramayan-34, made by Bharat laxmi Pictures, Calcutta. Bharat Laxmi Pictures had Prafull Roy as its director for Bangla and Hindi films. Roy directed 12 films in Hindi. 9 out of them were made in Calcutta, 1 film in Lahore (Prem yatra-37) and 2 in Bombay (Mera Gaon-42 and Phulwari-51). Roy had also acted in 2 New Theatres films, namely Millionaire-36 and Mukti-37.

All the 10 songs of this film were written by Haqim Ahamed Shuja. Music Director was Q.S.Zahoor and the cast of the film was Umrazia Begum, Riyasat Wasti, Mirza Musharraf, Miya Lateef, Miss Billo, Mujammil Khurshid, Kamla, Miss MUbarak, Zia Miya, K.H.Rehman and Vidya Devi.

I had heard and read about Umrazia Begum that she was the wife of MD Ghulam Haider and that their one son had become Lt. General in the Pakistan Army. Beyond this, I had not thought much about her. When I decided to write on her song, I needed more information about her. There are 6 songs sung by Umrazia Begum on this Blog but I could not find her information in any post. The problem with the professional singers (read Tawaifs) is that their details are usually not available. Starting with their dates of Birth, education etc are not recorded anywhere. I found it extremely difficult to get some information about her. However, I searched and searched and finally in one of the discussions on RMIM, somewhere in 94-96, I got some information. So, here is what I have about her, for our readers first time…

Here is some information on Umrazia Begum.This may not be available elsewhere. A singing- star by the name of Umrao Zia Begum was the talk of the town of Lahore, in those exciting times. In fact, she was more renowned for her melodious voice than as a film actress. Further, she earned the title of ‘Bulbul Hazaar Dastaan’ from the music buffs.

Ghulam Haider composed music for Umrao Zia Begum and recorded songs and ghazals in her voice. Her name appeared on the gramophone records as well. Perhaps Umrao Zia Begum’s greatest achievement was the recitation of one of the most popular Naat ” Mera Salam Leja Woh Jan Lenge Sab Kuch “, composed by Ghulam Haider.

Ghulam Haider debuted as a music composer in a 1935 movie, ‘Swarg ki seedhi’, in which Umrao Zia Begum was also cast in a major role. ‘Swarg ki seedhi’ was released under the banner of National Modi Tone, Lahore and directed by AR Kardar. With the passage of time, Ghulam Haider and Umrao Zia Begum developed immense love and understanding for each other, which reached its peak during the movie shoot of ‘Swarg ki seedhi’. Ghulam Haider, who worked for Pancholi Art pictures at that time, soon married Umrao Zia Begum.

Umrazia Begum acted in 3 films namely, Swarg ki seedhi-1935, Din-O-Duniya-1936 and Prem Yatra-1937. She sang 11 songs in 5 Hindi films namely, Swarg ki Seedhi-35, Prem Yatra-37, Khazanchi-41, Himmat-41 and finally Khandan-42.

After marrying Ghulam Haider, Umrao Zia Begum said farewell to the show business. She was never seen again even in a public gathering. It seems to me that the aphorism below is meant for great people like Umrao Zia Begum. She was not only a great human but an affectionate mother who possessed enormous foresightedness as well. Nothing happens to anybody, which he is not fitted by nature to bear.

Ghulam Haider’s demise on 9th November 1953 happened to be a tremendous setback for his beloved wife, Umrao Zia Begum, who was much younger to her husband. However, she did not lose heart. Instead, she devoted herself wholeheartedly to the upbringing of her children.

She left no stone unturned to provide her children the best possible education available at the time. Consequently, all her children grew up and achieved name and fame in their respective fields.The younger son became Lt. General in the Pakistan Army before retirement. Most importantly, Umrao Zia Begum thanked God to see her relentless efforts come to fruition.

Years later, Umrao Zia Begum breathed her last in the ‘Stork House,’ Bahawalpur, which was the official residence of her younger son, who was the General Officer Commanding in Bahawalpur in those days. She was laid to rest in the Military Graveyard, Cavalry Ground, Lahore.

My second target was the MD Q.S.Zahoor. The name was quite elusive and no references were found anywhere. One day, I accidentally came across a comment on You Tube stating that he was the Ustad of few upcoming singers and I shifted my search towards classical singers. I also came to know that his real name was slightly different ( which actually misled me so far). In the end I found a Pakistani site thenews.com.pk, in which one music expert Shabaz Ali’s book “Sur Sansar’ was reviewed. In this book, I found some information about Zahoor. So, here we are –

Qazi Zahur Ul Haq was born in 1909 in Rewari, Ambala Division and got his initial education in music from Ragonath Rao Ji, who taught at the Shankar Gandharva Vidyalaya. Rao was the cousin of the famous Krishnarao Pandit. Qazi became associated with India Film Company in 1935, composed music for Prem Yatra, Josh-e-Inteqaam and Neem Shah Dakoo under the name of Q.S. Zahoor.( he may be claiming, but HFGK credits Hari Prasann Das as MD of Josh-e-inteqam-1935 and there is no trace of the third film Neem Shah Dakoo).

In 1942, he became the music director at the All India Radio, arranged an orchestra and made music for many programmes. When he migrated to Pakistan, he started a music academy, Radiant Classical Music Society, at his house in 1950. Among his shagirds have been sitarnawaz Naseeruddin, jaltarangnawaz Abdul Majeed. Qazi, neynawaz Taj Muhammed and Ustad Mehfooz Khokhar.

Later, he started a programme on radio for the purpose of educating listeners on music. This radio programme from Rawalpindi Station continued for about five years and was a source of knowledge to all those interested in music. He also did a programme on television with Abdul Qadir Piyarung, and in that, he sang 72 raags with their arohi, amrohi, vadi samvadi, kheyal bandishes — that is asthai and antara in accordance with the time of their performance.

Qazi Zahoor ul Haq also wrote two books on music, Rehnomai Mausiqi and Mualimul Naghmaat, both published by the Pakistan National Council of the Arts. The former was also translated by him into English with staff notation of hundred raags and a very informative and detailed note on the history and peculiarities of western and our music. But, it could not be published because there was no system to print the staff notation in the country. He could also not avail the offer from foreign embassies to have it printed abroad because he thought that the manuscript would get lost. He also taught music at the Pakistan National Council of the Arts for 10 years from 1979 to 1989.

He died on 4-2-1989.

I could not get any information on the film itself, except that the story and screenplay was also done by Hakeem Ahmed Shuja. With this song by Umrazia Begum, the film Prem Yatra makes its Debut on the Blog.


Song- Aayee badariya barsan ko (Prem Yatra)(1937) Singer- Umrazia Begum, Lyricist- Hakim Ahmed Shuja, MD- Q S Zahoor

Lyrics

Aayee badariya
Aayee badariya barsan ko
tarsat hai mann darshan ko
o o o o
ho o o o
saawan aaaaaya
baadar aaye
baadar aaye
mujh birhan ke pee na aaye
pee ki chinta man kalpaaye
pee ki chinta man kalpaaye
aag lage is barsan ko
aayi badariya

Aayee badariya barsan ko
tarsat hai mann darshan ko
??
??
?? mujh dukhiya ke phoote
jag mein bhaag sakhi ??
jag mein bhaag sakhi ??
?? man darshan se
Aayee badariya
Aayee badariya barsan ko
tarsat hai mann darshan ko o


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over THIRTEEN years. This blog has over 16600 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

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Total Number of movies covered=4520

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