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 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 :

5182 Post No. : 17158

Today’s song is from the film Aap ki Marzi-1939. This film was made by Sudama productions, Bombay, founded by Dr. Ambadas patel, after Sagar Movietone merged with National Studios. This comedy social film was directed by Sarvottam Badami and the music was given by Gyan Dutt. The cast of the film was Sabita Devi, Motilala, Vasanti , mazhar, Khursheed, Sunalini devi, K.N.Singh, jagdish Sethi and others. Lyricists were P.L.Santoshi and S.P.Kalla Film Aap ki Marzi aka As you please-1939 was based on the hit Hollywood film” Paradise for 3 “-1938.

” FATE ” is a phenomenon which no one has understood so far and no one will ever know how it works.It makes the Rich a poor one and a Pauper may become a millionaire. Fate takes you through unknown destinations and you can niot guess where it will take you. There is no better example of this FATE, other than the life story of this film’s director.

The changes in the career of Sarvottam Badami took place are simply unimaginable. His life started as an ordinary Motor Garage mechanic.Fate made him a Film projectionist, an Automobile Engineer, a Sound Recording Engineer, a Film director of Tamil, Telugu and Hindi films, Film Division producer, An industrialist and finally a management Consultant ! Can you beat it ?

Sarvottam Badami was born in 1910 at Channapatna in Karnataka,to a revenue officer working in Mysore. He passed his SSLC and worked as a garage mechanic and then a projectionist in Select Picture House, Bangalore, both of which were owned by Dr. Ambalal Patel. Patel moved to Bombay and financed Ardeshir Irani of Imperial Film Company, and Chimanlal Desai as a partner, forming Sagar Movietone in 1930.
At the age of 19 years, Badami went to Bombay to study automobile engineering. He was asked by Ardeshir Irani who met him at a wedding to help out with the recording equipment he had purchased from abroad.

Badami helped in the sound recording department for the first Talkie in India, Ardeshir Irani’s Alam Ara (1931). Around that time a German director making the film Harishchandra left half-way and Badami offered to complete it, the co-director was Raja Chandrasekhar, although the co-director credit has also been cited as T. C. Vadivelu Naicker. The film turned out to be successful. He was contracted by Sagar Movietone (Sagar Film Company) to direct three films, two in Telugu and one in Tamil: Galava Rishi (Tamil), Rama Paduka Pattabhishekam and Shakuntala in Telugu. The success of these films established him as a director. His working team had people like the cinematographer Faredoon Irani, music director Anil Biswas and the Sagar Movietone favourites Sabita Devi and Motilal.

Initially, to avoid embarrassment to his family he requested not to be credited in the regional language films. He did not know Hindi but from 1932-1947, he worked for Sagar Movietone and also directed nearly 30 films in Hindi, for many others. His first Hindi film was Chandrahasa (1933) starring Noor Mohammed Charlie. He was paid Rs 2000 per film with the complete film being made within Rs 50,000. He worked with most of the top actors of the time like Motilal, Nargis, Ashok Kumar and Pahari Sanyal. He brought Mehboob Khan who was then doing roles as an extra out of obscurity and gave him the role of Sabita Devi’s father in the film Vengeance is mine(1935).

He made several films based on novels. Some of the writers whose work he used were K.M.Munshi, Sarat Chandra and Ramanlal Vasanthlal Desai. The film Aap ki Marzi (1939) was inspired by the Hollywood film Paradise for Three (1938). He became known for his satirical comedies and “socially relevant films”.His film Grihalaxmi (1934), which starred Jal Merchant and Sabita Devi, had the woman getting into marriage only if her doctor husband agreed not to want children. The success of the film mitigated the enraged public reaction at the time.

He showed his understanding of media publicity required for films when in 1937, Badami resorted to woo audiences by announcing cash prizes of Rs.500, Rs.200 and Rs.100 for the best reviews of his newly released film Kulvadhu (1937). The promotional gambit worked sending audiences to the theatres. According to an interview, most of Badami’s films didn’t survive as the negatives were burnt to extract the silver from the silver nitrate.

After Aap ki Marzi-38, he followed his mentor, Dr. Patel and joined Sudama Pictures, when in 1939, Sagar Movietone merged into National Films. Badami also worked in Famous Cine Laboratories, from 46 to 48.

Apparently, in 1948 Deputy Prime Minister Vallabh Bhai Patel, who was then also in charge of the Information Ministry, on a visit to the Cine Laboratories Bombay, asked Badami to help set up a NewsReel and Documentary section. The Films Division was established in 1948. He became chief producer in the newsreel department and made several documentaries. He worked in the Films Division making documentaries from 1948-1952. After that he stopped making films and returned to Bangalore to retire as “I was a forgotten man in the feature film world”. He became an industrialist by starting a manufacturing business. Later he worked as a Consultant for Kamani Group of Industries also. He died in 2005 in Bangalore, Karnataka, India.

FILMOGRAPHY: 1932: Harishchandra; Galava Rishi; Paduka Pattabhishekham; Shakuntala; 1933: Chandrahasa; 1934: Grihalakshmi; 1935: Dr. Madhurika; Vengeance is Mine; 1936: Jeevan Lata; Grama Kanya; 1937: Kokila; Kulavadhu; 1938: Three Hundred Days and After; 1939: Aap Ki Marzi; Ladies Only; 1940: Chingari; Sajani; 1941: Holiday in Bombay; 1942: Khilona; 1943: Prarthana; 1944: Bhagya Lakshmi; 1945: Ramayani; 1946: Uttara Abhimanyu; 1947: Manmani; 1951: Vinoba Bhave (Doc);1952: Roof over the head

(Ack: Sapnon ke saudagar by Vithal Pandya, Sagar Movietone by Biren Kothari, HFGK, muVyz, Encyclopedia of Indian Cinema, and my notes)

Film industry is one place where the most unimaginable things happen. Here are some examples – A young man working as a laboratory Technician overnight becomes, albeit reluctantly, an actor and later on a famous Hero in Hindi films (Ashok Kumar), A Choreographer becomes a very famous and successful Director and actor (Guru Dutt), A Clerk in Government Rationing office touches the sky and becomes a heart throb Cinema Hero (Dev Anand), A Bus Conductor is turned into a famous cult Hero of South (Rajnikant), A simple young man goes to meet his actor brother in a studio and is mistaken for his brother and made a hero in 40 Hindi films(D.Billimoria), a clueless scholarly young man standing in a bus queue in Madras is picked up as a hero and works in about 55 hindi films (Ranjan). These are some examples of how, when Lady Luck smiles on a person, his life changes !

Here is one case. The case of the suave, handsome actor MOTILAL who had absolutely no dream of becoming a film hero ! Born in Shimla on 4 December 1910, Motilal Rajwansh came from a distinguished family. His father was a renowned educationist, who died when Motilal was one year old. He was brought up by his uncle who was a well-known civil surgeon in Uttar Pradesh. At first, Moti was sent to an English school at Shimla and later, in Uttar Pradesh (UP). Thereafter, he shifted to Delhi where he continued with school and college.

After leaving college, Motilal came to Bombay to join the Navy, but he fell ill and could not appear for the test. Fate had other choices charted out for him. One day, he went to see a film shoot at Sagar Studios, where director K. P. Ghosh was shooting. Motilal, even then, was quite the man about the town and he caught Ghosh’s eye. Motilal described this event in his inimitable style,in one of his interviews….” The director Ghosh Babu looked towards me and said,” please come here”. I first thought he was calling someone standing behind me. I looked back and moved to one side. Nobody came forward, but Ghosh Babu came to me and pointed his finger at me and said, ” Yes, I am talking to you. Please come here” I went with him .” In 1934 (aged 24), he was offered the hero’s role in Shaher Ka Jadoo -1934 by the Sagar Film Company. Sabita Devi and Motilal’s first movie as a pair in the famous Sagar Movietone, the movie Lure of the City (aka Shaher ka Jadoo) released on 29 th September 1934 at the Imperial Cinema Bombay.

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 pair in the Sagar Film Company. They acted together in many other movies under the banner of the Sagar like, 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. He worked with Mehboob Khan in Jagirdar -1937 and Hum Tum Aur Woh -1938 under the Sagar Movietone banner, in Taqdeer -1943 for Mehboob Productions, and Kidar Sharma’s Armaan -1942 and Kaliyan -1944. He also acted in S. S. Vasan’s film Paigham -1959 (Gemini Studios), and Raj Kapoor’s Jagte Raho -1956. In 1965, he also acted in the Bhojpuri film Solaho Singar Kare Dulhaniya.

Perhaps the role for which he received the most critical appreciation was that of the gentleman crook in S. S. Vasan’s adaptation of R K Narayan’s book Mr Sampat -1952. He is most remembered for his role as “Chunni Babu” in Bimal Roy’s Devdas -1955, for which he won his first Filmfare Best Supporting Actor Award. Actor Naseeruddin Shah once described him as one of three all-time best actors of Hindi cinema, others being Balraj Sahni and Yakub.

Motilal was very suave and polished, and moved in high society, though towards the end of his life he was in financial difficulty. Although a thorough gentleman, he enjoyed gambling and races, and died almost penniless on 17th June 1965.

Motilal was an excellent Pilot and owned a small aircraft. He rarely travelled by train and always liked to fly. His family life was happy. His wife was a doctor.

He was in a relationship for several years with the actress Nadira. He was later involved with actress Shobhna Samarth after she separated from her husband, and he played Samarth’s real-life daughter Nutan’s father in Hamari Beti, Shobhana’s launch movie for Nutan. He also played her guardian in Anari, though this time the role had a villainous touch to it.

Motilal and Ashok Kumar were popular stars at the same time. Ashok Kumar was employed by Bombay Talkies and Motilal was employed by Ranjit. It is said that Sardar Chandulal paid Rs. One lakh to Motilal in those days. Motilal was a gambler. Once Chandulal Shah paid his debt of 75000 rupees which Motilal had lost in gambling, just to keep Motilal with Ranjit ! It is surprising that Ashok Kumar never worked with Motilal’s Heroines-Shobhana Samarth or Khursheed and Motilal never worked with Ashok Kumar’s heroines- Devika Rani or Leela Chitnis !

Actor Chandra Mohan treated Motilal as his son. During the last days of Chandra mohan, once Motilal had gone to meet him. Chandra Mohan was drinking from a costly forein Whisky bottle, but he did not offer it to Motilal. Motilal was feeling bad and then Chandra Mohan said, ” I know you must be feeling bad that I am not offering you this Whisky, but trust me it is not whisky- I am drinking Bewada (country liquor) from this bottle and I don’t want my son to drink this dirty stuff ! ”

Motilal was the winner of Filmfare Best Supporting Actor Award for Devdas -1955 and Parakh -1960. He is credited with being among Hindi cinema’s first natural actors.

He also directed the film Chhoti Chhoti Baatein -1965, but died before its release. At the 13th National Film Awards, it won the award for Certificate of Merit for the Third Best Feature Film and he posthumously won the Certificate of Merit for the Best Story Writer. ( adapted some information from Vithal Pandya’s book-Asli Nakli Chehere, wiki, Star portraits, nett4you, the book Sagar Movietone, and Shirish Kanekar’s book- Yaadon ki Baaraat, with thanks and my notes.)


Song- Gauven charaa ke Baanke Bihaari apne ghar nahin aate thhe (Aap Ki Marzi)(1939) Singers- Khursheed Bano, Gyan Dutt, Lyricist- P L Santoshi, MD- Gyan Dutt
Both

Lyrics

gauven charaa ke
baanke bihaari
apne ghar nahin aate thhe ae
gauven charaa ke baanke bihari
apne ghar nahin aate thhe
phir jaa ke kahaan kho jaate thhe
phir jaa ke kahaan ko jaate thhe ae

gauven charaa ke baanke bihaari
apne ghar nahin aate thhe ae
gauven charaa ke baanke bihari
apne ghar nahin aate thhe

saath chhodkar gwaal baal sang
kunjon mein chhup jaate thhe
saath chhodkar gwaal baal sang
kunjon mein chhup jaate thhe
phir jaise hi ghar aate thhe
wo thappad maa ka khaate thhe
phir jaise hi ghar aate thhe
wo thappad maa ka khaate thhe

bansi baja ke Raadha ko wo
chupke chupke bulaate thhe
haan
bansi baja ke Raadha ko wo
chupke chupke bulaate thhe

sun bansi ki taan niraali
aji Raadha
aji Raadha
ho matwaali
sun bansi ki taan niraali
aji Raadha
aji Raadha
ho matwaali
donon raas rachaate thhe
kuchh hanste thhe kuchh gaate thhe
donon raas rachaate thhe
kuch hanste thhe kuchh gaate thhe
wo apna jee bahlaate thhe
wo apna jee bahlaate thhe
gauven charaa ke baanke bihaari
apne ghar nahin aate thhe
gauven charaa ke baanke bihaari
apne ghar nahin aate thhe


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

Blog Day :

5180 Post No. : 17156

Today’s song is from the film Lehren-1953. It was made by ” New Sai Productions” Bombay. It was a film production company floated by C.Ramchandra, his close friend actor Omprakash and Lata Mangeshkar. They produced Jhanjhar-1953, Leharen-1953 and Duniya gol hai-1955 ( directed by Omprakash himself.) These films were neither successful nor their music became popular.

When the film Jhanjhar-1953 was about to be released, C. Ramchandra and Lata Mangeshkar went to Punjab to attend the release function of the film. In this visit, Lata Mangeshkar spoke to singer Nurjehan in Pakistan, from her hotel room telephone and they decided to meet each other. Accordingly Lata and Nurjehan met on the “No Man’s Land” between the Indo-Pak border. They embraced each other and spent a lot of time together.

Another noteworthy event happened when the film Jhanjhar was in the making. At that time C.Ramchandra, under a loose contract with Filmistan, was also giving music to Filmistan’s ” Anarkali’. Directors in Filmistan knew that he was also making his own film Jhanjhar and they suspected that he may be neglecting music of Anarkali at the cost of Jhanjhar. He was sent a legal notice accusing him of this. However, Jhanjhar released first, flopped and then Anarkali was released. Anarkali music became a superhit and Jhanjhar was nowhere. The legal case was happily dropped and C Ramchandra was also awarded a gift from Filmistan for its music !

Film Lehren-1953 was directed by H. S.Rawail and the 10 songs of the film were written by Rajendra krishna. Rajendra Krishna (6-6-1919 to 23-9-1987. Songs 1671 for 269 films) and C.Ramchandra were very good friends. They came together from C. Ramchandra[‘s film Patanga-1949. Together they worked in 52 films. However, in 1958 this friendship broke up. The story is….in 1958 C.Ramchandra was called to Madras by producer S.S.Vasan of Gemini Films. He was offered the film Raaj Tilak for music. This was a remake of Vasan’s hit Tamil film ” Vanjikottai Valiban”. A Telugu remake was also on cards and C.Ramchandra was to give music to Hindi and Telugu versions. He had already given music to the Tamil original. He gladly accepted and wanted to call Rajendra krishna to write the songs. To his shock, Vasan objected to calling Rajendra krishna. Vasan was angry at him because he had written songs for his competitor AVM’s 2 films Bhai Bhai-1956 and Bhabhi-1957. Both films’ songs were popular and hits also. Vasan asked Ramchandra to suggest some other name. He suggested P.L.Santoshi and it was accepted. The music was completed for Raaj Tilak-1958.

C.Ramchandra went back to Bombay and started making songs for the film Amardeep along with Rajendra krishna. After the music was set, Rajendra Krishna came to know that C.Ramchandra had replaced him with Santoshi for a South film. He was enraged and broke their partnership. Rajendra krishna was also popular in South and he started suggesting the Southern producers names of Chitragupta and Ravi as Music Directors. C. Ramchandra stopped getting any films from Madras. At that time even Lata left him after recording 2 songs of the film Amardeep-1958. C.Ramchandra’s bad period had begun…..

The cast of the film Lehren-1953 was Shyama, Kishore Kumar, Shakuntala, Bipin Gupta, Iftikhar, Sunder, Johnny Walker, Leela Mishra and others. In this film, Raj kapoor was a Guest Artiste. Also Omprakash’s brother Pachhi did a small role in this film. Later Pachhi became a big Producer of Hindi films himself. In this film 6 singers were used for 10 songs. The singers were Mohd. Rafi, Kishore kumar, Hiemant kumar, Lata Mangeshkar, Shamshad Begum and Sunder. Today’s fun song is sung by Mohd. Rafi and Sunder. To most readers Sunder was a comedian, but Sunder Singh was a Hero in his early films and sang many songs in his own films.

For a long time,I was searching for information on comedian Sunder. I got hold of a 2 page detailed article on Sunder, but it was in Punjabi- which I could not read or use. I found a small paragraph on Sunder in Sanjit Narvekar ji’s book ” Eena Meena Deeka”. Lastly, I requested Harish Raghuwanshi ji for help. Despite his failing health, he promptly sent me articles in Hindi, English and Gujarati, on Sunder. He is such a helpful person. May God give him a healthy life.

Sunder Singh aka Sunder was born in Sialkot, Punjab on 10th August 1916. His father was working in Madon Theatres, Calcutta. Sunder also started working there. Initially, for a long period,he did Girl’s roles. Once his work was seen by H.S.Rawail (Director in later life). He was quite impressed. Later Rawail started working with R.N.Vaidya as his assistant in direction.Meanwhile Sunder started working in Talkie films. His first film,where he was credited, was ” Na hone wali baat”-38. Before that, Rawail and Vaidya were preparing to make the film Banke Sipahi-37.Rawail recommended Sunder and Vaidya gave him an uncredited small role in that film.

Sunder and Rawail became good friends and started staying in one flat in Calcutta. After a few films here, they both went to Lahore and Sunder got the Hero’s role in the film ” Shukriya”-44. There were 4 Heroines in the film- Ramola, Rooplekha, Manorama and Raksha. Sunder’s role in this film was that of a young man from a village and Ramola was from a City. Sunder’s one song from this film-‘ Nayanon ke teer chala gayee ek shehar ki laundiya’ became very popular all over India, However the song was banned in Punjab due to its lyrics. After this they both came back to Calcutta.

His next film was Albeli-45, in which too there were 4 Heroines- Ramola, Rooplekha, Manorama and Usha. In the 40’s , Sunder acted in many films like Arabian Nights, Baap, Shabri, Chandrashekhar, Ek aurat, Grihalaxmi, Lottery, Samapti, Jhoothi kasme, Savyasachi, Do baaten, Shadi ke baad, Bawra, Khiladi, Nai Bhabhi etc. In Calcutta, Sunder got married to a girl from his community. Rawail left for Bombay. After a few months, Sunder also returned to Bombay.

Rawail was very happy to get him back and gave him roles in almost all of his films. Not only Rawail, but also J.Om Prakash, Mohan Kumar, Lekhraj Bhakri, Manoj kumar etc gave him roles in all their films and he became a busy actor. He was at one time, in great demand. He was quite popular due to his nature.In the decade of 50’s he did 88 films, which increased in the 60s and 70s. In the 80s however films came haltingly.

From singing Hero, he became a Junior artiste( extra), in presence of the new crop of actors. The role of comedians was on decline, as Heroes like Amitabh and others did comedy scenes themselves. His health started troubling him. His last film was probably Bahurani-89. He became ill for a long time and finally died on 5-3-1992. Sunder acted in 436 films. He was a good singer and sang his own songs in early cinemas. In all, Sunder sang 40 songs in 25 films. ( Thanks to Harish Raghuwanshi ji for material for adaptation.)

The story of the film Lehren-1953 was….The story of Lehren-53 revolves around 3 characters. One Hero and 2 Heroines. Kishore loves Shakuntala and treats Shyama sympathetically because she had lost her parents. She stays with her uncle omprakash. Shyama however takes Kishore’s sympathy as his love for her. Even his uncle and Kishore’s best friend Sunder think that way. This happens because Kishore feels too shy to express his love for Shakuntala. This situation becomes very embarrassing for Kishore, especially as he is pushed to marry Shyama. This part of the story is upto Interval.

After Interval, Kishore tries very hard to get out of this tricky situation and succeeds by first telling the truth to Sunder and then to uncle Omprakash. They make a plan so that Shyama overhears Kishore’s love dialogues to Shakuntala. But this has an opposite effect. Shyama thinks that Kishore has played a double game with both the girls.

At the end, all misunderstandings are cleared( for which Shakuntala had to pretend her suicide and sacrifice to allow Shyama and Kishore to get married). Shyama steps back and Kishore and Shakuntala are married.

Let us now enjoy the comedy song, by Rafi and Sunder Singh.


Song-Kehta hoon sach ke jhoothh ki aadat nahin mujhe (Lehren)(1953) singers-Sunder, Rafi, Lyrics-Rajinder Krishan, MD-C Ramchandra
Both

Lyrics

Duniya jhol hai
ae jee hum na kehte thhe
ke duniya jhol hai
aur tum samahte thhe ke beta gol hai
waah
aah
samhe mama
kehta hoon ke
kehta hoon sach
ke jhoothh ki aadat nahin mujhe
kehta hoon sach
ke jhoothh ke jhoothh ki aadat nahin mujhe
ae jaaneman
kisi se adaawat nahin mujhe
ae jaaneman
kisi se adaawat nahin mujhe
kehta hoon sach
ke jhoothh ki aadat nahin mujhe
kehta hoon sach
ke jhoothh ki aadat nahin mujhe
ae jaaneman kisi se adaawat nahin mujhe
ae jaaneman kisi se adaawat nahin mujhe

ae jee achche bure ko dekh ke
achche bure ko dekh ke
kehta hoon saaf baat
kya
arre suno to mama
arre achche bure ko dekh ke
arre kehta hoon saaf baat
arre din ho to din kahoonga
agar raat ho o o to raat
ahahaha

arre jhoothe kaa
kya
munh kaala

arre nahin
suno to mama
arre jhhoote ka saathh
dene ki aadat nahin mujhe
jhhoothe ka saath dene ki aadat nahin mujhe
ae jaaneman kisi se adaawat nahin mujhe
ae jaaneman kisi se adaawat nahin mujhe

aa aa aa aa aa
aji jaaiye bhi aap to
jhoothon ke baap hain

aji mama ee
dekho main to nahin hoon
per aap hain
aa aa aa aa
ab chhodiye jee peechha
ke fursat nahin mujhe
ab chhodiye jee peechha
ke fursat nahin mujhe

ae jaaneman kisi se adaawat nahin mujhe
ae jaaneman kisi se adaawat nahin mujhe

kehta hoon sach ke jhoothh ki ee ee ee ee ee ee ee
kehta hoon sach ke jhoothh kee ee ee ee ee ee ee
kehta hoon
o kehta hoon
o kehta hoon
o kehta hoon
sach ke jhoothh ki aadat nahin mujhe

kehta hoon sach
ke jhoothh ki aadat nahin mujhe
ae jaaneman kisi se adaawat nahin mujhe
ae jaaneman kisi se adaawat nahin mujhe ae ae


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

Blog Day :

5172 Post No. : 17143

Today’s song is from the film Lalkaar-1972.

It is not common to see me writing on a film after 1970. I have been writing on old films since 2012 and have written more than 1100 posts so far on this Blog alone. But on a cursory look at my own figures, I find that I have written less posts on songs from films after 1970. It is certainly not because they are not good, but because my comfort zone is films before 1970, especially before 1960. The stats for my posts say that I wrote

Decade Number of posts for songs of that decade
1931-1940 152
1941-1950 438
1951-1960 419
1961-1970 46

The rest are for films after 1970 and NFS.

I have always maintained that “not all songs before 1970 are good and not all songs after 1970 are bad. There are good and bad songs in every decade “. The point is I do not listen to songs after 1970 much, as much as those before 1970. Nevertheless, for some really good and appealing songs, I did write on songs from later films ….even for a song of 2018 !

I have selected today’s song because it is a special song. It is the only song sung by Mala Sinha as a Playback singer, though it was shot on her in the film. In the true sense it may not be a ‘ playback song’, but certainly it was pre-recorded and she lip synched on it on the screen. It is a duet with Manhar (Udhas)-younger brother of the more famous singer Pankaj Udhas.

Mala Sinha was an educated, hard working actress. Though she worked with leading Banners and was Heroine to well known Heroes, she was never counted among the Class I Heroines of her Times. She worked with many newcomers, like Dharmendra etc. Her career spanned a long time but she never got a single Filmfare Award, though nominated 4 times.

Mala Sinha was born in a Bengali Nepalese Christian family in Calcutta,on 11-11-1936. Mala Sinha claimed herself to be of a Bengali descent Nepali many years ago in a T.V. interview. They named her Alda. Her friends at school used to tease her by calling her Dalda (a brand of vegetable oil), so she changed her name to Mala. In her childhood she learnt dancing and singing.

Although she was an approved singer of All India Radio, she has sung only one duet-with Manhar- in the film Lalkar-1972. But as a singer she has done stage shows in many languages from 1947 to 1975.

Mala started her career as a child artist in Bengali films Jai Vaishno Devi followed by Shri Krishan Leela, Jog Biyog and Dhooli. Noted Bengali director Ardhendu Bose saw her acting in a school play and took permission from her father to cast her as a heroine in his film Roshanara (1952)-Bangla film, her cinematic debut.

After acting in a couple of films in Calcutta, Mala had to go to Bombay for a Bengali film. There she met Geeta Bali, a noted Bollywood actress, who was charmed by her and introduced her to film director Kidar Sharma. It was Sharma who cast her as a heroine in his Rangeen Ratein-56. Her first Hindi film was Badshah-54 opposite Pradeep Kumar, then came Ekadashi-55, a mythological film. Both failed, but her lead role in Kishore Sahu’s Hamlet-54, paired opposite Pradeep Kumar, fetched her rave reviews in spite of it failing at the box office. Films like Lai Batti (ac­tor Balraj Sahni’s only directorial venture), Nausherwan-E-Adil where she starred as the fair maiden Marcia in Sohrab Modi’s romance about forbidden love and Phir Subah Hogi, which was direc­tor Ramesh Saigal’s adapta­tion of Dosteovsky’s Crime and Punishment established Mala Sinha’s reputation as a versatile actress who took the maximum career risks by accepting unconventional roles.

Mala was a singer of some repute and used to sing for All India Radio; she was not allowed to sing playback (even for herself) in the movies with the lone exception being 1972’s Lalkar. In the 1950s, she had a string of hits opposite Pradeep Kumar like Fashion -1957, Detective -1958, Duniya Na Mane-1959 though their first two ventures had failed. The films she did with Pradeep Kumar were men-oriented. In 1957, noted Bollywood actor and film director Guru Dutt (the husband of Geeta Dutt) cast Mala in his film Pyaasa-1957 in a role originally intended for Madhubala. Mala gave a memorable performance as the relatively unsympa­thetic part of an ambitious woman who chooses to marry a rich man (played by actor Rehman) and have a loveless marriage rather than a poor, unsuccessful poet and her impoverished lover (played by Guru Dutt) whom she ditches. Pyaasa remains to this day a classic in the history of Indian cinema and a turning point for Sinha.

After Pyaasa her major successes were Phir Subah Hogi-1958 and Yash Chopra’s directorial debutsDhool Ka Phool -1959 that elevated her into a major dramatic star. There was no looking back for Sinha then as she was part of many successful movies from 1958 to the early ’60s like Parvarish -1958, Ujala, Main Nashe Mein Hoon, Duniya Na Mane, Love Marriage -1959, Bewaqoof -1960, Maya -1961, Hariyali Aur Rasta and Dil Tera Deewana -1962, Anpadh, Bombay Ka Chor -1962. Critics believe her career best performance was in Bahurani -1963, Gumrah, Gehra Daag, Apne Huye Paraye and Jahan Ara. Apart from pairing with Pradeep Kumar, her pairing opposite Raaj Kumar, Rajendra Kumar,Biswajit and Manoj Kumar in women-oriented films were appreciated by audiences, with her films opposite Biswajitbeing the most popular. She did 10 films with Biswajit. In 2007, they won the Star Screen Lifetime Achievement Award, calling them on stage together giving due respect to their popularity as a pair who have tasted box office success.

The most remarkable feature of Mala Sinha was that most of her 1960s and 1970s hits were fueled by her own star power as much as the heroes and most of the time her role was more powerful than the hero. Though she was pitted opposite her seniors like Raj Kapoor, Dev Anand, Kishore Kumar, Pradeep Kumar and when she acted opposite the emerging stars from late 1950s like Shammi Kapoor, Rajendra Kumar and Raaj Kumar, she made sure her role was as good as theirs.

In 1966, Sinha went to Nepal to act in a Nepali film called Maitighar when the Nepali film industry was still in its infancy. This was the only Nepali film she did in her career. Her hero in the film was an estate owner called Chidambar Prasad Lohani. Soon after, Mala Sinha married C. P. Lohani with the blessings of her parents. From the beginning theirs was a long-distance marriage with Lohani based in Kathmandu to look after his business and Sinha living in Bombay with their daughter Pratibha. She continued acting after her marriage.

From 1974, she cut down on her assignments as the lead actresses. She accepted strong character roles in films like 36 Ghante -1974, Zindagi -1976, Karmayogi -1978, Be-Reham -1980, Harjaee -1981, Yeh Rishta Na Tootay, Babu (film) and Khel, which were popular.

In the early ’90s Madhuri Dixit was promoted as new Mala Sinha in magazines. But, after 1994, she completely withdrew from industry and has given very few public appearances. In Dhool Ka Phool and B.R. Chopra’s Gumrah, she played the first unwed mother and adulterous wife respectively in Hindi cinema. As she grew older, she gracefully moved on to doing character roles that befitted her age. She was last seen in Zid -1994. Though Mala evinced as much interest in her daughter Pratibha’s career as her father did in her career, she was unable to achieve the same success for her daughter.(adapted from nett4you and wiki).

Mala Sinha came from Calcutta to make a career in Bombay films. In Calcutta she worked in a Bilingual film ‘Chitrangada-54’ in Bangla and Hindi. In 54 again, she did her first film in Bombay, Badshah-54, then came Hamlet-54, Riyasat-55 and Ekadashi-55. In all she did 105 films.

In all her interviews, Mala Sinha always quoted “Rangeen Raten”-56 with Shammi Kapoor as her first film in Bombay. She was ashamed of revealing that in film Riyasat-55, her Hero was Mahipal and in film Ekadashi-55 it was Trilok Kapoor. She always hid this fact. There are many Heroines who want to hide their struggling days. For example,in the film “Professor”-62 Shammi Kapoor’s Heroine was Kalpana. Though touted as her first film, her first film was Pyar ki Jeet-62, opposite Mahipal- a fact which Kalpana always hid from everyone.

Similarly, A grade Heroine Meena Kumari also had done several Mythological and costume films before Baiju Bawra took her high up and above other Heroines. Films like Veer Ghatotkach-49, Shri Ganesh Mahima-50, Laxmi Narayan-51, Hanuman Paataal vijay-51 and Alladin aur Jadui Chirag-52 had Mahipal as her Hero. In her later years, she always hid her earlier film Heroes.

Even comedian Johnny Walker, who is supposed to have made a beginning with Baazi-51, had earlier worked in “The last message or Aakhri paigham”-49. However this fact is not told by anyone.

Not only actors, but even singers do this. They hesitate to say that they first sang for C grade films. Take the case of Sudha Malhotra, who used to declare Arzoo-50 as her first film, under Anil Biswas, but she never told that earlier she had sung 3 songs in film Aakhri paigham-49, under the baton of Abid Hussein Khan, composer.

It is very unfortunate that once the artiste becomes famous, he tends to forget his humble beginning with a less known film or a composer. This is because they are ashamed of it. I feel the blame also goes to people who take their interview, because the interview takers do not do proper homework. Many times they do not know anything and simply note down whatever is told by the artiste.

Film Lalkaar-1972 was made by Sagar Art International, Bombay. It was directed by Ramanand Sagar – who became world famous later for screening his record making epic TV serial Ramayana from 25-1-1987 to 31-7-1988. The music was by kalyanji-Anand ji ably assisted by Jaykumar Parte – who was their assistant for many years. Parte is practically unknown to most people. He was not only the most wanted arranger in the industry, but he had given music to 4 Hindi films and 1 Marathi film. The other assistant was Babla-their own younger brother and a well known musician. The third assistant was Frank Fernando – one of the pMD pair of Roy-Frank duo who gave music to only 1 film, Gogola-1966.

The cast of the film lalkaar-1972 was Rajendra Kumar, Mala Sinha, Dharmendra, Kumkum, Dara Singh, Dev Kumar, Ramesh Deo, Nazir Hussain and a long list of other actors. Today’s duet song is the only Hindi film song sung by Mala Sinha in her career. She makes Debut here and ALL her songs are now covered on the Blog, with this song !

Video (Partial)

Audio (Full)

Song- Mere Mehboob meri baat tumhen kya maaloom(Lalkaar)(1972) Singers-Manhar Udhas, Mala Sinha (Debut Song), Lyricist- Hasrat Jaipuri, MD- Kalyanji – Anandji (asstt. Jay Parte)

Lyrics

Mere mehboob
meri baat
tumhen kya aa maaloom
meri dhadkan
mere jazbaat
tumhen kya aa maaloom
meri nazron ke sawaalaat
tumhen kya maaloom
kaise kat’te hain ye din raat
tumhen kya aa maaloom

naam lekar kabhi ek bar pukaara hota
teri awaaz ka kuchh humko sahaara aa hota

meri khamoshi bhi awaaz diya karti hai
baat munh se nahin
nazron se hua karti hai
jhooth
yoon bhi hoti hai mulaakaat
tumhen kya maaloom
tumhi rahte ho mere saath
tumhen kya maaloom

tum mujhse baat kyun nahin karte
darta hu kahi tum naraj na ho jao
pyar kuch jurm nahi hai jo dara karte ho
raaz apne se chhupate ho
ye kya karte ho

lab pe aa jaye agar raaj to vo raaz nahin
tumse keh doon ye mere ishq ka andaaz nahin
ek deewaane ke haalaat
tumhen kya maaloom
tumne bhadka diye jazbaat
tumhen kya maaloom

mere mehboob meri baat
tumhen kya aa maaloom


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

Blog Day :

5171 Post No. : 17142

#The Decade of Seventies – 1971 – 1980 #
————————————————————
# Bhoole-Bisre Geet # # Missing Films of 1972-Kavi Sammelan -05#
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!! आप सभी को हिन्दी दिवस की हार्दिक शुभकामनाएँ !!!

Welcome all to this post of mine which is coming after a l-o-n-g gap. I was not sure this time also if I could be able to send this write-up. But thanks to ALL, I can now hope to share articles on regular basis as earlier. More about my long absence in the other future posts.

Coming back to the today’s post, which comes on a special occasion and that is the celebration of ‘Hindi Diwas’ today on 14th September.

Though I am not aware more of more details on this subject to write here today, I would like to add the following brief which I have gathered from the internet about this subject. (I hope readers will forgive me for my ‘ignorance’ on the details of this subject).

I am reproducing here the information given on internet about ‘Hindi Diwas’ which I have taken from ‘Wikipedia’

हिन्दी दिवस प्रत्येक वर्ष 14 सितम्बर को मनाया जाता है। प्रबुद्ध सोसाइटी के राष्ट्रीय अध्यक्ष डा. श्री प्रकाश बरनवाल का कहना है कि 14 सितम्बर 1949 को संविधान सभा ने यह निर्णय लिया कि हिन्दी केन्द्र सरकार की आधिकारिक भाषा होगी। क्योंकि भारत मे अधिकतर क्षेत्रों में ज्यादातर हिन्दी भाषा बोली जाती थी इसलिए हिन्दी को राजभाषा बनाने का निर्णय लिया और इसी निर्णय के महत्व को प्रतिपादित करने तथा हिन्दी को प्रत्येक क्षेत्र में प्रसारित करने के लिये वर्ष 1953 से पूरे भारत में 14 सितम्बर को प्रतिवर्ष हिन्दी-दिवस के रूप में मनाया जाता है। स्वतन्त्रता प्राप्ति के बाद हिन्दी को आधिकारिक भाषा के रूप में स्थापित करवाने के लिए काका कालेलकर, हजारीप्रसाद द्विवेदी, सेठ गोविन्ददास आदि साहित्यकारों को साथ लेकर व्यौहार राजेन्द्र सिंह ने अथक प्रयास किये।

If we search on ‘google’ about the most spoken languages of the world we get the following results which I am reproducing below.

The most spoken languages in the world
• English (1,132 million speakers)
• Mandarin (1,117 million speakers)
• Hindi (615 million speakers)
• Spanish (534 million speakers)
• French (280 million speakers)
• Arabic (274 million speakers)
• Russian (258 million speakers)
• Portuguese (234 million speakers)

Well, above is the brief only. There is a long history behind ‘celebrating Hindi Diwas’ and ‘celebrating it on 14th September.

I had been always longing to bring here songs which talk about our culture, traditions, folklores etc etc and I have presented few of them under the series ‘Desh Ki Mitti Ki Khushboo’. Similarly, every year whenever ‘Hindi Diwas’ is celebrated I was looking for a suitable song for this occasion. Earlier I had come across many ‘non-film songs’ on this subject. However, when I was looking for the songs from the ‘1972’ movie ‘Kavi Sammelan’ I came across the today’s song which talks about the greatness of ‘Hindi’ -‘Hindi Bhaasha’, and I am very happy to present this song on the blog today.

Today’s song or rather a ‘poem recitation’ is by Santosh Anand ji of his own poem.

‘jisne jan jan ke jeewan ka
roop taraashaa hai
meri bhaasha Hindi bhaasha
sab ki bhaasha hai’
,/em.…

I am sure that regular readers on the blog must be enjoying all the posts presented under this series of poems from this movie. Today’s presentation is the fifth ‘poem-post’ from this movie.

A brief about the movie ‘Kavi Sammelan-1972’ is given below.

‘Kavi Sammelan-1972’ was directed by Kedar Sharma for ‘Rajshri Productions Pvt Ltd’.
It was produced by Tarachand Badjatya.

Introduction of the poets on the dais was done by Ramrikh Manhar.

This movie was passed by Censor Board on 18.02.1972. Thus, this movie has now already completed its fifty years of release.

The footnote for this movie page in HFGK Vol-V (1971-1980) mentions that ‘Bharat ke shreshthhtam Kavi pehli baar ek saath rajat-pat par pesh kiye gaye thhe.’

Poems of following ‘poets’ are included in this movie.

Rashtrakavi Shri Ramdhari Singh ‘Dinkar’
Santosh Anand (mentioned as ‘Santoshanand’)
Kaka Hathrasi
Som Thakur
Bekal ‘Utsahi’
‘Neeraj’
Snehlata ‘Sneh’
Radheshyam ‘Pragalbh’
Shail Chaturvedi
Govind Vyas
Maya Devi
Nirbhay Hathrasi
Balkavi Bairaagi
Omprakash ‘Aaditya’
Manik Verma
Kedar Sharma
Gopal Prasad Vyas

(Addenda in HFGK Vol-V (1971-1980) for this movie mentions that there were two more creations by Vimlesh and Paras Bhramar in this movie.)

So far, we have enjoyed the poems recited by Maya Govind, Kaka Hathrasi, Gopal Das ‘Neeraj’ and Shail Chaturvedi in the earlier posts for the poems from this movie.

As mentioned above today’s poem is written and recited by Shri Santosh Anand.

Poet-lyricist Santosh Anand ji needs no introduction as we are all aware about his writings or songs which he has penned for the movies.

Though I do wish to write about the biography of Santosh Anand in this write-up, for now, I am leaving it for another post on him which I will be taking in the future on the blog.

Let us now enjoy the today’s poem recitation by Santosh Anand ji …


Song-Jisne jan jan ke jeewan ka roop taraasha hai (Kavi Sammelan)(1972) Singer-Santosh Anand, Lyrics-Santosh Anand, Compere – Ramrikh ‘Manhar’

Lyrics

jisne jan jan ke jeewan ka
roop taraashaa hai
meri bhaasha Hindi bhaasha
sab ki bhaasha hai

jisne jan jan ke jeewan ka
roop taraashaa hai
meri bhaasha Hindi bhaasha
sab ki bhaasha hai

yah Kabeer Nanak ki baani
baani Hindustan ki ee ee
yah Urdu ki sagi behan hai
beti hai Ras Khan ki ee
amar desh ki
amar bel hai ae
ye hai meri Bharti ee
ye pooja hai swatantrataa ki
nutan yug ki aarti ee

ye ham sab ka aa
ye ham sab ka
nav jeewan hai
ham sab ki aasha hai
meri bhaasha Hindi bhaasha
sab ki bhaasha hai

(applause)

jisne jan jan ke jeewan ka
roop taraashaa hai

Hindi Hind mahaasaagar hai
Hindi Kanchenjungaa
Khet khet mein behti hai
Yah jan gan man ki Gangaa aa

Tamil Telugu Malyalam ye ae
Kannad Oodiya Bangaa aa
Purab Paschim
Uttar Dakshin
Uchchhal jaldhit rangaa
Phaley sabhi ee
Phaley sabhi bhaasha
Ye Hindi ki abhilaasha hai
meri bhaasha Hindi bhaasha
sab ki bhaasha hai

ek diye se diyaa doosra
hanskar jodey Hindi ee
vair bhaav ke
dwesh klesh ke
gadhh ko todey Hindi ee
sab bhaashaaon ke varnon ka aa
aanchal odhhe ae Hindi
praant praant mein khadi
desh ki kheti jodey Hindi ee
Hindi bhaasha aa
Hindi bhaasha to
Gandhi ji ki paribhaashaa hai
meri bhaasha Hindi bhaasha
sab ki bhaasha hai

Meera ke prabhu Girdhar Nagar
Tulsi ke Raghurayee
Hans hans naachen
Surdas ke anupam baal Kanhaayee
Jis Hindi ki Tandon ji ne ae
Ghar ghar jyot jagaayi ee
Pant Niraala
Dinkar Bachchan ne
Bagiyaa mehkaayi ee

Us par mera aa aa aa
Us par mera aa
Tan man arpeet
Jeewan pyaasa hai
meri bhaasha Hindi bhaasha
sab ki bhaasha hai

jisne jan jan ke jeewan ka
roop taraashaa hai
meri bhaasha Hindi bhaasha
sab ki bhaasha hai ae

———————————————————-
Devnagari Script lyrics (Provided by Avinash Scrapwala)
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(दर्शकों के वाह वाह इत्यादि संवाद शामिल नहीं किए गए हैं )

जिसने जन जन के जीवन का
रूप तराशा है
मेरी भाषा हिन्दी भाषा
सब की भाषा है

जिसने जन जन के जीवन का
रूप तराशा है
मेरी भाषा हिन्दी भाषा
सब की भाषा है

यह कबीर नानक की बाणी
बाणी हिंदुस्तान की ई ई
यह उर्दू की सगी बहन है
बेटी है रसखान की ई
अमर देश की
अमर बेल है ए
ये है मेरी भारती ई
ये पूजा है स्वतन्त्रता की
नूतन यूग की आरती ई

ये हम सब का आ
ये हम सब का
नव जीवन है
हम सब की आशा है
मेरी भाषा हिन्दी भाषा
सब की भाषा है

(तालियों की गूंज और वाह वाह की आवाज़)

जिसने जन जन के जीवन का
रूप तराशा है
हिन्दी हिन्द महासागर है
हिन्दी कंचनजंघा
खेत खेत में बहती है
यह जन गण मन की गंगा आ

तमिल तेलुगू मलयालम ये ए
कन्नड ऊडिया बंगा आ

पूरब पश्चिम
उत्तर दक्षिण
उच्छल जलधि तरंगा
फले सभी ई
फले सभी भाषा
ये हिन्दी की अभिलाषा है
मेरी भाषा हिन्दी भाषा
सब की भाषा है

एक दिये से दिया दूसरा
हँसकर जोड़े हिन्दी ई
वैर भाव के
द्वेष क्लेश के
गढ को तोड़े हिन्दी ई
सब भाषाओं के वर्णों का आ
आँचल ओढ़े ए हिन्दी
प्रांत प्रांत में खड़ी
देश की खेती जोड़े हिन्दी ई
हिन्दी भाषा आ
हिन्दी भाषा तो
गांधी जी की परिभाषा है
मेरी भाषा हिन्दी भाषा
सब की भाषा है

मीरा के प्रभु गिरधर नागर
तुलसी के रघुराई
हंस हंस नाचें
सूरदास के अनुपम बाल कन्हाई
जिस हिन्दी की टंडन जी ने ए
घर घर ज्योत जगाई ई
पंत निराला
दिनकर बच्चन ने
बगिया महकाई ई
उस पर मेरा आ आ आ
उस पर मेरा आ
तन मन अर्पित
जीवन प्यासा है
मेरी भाषा हिन्दी भाषा
सब की भाषा है

जिसने जन जन के जीवन का
रूप तराशा है
मेरी भाषा हिन्दी भाषा
सब की भाषा है


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 :

5171 Post No. : 17141

———————————————–—————————————
Blog 10-Year Challenge (2012-2022) – Song No. 91
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This date ten years ago (viz 14 September 2012) saw seven songs from seven different movies getting covered in the blog.

Here are the details:-

Blog post number Song Movie (Year) Remarks
6634 Ae dil e beqaraar bol Fariyaad (1942) 3 songs out of 9 covered so far
6635 Kaanta laago re sajanwa mose raah chali na jaaye Basant (1942) Movie YIPPEED by now
6636 Zulm ki nagri mein kisi ka kaun sahaara hai Aas(1953) Movie YIPPEED by now
6637 Mere jaisa nahin milega ulfat ka deewaana Fifty Fifty (1956) Movie YIPPEED by now
6638 Bachke kahaan jaaoge khinche huye chale aaoge Kahaani Ham Sab Ki (1973) Movie YIPPEED by now
6639 Matlab jo samjhe mere sandes ka Baarood(1976) Movie YIPPEED by now
6640 Din ba din wo mere dil se Trishna (1978) Movie YIPPEED by now

One can notice that six movies (out of seven) whose songs were covered on this date ten years ago have since been YIPPEED. That leaves us with just one movie which is eligible for Blog Ten Year Challenge today (14 September 2022).

The sole movie eligible for Blog Ten Year Challenge today is “Fariyaad”(1942).

“Fariyaad”(1942) was directed by Jayant Desai for Ranjit Movietone, Bombay. The movie had Mubarak, Noorjahaan, Shamim, Rama Shukul, Ishwar Lal, Alaknanda, Rajkumari Shukla, Faatak, Baby Kamla etc in it.

“Fariyaad”(1942) had nine songs in it. Three songs have been covered in the blog.

Here is the fourth song from “Fariyaad”(1942). This song is sung by Ishwarlal. D N Madhok is the lyricist. Music is composed by Khemchand Prakash.

Only audio of the song is available. Ishwarlal had acted in the movie so it is clear that the song was picturised on himself.

Lyrics and other details were sent to me by Prakashchandra.


Song-Yaad kisi ki aayi (Fariyaad)(1942) Singer-Ishwarlal, Lyrics-D N Madhok, MD-Khemchand Prakash

Lyrics(Provided by Prakashchandra)

yaad kisee kee aayee ee ee
yaad kisee kee aayee ee

yaad kisee kee aayee ee ee
yaad kisee kee aayee ee
yaad kisee kee aayee ee ee
yaad kisee kee aayee ee
dil ko de dee dard-e-nishaani
dil ko de dee dard e nishaani
aankh mein aansoo laayee
aankh mein aansoo laayee
yaad kisee kee aayee ee ee
yaad kisee kee aayee ee

ro mere armaa..aan
ro meri aashaaa..aa..aaa
ro mere armaa..aaan
ro meri aashaa..aaaa
main bhee to dekhoon tamaashaa
main bhi to dekhoon tamaashaa
jin ke liye ghar phoonk diyaa hai
jin ke liye ghar phoonk diyaa hai
woh nikley harjaayee
woh nikley harjaayee
dil ko de dee dard nishaanee..eee
dil ko de dee dard nishaani
aankh mein aansoo laayee
aankh mein aansoo laayee
yaad kisee kee aayee ee ee
yaad kisee kee aayee ee

beet gayee ab ab yaad na aayein
lab pe mere fariyaad na aayein…aen..aen
beet gaayee ab yaad na aayein
lab pe mere fariyaad na aayein…aen…aen
na main kisee kaa na koyi meraa
na main kisee kaa na koyi meraa
main hoon meri tanhaayee ee ee ee
yaad kisee kee aayee ee ee
main hoon meri tanhaayee ee ee
yaad kisee kee aayee ee
yaad kisee kee aayee ee ee
yaad kisee kee aayee ee
yaad kisee kee aayee ee ee
yaad kisee ki aayee ee


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 :

5170 Post No. : 17140

———————————————–—————————————
Blog 10-Year Challenge (2012-2022) – Song No. 90
————————————————————————————–

This date ten years ago (viz 13 September 2012) saw six songs from six different movies getting covered in the blog.

Here are the details:-

Blog post number Song Movie (Year) Remarks
6628 Zindagi hai pyaar se pyaar mein bitaaye jaa Sikandar (1941) 3 songs covered out of 7 so far
6629 Huaa kyaa qusoor jo hamse ho door Basant (1942) Movie YIPPEED by now
6630 Soona soona hai jahaan Aurat(1953) Movie YIPPEED by now
6631 Janam liyo lalna ke Godaan (1963) Movie YIPPEED by now
6632 Parbat se kaali ghata takraayee Chaandni(1989) Movie YIPPEED by now
6633 Pyaar ka badla mujhe dekho kaisa milaa Yehi Hai Zindagi (1977) Movie YIPPEED by now

One can notice that five movies (out of six) whose songs were covered on this date ten years ago have since been YIPPEED. That leaves us with just one movie which is eligible for Blog Ten Year Challenge today (13 September 2022).

This movie is “Sikandar”(1941).

“Sikandar”(1941) was produced and directed by Sohrab Modi for Minerva Movietone, Bombay. The movie had Sohrab Modi, Prithiviraj, Vanmala, Meena, Sheela, Sadiq Ali, Shakir, K.N.Singh, Lala Yakub, Gajendra Singh, Jillo Bai, Zahur Raja, Abu Bakar, Ghulam Hussein, Noor Jehan, Prakash, G.S.Shorry,A ttavale etc in it.

The movie had seven songs in it. Three songs from the movie have been covered in the blog. The first two songs were covered in 2012. The third song was covered last month as blog ten year challenge. This song too is another blog ten year challenge song. In other words, the movie “Sikandar”(1941) got a look in again in the blog ten years after its first two songs were covered in the blog.

This song, the fourth from “Sikandar”(1941), is sung by Sheela. Pt Sudarshan is the lyricist. The movie had two music directors (Rafiq Ghaznavi and Meer Sahab), but the music director of this song is not known.

Lyrics of the song and other details are provided by Prakashchandra. The movie had Sheela in it so we can guess that the lady lip syncing the song is Sheela herself.

Audio link:

video link:

Song-Phulwaaran laage chor maalaniya soye rahi (Sikandar)(1941) Singer-Sheela, Lyrics-Pt Sudarshan

Lyrics (Provided by Prakashchandra)

phulwaaran laagey chor
malaniyaan
soye rahee ee
haan hhaan malaniyaan soye rahee
phulwaaran laagey chor
malaniyaan
soye rahee ee
haan haan malaniyaan soye rahee ee
inn choran se
inn choran se chaukas rahiyo
inn choran se chaukas rahiyo
chhaa rahey chaaron oar
chhaa rahey chaaron oar
malaniyaan soye rahee ee ee
haan hhaan malaniyaan soye rahee
phulwaaran laagey chor
malaniyaan
soye rahee ee ee
haan haan malaniyaan soye rahee ee

doojey chor andhiyaaraa khojein
doojey chor andhiyaaraa khojein
saayaa dekh sahaaraa khojein
saayaa dekh sahaaraa khojein
phulwaaran ke chor niraaley
phulwaaran ke chor niraaley
inn ko jaisey rain andhiyaari
inn ko jaisey rain andhiyaari
jaisey ujli bhor
jaisey ujli bhor
malaniyaan
soye rahee ee ee
haan hhaan malaniyaan soye rahee
phulwaaran laagey chor
malaniyaan
soye rahee ee
haan hhaan malaniyaan soye rahee ee

doojey chor chhuraawey chaandi..ee
doojey chor chhuraawey chaandi
sonaa heeraa maanak moti..ee
sonaa heeraa maanak moti
phulwaaran ke chor bhayaanak
phulwaaran ke chor bhayaanak
soney chaandee ki kaa batiyaan
soney chaandee ki kaa batiyaan
tan mann let marod
tan mann leth marod
malaniyaan soye rahee ee ee
hhaan haan malaniyaan soye rahee
phulwaaran laagey chor
malaniyaan soye rahee ee
hhaan haan malaniyaan soye rahee eee ee


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

Blog Day :

5170 Post No. : 17139

Today’s song is from the film Naya Sansar-1941. The film was made by Bombay Talkies. It was directed by N.A.Acharya. The cast of the film was Ashok Kumar, Renuka Devi, Mubarak, Shah Nawaz, V.H.Desai, P.F.Pithawala, David and others. The music was given by Saraswati Devi (4 songs) and Ramchandra Pal (6 songs). The songs were written by Kavi Pradeep.

Though this was the 13th film of Ashok Kumar, it was only the 4th film of Renuka Devi. After working with Heroes like Jairaj, Kishore Sahiu and Pahadi Sanyal, it was her first film with the acclaimed Romantic hero Ashok Kumar. By now, Ashok Kumar had got used to acting, but his one problem was not yet solved. Like any new actor, Ashok kumar did not know what to do with his hands and he always felt very awkward and ill at ease while acting. He and his directors tried several ways, but this problem was not solved yet….at least till he acted in the film Naya Sansar-41.

In this film, his role was that of a radical news reporter of a Newspaper called “Sansaar “, run by Mubarak. This newspaper had become popular due to its forward and nationalistic thinking and the paper criticised the leaders, government and the administration for the wrongs they did to the people and the Nation. While doing this role. Ashok Kumar had to smoke. Not that he had never smoked, but he was an occasional smoker. While doing this role, he suddenly realised that this time he had not faced the problem of “what to do with the hands”. With smoking, this problem seemed to disappear automatically and his acting became very natural and more impressive. Even the director noticed this and encouraged Ashok Kumar. This was the beginning of not only the disappearance of his problem but also the beginning of his famous natural acting. He continued smoking till he breathed his last !

Mayanagri – Bombay – attracted people from all over the country. The film world of Bombay had the Glamour, fame and money. This appealed to people from every field- acting, singing, music direction etc. Film Industry mesmerised not only the ordinary, but even the experts in related fields. That is why Internationally famous Sitarist Ravi Shanker, Dancer Uday Shankar, Bade Ghulam ali khan and many other eminents tried their hands with films.

There were two types of Newcomers. One who came, whether successful or not, remained in the film line till their end and the second was Specialists who came , contributed their bit and went back to their comfort zones again. Some names in the second category are Pushpa Hans, Meera Mishra, Shakuntala Paranjpe, Madhusudan Bhatt, Bal Gandharva, G.N.Joshi etc-all actors,lyricists like Moti, B.A.( actually he was M.A.), Dr. Ramesh Shastry etc. Classical singers like Phiroz Dastur, Ram Marathe, Hirabai Badodekar, Manik Verma, Menaka Bai, Ira Nigam etc. and MDs like Kazi Nasrul Islam,Ali Akbar Khan, Allah Rakha, Mohanlal Aima, Pt. Amarnath Chawla etc etc. ( names are only indicative and not exhaustive.)

One name in this category stands out boldly and that is actress Renuka Devi. She came to films as a Hobby, acted only in 7 films, sang 20 songs in 4 films and happily returned to her married life again. A very strong mind and determination is required to forgo fame and money for something you love more in life.

Sometime back, I had bought one book and when I read this book – ” A woman of substance-Begum Khursheed Mirza”’ I was very much impressed.

Begum Khursheed Mirza is none other than the famous Heroine of the 30s and 40s-Renuka Devi. She was perhaps one of the most educated, upper class, sophisticated and highly cultured Muslim lady, who ever joined the film industry then. One more striking feature of Renuka Devi was that she was one of the very few actresses who joined films after their marriage. The other such examples I remember offhand are that of Meenakshi Shirodkar (Bramhachari-38 fame), Shobhana Samarth and actress Neena ( real name Shahida- first wife of Mohsin Abdulla, brother of Renuka Devi).

Renuka Devi had studied upto Masters degree in English Literature, from Aligarh Muslim University. The only other nearest example I remember offhand is that of actress Vanmala (real name Susheela Devi Pawar), who had done B.A and B.T. and was a Teacher in the college before joining films,at the behest of writer, journalist and Director P.K.Atre.

The story of Renuka Devi is quite interesting. Khursheed jehan was born in Aligarh on 4-3-1918, to Shaikh Abdulla and his wife Waheed jehan Beg. She was the 6th of 7 siblings. Her father Shaikh Abdulla (1874-1965) was originally a Hindu. He was the son of a rich jahagirdar and Landlord from Poonch,Kashmir. They were Kashmiri Brahmins. His name was Thakur Das. He embraced Islam in 1890, while studying in Aligarh. When his family learnt about it he was disowned by them. He took the name Shaikh Abdulla.

He became a leading Advocate of Aligarh. After he married Waheed Jehan Beg, they both- being of progressive thinking- decided to work for the Muslim womens’ education. They faced lot of resistance from the fundamentalists, but they established a Muslim women’s college in Aligarh. To provide students for this college, a school was also started for Muslim girls. Soon girls started joining the school and college. Shaikh Abdulla ensured that all his children were educated. One daughter became a Doctor, another Advocate and two daughters did master’s degrees and later on became Principals of the women’s college. Khursheed also studied upto masters but due to her marriage could not complete it. ( she completed her masters in English Litterateur in 1963, at the age of 45 years, later).

Khursheed jehan was married to Akbar Mirza, a Police Officer in Aligarh. Soon she gave birth to 2 sons. Her husband, Akbar Mirza, was a well-placed official in the colonial police force and she enjoyed playing the part of hostess and homemaker. At a women’s club fundraising event organized by her, a senior British official commented that she had a flair that would be perfect for a film career. This set the 21-year-old Khurshid thinking and when her brother, Mohsin Abdullah, told her about “the professional atmosphere at the [Bombay Talkies] studios and the charming Mr Himansu Rai and his wife Devika Rani”, she could not resist. She wrote to Rai enquiring about a job, even sending him a recent photograph. What ensued was a struggle between the claims of domestic life and the increasing attractions of an independent and lucrative career.

This she did without informing her husband. She received a letter from Devika Rani,inviting her to Bombay for an interview. Now she confided in her husband and he wholeheartedly supported her. Akbar stood by his wife in the face of stiff opposition from both their families. Precisely because she had anticipated controversy, Khurshid had adopted the screen name “Renuka Devi” but it could not protect her identity. In her autobiography she says, “My mother wrote asking me not to visit Aligarh until the hue and cry had died down. As a result, I did not meet my family for nearly two years.”

Thus started her acting career. She was 21 years old, married and had 2 children too. Her first film was “Jeewan Prabhat”-37. She was given the name RENUKA DEVI. This was the Debut film for Kishore Sahu as well. Bombay Talkies bosses were very happy with her performance and she was offered the Heroine’s role opposite Jairaj in the film ” Bhabhi”-1939. Jairaj was also from a rich background, cultured and highly educated. Their tuning was excellent and the film was a grand success. Renuka also sang a few songs in Bhabhi-39. When the news of her acting in films reached Aligarh,there was a hue and cry. Her mother wrote to Renuka,’not to visit Aligarh for now’. Renuka did not go to Aligarh for the next 2 years.

She was invited to Calcutta By New Theatres to act in the film, Dadi Didi-39. Her other films were Naya Sansar-41 (Ashok Kumar), Sahara-43 (S D Narang), Ghulami-45 ( Masood Parvez) and Samrat Chandragupta-45 ( Ishwarlal ). Her film career was very short. She announced her retirement from films in February 1944, while shooting for her last films.

After partition, her family migrated to Pakistan. In Pakistan, though in demand, she refused to do any films. Instead, she decided to devote her time for women’s uplift, education, welfare and social work. She also did some work on Pakistan Radio.

When TV came to Pakistan, she became very active and she was a popular figure on Pak TV for the next 15-20 years. She completed her master’s degree in 1963, at the age of 45 years. She published 9 instalments of her autobiography in the popular magazine ” Herald ” from August 1982 to April 1983, under the title ” The uprooted sapling”. This was later on edited and published by her daughter Lubna as a Book in 2004, titled- ” A woman of substance- the memoirs of Begum Khursheed Mirza “.

Renuka Devi died on 8-2-1989 at Lahore after a prolonged illness.

In her book she included a chapter of 24 pages ” Renuka Devi-my celluloid identity”, in which she has described many interesting anecdotes. Her detailed description of the times of the 30s and 40s is a lovely chronicle of the history of Bombay film industry. Here are some excerpts from her book…

1) Back in the Thirties, acting in films was not considered an honourable profession for anybody. And for a married woman from a well-educated and respectable upper-middle class Muslim family, it was forbidden to even think about it. But Khurshid Mirza, the daughter of the founders of the Aligarh Women’s College, the wife of a police officer and already a mother of two, was too free-spirited to be tied down by any social norm. She took the plunge and soon a star named Renuka Devi was born.

2) In 1939, Shanta Apte wrote that she received four or five letters each day from young girls wanting to join the movies “due perhaps to this monetary attraction”. Actresses themselves acknowledged in interviews that the money was substantial and more than one actress claimed that her salary rivalled that of the Governor of Bombay! But aside from several myth-building exercises, it is now apparent that film acting was a uniquely high-paying profession for women. According to Filmindia, Shobhana Samarth’s approximate total income in 1942 was Rs 36,000 while Sardar Akhtar, Naseem Banu, and Madhuri earned about Rs 30,000 each. These figures indicate that leading heroines of the day averaged an income of Rs 3,000-4,000 per month (some actresses were freelancers and did not work through the year) at a time when a French chiffon sari cost Rs 9, and a brand new imported Studebaker cost Rs 6,000. It is hardly surprising then, that Khursheed would want to make “a little dough”.

3) ” Akbar stood by me in the face of stiff opposition from both our families. Nevertheless, he maintained a strange attitude towards my work. He enjoyed the benefits the money brought us, such as a new car, expensive game-hunts, and pleasure trips to fashionable Mussoorie in summer and excellent schooling for our children. And, yet, he treated my work as a hobby, instead of giving it its due importance.”

( My thanks to the book, ”A woman of substance “, some information from ” Free Library”,Cineplot and my own notes).

I have not seen this film, but from today’s song, it seems to have been shot on Renuka Devi while playing a game with a child and his friends. Renuka Devi sang 5 songs in this film – 3 songs under the MD-Ramchandra Pal and only 2 songs composed by Saraswati Devi. Today’s song is by these two Devis together. ( In the early era of films, girls coming from educated and well to do families used to use the suffix of Devi to their name- like Sabita Devi, Molina Devi, Meera Devi etc. Girls coming from Tawaif families and singing families used to put the suffix of Bai to their names, like Jaddan Bai, Amir Bai, Waheedan Bai, Kalyani bai, Menaka Bai etc.) Enjoy this song.


Song- Chalo Chalo bhool bhulaiyya khelen (Naya Sansaar)(1941) Singer- Renuka devi, Lyricist- Pradeep, MD- Saraswati Devi
Chorus
unknown child voice

Lyrics

chalo chalo bhool bhulaiyya khelen
chalo chalo bhool bhulaiyya khelen

haan haan haan haan
paas ki phool bagiya mein
haan haan haan haan
paas ki phool bagiya mein
chalo chalo bhool bhulaiyya khelen
chalo chalo bhool bhulaiyya khelen
kya karogi bolo jab ud jaayengi
haan haan
joban ki chiraiyya
kya karogi bolo jab ud jaayengi
haan haan
joban ki chiraiyya

main tum donon ki khoj karoongi
main tum donon ki khok karoongi
ban pawan purwaiyya aa aa
ban pawan purwaiyya aa aa
chalo chalo bhool bhulaiyya khelen
chalo chalo bhool bhulaiyya khelen

phoolon ke van mein tum chhup jaana
ban ke ek papaiyya
phoolon ke van mein tum chhup jaana
ban ke ek papaiyya
phool phool se hum poochhenge
phool phool se hum poochhenge
kahaan hai humra bhaiyya
kaho kaho
kahaan hai humra bhaiyya
chalo chalo bhool bhulaiyya khelen
chalo chalo bhool bhulaiyya khelen

aasha didi
aasha didi
main bhi kheloonga

raaja bhaiyya khelega
raaja bhaiya khelega
haan haan haan
ban jaana ek bilaav
chhup jaana patton ki chhaanv
aankh bacha kar karna miyaaun miyaaun
miyaaun miyaaun
donon bahnen dar kar bhaagen
aisi bhaagen aise bhaagen
donon bahnen dar kar bhaagen
aisi bhaagen aise bhaagen
jaise van ki bilaiyya aa aa
jaise van ki bilaiyya aa aa
chalo chalo bhool bhulaiyya khelen
haan haan haan haan
paas ki phool bagiya mein
chalo chalo bhool bhulaiyya khelen
chalo chalo bhool bhulaiyya khelen


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 :

5169 Post No. : 17138

“Kangan”(1939) was produced by Sasadhar Mukherjee,Himanshu Rai and Devika Rani and directed by Franz Osten for Bombay Talkies, Bombay. The movie had Leelal Chitnis, Ashok Kumar, V.H.Desai, P.F.Pithawala, Mubarak, Saroj Borkar, Narendranath Tuli, Karuna devi,Ishrat, Nana Palsikar, Arun Kumar, Pratima, Ranibala,Sarla Kumara, Balwant Singh etc in it.

The movie had 12 songs in it. six songs have been covered so far.

Here is the seventh song from “Kangan”(1939) to appear in the blog. The song is sung by Leela Chitnis. Narottam Vyas is the lyricist. Saraswati devi is the music director.

Only the audio of the song is available. it is clear that the song was picturised on Leela Chitnis herself.

Lyrics of the song were sent to me by Prakashchandra.

audio link:

Song-Jogan bhatak rahi hai ban ban (Kangan)(1939) Singer-Leela Chitnis, Lyrics-Pt Narottam Vyas, MD-Saraswati devi

Lyrics(Provided by Prakashchandra)

Jogan
bhatak
rahee ee hai
ban ban
vaa ko o o
paaney ae ae
jaa ko o
denaa aa aa
thhaa aa aa rey ae ae
tan man
jogan
bhatak
rahee ee hai ban ban
jogan
bhatak
rahee hai ban ban

vaa ko o o paaney aey ae ae
jaa ko denaa thhaa aa rey ae ae tan man
jogan bhatak rahee hai ban ban

saawan kee aadhee ee barsaatein aen
paavas ki andhiyaaree raatein aen
raah na paate aey ae ae
dhoondhti phiratee ee ee
raah na paate aey ae
dhoondhti phiratee ee
jo ?? ee woh o o hai ae na mero dhan
jogan bhatak rahee hai ae ae ban ban
jogan bhatak rahee hai ae ae ban ban


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

Blog Day :

5163 Post No. : 17128

Today’s song is from the film Adab Arz-1943. The film was made by Amar pictures, Bombay – which was started by Chimanlal Desai after Sagar Movietone closed and he also left National Studios. The film was one of the 8 films that his son-Virendra Desai – directed in his failed career. Music was provided to the 12 songs written by Rammurthy Chaturvedi, Kailash G Matwala and Pt. Indra, by Gyan Dutt who had recently left his long association with Ranjit Movietone. The cast of the film was Nalini Jayawant, Karan Dewan, Kamla Chaterjee, Ansari, Pratima Devi, Dulari, Mukesh, Nagendra M, M Kumar, and many others.

Not much information is available about this film anywhere. This is one great obstacle in writing about old films. Maybe the people who collect records and Film Booklets have its booklet giving some extra details and an incomplete storyline. otherwise such stories are available only in the reviews appearing in Film magazines of those times. Magazine Film India was a good source of such stories, but unfortunately issues of 1943 year are not available on the Net-like other years.

Luckily, at least HFGK gives the data for film songs of most films of the year. Here also there are films for which absolutely on information – except the film title – is available. I do not know why it is so, but surely HFGK makers must be helpless in such cases. I know how much effort Har Mandir Singh ji and his team took in collecting the data for films for compiling one volume for each decade.

In the year 2012, I had bought all the then available Volumes (5 Volumes) for the 30’s, 40’s, 50’s, 60’s, and the 70’s decades. Of late, volumes for next decades are also available, but I have not bought them, as I don’t generally write on films made after the year 1980. However, I have got the Book of filmography from 1981 to 2000, published by Hamraz ji. Except song details, it has all other details about films made in these 20 years.

The HFGK volumes for 1930 to 1960 which I have, are in complete tattered condition. This is due to its constant-almost daily- use for the last so many years. The cardboard covers have separated from the rest of the papers and the pages are in “divorced” condition with other pages ! Even then I use the same volumes in ” as is where is ” condition (they are beyond ‘gumming’), because of the hundreds of the small notes I have made on each page and each name, song and each detail. Buying new volumes means losing all this information being used as a reference or maintaining all 10 volumes, at a time, which will be cumbersome !

HFGK has been one of the tools I have used in writing my more than 1100 articles. I can not imagine how I would have done it without them. HFGK provides names of major and minor actors, the director, the MD and the song details which makes it very easy for finding the songs on social media like YouTube etc. Kind song collectors upload “new” old songs from time to time. There are music collectors who collect only the songs of the old films (without collecting 78 RPM records), like, for example Dr. Surjit Singh ji. He allows any song lover to download these songs for FREE. A real social worker, I would say. My friend Shri Abhay Jain from the USA has given me more than 6000 songs from films of the 30’s and 40’s alone !

Many times HFGK provides names of some actors, singers , MDs, or Directors who evoke my interest as they are not commonly seen and I spend months collecting information about them from various sources. Even in today’s film cast I find 2 interesting actor names, Nagendra M. and A.N.Ansari. Today I will provide information about Nagendra M here.

Nagendra Majumdar. He was the father of Music Director Ninu (Niranjan) Majumdar. Nagendra was born in a happy family in the year 1894 in Bombay. After his father died, “Pearl Dairy” established by his father ran very well doing good business. Suddenly, Nagendra’s wife fell seriously ill and despite taking her full care, she expired. Due to neglect of the Dairy in this period, Dairy also closed down.

He shifted to Baroda and worked as a State Police Inspector. Later he worked as Watch and Ward Inspector in Baroda Railways. He left the job and started working as a hero in dramas of famous dramatist R.V.Desai. Heeralal, the owner of Laxmi Film Company, Bombay was impressed with his personality and took him to Bombay in 1926 to act in his silent films. Thus started his film career. In those days Silent films used to be completed within a month. He worked as a Hero in films of Laxmi, Jagdish and Imperial film companies.

In the same year, he directed a film ‘Paani mein aag’-1926, made by Royal Arts. Then came two more films made by Kaiser E Hind films. He also directed films for other companies. In all, he directed 15 Silent films by 1932. By then the Talkie had arrived. In the next 14 years he directed 12 Talkie films like – Ras Vilas-32, Sassi Punnu-32, Patit Pawan-33, mirza Sahibaan-33, Mera Imaan-34, Kala Wagh-34, Rangila nawab-35, Kimiyagar-36, Aaj ka Aladdin aka Aladdin II-36, Lehri lutera-37, Talwarwala-46 and Swadesh Sewa-46.

When offers for direction became few, he started acting in films. He acted in 12 films. When K L Saigal came to Bombay, Nagendra wanted to work with him. In the film Tansen-43, he did the role of Tansen’s (Saigal’s) father and he was very happy. Other films that he acted in were Kanchan-41,Beti-41, Khilauna-42, Bhakt Surdas-42, Armaan-42, Tansen-43, Gauri-43, Adab Arz-43, Bharthari-44, Prabhu ka Ghar-45, Ghazal-45 and Dhanna Bhagat-45.

His last 2 films came in 1946, but his health was not cooperating for quite a few years. He gave up work and took a rest. However, he suffered from paralysis and died on 22-8-1951. His son Ninu Majumdar worked in Bombay A.I.R. as head of Gujarati programmes, since 1937. By the time Nagendra died, Ninu had already started working as a Music Director.

As a Director, Nagendra had worked with the best of his times like, Master Vithal, Zubeida, Jillo, Billimorea brothers, Madhuri, Navinchandra, Durga Khote, Jairaj, Sultana, Noorjehan sr and such luminaries of those days. He had worked for Ranjit, Imperial, Sharda, Lakshmi, Jayant Desai films, Yagnik films etc etc.

I have information about Ansari also, but the post will be too long and I know from my own experience that nowadays long posts are not read by most people. Ansari will have to wait for some other time, another day.

Lastly, a little information about Director Virendra Desai and the heroine of this film Nalini Jayawant. They got married in 1943, when Virendra was 15 years older than the 17 year old Nalini and when he was already married having 2 daughters and 1 son too ! Their marriage was not successful and they divorced in 1948. Virendra Desai led a dejected and defeated life personally after this, whereas Nalini married again and shone a lot in Hindi films as an actress. When she died, she was living alone and her body was discovered after 3 days. The ‘ May-December ‘ marriage was not lucky for both of them !

Today’s song is the second song from this film in this Blog and is sung by Nalini Jayawant again.

(Author’s note- Information for this article is collated from various sources like Listener’s Bulletins No. 40 of Feb-80 and No.145 of July 2010, HFGK, muVyz, Sapnon ke Saudagar by Vithal Pandya, Silent films by Dr.Verma, Lost Treasures by Kamlakar P., Sagar Movietone by Biren Kothari ji and my notes.)


Song- Kheton pe chale bhaiyya kisaan re (Aadaab Arz)(1943) Singer- Nalini Jaywant, Lyricist- Rammurthy, MD-Gyan Dutt

Lyrics

kheton pe chale bhaiyya
kisaan re ae
kheton pe chale bhaiyya kisaan re ae
thumak bhaagi (??) peechhe jaaye re
thumak bhaagi (??) peechhe jaaye re

aage badha hindustan re ae
aage badha hindustan re ae
talwaar sang sang jaaye re ae
talwaar sang sang jaaye re ae
kheton pe chale bhaiyya
kisaan re ae
kheton pe chale bhaiyya kisaan re ae
thumak bhaagi (??)
haan haan
thhumak bhaagi (??)
haan haan
thhumak bhaagi (??)
peechhe jaaye re

hare bhare haaye khet humaare
hare bhare haaye khet humaare
bhaiyya ke sariya(?) pagariya daari
bhaiya ke sariya(?) pagariya daari
gori bhaabhi ?? samjhaaye
gori bhabhi ?? samjhaaye
jhanda tiranga jaise phahraaye re
jhanda tiranga jaise phahraaye re
kheton pe chale bhaiyya
kisaan re ae
kheton pe chale bhaiyya kisaan re ae
thumak bhaagi (??)
haan haan thhumak bhaagi (??)
haan haan thhumak bhaagi (??)
peechhe jaaye re
thhumak bhaagi (??) peechhe jaaye re


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

Blog Day :

5130 Post No. : 17084 Movie Count :

4615

Hullo Atuldom

A few songs are playing in my head since morning.
1) Rimjhim gire saawan(Manzil)(1979)
2) Bheegi bheegi raaton mein (Ajnabi)
3) Tere mere pyaar ki jo baat chali (Aankh Michauli)
4) Aaj rapat jaayen to hamen na uthhaiyyo (Namak Halal)
5) Ab ke saawan mein jee darey (Jaise Ko Taisa)

No prizes for guessing the connection between these songs- they are all Rain songs. And why was I thinking of these songs? Giving the answer as “Rainy Season or Monsoon” (and India is having a fairly good monsoon I must say) doesn’t bring out the romance associated with these songs. But if we say that it is the month of “Saawan or Shravan” then the rains and the ‘jhoolas’ and all traditionally romantic Indian aspects play in our mind’s eye. As I set out to hear and see the above listed songs I also ended up hearing this less heard (unheard should be the correct word here) song “Jhoom jhoom naach rahi barkha bahaar hai (Duniya Kya Jaane)“. Then I went on to listen to a few ‘post Rain’ songs like ‘Ek ladki bheegee bhaagee si (Chalti Ka Naam Gaadi)‘, ‘Roop tera mastaana (Aradhana)‘.

The trigger for the listening session was the program on Radio Ceylon this morning which gave me this rimjhim-gire-saawan-sulag-sulag-jaaye-man/ (in its one and half hour program). Of course radio Ceylon didn’t play the song as a ‘Rain Song’ but as a Kishore Kumar song. Why? Because today is KISHORE KUMAR’s birth anniversary. He would have been 93.

Almost all online HFM sharing portals and apps are putting out playlists which promise the listener hours of song listening pleasure. We at ASAD are a lot that is not satisfied with the regular lists, correct? No, NO. Don’t get me wrong. We are not upset when someone plays a song from ‘Jhumroo’, ‘Jewel Thief’, Blackmail’, ‘Manzil’, ‘Amar Prem’, ‘Rampur Ka Laxman’, ‘Chalti Ka Naam Gaadi’. ‘Lal Patthar’, etc. etc. Atulites don’t complain at the content present in the preset playlists anyone offers, we just go and make our own lists and from these we post songs that are great on the ears and not yet present on the blog.
Of course today I did hear a FUN- Kishore Kumar song which I haven’t heard before. It was from the 1968 release ‘Shrimaanji’ and it had lot of fun elements in it- the lyrics, the tune and accompanying sounds that Kishoreda excelled in. This is the song Iss duniyaa mein pyaare do kaam karnaa (Shrimaanji) .
I also heard one song that I had forgotten, Aansuon ko thhaam le (Chhotaa Baap).

What I am trying to show by posting the links to the songs which I heard today is that this blog has covered songs by Kishoreda in all his moods – many rare songs which were popular once upon a time but now forgotten are also there in this blog.

I was looking at the statistics page of the blog and found that the blog has 1283 songs of Kishoreda as singer, 33 as music director and 6 as lyricist. Looking up the stats is a fun job and here are some more numbers:-

144 songs of Kishoreda for Rajesh Khanna.
590 solo songs
21 duets with Shamshad Begum
13 duets with Geeta Dutt
19 duets with Mohd Rafi
only 1 duet with Mukesh
7 duets with Mannada songs
6 duets with Mahendra Kapoor songs

Here are some expected numbers:- 218 duets with Lata Mangeshkar and 263 with Asha Bhonsle.

The above are the numbers present on the blog and not what Kishoreda accomplished in his career. I would have loved to do a similar exercise of Kishoreda’s collaboration with lyricists and music directors to see the numbers that we have on the blog, maybe next time.

I have a whole set of songs in my mind across various genres and moods. I am settling for a song from a fun movie. The movie had Kishore Kumar as the producer, director, actor, music director, and singer. The cast had Amit Kumar, Yogita Bali, Mehmood, S.N. Banerjee, Jayshree T., Madan Puri, Bhagwan, and a host of supporting actors. It could possibly have been a launch vehicle for Amit Kumar as an actor and south Indian actress Jaya Sudha made her Hindi debut with this film- ‘Shabash Daddy’ (1979)

The other singers used in the movie were Amit Kumar, Asha Bhonsle, Sulakshana Pandit, and Mehmood. Irshad Jalili and Gulshan Bawra were two other lyricists of the movie.

I remember having seen it on release all those years ago in 1979 but don’t find it anywhere for repeat viewing. It was the story of a retired army officer Col. Chhaju Singh (Kishore Kumar) who falls in love with a beautiful fisher-woman when he has a son of marriageable age. There were a lot of comments back then that this was their family life playing out on screen as Kishore Kumar had just married Yogita Bali.

I am sure many purists will feel that today’s song shows Kishoreda grossly overacting. And not doing justice to the talent that he was. But that is the way he was – mostly too good and gross at times.

Thinking of the multi-talented highly energetic entertainer with this song written, composed and sung by Kishore Kumar. I feel that the female voice accompanying is of Yogita Bali (I may be wrong)

Audio

Video

Song-Maine jo dil diya (Shaabaash Daddy)(1979) Singer-Kishore Kumar, Lyrics-Kishore Kumar, MD-Kishore Kumar
Yogita Bali (?)

Lyrics

nonsense
dammit
idiot
rrrrrr
rascal

ye us ghooskhoriye reporter ki chaal hai
usi ne mujhe badnaam karne ki saazish ki hai

main
main
main uski ghanti baja kar rakh doonga

kya hua colomel saahab
chhape mein koi buri khabar chhapi hai kya
jo itna laal peela ho raha hai

mat poochh kuch Kamli
mat poochh

jal gayi

jal gayi

jal gayi
kaun jalgayi

duniya

maine jo dil diya
tujhe jo dil diya
to jaanti hai kya huaa
kya huaa
maine jo dil diya
tujhe jo dil diya
to jaanti hai kya huaa
kya huaa
kahaani ban gayi
ye duniya jal gayi
baithhe bithhaaye hangaama ho gaya
ke jab se main tera deewaana ho gaya
maine jo dil diya
tujhe jo dil diya
to jaanti hai kya huaya
kya huaa
kahaani ban gayi
ye duniya jal gayi
baithhe bithaaye hangaama ho gaya
ke jab se main tera deewaana ho gaya

colonel saahab
o colonel saahab
theher naa
baat sun
saaf saaf bata kya huaa
o colonel saahab

udi khabar jo ye ke tera mera pyaar huaa
udi khabar jo ye ke tera mera pyaar huaa
machi gadar haan is kadar ke sabka haal huaa
koi to daal pe latak ke phaansi chadh gaya
koi bechaara kood kar nadi mein mar gaya
are re re re re
koi piya zahar
koi gaya akad
koi gaya bigad
koi gaya rakhad
koi jo chust thha
use bukhaar ho gaya
ho gaya
ho gaya
bas kar bas kar bas kar
maine jo dil diya
tujhe jo dil diya
to jaanti hai kya huaa
maaloom hai kya huaa
kahaani ban gayi
ye duniya jal gayi

baithhe bithhaaye ek hangaama ho gaya
ke jab se main tera deewaana ho gaya

jaanti hoon
main thahri gareeb
aur tu paise waala
to oonchi jaat ka
main ek abhaagan
tera mera kya mel
is bedard duniya ki reet hi aisi hai
par ismein mera kya kasoor
bata na
mera kya kasoor

sach hai
main ameer
aur tu gareeb
magar
magar kusoor tera kuchh nahin
ye tera
ye tera naseeb hai

sanam ye sach hai mai ameer tu gareeb hai
sanam ye sach hai mai ameer tu gareeb hai
kusur tera kuch na ye tera naseeb hai
mujhe kubul hai ke mai tera diwana hu
shama hai tu meri
to main tera parwaana hoon
chalenge saath hum rukenge saath hum
jiyenge saath hum marenge saath hum
ye fsala hamara laakh bar ho gaya
ho gaya ho gaya
bas kar bas kar bas kar
maine jo dil diya
tujhe jo dil diya
to jaanti hai kya huaa
kya huaa
kya huaa
kya huaa

kahaani ban gayi
ye duniya jal gayi
baithe bithhaaye hangaama ho gaya
ke jab se main tera deewaana ho gaya


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 FOURTEEN years. This blog has over 17100 song posts by now.

This blog is active and online for over 5000 days since its beginning on 19 july 2008.

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(© 2008 - 2022) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

17162

Number of movies covered in the blog

Movies with all their songs covered =1329
Total Number of movies covered=4609

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