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

Posts Tagged ‘Anil Biswas


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Blog Day :

5162 Post No. : 17127

“Sautela Bhai”(1962) was directed by Mahesh Kaul for Alok Bharti, Bombay. The movie had Pranati, Guru Dutt, Rajkumar, Bipin Gupta, Kanhaiyalal, SN Bannerjee, Asit Sen, Ratna aka Ratna Bhushan, Bela Bose, Radheyshyam, Sarosh Irani, Honey Irani, Jeevankala, Rani, Surendra, Madan Kumar, Dev Kishen, Laxman Singh, Suresh, Anwari, Samar Chatterjee, Bagla, Mohan Jerry, Shahji, Narmada Shanker, Kesri, Ranibala, Khatana, Dulari, Baby Farida etc in it.

The movie had eight songs in it. Seven songs have been covered in the past. Here are the details of the seven songs already covered in the blog.:-

Blog post number song Date of post Singer (s)
1987 Jaa main tose naahin boloon 25 September 2009 Lata
3848 Paisaa hi maalik paisaa hi daataa 5 May 2011 Manna Dey, Anil Biswas
6472 Phoole ban bagiyaa 18 August 2012 Manna Dey, Meena Kapoor
13850 Dekho re logon bhai bhai ka naata dekho 30 December 2017 Manna Dey, Pankaj Mitra, Anil Biswas
15983 Laagi naahin chhoote raam chaahe jiyaa jaaye 20 October 2020 Lata, Meena Kapoor, Anil Biswas
16071 Maiyya maiyya boley baal kanhaiyya 29 November 2020 Meena Kapoor, Pankaj Mitra
17113 O man rey main jag mein aaj paraaya 24 August 2022 Mahendra Kapoor

Here is the eighth and final song from “Sautela Bhai”(1962). This song is a duet song. HFGK is silent about the singers. Several youtubers who have uploaded this song describe the singers as Mahendra Kapoor and Lata Mangeshkar.

On listening to the song, it is clear that the male voice is Manna Dey. How experienced youtube uploaders cannot differentiate between Mahendra Kapoor and Manna Dey beats me. The two singers have little in common as far as their voices are concerned.

It is the female voice that creates doubts. Prakashchandra guesses that the singers are Manna Dey and Suman Kalyanpur. I find that the seven songs that we already have from this movie had Manna Dey’s voice in three songs and Lata Mangeshkar’s voice in two songs. Voices of Meena Kapoor, Pankaj Mitra, Anil Biswas and Mahendra Kapoor were also used in the songs of this movie.

Seeing that Pranati (the heroine) is present in the picturisation and she lip synced in two other songs in the movie in Lata Mangeshkar voice, I guess that the female voice could well be Lata Mangeshkar’s. I request our knowledgeable readers to throw light on the identity of the female voice.

The song is picturised as a Krishn bhajan where the bhajan singers (Radheshyam, Laxmi Chhaya and Pranati) criticise a repentant Yashoda Mata (Dulaari) for abandoning Krishn. This song is a forgotten gem. It is written by Shailendra. Music is composed by Anil Biswas.

Lyrics of the song and other details were sent by Prakashchandra.

with this song, all soongs of “Sautela Bhai”(1962) are covered in the blog. The movie thus joins the list of movies that have been YIPPEED in the blog.


Song-Kaanha jo tera hota apna laal (Sautela Bhai)(1962) Singers-Manna Dey, Lata, Lyrics-Shailendra, MD-Anil Biswas

Lyrics(Provided by Prakashchandra)

maa aa aa aa aa
aa aa aa aa aa aa
maaadhav
bin madhav saara brij soona aa
kya gokul kya jamuna teer
koi yasoda ki peer na samjhe ae
taane deve naar adheer
yasoda tera kitna hiya kathor
bhej diye mathura nand kishor
bhookh aur pyaas se nit bechain
dhoondta hoga tujhe din rain

haaye ree toone kiya hai kabhi vichaar
krishn tera kitna sukumaar

krishn tera kitna sukumaar
krishn tera kitna aa aa aasukumaaar
jasomati maiya aa ri
kaanha jo tera hota apna laal
kaanha jo tera hota apna laal
to rakhti palkan beech sambhaal
to rakhti palkan beech sambhaal
kaanha jo tera hota apna laal

kokh se teri janam na paaya
par tera balak to kahlaaye
kokh se teri janam na paaya
teri door kabhi rishta nahin hamse
phir bhi hamse raha na jaaye

phir bhi hamse raha na jaaye
kanhaiya bin haal bhaya behaal
kanhaiya bin haal bhaya behaal
kaanha jo tera hota apna laal
kaanha jo tera hota apna laal

tu jo kahti mat jaa lalna
taal na deta wo teri baat
tu jo kahti mat ja lalna

are hum na bilakhte tere kunwar bin a
aur na tadapta wo bin maa
aur na tadapta wo bin ma
haaye ri toone tanik na kiya khayaal
haaye ri toone tanik na kiya khayaal
kaanha jo tera hota apna laal
kaanha jo tera hota apna laal
to rakhti palkan beech sambhaal
to rakhti palkan beech sambhaal
kaanha jo tera hota apna laal


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 :

5150 Post No. : 17113

‘Sautela Bhai’ (1962) was directed by Mahesh Kaul for Alok Bharti, Bombay. The movie had Pranati, Guru Dutt, Rajkumar, Bipin Gupta, Kanhaiyalal, SN Bannerjee, Asit Sen, Ratna aka Ratna Bhushan, Bela Bose, Radheyshyam, Sarosh Irani, Honey Irani, Jeevankala, Rani, Surendra, Madan Kumar, Dev Kishen, Laxman Singh, Suresh, Anwari, Samar Chatterjee, Bagla, Mohan Jerry, Shahji, Narmada Shanker, Kesri, Ranibala, Khatana, Dulari, Baby Farida etc in it.

‘Sautela Bhai’ had eight songs in it. Six songs have been covered so far. Here is the seventh song from the movie. It is sung by Mahendra Kapoor. Shailendra is the lyricist. Music is composed by Anil Biswas.

The picturisation shows Guru Dutt, Bipin Gupta, Pranati or Pranoti, SN Bannerjee and Sarosh Irani as the song plays in the background.

Lyrics were sent to me by Prakashchandra.

Video link:

Song-O man rey main jag mein aaj paraaya (Sautela Bhai)(1962) Singer-Mahendra Kapoor, Lyrics-Shailendra, MD-Anil Biswas

Lyrics(Provided by Prakashchandra)

o mann rey ae ae ae ae
ae ae ae ae
o mann rey ae ae ae aey
main jag mein aaj paraayaa aa
main jag mein aaj paarayaa aa aa
mann rey ae ae aey ae
mohey apna ghar pardes lagey
mohey apna ghar pardes lagey
main jag mein aaj paraayaa aaa
main jag mein aaj paraayaa aaa
ho mann rey ae aey ae ae ae

bichchda jeevan bhar ka saath
chhoot gayaa bachpan ka haath
chhod gayee mamtaa ki chhaaon
log kahenge mujhe anaath
ho o o o o o o
chahoon dish andhiyaaraa chhaayaa
mann rey ae ae ae aey
main jag mein aaj paraayaa aa aa
main jag mein aaj paarayaa aa
o mann rey ae ae ae aey ae ae ae

woh phulwaari
woh ghar dwaar
woh sukh sapnon ka sansaar
bikhar gaye ae woh o
saarey khel
bichchdi ganga jamunaa dhaar
ho o o o o
maine sab kuchch aaj ganwaayaa aa aa
maine sab kuchch aaj ganwaayaa aa
mann rey ae ae ae aey
main jag mein aaj paraayaa
main jag mein aaj paarayaa
o mann rey ae ae ae aey ae
ae ae aey ae

————————————————
Hindi script lyrics (Provided by Sudhir Kapur)
————————————————

ओ मन रे ए ए ए
ए ए ए
ओ मन रे ए ए ए
मैं जग में आज पराया
मैं जग में आज पराया
मन रे ए ए ए
मोहे अपना घर परदेस लगे
मोहे अपना घर परदेस लगे
मैं जग में आज पराया
मैं जग में आज पराया
हो मन रे ए ए ए

बिछड़ा जीवन भर का साथ
छूट गया बचपन का हाथ
छोड़ गई ममता की छांव
लोग कहेंगे मुझे अनाथ
हो ओ ओ ओ ओ
चहुं दिश अँधियारा छाया
मन रे ए ए ए
मैं जग में आज पराया
मैं जग में आज पराया
ओ मन रे ए ए ए

वो फुलवारी
वो घर द्वार
वो सुख सपनों का संसार
बिखर गए वो ओ
सारे खेल
बिछड़ी गंगा जमुना धार
हो ओ ओ ओ
मैंने सब कुछ आज गंवाया
मैंने सब कुछ आज गंवाया
मन रे ए ए ए
मैं जग में आज पराया
मैं जग में आज पराया
ओ मन रे ए ए ए


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 :

5133 Post No. : 17089

Today’s song is from a Costume drama-Jalti Nishani-1957.

There was another film Jalti Nishani made in 1932, by Prabhat Film Company of Poona. It was a bilingual film, made in Hindi and Marathi and the Marathi version was titled ” Agni kankan” ( अग्नी कंकण ). That was the usual story of an honest king, a bad Vazir, a runaway queen with her son and the revenge taken after 20 years. The 1957 film with the same title had almost a similar story with some variations. This film was made by Emsheth productions, produced aptly by a rich person called A.G.Dhanik. It was directed by Tara Harish and the melodious music was provided by the grand old man of Hindi film music – Anil Biswas.

The image of Anil Biswas carved in the minds of Music lovers is that of a smiling person who was respected by one and all in the industry. But few people know that behind that smiling face were many unpleasant events in his life. A failed marriage, loss of all earnings while settling the separation, loss of a dear friend-Mehboob, loss of an young son in Indian Air Force, a failed musician son, a pathetic end of his musical career field in Bombay and a life spent away from Bombay made Anil Biswas a Philosophical person at the end of his life.

I have full respect and liking for him as a person and also as a music melody creator in Hindi films. Today, in this post, we will take a short look at his life and a retelling of some interesting happenings of his life. In his Bio,you will find a less known story of his ambitious but unfortunate son who died untimely. I am not going into the details of his songs and music nor am I going to delve into the details of his interesting early life in Bengal, before coming to the Bombay film world scene. So, here we go….

Anil Biswas,the Bhishma Pitamaha of HFM,was a respected person in the industry.He started from the mid 30s and for the next 25 years or so,he created many everlasting gems in film songs. In Bombay,the Playback was first started by him in the film Mahageet-1937. By the mid 50s his magic started waning and by 1960,he was almost gone from the industry. Initially he did 10-11 films with Sagar,then with Mehboob for National studios and then in Bombay talkies- where his name became immortal with the film Kismet-1943.

He married Ashalata in 1936. Along with her he started variety pictures and they produced films like Laadli-49,Laajawab-50;Badi Bahu-51,Hamdard-53 and Bajuband-54. ( a less known fact is-Anil da had made a Guest appearance in the film Hamdard-53 as a barber.) He also acted in the film Mehman-53 (produced by Ashalata),as a Pujari and a song was shot on him.In both cases he did not get any payments. As a Producer he lost heavily, because Ashalata usurped all the money. Frustrated, he gave up everything and separated from her in 1954.

To sustain life,he bought a Truck and did a business of transportation. In addition he also took the contract for a canteen in Mehboob Studios. He failed in both ventures. By now,his relations with Ashalata were soured and sweet links were established with singer Meena Kapoor-25 years younger to him, since 1948 itself.According to some reports, they got married with each other on 19-3-1957. The death of Brother in law and close friend Pannalal Ghosh in 1960 and younger brother Sunil in 1961 as well as his eldest son- Pradeep,broke his heart. He left Bombay and joined A.I.R. at Delhi on 1-3-1963,where he worked upto 27-6-1975. Later he was a consultant for Nehru University for a few years.

Like many filmi couples,Anil da’s married life was also a failure. In Bombay,he used to stay in a huge bungalow,called ” Asha-Pradeep “, on Vincent Road. From Ashalata,he got 3 sons-Pradeep,Amit and Utpal and 1 daughter-Shikha. His son Utpal formed a pair as Amar-Utpal and gave music to few films. The other son Amit established the First Digital Recording Studio in Bombay. Daughter Shikha too got married and settled.

However,hardly anything is known about his eldest son Pradeep,anywhere. Here is some information,hitherto not known much,brought specially for our readers.
Pradeep was a very bright student and always topped in school and college. He passed his entrance exam and the interview,with flying colours for entry to NDA college at Poona,to join armed forces. He excelled even in NDA training.Not only was he very popular there but sang well too. He participated in the music Festival of Khadakwasla NDA and sang 3 songs,winning all prizes. He was also a NDA Topper.

Shri Gopinath Talwalkar,an A.I.R. Programmer at Delhi,used to interview the Toppers of NDA every year. That year Pradeep was the Topper, so he was interviewed. Though the interview was in Hindi, after the recording,Pradeep asked Talwalkar,in pure Marathi,whether his interview had been good. Talwalkar was shocked. Pradeep then explained that he was Anil Biswas’s son and he had learnt Marathi from his actress mother Ashalata. Pradeep knew Hindi,Marathi,English and Gujarati languages.

After completing his NDA training,he was posted as Flight cadet at Jodhpur. He was further promoted and became Pilot Officer in 1957. During one Training flight some altitude problems occurred and his plane crashed at Begumpet Airport, Hyderabad, killing Pradeep instantly. This happened in 1961.

This was also the time of crisis for Anil da. He was struggling to survive. Films were not coming to him. Since he married Meena Kapoor, Lata Mangeshkar-a fast close friend of Ashalata , had gone against him and Meena’s singing career was suppressed. He had already lost Pannalal Ghosh and Sunil-his brother and now Pradeep’s death devastated him and he was literally forced to seek employment with Delhi A.I.R., when the opportunity came. After retirement, till his death on 31-5-2003, he spent his life in total anonymity and recluse. So sad for a composer, who was once a fountain of enthusiasm and who was considered Mentor by leading contemporary composers like C.Ramchandra.

Here is an anecdote about C.Ramchandra and Anil Biswas…

On the day of recording the first ever Hindi film song (a chorus song) of C.Ramchandra, (in 1942) all arrangements were done. Chorus singers were ready, musicians were ready and technicians were ready. Suddenly, a set of visitors arrived at the studio. The visitors were all top composers of the day like Anil Biswas, K.Datta, Naval Chatterjee and some others.They all had heard about C Ramchandra, his tunes and his work. They wanted to see how he operated. C Ramchandra had tremendous respect for Anil Biswas. He knew that the contributions of Anil Biswas to Hindi Film Music was praiseworthy. Anil Biswas was a master of harmonization technique in western and Indian music instruments.

C Ramchandra described this event thus-

” It was my great fortune that a senior composer whom I considered as my Guru was present at my first recording. To my greatest surprise all the visitors joined the Chorus group for singing. I just wanted to check if the final take can be taken. I said one ..two..three and the song and music started, but I felt something was wrong. One singer sounded different. I stopped and ran outside to the singers. To my shock it was Anilda who put a Teevr Nishad which was not in my composition. He smilingly asked, is it Ok ? I said respectfully, No Dada, this is not right. He very magnanimously and without further questions agreed and they all sang on my tune only !. ”

Here is one more anecdote about Anil Biswas and Dilip kumar…

A few interesting lines about the duet –‘Aa mohabbat ki basti basayeinge hum’. One afternoon Anil Da at his residence was in the company of celebrated actors –Dilip Kumar and Ashok Kumar. He played on his harmonium and hummed the serious tune of his forthcoming melody -‘Aa mohabbat ki basti basayeinge hum’. As to who will be the female singer, there was absolutely no doubt about Lata; but who will give the male voice? “Dada it should be Talat”-said Ashok Kumar. Whereas Dilip Kumar suggested –“Anil Da, in any case looking at the serious lyrical notes, male singer should be your favorite Mukesh.” Anil Da had something else in his mind. “How if Kishore sings with Lata”- said the maestro. “Kishore!’ –Dilip was taken aback; “if Kishore will sing such a serious song, then ‘Aapka joota aur mera sar (if Kishore will sing such a serious song, my head is ready for your shoe-beating)’” –added Dilip Kumar. “Mein joota le kar aataa hoon, sar tayyar rakho (Be ready with your head, I am bringing my shoe).”

Kishore Kumar was called, who at the first instance, bluntly refused to sing the said duet with Lata. But, the maestro’s conviction prevailed and eventually a heart-throbbing duet was created!

Film Girls school-49 has a very interesting History. As we know the film had 9 songs and there were 2 MDs-Anil Biswas and C Ramchandra (4 and 5 songs each).

This film was produced by Kavi Pradeep under the banner of Lokmanya Productions,Bombay. This was a company floated by him and Amiya Chakrawarty-director of this film. To understand the complexities of Girls school, we must go back a little. In 1942, Anil Biswas was invited by Ranjit @ 1500 pm and by Bombay Talkies @ 2500 pm. As National studio was winding up, AB wanted to make a change anyway, but due to the contract of national he could not join Bombay Talkies openly. He ,however , gave music to film Basant-42 and the name of his brother in Law, Pannalal Ghosh was used as its MD.

Finally when AB joined Bombay Talkies, there were already 2 groups there. One was led by Devika Rani and Amiya Chakraborty and the other was led by S. Mukherjee along with Ashok kumar, Gyan Mukherjee, Pradeep etc- a total of 15 artistes. AB was invited by Devika Rani and that too at 2500 pm,when Pradeep was getting 1500 pm. This irritated Pradeep to no end and he started troubling and finding faults with Anil Biswas. However Anil Biswas gave excellent music to film Kismet and then everyone was happy as the film celebrated jubilees everywhere.

With this background,Anil Biswas joined Girls school as a MD, mainly due to Amiya who knew his calibre. Kavi Pradeep being a producer and a Lyricist started interfering with Anil Bswas’s work and criticising him at every opportunity. AB was fed up. He had already recorded 3 songs and a solo by Lata , ” tum hi kaho,mera man udas kyun na rahe” was to be recorded. Anil Biswas had taken C Ramchandra as his assistant for this film. Though CR was already a popular and well known composer himself, still due to sheer respect for Anil Biswas, he had accepted to be his assistant here. When the tune for Lata’s solo was made, Pradeep passed caustic remarks about it being not so good. There was an altercation between Anil Biswas and Pradeep and Biswas quit then and there and went away.

Automatically, C Ramchandra had to take over as MD for the balance songs. Pradeep was very happy. Next day recording of Lata’s solo song took place under the supervision of C Ramchandra, as planned. Later when Lata came to know that Anil Biswas had left and C Ramchandra had replaced him,she was very angry and said that she would not have recorded the song had she known about AB’s exit. She objected to CR’s taking over and complained to the Artistes association too. (Remember, at that time Lata and CR’s relations had not formed yet, Lata was still with Husnlal.)

Later on in 1954, when O P Nayyar replaced Roshan for Mehbooba-54, Lata took up the issue with the MDs’ association. Anil Biswas was the chairman that time and OPN was boycotted. That time Lata quoted the film Girls school incident to prove that she was ” highly Principled” !

Anyway, this was how C Ramchandra became the next MD of Girls school-49,with 4 duets of Shamshad and 1 solo for Lalita Deulkar. All the 4 duets of this pair are very interesting. However, with all this jhamelas, film Girls school-49 was a total Flop. Pradeep lost heavily and closed the production company forthwith, after just one film.

One peculiar thing with Anil Biswas was that he liked to compose Chorus songs. That is why in almost every film you will find at least one chorus song. Right from his first film to his last film, I checked the song list. Even in his today’s film there are 2 chorus songs. Today’s song also has a chorus in it. It is a good song. Let us enjoy it.

(Information used in this article is from books Sagar Movietone, Mehboob Khan, Journey down melody lane, Ritu aaye Ritu jaaye- Marathi book Anil Biswas, by Sharad Dutt , notes from RMIM with thanks and my notes.)


Song- Aisa jaam pila nazron se hosh rahe na baaqi re (Jalti Nishaani)(1957) Singers- Hemant Kumar, Lata Mangeshkar , Lyrics-Qamar Jalalabadi, MD-Anil Biswas
chorus
Lata + Chorus

Lyrics

o o o saaqi ee re ae ae
saaqi re ho
saaqi re ho
saaqi re ho
saaqi re ho

hey ae ae
aisa jaam pila nazaron se
hosh rahe na baaqi re
saaqi re ho
saaqi re ho
saaqi re ho
saaqi re ae ae

aaj lage kyun ujda ujda
bhara hua maikhaana aa aa
aa aa aa aa
aa aa aa aa
jisko nazren dhoondh rahi hain
aen aen aen aen
aen aen aen aen
kaha hain wo deewaana ji
kaha hain wo deewaana
ye kaisi mehfil il il il il
ye kaisi mahfil hai jismein
pyaasaka hai khud saaki re ae ae

saaqi re ho
saaqi re ho
saaqi re ho
saaqi re ho

hey ae ae aisa jaam pila nazron se
hosh rahe na baaqi re
saaqi re ho
saaqi re ho
saaqi re ho
saaqi re ae

ek mein din hai raat ek mein
chhalke do paimaane
ae ae ae ae ae
ae ae ae ae ae ae
kiski kismat mein kya likha aa aa aa
aa aa aa
aa aa aa
ye kismat hi jaane he ji
ye kismat hi jaane

koi na jaane is mehfil mein
kaun rahega baaki re ji jee
kaun rahega baaki re
saaqi re ho
saaqi re ho
saaqi re ho
saaqi re ho

he ae ae ae
aisa jaam pila nazron se
hosh rahe na baaqi re


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 :

5103 Post No. : 17040

———————————————–—————————————
Blog 10-Year Challenge (2012-2022) – Song No. 66
————————————————————————————–

This date ten years ago (viz 8 July 2012) saw six songs from six different movies getting covered in the blog. Here are the details:-

Blog post number Song Movie (Year) Remarks
6195 Koi din zindagi ke gungunaakar hi bitaata hai Gunjan(1948) 4 songs covered out of 9
6196 Zara sun lo ham apne pyaar ka afsaana kehte hain Baazaar(1949) 15 songs covered out of 16
6197 Mohabbat karne waalon ka yahi anjaam hota hai Aankhen (1950) Movie YIPPEED by now
6198 Tera khayaal dil se mitaaya nahin abhi Doraaha(1952) 5 songs covered out of 8
6199 Murga murgi pyaar se dekhen Do Kaliyaan(1968) Movie YIPPEED by now
6200 Ye wahi geet hai jisko maine Maan Jaayiye(1972) Movie YIPPEED by now

We can observe that three movies (out of six) whose songs were covered on this date ten years ago have since been YIPPEED. That leaves us with three movies that are eligible for Blog Ten Year Challenge today.

“Doraaha”(1952) is one of the eligible movies.

“Doraaha”(1952) was directed by Bal chhabda for Progressive Pictures Bombay. The movie had Nalini Jayawant, Shekhar, K.N.Singh, Murad, Agha, Sethi, Prothima devi, Kamal, Dewan Sharar, Leela Mishra, Romesh Sinha, Seemah, D.D.Luthra, Kusum, Bhagwandas, Kiran etc in it.

“Doraaha”(1952) had eight songs in it. Five songs have been covered so far.

Here is the sixth song from “Doraaha”(1952) to appear in the blog.

The song is sung by Shankar Dasgupta. Prem Dhawan is the lyricist. Music is composed by Anil Biswas.

Only audio of the song is available. Considering that this song is a hero stuff song, my guess is that this song was picturised on Shekhar. 🙂 Nevertheless, I request our knowledgeable readers to throw light on the picturisation of the song.

Lyrics of the song and other details were sent to me by Prakashchandra.


Song-Toot gayi patwaar naiyya kaun lagaawe paar (Doraaha)(1952) Singer-Shankar Dasgupta, Lyrics-Prem Dhawan, MD-Anil Biswas

Lyrics(Provided by Prakashchandra)

Toot gayi Patwaa aar
naiya
kaun lagaawe paar
naiyya kaun lagaawey paa..aar
kaun lagaawey paar naiyyaa..aaa
kaun lagaawey paar…aar
toot gayi patwaa aaa aar
naiyyaa
kaun lagaawey paar
naiyyaa..aaa
kaun lagaawey paar

aayi gham ki kaali raatein
kahoon kis se dil ki baatein aen
aayi gham ki kaali raatein
kahoon kis se dil ki baatein aen
mera bichhad gayaa
dildaar rey aey
bichhad gayaa dildaa..aar
bichhad gayaa dildaa..aar rey
haayye lut gayaa meraa pyaa..aar
naiyyaa
kaun lagaawey paa..aar
toot gayi patwaa..aaa…aar
naiyyaa
kaun lagaawey paar
naiyyaa..aaa
kaun lagaawey paar

woh saaree khushiyaan le le
ek dard saa dil mein de dey ae ae
woh saaree khushiyaan le le
ek dard saa dil mein de dey ae ae
ab dil ko nahin qaraar rey ae ae
dil ko nahin qaraa..aar
dil ko nahin qaraa..aar rey
haayye lut gayaa meraa pyaar
naiyyaa
kaun lagaawey paa..aa..aaar
toot gayi patwaa..aaa…aar
naiyyaa
kaun lagaawey paar
naiyyaa..aaa
kaun lagaawey paar


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 :

5018 Post No. : 16926

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Blog 10-Year Challenge (2012-2022) – Song No. 43
————————————————————————————–

This date ten years ago (viz 14 April 2012) was a normal day for the blog. Seven songs from seven different movies were covered on this day. Here are the detals:-

Blog post number Song Movie (Year) Remarks
5788 Pehle jo muhabbat se inkaar kiya hota Pardesi(1941) 5 songs covered so far out of 15
5789 Ab to jee hone laga kisi ki soorat ka saamna Mr and Mrs 55(1955) Movie YIPPEED by now
5790 Mooliraam aur bhindimal ka nikal gaya hai deewaala Dulhan(1958) 6 songs covered by now out of 9
5791 Na bhanwra na koi gul Aarti(1962) Movie YIPPEED by now
5792 Aji qibla mohtarma kabhi shola kabhi naghma Phir Wohi Dil Laaya Hoon(1963) Movie YIPPEED by now
5793 Kismat jo pilaaye hamko Ladka Ladki(1966) 5 songs covered out of 6
5794 Dil shaam se dooba jaata hai Sanskaar(1958) 3 songs covered by now out of 9

Three movies (out of seven) whose songs were covered on that day have since been YIPPEED by now. That leaves us with four movies that are eligible for Blog Ten Year challenge today (14 April 2022).

“Sanskaar”(1958) is one of the eligible movies.

“Sanskaar”(1958) was directed by Chaturbhuj Doshi for Filmistan, Bombay. The movie had Ameeta, Ananat Kumar, Ranjana, Yakoob, Leela Mishra, Badri Prasad, Randhir, Kanu Roy, Parashuram, Kusum Takkar, Vijaybala, Raj Kishore, Jugnu, Jayashree Gadkar, Sohan Kapila, Indira Bansal etc in it.

The movie had 9 songs in it. 3 of the songs have been covered in the blog.

As blog ten year challenge today, here is another song from “Sanskaar”(1958). This song is sung by Asha Bhonsle. Indeewar is the lyricist. Music is composed by Anil Biswas.

Only audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song.

Lyrics of the song were sent to me by Prakashchandra.

audio link:

Song-Raadhe tere aansoo pee ko rok na paayenge (Sanskaar)(1958) Singer-Asha Bhonsle, Lyrics-Indeewar, MD-Anil Biswas

Lyrics(Provided by Prakashchandra)

raadhey ae ae
tere aansoo..ooo..oo..oo..oo..oo pee ko
rok na paayengey aey ae aey ae ae ae

lagan badhaa ley aur Shyaam tere daudey aayengey ae
lagan badhaa ley aur Shyaam tere daudey aayengey ae
Raadhey tere aansoo pee ko
rok na paayengey aey ae ae ae
lagan badhaa ley aur Shyaam tere daudey aayengey ae

itney hi dukh se mann ko
kar lenaa choor naheen..een
tere gokul ke mohan kee Mathuraa door naheen een een
Mathuraa door nahin
sooney aangan tere Vrindaavan ban jaayengey aey ae ae
lagan badhaa ley aur Shyaam tere daudey aayengey
ho o ho o
Raadhey aey ae ae ae ae

kabhi kabhi aa jaati hai
nainon mein tere namee..ee..ee
abhi pyaar mein kamee hai tere
tyaag mein abhee kamee..ee..ee
tyaag mein abhee kamee
kamee na ho to jaaney waaley
kaisey jaayengey aey ae aey
lagan badhaa ley aur Shyaam tere daudey aayengey ae
Raadhey tere aansoo pee ko
rok na paayengey aey ae ae
lagan badhaa ley aur Shyaam tere daudey aayengey
ho o ho
Raadhey aey ae ae ae aey ae 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 :

5016 Post No. : 16922

Today’s song is from an early talkie film ‘Gramophone Singer’ (1938).

The film was made by Sagar Movietone. It was directed by Ramchandra Thakur and Virendra Desai (owner Chimanlal Desai’s son and the first husband of Nalini Jayawant). The 15 songs of the film were written by Zia Sarhadi – who rose to great heights in the Indian film industry, but was humiliated, suspected and ill-treated in Pakistan. His end in Spain too was pathetic. Music Director for this film was Anil Biswas. The cast of the film was Surendra, Bibbo, Prabha, Bhudo Advani, Kanhaiyalal, Sankatha Oprasad, Gulzar and many others.

It is interesting to know the story of how Sagar Movietone came into being. Ardeshir Irani, the owner of Imperial Film Co. and the maker of India’s First Talkie film ‘Alam Ara’ (1931), was keen to get the famous and popular star of the films in those days – Master Vithal, into his stable. That time Vithal was with Sharada Film Company. He was unhappy there, because despite every film being a hit, his salary was never increased in spite of his request. To get Master Vithal with whatever means, Irani floated Sagar Movietone in 1929, so that his name was not involved in luring another company’s artistes. After an interesting episode of action in the High Court, Master Vithal joined Imperial through Sagar Movietone.

Once he got master Vithal, Irani lost interest in Sagar Movietone and he sold it to Dr. Ambalal Patel and Chimanlal Desai – his distributors from Bangalore to whom he owed money. After Irani separated, the company was wholly owned by Desai and Patel. Later Patel too left and Chimanlal became the sole owner of Sagar Movietone.

In those days, Sagar had a good collection of actors, actresses, directors and MDs on its payroll. Sagar went on to make several Hit films from 1931 onward. In 1934, Motilal joined the company and in 1935, the singing actor Surendra came. Sagar was on a victory roll and it became one of the major film making companies in India. In the form of Surendra, Sagar got an actor/singer, who would compete with KL Saigal of New Theaters, Calcutta as the “Bombay’s answer to Saigal” !

Surendra, however, was an educated (BA, LLB), intelligent person and he understood that Saigal was in a different league altogether. Instead of copying his style, Surendra cultivated his own identity. Sagar, however, ensured that the competition between the two got the desired reckoning and this showed in their pattern of films. As against ‘Devdas’ (1935), Sagar released ‘Manmohan’ (1936)’. After ‘President’ (1937) came ‘Jagirdar’ (1937) and after ‘Street Singer’ (1938) Sagar released ‘Gramophone Singer’ (1938). Nevertheless all these films became successful.

In the Hindi film industry, we read frequently about famous stars, actors/actresses of the early era who ended their last days in penury, illness, loneliness and misery. Many had to beg on roads for a living. Some of these cases are tear jerking too. However, even in those days there were some wise artistes who planned their afterlife thoughtfully and retired gracefully spending the rest of their life happily. Some names like SD Batish, Laxmi Shankar, Ranjan, Shashi Kapoor Sr., Mukund Roy Trivedi-MD, Durga Khote etc. come to mind in this connection. Actor Surendra too falls in this category. Before he retired from films, he established an advertising firm and made short films (Durga Khote also did the same). His sons expanded the business successfully.

‘Gramophone Singer’ was the debut film for both the directors, who bloomed in their careers later. Actress Prabha started with Sagar from this film onward. Kanhaiyalal became a regular actor with this film – instead of a Lyricist. Zohrabai Ambalawali sang her first song under the baton of Music Director Anil Biswas, in this film.

Surendra and Bibbo acted together in 6 films of Sagar Movietone. Their first film was ‘Manmohan’ (1936), in which their duet song “Tumhin Ne Mujh Ko Prem Sikhaaya” became a Hit in those days. Then came ‘Jagirdar’ in 1937 and ‘Dynamite’ in 1938. Like Motilal and Sabita Devi (* films), this pair too proved to be a ‘Hit Jodi‘. However, at the time of planning for the film ‘Gramophone Singer’, Surendra and Bibbo had some dispute and they were not on speaking terms. They even avoided each other. This problem was tactfully solved by director Ramchandra Thakur, who diplomatically lied to both separately that the other one was keen to work with her/him. Like true professionals both agreed and the film got through. Not only this, but they even worked in another 2 more films also !

The film is a story of a love triangle and Prabha did the role of Surendra’s wife in this film. Prabha is not known to most people. Let us know more about Prabha.

Prabha Rajpal was from a respectable Hindu family of Punjab. She was born on 6-6-1915 at Ludhiana. Her father was a high ranking government officer based at Lahore. All her education was done in Lahore. She was fluent in Urdu, Hindi, Punjabi and English.

Right from childhood, she was keen on working in films. Belonging to an orthodox family, there was opposition, but despite all this she entered films and her first film was ‘Jung Bahadur’ (aka ‘Dare Devil’) in 1935. After doing some films like ‘Dilawar’ (1936), ‘Awakening’ (1936), she left the Bhavnani camp and worked in Minerva’s film ‘Atma Tarang’ (1937) as the heroine opposite Sohrab Modi. She was very beautiful. Then she joined Sagar and worked in films like ‘Gramophone Singer’ (1938), ‘Ladies Only’ (1939), ‘Civil Marriage’ (1940). Later she became a freelancer.

In all she worked in 36 films in her career. She got married to Virender Ahuja, a cinematographer, and settled down after the film ‘Veerangana’ (1947). When her husband was one of the producers, she worked in the film ‘Shrimati ji’ (1952) and then retired from films. She died on 12-3-1975.

‘Gramophone Singer’ was a reasonably successful movie. Its lyricist was Zia Sarhadi. It had 15 songs, but only 4 Records having 8 songs came into the market.

The story of the film is….

Sundardas (Surendra) was a successful gramophone singer and lived in a town near Bombay. He was happily married to Mohini (Prabha) and had a baby boy also.The family was a picture of happiness, but….

Tilottama (Ishrat Sultana or Bibbo) was a famous singer of international reputation. She conducted foreign tours also. She lived in a luxurious flat in Bombay. She had heard the songs of Sunder and loved his voice. She was waiting to meet him.

Sunder had to visit Bombay often for song recordings etc. He was very friendly with Ghosh Babu (Bhudo Advani), owner of a Gramophone company. Rana ji (Kayam Ali) was a regular customer of Ghosh Babu. Once in a party given by Ghosh, Rana ji introduces Sunder to Tilottama. In the first meeting itself she fell in Sunder’s love. He too was impressed with her. Slowly their meetings increased and soon they were in deep love, Sunder forgetting about wife and child. Once they decide to go to Rampur – a resort. Here poor Mohini waits for Sunder for many days. The child falls ill too. Finally, Mohini decides to visit Bombay. There she learns everything about Sunder’s affair. She meets Madan (Sankatha Prasad), a singing partner of Tilottama, and a silent deep lover of hers too. They go to Rampur, but the pair is missing.

In the climax scene, Tilottama and Sunder are about to get married, when Mohini, her sick child and Madan reach the spot. Seeing his wife and ailing child, Sunder realizes his folly and returns to Mohini. Madan wins over Tilottama and the end is at Tilottama’s wedding party thrown by Ghosh Babu.

Today’s song is sung by Surendra and Bibbo.


Song- Main tere gale ki maala (The Gramophone Singer)(1938) Singers- Surendra, Bibbo, Lyricist- Zia Sarhadi, MD- Anil Biswas
Both

Lyrics

main tere gale ki maala
main tere gale ki maala
main tere gale ki maala
main tere gale ki maala
main tere gale ki maala
main tere gale ki maala
tu saagar main sarita
tu saagar main sarita
tu kavi main kavita
tu saagar main sarita
tu kavi main kavita

tu meri nazar ki jwaala
tu meri najar ki jwaala
main tere gale ki maala
tu meri najar ki jwaala
main tere gale ki maala
main tere gale ki maala
main tere gale ki maala

main tere gale ki mala
main tere gale ki mala

deepak bankar aag jala de
deepak bankar aag jala de
aag laga de aag laga de
aag laga de aag laga de
deepak ban sansaar jala de
deepak ban sansaar jala de
hans ab hans chal prem sikha de
hans ab hans chal prem sikha de
prem sikha de gwaala
tu prem sikha le gwaala
main tere gale ki maala
main tere gale ki maala

main tere gale ki maala
main tere gale ki maala
main tere gale ki maala
main tere gale ki maala

————————————————
Hindi script lyrics (Provided by Sudhir Kapur)
————————————————

मैं तेरे गले की माला
मैं तेरे गले की माला
मैं तेरे गले की माला
मैं तेरे गले की माला
मैं तेरे गले की माला
मैं तेरे गले की माला

तू सागर मैं सरिता
तू सागर मैं सरिता
तू कवि मैं कविता
तू सागर मैं सरिता
तू कवि मैं कविता
तू मेरी नज़र की ज्वाला
तू मेरी नज़र की ज्वाला
मैं तेरे गले की माला
तू मेरी नज़र की ज्वाला
मैं तेरे गले की माला
मैं तेरे गले की माला
मैं तेरे गले की माला
मैं तेरे गले की माला
मैं तेरे गले की माला

दीपक बनकर आग जला दे
दीपक बनकर आग जला दे
आग लगा दे आग लगा दे
आग लगा दे आग लगा दे
दीपक बन संसार जला दे
दीपक बन संसार जला दे
हंस अब हंस चल प्रेम सिखा दे
हंस अब हंस चल प्रेम सिखा दे
प्रेम सिखा दे ग्वाला
तू प्रेम सिखा दे ग्वाला

मैं तेरे गले की माला
मैं तेरे गले की माला
मैं तेरे गले की माला
मैं तेरे गले की माला
मैं तेरे गले की माला
मैं तेरे गले की माला


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 :

4802 Post No. : 16568

Today’s song is from the film Ladli-1949. This was one of the popular films of MD Anil Biswas in those times. He was still in his prime, but on the downward curve past his prime. By mid 50’s, films came at a snail’s pace to him and then in a few years he left Mumbai, shifted to New Delhi and his life took a 90 degree turn, personally and professionally.

Anil Biswas,the Bhishma Pitamaha of HFM, was a respected person in the industry.He started from the mid 30s and for the next 25 years or so,he created many everlasting gems in film songs. In Bombay, Playback was first started by him in the film Mahageet-1937. By the mid 50s his magic started waning and by 1960, he was almost gone from the industry. Initially he did 10-11 films with Sagar, then with Mehboob for National studios and then in Bombay talkies- where his name became immortal with the film Kismet-1943.

He married Ashalata in 1936. Along with her he started variety pictures and they produced films like Laadli-49,Laajawab-50 Badi bahu-51, Hamdard-53 and Bajuband-54. ( a less known fact is-Anil da had made a Guest appearance in the film Hamdard-53 as a barber.) He also acted in the film Mehman-53 (produced by Ashalata),as a Pujari and a song was shot on him.In both cases he did not get any payments. As a Producer he lost heavily, because Ashalata usurped all the money. Frustrated, he gave up everything and separated from her in 1954. By now, sweet links were established with singer Meena Kapoor-25 years younger to him, since 1948 itself. They got married with each other on 19-3-1957. The death of Brother in law and close friend Pannalal Ghosh in 1960 and younger brother Sunil in 1961 as well as his eldest son- Pradeep,broke his heart. He left Bombay and joined A.I.R. at Delhi on 1-3-1963,where he worked upto 27-6-1975. Later he was a consultant for Nehru University for a few years.

However,hardly anything is known about his eldest son Pradeep,anywhere. Here is some information,hitherto not known much,brought specially for our readers.
Pradeep was a very bright student and always topped in school and college. He passed his entrance exam and the interview,with flying colours for entry to NDA college at Poona,to join armed forces. He excelled even in NDA training.Not only was he very popular there but sang well too. He participated in the music Festival of Khadakwasla NDA and sang 3 songs,winning all prizes. He was also a NDA Topper.

Shri Gopinath Talwalkar,an A.I.R. Programmer at Delhi,used to interview the Toppers of NDA every year. That year Pradeep was the Topper, so he was interviewed. Though the interview was in Hindi, after the recording,Pradeep asked Talwalkar,in pure Marathi,whether his interview had been good. Talwalkar was shocked. Pradeep then explained that he was Anil Biswas’s son and he had learnt Marathi from his actress mother Ashalata. Pradeep knew Hindi,Marathi,English and Gujarati languages.

After completing his NDA training,he was posted as Flight cadet at Jodhpur. He was further promoted and became Pilot Officer in 1957. During one Training flight some altitude problems occurred and his plane crashed at Begumpet Airport, Hyderabad, killing Pradeep instantly. This happened in 1961.

This was also the time of crisis for Anil da. He was struggling to survive. Films were not coming to him. Since he married Meena Kapoor, Lata Mangeshkar-a fast close friend of Ashalata , had gone against him and Meena’s singing career was suppressed. He had already lost Pannalal Ghosh and Sunil-his brother and now Pradeep’s death devastated him and he was literally forced to seek employment with Delhi A.I.R., when the opportunity came. After retirement, till his death on 31-5-2003, he spent his life in total anonymity and recluse. So sad for a composer, who was once a fountain of enthusiasm and who was considered Mentor by leading contemporary composers like C.Ramchandra.

By 1949, the Indian film industry had reasonably stabilised having gone through the rigours of the war period and total shake up of the industry due to the Partition blues. 1949 was the best year in the Golden Era of HFM. There were so many films offering evergreen, out of this world songs, that the audience did not know which film to see and which song to hear. The sale of records registered a Record of Sales in 1949. 157 films were made in 1949. Barring the figure of 181 films in 1947 ( we know the reasons), 1949 produced the maximum films from 1931 to 1984 – a period of 50++ years. What’s more, almost every alternate film gave superb songs. Nearly every Music Director of Hindi films was present in 1949, with his film.

This was also a transition period, when older composers were giving way to newer ones. Additionally, the competition between Naushad and C Ramchandra for the Number One position was at its peak. Though CR is my favourite composer, during the period 47 to 49, it was all the way Naushad who was the undisputed Numero Uno as far as quality and number of hit films were concerned.

In this period Naushad’s strike rate of Hit films was more than double, compared to C R, percentage wise. Naushad had 8 Hits from his 9 films in the period 1947 to 1949. For the same period, CR had only 4 Hits in his 18 films.

The year 1949 had absolutely heavenly showers of Musical Films. Some of such films were Andaz, Badi Behan, Barsaat, Bazaar, Dulari, Jeet, Apna Desh, Chandni Raat, Chaar Din, Sunehre Din, Shayar, Dillagi, Ek thi ladki, Kaneez, Laadli, Lahore, Mahal, Namoona, Patanga etc etc. The year 1949 also witnessed the introduction of A and U Censor certificates, the establishment of Films Division, the start of Navketan productions of Anand brothers and a few other landmarks in Hindi film industry.

Today’s song is an excellent song but rarely heard and not so popular for reasons difficult to fathom. It’s singer was Shiv Dayal aka S.D. Batish. I have a lot of respect for S D Batish,who did a marvellous job of promoting Indian Music in the UK and USA. He is one of those rare people who left the film world, but continued serving the Music,by turning a corner in Life. Such people are few in this world. The monumental work he did for Indian Music in foreign lands is unparalleled. An important point is that he did not do this service to Music for his personal gains. For his sustenance,he had opened a Restaurant in Santa Cruz,California,which was providing him enough for a comfortable living in the USA.

Born December 14, 1914, in Patiala, India, Shiv Dayal Batish abandoned a career in the nascent telephone industry to study devotional song, folk drama, and Indian classical music under his guru Hakim Chandan Ram Charan. In 1934, he relocated to Bombay to try his hand at acting, but roles proved scarce and he returned to Patiala two years later, renewing his focus on music. By 1936 Batish was regularly appearing on All India Radio and recording his first sessions for His Master’s Voice. The film industry nevertheless retained its allure for him, and in 1939 he returned to Bombay, working for a spell under broadcasting legend Z.A. Bokhari. After earning his first film work as an assistant musical director in 1942, Batish later graduated to full-fledged Bollywood musical director, in the years to follow working with playback singer greats including Asha Bhosle, Lata Mangeshkar, and Mohammed Rafi.

Batish also moonlighted as a playback singer in 70 films, singing 115 songs, among them 1944’s Daasi and 1948’s Barsaat ki Raat, before relocating to Britain in 1964. After accepting a position with the BBC Immigration Unit, Batish became a regular in British radio and television, most notably composing “Nai Zindagi Naya Jivan,” the theme song to the Beeb’s classic South Asian series Apna Hi Ghar Samajhiye (“Make Yourself at Home”). He also returned to his roots as a live musician, performing Indian folk and classical music on the vichitra veena, a long-necked fretless flute. In 1965 Batish was summoned by percussionist Keshav Sathe to record the Indian-inspired incidental music for the Beatles’ second feature film, Help! — the experience also proved the beginning of his lifelong friendship with Beatle George Harrison, who later hired Batish to teach his then-wife Patti Boyd the stringed dilruba.

In 1969 Batish assembled wife Shanta Devi, daughter Vijay Laxmi and sons Ashwin Kumar and Ravi Kumar to record North Indian Folk and Classical Music, which for decades remained the lone Indian release to appear on the seminal folk label Topic Records. A year later, the family emigrated to the U.S., settling in northern California and founding a restaurant, the Santa Cruz-based Krishna Café. Although the restaurant business remained Batish’s primary focus for the remainder of his life, he continued playing live and also cut the occasional LP, most notably 1980s Raga Todi, 1985’s Om Shanti Meditation on Dilruba and 1997’s The 72 Carnatic Melakhartas.

He founded “Batish Institute of Music and Fine arts” in California and wrote about 12 books on Indian Classical music,like Ragopaedia,Raga Channels,Rasik Raga lakshan Manjiri etc. He had also founded Batish Recording Co.

He died at age 91 on July 29, 2006.

His singing on AIR drew the attention of an older cousin, Pandit Amarnath, who was an accomplished musician in the Punjabi film industry in Lahore. Amarnath gave Batish the opportunity to sing a song – Pagdi Sambhal Jatta – he had composed for the film Gawandi (1942). The song became a hit, making Batish popular. But, all told, the experience was bittersweet. Ashwin says his father did not relish acting in the movie: the frequent takes, the blinding light from mirrors used as reflectors unnerved him.

As Amarnath’s assistant, Batish learned various aspects of music direction: rehearsing with singers, synchronising instruments and working with an orchestra. These learnings opened yet another opportunity for him. He was invited to Bombay by the Marathi writer and film impresario Keshav Prahlad Atre (Acharya Atre) to compose music for the film Paayaachi Daasi. But, in the end, credit was given to Annasaheb Mainkar.

After the Partition in 1947, the year Amarnath died, Batish moved back to Bombay, this time not to try his luck as an actor, but as a singer and composer. Several prominent music directors of the day employed him for their movies – Anil Biswas for Laadli, Husnlal-Bhagatram for Sawan Bhado, Hamari Manzil, and Surajmukhi; Ghulam Mohammad for Kundan; Roshan for Barsat ki Raat and Taksal; and Madan Mohan for Ada and Railway Platform. Some of his more notable songs were sung with Geeta Dutt in films he provided music himself, such as Betaab and Bahu Beti. He was associated with films in Hindi and gave music to 20 films, composing 154 songs, as S.D.Batish,Master Ramesh and Nirmal Kumar. Some of his songs were famous.

Batish, whose musical oeuvre has been described as an “amalgam of classical music and Punjabi folk and popular styles” composed for 20 films, including Har Jeet, Tipu Sultan and Toofan. For two films, he composed under the name Nirmal Kumar – a moniker that Lata Mangeshkar had given him for luck, according to Ashwin.

By this time, Batish had grown disenchanted with the Hindi film world. Ashwin recalls that his father needed a steady income to sustain his young family, but payments were erratic and delayed. Irked by this, Batish worked for a while to set up an artistes’ union to give them a platform to air their grievances and demands. Then the family decided to go to England.

Shanta Devi, like Batish early in his career, had been an artist with the All India Radio at one time. To raise money for the air tickets, the family sold its land in Bombay’s Santa Cruz neighbourhood – now worth a fortune, Ashwin says. Its new home was on Birchington Road, a residential area in London’s West Hampstead.

The move to the US, as with the one to England, was a family decision. Shanta Devi’s initiative led to the Batish India House (at first called the Sri Krishna Café), a restaurant on Santa Cruz’s Mission Street that served Indian food while music was played by members of the Batish family. “I would serve food and then jump on stage to play music,” remembered Ashwin, who like his father plays several instruments, including the sitar and tabla.

The restaurant was featured often in the local paper, The Santa Cruz Sentinel, and ran till 1985, before music became the all-absorbing act, and SD Batish embarked on the “project of a lifetime”. His wish to collate, annotate, and set in writing every known detail of the Hindustani (the Ragopedia compendia) and Carnatic musical systems coincided with Ashwin’s discovery of Gopher, an early internet protocol that enabled files to be recorded, uploaded and distributed easily. It was a project envisioned after their visits to the library of the University of Berkeley yielded barely a few books on Indian music, and mostly on the Carnatic tradition. What was an inspiration for Batish to explain every raga became a boon not merely for music aficionados but also for his students who were familiar only with English.

He regularly performed with his children, Ashwin and daughter Meena, and lived long enough to see his grandchildren, Keshav and Mohini, grow into musicians. ( Thanks to obituary and bio byJason Ankeny and an article by Anu kumar in scroll.in dated 24-6-2021, along with muVyz, HFGK, Wiki and my notes. All excerpts are adapted ).

Today’s song is the 8th song from this film to be posted here. I like this song very much, I hope you too will like it.


Song- Kisi rangeen duniya mein na kya kya zindagi dekhi (Laadli)(1949) singer-S D Batish, Lyrics-Chandrashekhar Pandey, MD-Anil Biswas

Lyrics

kisi rangeen duniya mein
na kya kya zindagi dekhi
rulaa de gham ko bhi ek baar
aisi zindagi dekhi
kisi rangeen duniya mein
na roti pet ko
kapde na tan ko
ghar na rahne ko
na roti pet ko
kapde na tan ko
ghar na rahne ko
magar kehlaate hain insaan
aisi zindagi dekhi
rulaa de gham ko bhi ek baar

luti duniya kisi ki
ee ee ee ee ee ee
luti duniya kisi ki
par wo sotey bhool kar rona
kafan laaun kahaan se haaaaye
kafan laaun kahaan se haaye
aisi zindagi dekhi
rulaa de gham ko bhi ek baar

umar baali phati dhoti
idhar kheenche udhar kheenche
umar baali phati dhoti
idhar kheenche udhar kheenche
jawaani bhookh donon se
sataayi zindagi dekhi
rulaa de gham ko bhi ek baar

Tadapte bhookh se bachche
padi beemaar hai beevi
Tadapte bhookh se bachche
padi beemaar hai beevi
padi beemaar hai beevi
na kuchh paayaa aa aa
na kuchh paaya
to rassi se
lalakti zindagi dekhi
kisi rangeen duniya mein


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 :

4730 Post No. : 16449 Movie Count :

4466

In the early era of Talkie films, few film studios were famous and well established. Most of these were into making Silent films also. Studios like Prabhat, Imperial, Maadan, Sagar, Bharat, Ranjit, Krishna Tone, Saroj, Saraswati, Kamala Movietone and Ploayart Phototone (of Kardar) from Lahore were active in making Talkie films in the first few years. Studios like Elephanta Movietone- Punjab, Oriental pictures-Lahore, Sharda Movietone-Bombay, Eastern Films Ltd.- Hyderabad, Pioneer Films- Calcutta Ajanta Cinetone (Bhavnani) etc. jumped into the fray 2-3 years later and made Talkie films.

Over a period, studios having a strong and solid financial base and own studios sustained for longer periods and the smaller, occasional filmmakers disappeared. As the time went by, some more powerful and healthy film studios like Minerva(Sohrab Modi) and Bombay Talkies (Himanshu Rai and Devika Rani)entered the filmmaking and gave memorable quality films. After few years, ambitious and capable young people working in these studios separated and established their own studios like Mehboob Studios, Kardar Studios, Raj kamal Kala Mandir etc.

This went on expanding till the studio system crumbled in or around late 40’s and 50’s and Freelancing started. This escalated the cost of making films. Films which were made in 40-50 thousands in early 40’s, went up in Lakhs by late 50’s and then on in crores. Now a popular and successful Hero takes his fees in Crores. The cost of higher class cinema theatres’ tickets rose from 1 rupee to 400 rupees for reclining seats and a Blanket if you want to sleep there ! Only one thing remains same from early cinema theatres to today’s luxurious Multiplex theatres and that is BED BUGS !! They are still available free with every ticket !!!

Today’s song is from film Kokila-1937, made by Sagar Movietone. It will not be an exaggeration to say that the First Decade of Talkie films, i.e. 1931 to 1940 belonged to Sagar Movietone. They made 51 Hindi films in this period and many of these films became Hits and Popular . Films like –

1932 Zarina, Maya Bazar and Meerabai
1933 Mahabharat and Premi Paagal
1934 Grihalaxmi and Shehar ka Jaadu
1935 Dr. Madhurika, Al Hilaal, Vengeance is mine
1936 Man Mohan, Do Deewane and Village Girl
1937 Jagirdar, Kokila and Mahageet( playback started in Bombay from this film)
1938 Dynamite, Gramophone Singer, Hum Tum aur Woh ( first film with 3 Heroes) and 300 days and after
1939 Ek hi Rasta, Ladies Only and Service Ltd.
1940 Alibaba, Civil Marriage and Kumkum

These films were Hits or Popular.

Sagar also gave opportunities to youngsters to become big names later in life. Some examples are-

Actors Motilal, Surendra, Sheikh Mukhtar, Yaqub, Kumar, Sankata Prasad
Director Mehboob, Sarvottam Badami,Ramchandra Thakur, C M Luhar, Nanubhai Vakil, Ezra Mir and Kanjibhai Rathod (First Dalit director to get a chance)
MDs Anil Biswas, Pransukh Nayak, S P Rane, Anupam Ghatak
Actresses Bibbo, Sabita Devi, Maya Banerjee, Sitara Devi and Shobhana Samarth ( after her first film ‘ Nigahe Nafrat’-1935, she got a boost with 2 films here)

Surendra and Motilal were initiated in films by Sagar. The pair of Motilal and Sabita Devi was so popular that they paired in 8 successful films. It was also in Sagar that Mehboob, Anil Biswas and Faredoon Irani became thick friends.( it is another matter that AB and Mehboob split in 1940, never to come together again). They made 6 films together in Sagar.
Thus the contribution of Sagar Movietone in giving successful stars in all fields was ,if not better, but at least equal to Prabhat, Ranjit, Bombay Talkies and New Theatres.

Film Kokila -37 was directed by Sarvottam Badami and the music was by Anil Biswas. The cast included the popular pair of Motilal and Sabita Devi as well as Shobhana Samarth, Siddiqui, Maya Banerji, Sitara, Sankata prasad etc. This film was based on the popular noel of the same name, by R.V.Desai (20-5-1892 to 20-9-19540 a leading Gujarati novelist. Another film on his other novel Purnima was made by Prakash Pictures in 1938. The dialogues and songs were written by Siddiqui – who had also acted in this film. He was earlier in New Theatres having acted in films like Pooran Bhagat-32, Rajrani Meera-33 and Chandidas-34. The screenplay was by R.R. Gharekhan, who later changed his name to ‘ Gautam’. As per review of Baburao Patel in his magazine Film India, the film was not very good. however it did good business.

Today’s song is sung by Dattaram kadam- a name I heard first and last time here. Even in Marathi films, he is not mentioned anywhere. The song is good and the singer seems to be an expert. Maybe he was an actor singer on Marathi stage dramas. Anil Biswas was typically very fond of Chorus songs. Almost all of his films will have 1 or 2 Chorus songs. In this film also there are 2 Chorus songs. This film was released on 30-10-1937 in Roxy theatre, Bombay. With this song film Kokila-1937 makes its Debut on this Blog.

( information from the book ” Sagar Movietone” by Biren Kothari ji, ” तीन भिंतींची दुनिया ” by Bhai Bhagat, HFGK and my notes is used for this write up, with thanks.)


Song-Auron ka jag kya hai saadhu apni duniya paida kar (Kokila)(1937) Singer- Dattaram Kadam, Lyricist- Siddiqi, MD- Anil Biswas

Lyrics

Auron ka jag kya hai saadhu
apni duniya paida kar
Auron ka jag kya hai saadhu
apni duniya paida kar
aashaaon ki naao mein baithh ke
aashaaon ki naao mein baithh ke
naya kinaara paida kar
aashaaon ki naao mein baithh ke
naya kinaara paida kar
Auron ka jag kya hai saadhu
apni duniya paida kar
Auron ka jag kya hai saadhu
apni duniya paida kar

jeewan apna apne saare
jeewan apna apne saare
apna ho ??
jeewan apna apne saare
apna ho ??
apna mandir apna devta
apni pooja paida kar
apna mandir apna devta
apni pooja paida kar
Auron ka jag kya hai saadhu
apni duniya paida kar
Auron ka jag kya hai saadhu
apni duniya paida kar
aashaaon ki naao mein baithh ke
aashaaon ki naao mein baithh ke
naya kinaara paida kar
aashaaon ki naao mein baithh ke
naya kinaara paida kar
Auron ka jag kya hai saadhu
apni duniya paida kar
Auron ka jag kya hai saadhu
apni duniya paida kar


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 :

4725 Post No. : 16437

Today’s song is from the film Do Raaha-1952, about which not much is known- except whatever is given in the HFGK.The film was made under the banner of ‘Progressive Pictures,Bombay’. It was directed by Bal Chhabra and was produced by his elder brother Sujit Chhabra under their own banner. The cast of the film was Nalini Jayawant, Shekhar, K N Singh, Agha, Dewan Sharara, Jagdish Sethi and many more. The 8 songs of this film were written by Prem Dhawan-6 songs and one each by Sahir Ludhianvi and Josh Malihabadi. It seems, there was one more song ” Sab paise ki hai maya” sung by Shankar Dasgupta, S D Batish and Prem Dhawan. The song was also recorded but not included in the film. The music was by Anil Biswas.

Like the film title ‘Do Raaha’, Anil Biswas was also almost at a Do Raaha point in his life. He was a disturbed person. His relations with wife Ashalata were worsening by the day. At the same time his closeness to Meena Kapoor was increasing. Out of his total 90 films in his career, 60 films were over and he was looking at the last 1/3 part of his career with a pessimistic view. After this film, he gave music to 29 more films, but his old magic seemed to be deserted him on the way somewhere. Only the films Fareb-53, Pardesi-57, Char dil char rahen-59 and Sautela Bhai-62 had songs having his faint old stamp.

Anil Biswas, the Bhishma Pitamaha of HFM, was a respected person in the industry. He started from the mid 30s and for the next 25 years or so, he created many everlasting gems in film songs. In Bombay,the Playback system was first started by him in the film Mahageet-1937. By the mid 50s his magic started waning and by 1960, he was almost gone from the industry.

Initially he did 10-11 films with Sagar, then with Mehboob for National studios and then in Bombay talkies- where his name became immortal with the film Kismet-1943.

He married Ashalata in 1936. Along with her he started variety pictures and they produced films like Laadli-49,Laajawab-50;Badi bahu-51,Hamdard-53 and Bajuband-54. ( a less known fact is-Anil da had made a Guest appearance in film Hamdard-53 as a barber. He also acted in the film Mehman-53 (produced by Ashalata),as a Pujari and a song was shot on him.In both cases he did not get any payments. As a Producer he lost heavily, because Ashalata usurped all the money. Frustrated, he gave up everything and separated from her in 1954.

To sustain life, he bought a Truck and did a business of transportation. In addition he also took the contract for a canteen in Mehboob Studios. He failed in both ventures. By now, his relations with Ashalata were soured and sweet links were established with singer Meena Kapoor-25 years younger to him, since 1948 itself. They got married with each other on 19-3-1957. The death of Brother in law and close friend Pannalal Ghosh in 1960 and younger brother Sunil in 1961 as well as his eldest son, broke his heart. He left Bombay and joined A.I.R. at Delhi on 1-3-1963, where he worked upto 27-6-1975. Later he was a consultant for Nehru University for a few years.

Like many filmi couples, Anil da’s married life was also a failure. In Bombay,he used to stay in a huge bungalow,called ” Asha-Pradeep “, on Vincent Road. From Ashalata,he got 3 sons-Pradeep, Amit and Utpal and 1 daughter-Shikha. His son Utpal formed a pair as Amar-Utpal and gave music to few films. The other son Amit established the First Digital Recording Studio in Bombay. Daughter Shikha too got married and settled.

However, hardly anything is known about his eldest son Pradeep, anywhere. Here is some information, hitherto not known much, brought specially for our readers.

Pradeep was a very bright student and always topped in school and college. He passed his entrance exam and the interview, with flying colours for entry to NDA college at Poona, to join armed forces. He excelled even in NDA training. Not only was he very popular there but sang well too. He participated in the music Festival of Khadakwasla NDA and sang 3 songs, winning all prizes. He was also an NDA Topper.

Shri Gopinath Talwalkar, an A.I.R. Programmer at Delhi, used to interview the Toppers of NDA every year. That year Pradeep was the Topper, so he was interviewed. Though the interview was in Hindi, after the recording, Pradeep asked Talwalkar, in pure Marathi, whether his interview had been good. Talwalkar was shocked. Pradeep then explained that he was Anil Biswas’s son and he had learnt Marathi from his actress mother Ashalata. Pradeep knew Hindi, Marathi, English and Gujarati languages.

After completing his NDA training, he was posted as Flight cadet at Jodhpur. He was further promoted and became Pilot Officer in 1957. During one Training flight some altitude problems occurred and his plane crashed at Begumpet Airport, Hyderabad, killing Pradeep instantly. This happened in 1961.

This was also the time of crisis for Anil da. He was struggling to survive. Films were not coming to him. Since he married Meena Kapoor, Lata Mangeshkar-a fast close friend of Ashalata , had gone against him and Meena’s singing career was suppressed. He had already lost Pannalal Ghosh and Sunil-his brother, and now Pradeep’s death devastated him and he was literally forced to seek employment with Delhi A.I.R., when the opportunity came. After retirement, till his death on 31-5-2003, he spent his life in total anonymity as a recluse. So sad for a composer, who was once a fountain of enthusiasm and who was considered Mentor by leading contemporary composers like C.Ramchandra.

Here is an interesting incident about the film Girls School-1949, between C Ramchandra, Anil Biswas and Lata Mangeshkar. This film was produced by Kavi Pradeep under the banner of Lokmanya Productions, Bombay. This was a company floated by him and Amiya Chakrawarty-director of this film. To understand the complexities of Girls school, we must go back a little. In 1942, Anil Biswas was invited by Ranjit @ 1500 pm and by Bombay Talkies @ 2500 pm. As National studio was winding up, Anil Biswas wanted to make a change anyway, but due to the contract of national he could not join Bombay Talkies openly. He ,however , gave music to film Basant-42 and the name of his brother in Law, Pannalal Ghosh was used as its MD.

Finally when Anil Biswas joined Bombay Talkies, there were already 2 groups there. One was led by Devika Rani and Amiya Chakraborty and the other was led by S. Mukherjee along with Ashok kumar, Gyan Mukherjee, Pradeep etc- a total of 15 artistes. Anil Biswas was invited by Devika Rani and that too at 2500 pm, when Pradeep was getting 1500 pm. This irritated Pradeep no end and he started troubling and finding faults with Anil Biswas. However Anil Biswas gave excellent music to film Kismet and then everyone was happy as the film celebrated jubilees everywhere.

With this background, Anil Biswas joined Girls school as a MD, mainly due to Amiya who knew his calibre. Kavi Pradeep being a producer and a Lyricist started interfering with Anil Bswas’s work and criticising him at every opportunity. Anil Biswas was fed up. He had already recorded 3 songs and a solo by Lata , “tum hi kaho, mera man udas kyun na rahe” was to be recorded. Anil Biswas had taken C Ramchandra as his assistant for this film. Though C Ramchandra was already a popular and well known composer himself, still due to sheer respect for Anil Biswas, he had accepted to be his assistant here. When the tune for Lata’s solo was made, Pradeep passed caustic remarks about it being not so good. There was an altercation between Anil Biswas and Pradeep and Biswas quit then and there and went away.

Automatically, C Ramchandra had to take over as MD for the balance songs. Pradeep was very happy. Next day recording of Lata’s solo song took place under the supervision of C Ramchandra, as planned. Later when Lata came to know that Anil Biswas had left and C Ramchandra had replaced him,she was very angry and said that she would not have recorded the song had she known about AB’s exit. She objected to CR’s taking over and complained to the Artistes association too. (Remember, at that time Lata and CR’s relations had not formed yet, Lata was still with Husnlal.)

Later on in 1954, when O P Nayyar replaced Roshan for Mehbooba-54, Lata took up the issue with the MDs’ association. Anil Biswas was the chairman that time and OPN was boycotted. That time Lata quoted the film Girls school incident to prove that she is “highly Principled” !

Anyway, this was how C Ramchandra became the next MD of Girls school-49, with 4 duets of Shamshad and 1 solo for Lalita Deulkar. All the 4 duets of this pair are very interesting. However, with all this jhamelas, film Girls school-49 was a total Flop. Pradeep lost heavily and closed the production company forthwith, after just one film.

Today’s song is a very good song and I was surprised to see that it was not yet posted here. Actually, there may still be some more such Gems, waiting to be discovered. This song is sung by Anil Biswas, Meena Kapoor, Shankar Dasgupta and Shamshad. I liked this song. You too will like it.

(Information used in this article is from books Sagar Movietone, Journey down melody lane, Ritu aaye Ritu jaaye, my notes and Marathi book Anil Biswas, with thanks).


Song-Arre na jaane kya samjhen ye moonchhon waale moonchhon waale (Doraha)(1952) Singers- Shankar Das Gupta,Shamshad Begam, Meena Kapoor, Anil Biswas, Lyricist- Prem Dhavan, MD- Anil Biswas
Female chorus
Male chorus

Lyrics

ae jee bach ke chalna aa
paaon mein moch aa na jaaye
ae kamar naazuk kahin bal kha na jaaye

are na jaane kya samjhe ye
moonchho waale
moonchhon waale

khud ko shaane khuda samjhen ye
moonchhon waale
moonchhon waale

ye baanki tagdi moonchho waale
ye ulti seedhhi moonchho waale
ye bin moonchho ke moonchho waale
khud ko shaane khuda samjhen ye
moonchho waale
moonchho waale

degree lene aaye thhe
mister magar
pad gayi jaane kahaan
unki nazar

ishq ke college mein aise
kho gaye
ho o o
ho o o
B A hote hote Majnoo ho gaye
aur humko bhi Laila samjhe
ye moonchho waale
moonchho waale
aur humko bhi Laila samjhe
ye moonchho waale
moonchho waale

ye chhoti chhoti moonchhon waale
ye moti moti moonchhon waale
ye bin moonchhon ke moonchhon waale
khud ko shaane khuda samjhen ye
moonchho waale
moonchho waale

saara din to jootiyaan chatkaayen hum
aur tab kahin ye chaar paise paayen hum

aeji laaye saadi
laayen powder surkhiyaan aan
o o o o
o o o o
tum udaao aur kamaate jaayen hum
arre phir bhi naaz dikhaayen haay
zulfon waale
zulfon waale

o phir bhi naaz dikhaayen haay
zulfon waale
zulfon waale

hoy naagan ban das jaayen haay
zulfon waale
zulfon waale

ho naagan ban das jaayen
ho das jaayen
ho das jaayen
haay
naagan ban das jaayen haay
zulfon waale
zulfon waale

ek din mister zara
ghar bhi raho
aur aane jaane waalon se parda karo

maanjo bartan
jhaadoo do
paani bharo
o o o o
o o o
jis tarah marte hain hum
tum bhi maro
phir dekhen khud ko kya samjhen
ye moonchhon waale
moonchhon waale
phir dekhen khud ko kya samjhen
ye moonchhon waale
moonchhon waale

ye Hitler jaisi moonchhon waale
ye machchar jaisi moonchhon waale
ye bin moonchhon ke moonchhon waale
khud ko shaane khuda samjhen ye
moonchho waale
moonchho waale
humko na jaane kya samjhen
ye moonchhon waale
moonchhon waale


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 :

4687 Post No. : 16371 Movie Count :

4446

‘Nai Roshni’ (1941) was produced by Mehboob Khan under the banner of National Studios and was jointly directed by Chimankant Gandhi and Lalit Mehta. The star cast included Sardar Akhtar, Harish, Husn Bano, Amar, Kanhaiyalal, Sunalini Devi, Sankata Prasad, Budho Advani, Agha, Baby Meena etc.

The director-pair of Chimankant Gandhi and Lalit Mehta had also directed ‘Aasra’ (1941) and Lala Ji’ (1941) – both under the banner of National Studios. Those days, under studio system, it was not uncommon to have two directors for films. It is possible that the original directors assigned for the films were unable to continue their assignments due to a variety of reasons. But when the same pair of directors is repeated in more than one film, it can be safely assumed that the pair has jointly directed the film. For example, Bakul Bhatt and Babubhai Mistri jointly directed two films – ‘Muqabala’ (1942) and ‘Mauj’ (1943). V G Damle and Sheikh Fattelal jointly directed 3 films – ‘Gopal Krishna’ (1938), ‘Sant Dnyaneshwar’ (1940) and ‘Sant Tukaram’ (1948).

There were a few cases where only one film was jointly directed by the pair of directors but not as a substitute for the original director. For example, Zia Sarhadi and Mahendra Thakore jointly directed ‘Postman/Abhilasha’ (1938), Virendra Desai and Mahendra Thakore did for ‘Sadhana’ (1939) and S U Sanny and M Sadiq for ‘Namaste’ (1943).

On checking the details of some of the films produced under the banners of Sagar Movietone and National Studios, I found that Chimankant Gandhi and Lalit Mehta had worked as Assistant/Chief Assistant Director to Mehboob Khan in some films beside also involved in the other areas of film productions since the early years of Sagar Movietone after the advent of sound films These two names are also mentioned in the book, ‘Sagar Movietone’ by Biren Kothari.

Both Chimankant Gandhi and Lalit Mehta were in the inner circle of friends of Mehboob Khan from his Sagar Movietone days. Chimankant Gandhi had started with Mehboob Khan as his Assistant Director from ‘Deccan Queen’ (1936). He continued his association with Mehboob Khan in the same capacity until Mehboob Khan’s last film, ‘Son Of India’ (1962). I have noticed that in the credit titles of the films, the name of Chimankant Gandhi appeared first and that too in bold/capital letters among Mehboob Khan’s 3-4 assistant directors. This shows how important Chimankant was for Mehboob Khan. Lalit Mehta worked as Production Controller and in other capacity with Mehboob Khan during his days in Sagar Movietone and National Studios until he independently directed ‘Amaanat’ (1943) and ‘Azaadi Ki Raah Par’ (1948). I could not trace Lalit Mehta’s filmy career after 1948.

‘Nai Roshni’ (1942), brings another long-term association of Mehboob Khan with Agha Jani Kashmiri, the story, screen-play and dialogues writer. Lucknow-born Agha Jani Kashmiri (1908-1998) had a very interesting journey to his filmy career. At the age of 24, he ran away from his home to Rangoon to become the lead actor in ‘Shaan-E-Subhaan’ (1933) opposite Sultana. After working in a few films at Kolkata, Agha Jani Kashmiri came to Mumbai some time during the second half of 1930s and joined Bombay Talkies. Himanshu Rai, the boss of Bombay Talkies, after knowing his literary background encouraged him to pursue the career in story, screen-play and dialogue writing. He got the first assignment as a screen-play writer for ‘Vachan’ (1938) which was a box office success. He had a small role in Bombay Talkies next film, ‘Bhabhi’ (1938).

In 1940, Agha Jani Kashmiri joined Mehboob’s National Studios and wrote story, screen-play and dialogues for ‘Aasra’ (1941) and ‘Nai Roshni’ (1941). With the closure of National Studios in 1942, Mehboob Khan set up his own production house, Mehboob Productions. The first film produced under the new banner was ‘Najma’ (1943) for which Agha Jani wrote story, screen-play and dialogues. The film was a box office success. Thereafter, Mehboob Khan and Agha Jani Kashmiri combination tasted high box office success in ‘Taqdeer’ (1943), ‘Humayun’ (1945), ‘Anmol Ghadi’ (1946) and ‘Anokhi Ada’ (1948). Agha Jani Kashmiri’s last film with Mehboob Khan was ‘Amar’ (1954).

During his filmy career, Agha Jani Kashmiri wrote story/scree-play/dialogues for over 50 films most of which were box office hits. It was an irony of fate that ‘Tohfa’ (1948), the only film which he produced, directed and wrote story, screen play and dialogues, failed miserably at the box office. But this failure did not dent his stature as a screen-play and dialogue writer. He continued to be active in the film industry until about mid-1970s when he and his wife migrated to Canada to joined his two sons who have settled there. Agha Jani Kashmiri died on March 27, 1998 in Toronto.

‘Nai Roshni’ (1941) was released in Mumbai on November 8, 1941 and a review of the film was published in January 1942 issue of ‘Filmindia’. Based on the review, a summarized version of the story is given below:

Bihari (Amar) is a bank manager and Indira (Sardar Akhtar) is his fashionable wife. Mohan (Kanhaiyalal) is a clerk in the same bank whose financial condition is poor. He has a demanding wife in Vijaya (Sunalini Devi). His daughter, Geeta (Husn Bano) is of a marriageable age. Master ji (Sankata Prasad)’s family stay in the neighborhood of Mohan who has a grown-up son, Madan (Harish), a music teacher. Geeta has joined Madan’s music class and both love each other. But the marriage will have to wait until the financial condition of her father, Mohan improves.

Bihari has a reputation of having affairs with girls. One day, when his wife is away, he brings a girl to his house but is caught red handed by his wife. In order to bring her husband to the senses, Indira hatches a plan in which she pretends to have an affair with Madan by joining his music class. Madan is unaware that Indira is the wife of bank manager, Bihari. The ‘affair’ comes to the notice of Bihari and he is determined to end his wife’s affair with Madan. However, when he is made to believe that Madan has been staying in his house with Indira, Bihari hatches a counter plan which results into some hilarious situations. The only way, Bihari can end his wife’s ‘affair’ is to get Madan married to Geeta which he succeeds. At the end, parents of Geeta and Madan are happy and Indira is happy that her husband has realised not to have his extra-marital relationship.

The film had 11 songs, all written by Dr. Safdar Aah Sitapuri and set to music by Anil Biswas. None of the videos of the songs was available on any video sharing platform. So, I have uploaded a song, ‘wo poochhten hain ae dil tu kiska hai shaidaayi’ which I am presenting here. The song is rendered by Harish and Sardar Akhtar. The audio quality of the song is not up to the mark as the background music sounds as loud as the song rendition. The reviewer of the film had criticised the sound recording of the film.

A feature of this song is that it has a long prelude music (103 seconds).

With this song, ‘Nai Roshni’ (1941) makes its debut on the Blog.

Audio Clip:

Song-Wo poochhte hain ae dil tu kiska hai shaidaayi (Nai Roshni)(1941) Singers-Harish, Sardar Akhtar, Lyrics-Safdar Aah Sitapuri, MD-Anil Biswas
Both

Lyrics

wo poochhten hain ae dil
tu kiska hai shaidaayi
wo poochhten hain ae dil
tu kiska hai shaidaayi

chup hoon to jiyoon kaise
boloon to hai ruswaayi
chup hoon to jiyoon kaise
boloon to hai rusawaayi

wo poochhten hain ae dil
tu kiska hai shaidaayi
wo poochhate hain ae dil

kyun aag uthaata hai
tu phool ke dhokhe mein
kyun aag uthaata hai
tu phool ke dhokhe mein

leti hai ?? aankhon ko kinaaraa ??
let hai ?? aankhon ko ??
wo kam hai jo kar guzre
deewaana wo deewaana
wo kam hai jo kar guzre
deewaana wo deewaana

jab zabt karaana thha
phir kyun kiya saudaayi
jab zabt karaana thha
phir kyun kiya saudaayi

wo poochhaten hain ae dil
tu kiska hai shaidaayi
wo poochhaten hain ae dil
tu kiska hai shaidaa..yi


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

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