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

Posts Tagged ‘Anil Biswas


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

This post is 501st post by Sadanand Ji. Due to a tagging error, we all missed the event of 500th post by him (his previous post).

In the early part of the golden era of Hindi film music, there were many films which were box office disasters. These films got released but vanished from the theatres quickly. These films also got ‘erased’ from the memories of the film audience of that time except those who had interest in Hindi film history. Some of such obscure films had the treasures of melodious songs.

If I confine myself to the first half of 1950, I get quite a good numbers such obscure films having melodious songs. Some of such films were ‘Adaa’ (1951, Madan Mohan), ‘Malati Madhav’ (1951, Sudhir Phadke), ‘Ghunghroo’ (1952, C Ramchandra), ‘Nirmohi’ (1952, Madan Mohan), ‘Raag Rang’ (1952, Roshan), ‘Baaghi’ (1953, Madan Mohan), ‘Fareb’ (1953, Anil Biswas), ‘Jhaanjhar’ (1953, C Ramchandra), ‘Chor Baazar’ (1954, Sardar Malik), ‘Naaz’ (1954, Anil Biswas), ‘Rishta’ (1954, K Datta), ‘Garam Coat’ (1955, Amarnath Chawla), ‘Madhur Milan’ (1955, Bulo C Rani) etc. The list is not exhaustive.

These obscure films of early 1950s had the adverse impact on the careers of some of the music directors for no faults of theirs. The then upcoming music directors like Madan Mohan and Roshan had to struggle hard to establish themselves in the film industry. Like-wise, the already established music directors like Anil Biswas and Bulo C Rani had difficulties in retaining their positions in the film industry.

‘Maan’ (1954) was one such film which had very melodious songs from the baton of Anil Biswas. The film was directed by Dr Safdar Aah Sitapuri, a well-known lyricist, and screen play/dialogue writers of 1930s and 40s. This was his second and the last directorial venture, the first being ‘Bhook’ (1947). The star cast included Ajit, Chitra, Gajanan Jagirdar, Durga Khote, M Kumar, Achala Sachdev, Kamlesh Kumari, Yashodara Katju, Chandabai etc. The film belongs to the costume drama genre.

Dr.Safdar Aah Sitapuri was a Urdu laureate. He started his career in the Hindi film industry sometime in 1930s, probably with Mohan Pictures. He worked with Anil Biswas for the first time in ‘Comrades’ (1939) made under the banner of Sagar Movietone followed by ‘Alibaba’ (1940) and ‘Aurat’ (1940).

When Sagar Movietone was merged with General Films and renamed as National Studios in 1940, Dr Safdar Aah Sitapuri and Anil Biswas shifted to this banner. Under National Studio Banner, Dr Safdar Aah Sitapuri worked with Anil Biswas in films like ‘Aasra’ (1941), ‘Bahen’ (1941), ‘Nai Roshni’ (1941), ‘Roti’ (1942) etc. After Anil Biswas joined Bombay Talkies in 1942, he had to work with lyricists which were already in the pay roll with the banner. So he had no chance of working with Dr Safdar Sitapuri in Bombay Talkies but worked with lyricists Pt. Narendra Sharma and Kavi Pradeep among others.

After a gap of about 3 years, Dr. Safdar Aah Sitapuri got the opportunity to work with Anil Biswas for the film ‘Pehli Nazar’ (1945) in which he wrote, among other songs, “Dil Jaltaa Hai To Jalne De” and Mukesh sang from his heart to make the song an iconic one. Thereafter Dr.Safdar Aah Sitapuri had worked with Anil Biswas in films like ‘Laadli’ (1949), ‘Laajawaab’ (1950), ‘Badi Bahu’ (1951), ‘Naaz’ (1954) and ‘Maan’ (1954) which was his last film as the director and I guess, it was also his last film as a lyricist.

The information on the internet indicates that Dr Safdar Aah Sitapuri returned to his teaching profession sometime in the later 50s though it appears that he was involved with writing screen-play and dialogues for ‘Son Of India’ (1962). Post-retirement from the film industry, Dr, Safdar Aah Sitapuri wrote books like ‘Amir Khusro Bhaisiyat Hindi Shaayar’, ‘Rubiyaat-e-Zamzama’, ‘Tulsidas Aur Ramcharitmanas’. I came to know through internet a few years back that he was also a guide for students doing Ph.d in Urdu literature.

Coming back to Anil Biswas, I personally feel that after Lata Mangeshkar started singing for him from ‘Anokha Pyaar’ (1948) onwards, his song compositions attained a higher level of melody than what was earlier. For example, I find his song compositions in the film ‘Anokha Pyaar’ (1948) in which Lata Mangeshkar sang for him for the first time, superior to those in ‘Veena’ (1948) in which Lata Mangeshkar had no songs. Incidentally, stories of both these films revolved around love triangles.

I recall reading few years back that when Sardul Kwatra, the music director was asked as to how his compositions are so beautiful. His reply was that he got inspiration from the singers themselves to compose the beautiful songs. I think, Anil Biswas could compose some of the best soulful songs for Lata Mangeshkar because of her voice and the faster pick up of nuances of song compositions. This quality of her could inspire anyone to compose the songs for her better than their best.

Today, I am presenting one of the soulful songs ‘Guzraa Hua Ulfat Ka Zamaana Yaad Karke Royenge’ from the film ‘Maan’ (1954). The song is rendered by Lata Mangeshkar on the words of Dr. Safdar Aah Sitapuri.


Song – Guzra Hua Ulfat Ka Zamaana (Maan) (1954) Singer – Lata Mangeshkar, Lyrics – Safdar ‘Aah’ Sitapuri, MD – Anil Biswas

Lyrics

guzraa hua ulfat kaa zamaana
yaad karke royenge
yaad karke royenge
apni kahaani apna fasaana
yaad karke royenge
yaad karke royenge
guzraa huwa ulfat kaa zamaana
yaad karke royenge
yaad karke royenge

jab saawan ki mast ghataayen
dhoom machaati aayengi ee
jab saawan ki mast ghataayen
dhoom machaati aayengi  ee
jab koyal ki meethi taanen
kaanon mein bas jaayengi
ham ik bhoola hua taraana
yaad karke royenge
yaad karke royenge

kabhi kabhi jab tumko apne
dil kaa dard sunaate thhe
kabhi kabhi
kabhi kabhi jab tumko apne
dil kaa dard sunaate thhe
pyaar se dhaadas dekar saajan
hamko gale lagaate thhe
wahi pyaar se gale lagaana
yaad karke royenge
yaad karke royenge
guzraa hua ulfat kaa zamaana
yaad karke royenge
yaad karke royenge
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

गुज़रा हुआ उल्फ़त का ज़माना
याद करके रोएँगे
याद करके रोएँगे
अपनी कहानी अपना फसाना
याद करके रोएँगे
याद करके रोएँगे
गुज़रा हुआ उल्फ़त का ज़माना
याद करके रोएँगे
याद करके रोएँगे

जब सावन की मस्त घटाएँ
धूम मचाती आएंगी
जब सावन की मस्त घटाएँ
धूम मचाती आएंगी
जब कोयल की मीठी तानें
कानों में बस जाएंगी
हम इक भुला हुआ तराना
याद करके रोएँगे
याद करके रोएँगे

कभी कभी जब तुमको
अपने दिल का दर्द सुनाते थे
कभी कभी
कभी कभी जब तुमको
अपने दिल का दर्द सुनाते थे
प्यार से ढाढ़स दे कर साजन
हमको गले लगाते थे
वही प्यार से गले लगाना
याद करके रोएँगे
याद करके रोएँगे
गुज़रा हुआ उल्फ़त का ज़माना
याद करके रोएँगे
याद करके रोएँगे

 

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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

In the 1940s, Lala Jagat Narayan of Jagat Talkies Distribution was one of the biggest controller of the chains of theatres and film distributions network in Northern India having his office at Chandni Chowk in Delhi. He was regarded as an undisputed king of film distribution and exhibition. By virtue of his experience in film distribution and exhibition business, he was in a better position to assess the likes and dislikes of the film audience.

In 1948, Jagat Narayan decided to diversify into the film production business and set up a separate entity named Jagat Pictures. As a businessman, he was attempting for a vertical integration of film productions with his existing business of distribution and exhibition. As a student of economics, I would call his attempt as a backward linkage in that he would have some flexibility in supply chain for film distribution and exhibition.

Jagat Narayan had not done anything new. My understanding is that earlier, Imperial Film Company of Ardeshir Irani had done the same vertical integration albeit in a different way. In 1929, Ardeshir Irani set up Sagar Films (later known as Sagar Movietone) as a subsidiary of Imperial Film Company. In 1930, he roped in Chimanlal Desai and Ambalal Patel, as partners of Sagar Films. They were already the owners of Select Film Circuit in Bangalore which was the sole distributors for South India of the films from Imperial film Company. After sometime, Ardeshir Irani left Sagar Films and Desai and Patel became the sole proprietors of Sagar Films. With this, Desai and Patel had film productions and distributions under their command.

The vertical integration business model was later replicated by some prominent film distributors such as NN Sippy of Prithvi Pictures in 1960, Tarachand Barjatya of Rajshri Film Production in 1962, Gulshan Rai of Trimurti Films in 1970 etc. There are, however, pros and cons for the vertical integration of film business in terms of the risk-reward perception.

Coming back to the Jagat Pictures, ‘VEENA’ (1948) directed by JP Advani was its maiden offering. The star cast included Rehman, Sulochana Chatterji, Veera, Yakub, Hemavati, Leela Mishra, Girdhari etc. It was a social film with familiar story line of a love triangle. The gist of the story of the film based on a review published in December 1948 issue of ‘Sound’ magazine is as under:

Madan (Rehman), a poet, having lost his mother and father in the childhood has been brought up by his grand-mother (Leela Mishra). She gets worried about Madan who spends most of his time in idleness. After having lost in her efforts to make him work, the grand-mother decides to follow the traditional remedy, that is, to get him married. She chooses a girl, Veena (Veera) who is a doctor. Madan is not ready for the marriage. So he runs away from the home.

After days of traveling, Madan reaches a village where he falls in love with Ratna (Sulochana Chatterji), the village girl. He becomes the guest of Ratna’s brother Manglu (Yakub), a vagabond. In the village, Manglu loves Myna (Hemavati) but he is not aware that she also loves him. This leads to a situational comedy. At last, he takes the help of Madan to guide him to woo Myna. He succeeds.

In the meanwhile, Madan and Ratna’s love for each other results into the engagement. However, soon he gets the news that his grand-mother is on the death bed and he must visit her. At first, Madan was not ready but Ratna convinces him to visit so that he also gets blessings from his grand-mother for their impending marriage. So Madan visits her grand-mother. Just before her death, grand-mother places Veena’s hand with his hand and dies before Madan could reveal to her that he was already engaged to Ratna. Much against his wish, Madan gets married to Veena.

After the marriage, Madan tells Veena that she could get anything from him but not his love. But Veena was interested only of his love and nothing else. Madan deserts her and goes back to Ratna. But Veena takes it as a challenge to win over her husband. Veena gets an opportunity to prove her point. When Ratna gets seriously ill, it is Veena who is called upon to perform surgery on Ratna which result in saving her life. Madan has a change of heart and with Ratna’s advice, he goes back to his wife, Veena.

The film was reported to be a box office success. And why not? Being produced by a person who has been in the film distribution and exhibition business for long, his maiden film had all the ingredients of a box office formula – drama, romance, comedy, 12 songs, a couple of dances etc.

The film had 12 songs written by three songwriters, viz. Pt. Narendra Sharma (5), Swami Ramanand Saraswati (4) and Prem Dehlvi (3). All songs were set to music by Anil Biswas. 10 songs are available on YT of which 7 songs have been covered in the blog.

I am presenting one of the two rare songs which were not available on YT. The song is ‘Mera Mann Banphool Phoola Na Samaaye Re’ sung by Shamshad Begum. The words are written by Pt. Narendra Sharma.

An unusual feature of this song is that the musical interludes take place even during the singing of mukhda and antara parts in addition to the usual interludes. These musical interludes are as pleasant to the ears as the song. The long flute interlude during the first antara of the song may be the work of Pt. Pannalal Ghosh.

The musical orchestration gives me an impression of a dance song in a rural setting which means that it may have been picturised on Sulochana Chatterji.


Song – Mera Mann Banphool Phoola Na Samaaye Re (Veena) (1948) Singer – Shamshad Begum, Lyrics – Pt Narendra Sharma, MD – Anil Biswas

Lyrics

mera mann banphool
phoola na samaaye re
mera mann banphool
phoola na samaaye re
mera mann banphool

kabhi hanse kabhi gaaye
kabhi hanse kabhi gaaye
kabhi sharmaaye re
mera mann banphool
phoola na samaaye
mera mann banphool

naache ban bel sang
naache ban bel sang
aaj mere ang ang
naache ban bel sang
naache ban bel sang
aaj mere ang ang
kaun jo ragon mein meri
ras ban jaaye re
kaun jo ragon mein meri
ras ban jaaye re
mera mann banphool
phoola na samaaye re
mera mann banphool

saadh huyi meri poori
saadh huyi meri poori
door do dilon ki doori
saadh huyi meri poori
door do dilon ki doori
koi sapnon ke phool-doley mein jhulaaye re
koi sapnon ke phool-doley mein jhulaaye re
mera mann banphool
phoola na samaaye re
mera mann banphool 
———————————-
Hindi script lyrics (Provided by Sudhir)
———————————–

मेरा मन बनफूल
फूला ना समाये रे
मेरा मन बनफूल
फूला ना समाये रे
मेरा मन बनफूल

कभी हँसे कभी गाये
कभी हँसे कभी गाये
कभी शरमाये रे
मेरा मन बनफूल
फूला ना समाये रे
मेरा मन बनफूल

नाचे बन बेल संग
नाचे बन बेल संग
आज मेरे अंग अंग
नाचे बन बेल संग
नाचे बन बेल संग
आज मेरे अंग अंग
कौन जो रगों में मेरी
रस बन जाये रे
कौन जो रगों में मेरी
रस बन जाये रे
मेरा मन बनफूल
फूला ना समाये रे
मेरा मन बनफूल

साध हुई मेरी पूरी
साध हुई मेरी पूरी
दूर दो दिलों की दूरी
साध हुई मेरी पूरी
दूर दो दिलों की दूरी
कोई सपनों के फूल-डोले में झुलाए रे
कोई सपनों के फूल-डोले में झुलाए रे
मेरा मन बनफूल
फूला ना समाये रे
मेरा मन बनफूल


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Jawaani”(1942) was directed by Wajahat Mirza for National Studios, Bombay. The movie had Surendra, Jyoti, Husn Banu, Kayamali, Agha, Nawab, Dulari, Gulzar, A. R. Kabul, Sankata Prasad etc in it.

The movie had ten songs in it. One song from the movie has been covered in the blog in the past.

Here is the second song from “Jawaani”(1942) to appear in the blog. This song ois sung by Surendra. Wajahat Mirza Changezi, the directed, penned this song. Music is composed by Anil Biswas.

Only the audio of this song is available, but it is clear that the song was picturised on Surendra himself.


Song-Nazaare huye hain ishaare huye hain (Jawaani)(1942) Singer-Surendra, Lyrics-Wajahat Mirza Changezi, MD-Anil Biswas

Lyrics

aa aa
aa haa
nazaare huye hain
ishaare huye hain
nazaare huye hain
ishaare huye hain
nazaare huye hain
nazaare huye hain
ishaare huye hain
o ham unke huye
ae ae ae
ham unke huye
wo hamaare huye hain
ham unke huye
wo hamaare huye hai
nazaare huye hain
ishaare huye hain
nazaare huye hain

kya jaan ke baat
kya hai hamaare
kya jaan ke baat
kya hai hamaare
ho ke dil to mohabbat mein
haare huye hai
ke dil to mohabbat mein
haare huye hain
nazaare huye hain
ishaare huye hain
nazaare huye hain

bataayen tumhen haal
apna jo samjho
o o
bataayen tumhen ae ae haal
apna jo samjho
o kisi ki adaaon ke maare huye hain
kisi ki adaaon ke maare huye hain
nazaare huye hain
ishaare huye hain
nazaare huye hain
o ho
nazaare huye hain
ishaare huye hain
ham unke huye
wo hamaare huye hain
nazaare huye hain


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Who was the first female music director in Hindi film Industry? The answer to this question has changed thrice during the last few years.

It was believed that Saraswati Devi (real name: Khorshed Minocher-Homji) was the first female music director who composed songs for ‘Jawaani Ki Hawa’ (1935), produced under the banner of Bombay Talkies. Subsequently, it was established that Jaddanbai, who composed the songs for ‘Talaash-e-Haq’ (1935) was the first female music director, her film having been released earlier than ‘Jawaani Ki Hawa’. It will be interesting to know as to which of the songs from these two films were recorded first on the respective film’s sound track.

The latest is that the first female music director of Hindi films was Ishrat Sultana who composed songs for the film ‘Adal-e-Jahangir (1934). In the absence of any proper documentation of the history of Hindi films, it is quite possible that some other name for the first female music director may prop up in future especially when it is a well-known fact that for many films of 1931-32, names of the music directors are unknown as of now.

Ishrat Sultana, the first female music director of Hindi films, was none other than Bibbo, her better known name as the popular actor-singer of 1930s and 40s. Probably, her transition from music director to actor-singer was demand-driven. During the initial period of the talkies, good female singers were in great demand from the studios as actor-singer. Bibbo was a trained singer. Her mother Hafeezan Bai was a singer and a courtesan in Delhi. With a photogenic face and the good singing ability, she was soon employed by Ajanta Cinetone as actor-singer with her first film ‘Rangeela Rajput’ (1933).

After working for 8 films of Ajanta Cinetone during 1933-36, Bibbo joined Sagar Movietone to act in ‘Manmohan’ (1936) which was supposed to be its answer to New Theatres’s ‘Devdas’ (1935). For this purpose, director Mehboob Khan had taken Surendra as actor-singer who was groomed as ‘Bombay Saigal’. The film became a hit and the lead pair of Surendra-Bibbo became popular. They worked together in as many as 7 films of which 5 films were regarded as box office hits. Some of her other films with Surendra under Sagar Movietone were ‘Jaagirdaar’ (1937), ‘Gramophone Singer’ (1938), ‘Dynamite’ (1938), ‘Seva Samaaj’ (1939), ‘Ladies Only’ (1939) etc.

By 1939, Bibbo had become one of the top actor-singers and her popularity had reached the zenith. Her popularity can be judged by the fact that in the film ‘Gharib Ke Laal’ (1939), there is a song which starts with her name amongst the names of many actors of that time. The song is “Tujhe Bibbo Kahun Ke Sulochana” sung as a duet in accompaniment with Mirza Musharraf.

After the closure of Sagar Movietone in 1939, Bibbo became a free-lancer during which she did ‘Sneh Bandhan’ (1940), ‘Laxmi’ (1940), ‘Sohag’ (1940) and ‘Akela’ (1941) etc. There was a gap in her filmy career during 1941-44.
It is said that towards of the end of 1930s, Bibbo got married to S Khalil, her co-actor during her stint with Ajanta Cinetone who also directed ‘Adal-e-Jahangir’ (1934) in which she composed songs under the name of Ishrat Sultana. They shifted their base to Lahore. They jointly produced ‘Qazzak Ki Ladki’ (1937) in which she composed songs along with Dr Samad. However, the film failed miserably and Bibbo had to came back to Bombay.

Her second stint in the film industry during 1944-47 was not as rosy as the first one. She mostly got the side roles in films such as ‘Pehli Nazar’ (1945) and ‘Sassi Punnu’ (1946). ‘Pehla Pyaar’ (1947) was her last film in India after which she migrated to Pakistan where she continued to work in films getting character roles till 1966. Bibbo died on May 25, 1972 in Karachi.

‘Dynamite’ (alias name ‘Kis Ke Saajan’) (1938) was one of the films under the banner of Sagar Movietone in which Bibbo is paired with Surendra. The film was directed by Chimanlal Luhar. Others actors listed in the star cast of the film are Maya Bannerji, Yakub, Sankatha Prasad, Budho Advani, Jamu Patel, Qaiyam Ali, Pessi Patel etc. The film belongs to mystery/suspense genre. I have no idea about the story of the film. Going by a few photographs of the scenes from the film, it appears that Surendra had some sort of camouflage roles – one with Bibbo and another with Maya Bannerji.

The film had 7 songs written by Pandit Indra (6) and Zia Sarhadi (1) which were set to music by Anil Biswas. Here is the first song “Kaliyaan Raseeli Saiyaan Bhanwraa Ganwaar Hai’ sung by Bibbo and Surendra. The song is written by Pandit Indra.

I heard this song for the first time a few days back and liked it immensely. Going by the implicit meaning of the lyrics, Anil Biswas has given a soft touch to the composition of the song which have been rendered in line with its softness.

With this song, ‘Dynamite’ alias ‘Kis Ke Saajan’ (1938) makes its debut on our blog.


Song – Kaliyaan Raseeli Piya Bhanwra Ganwaar Hai (Dynamite) (1938) Singer – Bibbo, Surendra, Lyrics – Pandit Indra, MD – Anil Biswas
Bibbo + Surendra

Lyrics

kaliyaan raseeli saiyaan
bhanwraa ganwaar hai
kaliyaan raseeli saiyaan
bhanwraa ganwaar hai
kehti hain kaliyaan dekh deewaane
kehti hain kaliyaan dekh deewaane
do din dheeraj dhar mastaane
do din dheeraj dhar mastaane
hota huwa ye singaar hai
hota huwa ye singaar hai
bhanwraa ganwaar hai
kaliyaan raseeli saiyaan
bhanwraa ganwaar hai

jeewan mein ras dhaar bahegi
jeewan mein ras dhaar bahegi
pyaar bhari taqraar rahegi
pyaar bhari taqraar rahegi
swarg yahi sansaar hai
swarg yahi sansaar hai
bhanwraa ganwaar hai
kaliyaan raseeli saiyaan
bhanwraa ganwaar hai

chaatak pyaasa nadi kinaare
chaatak pyaasa nadi kinaare
rooth gayen hain bhaagya hamaare
rooth gayen hain bhaagya hamaare
dil ke ab armaan pukaare
dil ke ab armaan pukaare
toota huwa ye sitaar hai
toota huwa ye sitaar hai
bhanwraa ganwaar hai
kaliyaan raseeli saiyaan
bhanwraa ganwaar hai
———————————-
Hindi script lyrics (Provided by Sudhir)
———————————–

कलियाँ रसीली सैंय्या
भँवरा गंवार है
कलियाँ रसीली सैंय्या
भँवरा गंवार है
कहती हैं कलियाँ देख दीवाने
कहती हैं कलियाँ देख दीवाने
दो दिन धीरज धर मस्ताने
दो दिन धीरज धर मस्ताने
होता हुआ ये सिंगार है
होता हुआ ये सिंगार है
भँवरा गंवार है
कलियाँ रसीली सैंय्या
भँवरा गंवार है

जीवन में रस धार बहेगी
जीवन में रस धार बहेगी
प्यार भरी तकरार रहेगी
प्यार भरी तकरार रहेगी
स्वर्ग यही संसार है
स्वर्ग यही संसार है
भँवरा गंवार है
कलियाँ रसीली सैंय्या
भँवरा गंवार है

चातक प्यासा नदी किनारे
चातक प्यासा नदी किनारे
रूठ गए हैं भाग्य हमारे
रूठ गए हैं भाग्य हमारे
दिल के अब अरमान पुकारे
दिल के अब अरमान पुकारे
टूटा हुआ ये सितार है
टूटा हुआ ये सितार है
भँवरा गंवार है
कलियाँ रसीली सैंय्या
भँवरा गंवार है


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

In my last two articles, I had discussed about the films of Mehboob Khan (as a producer as well as director) in combination with music director Anil Biswas. In the process of collecting information about the works of Mehboob Khan-Anil Biswas combination, I came across another unique association of Mehboob Khan with cinematographer, Faredoon A Irani. The uniqueness of this association is that all the films which were directed by Mehboob Khan (23 films during 1935-62) had Faredoon Irani as cinematographer.

Faredoon A Irani started his career with the Imperial Films of Ardeshir Irani as an apprentice. After the formation of Sagar Films (later renamed as Sagar Movietone) in 1929 as a subsidiary of Imperial Films, Faredoon Irani along with Mehboob Khan joined the Sagar Films. After the advent of talkies, Faredoon Irani got a chance to work independently as a cinematographer in Hindi film, ‘Bulbul-E-Bagdad’ (1932). The film was appreciated for its photography. At that time. Mehboob Khan was assisting in script writing for some of the initial talkies of Sagar Films besides doing small roles in the films.

Mehboob Khan got his first chance to direct ‘Al Hilal/Judgement of Allah (1935). For his directorial debut film, he chose Faredoon Irani as cinematographer. The association continued uninterrupted until Mehboob Khan’s last film ‘Son of India’ (1962). Faredoon Irani got the first opportunity as cinematographer of India’s first Technicolor film, Aan’ (1952) produced and directed by Mehboob Khan. He got his first Filmfare Award for the Best Cinematography for Mehboob’s ‘Mother India’ (1957).

EK HI RAASTA/THE ONLY WAY (1939) was one of the films from the stable of Sagar Movietone in which the troika of Mehboob Khan-Faredoon Irani-Anil Biswas were associated. The star cast included Sheikh Mukhtar, Arun Ahuja, Anuradha, Harish, Kanhaiyalal, Banbasi, Jyoti, Mohan, Jagdish Rai, Wasker, Ghani etc. It was a debut films for Sheikh Mukhtar, Arun Ahuja and Anuradha (real name, Khursheed). The short synopsis of the story of the film available on Wikipedia and Imdb is as under:

Raja (Arun Ahuja) an orphan, Mangoo (Sheikh Mukhtar), a pickpocket and Vithal (Harish), a taxi driver are friends in a city. Mala (Anuradha) and her father (Ghani) arrive from their village to the same city and stay in the area where three friends stay.

One day, Mala is kidnapped by Banke (Kanhaiyalal) and is sold to a wealthy man. Mala’s father accuses Mangoo of theft and in a fit of anger Mangoo kills him. In the meanwhile, Mala manages to escape from the clutches of wealthy man and take refuge in Raja’s house. Over a period of time, both fall in love. Mala’s step mother does not like Mala staying with Raja. She arranges of marriage Mala her villainous cousin which is rejected by Mala. She continues to stay with Raja.

World War II has started. All the three friends enlist as soldiers. After sometime, all the three friends return from the war. During this period, one of the friends kills a rapist. He is tried in the court and is convicted for the murder.

From the short snippet of the story, two observations may be made. First, probably, this may be the first film which has brought out the concept of live-in relationship. Mala has a step mother. But she prefers to stay with Raja even though they are not husband and wife. Second, the story writer has brought out the differential standard of law for treatment of killing an enemy on the war front vis-à-vis killing an enemy of the society, that is the rapist for which one of the friends get convicted.

The film had 12 songs, none of which has been presented in the Blog. I am presenting the first song ‘chhalke ras ki gagariya bhaari main matwaari panihaari’ sung by Wahidan Bai and Anil Biswas. The song is written by Pandit Indra. I am not sure whether Wahidan Bai had sung the song on herself or gave the playback. I do not find her name in the actor’s list for the film.

One of the features of the song is that Anil Biswas has introduced some innovative orchestration. During the antara part of the song between the verses ‘kyun jhooti baat banaaye’ and ‘ab kaun tumhen samjhaaye’ there is some novelty in the short musical interlude.

With this song, EK HI RAASTA/THE ONLY WAY (1939) makes its debut in the Blog.


Song-Chhalke ras ki gagariya bhaari (Ek Hi Raastaa)(1939) Singers-Wahidan Bai, Anil Biswas, Lyrics-Pt Indra Chandra, MD-Anil Biswas

Lyrics

chhalke ras ki gagariya bhaari ee
main matwaari panihaari
chhalke ras ki gagariya bhaari ee
main matwaari panihaari
mohe bhool gaye banwaari ee ee
mohe bhool gaye banwaari
kunjan mein kunjbihaari
kunjan mein kunjbihaari
main matwaari panihaari
chhalke ras ki gagariya bhaari ee
main

hai bhara huwa dil sajni
hai bhara huwa dil sajani
kyun jhoothhi baat banaaye
kyun jhoothhi baat banaaye

ab kaun tumhen samjhaaye
ab kaun tumhen samjhaaye
tore gaal laaj se laal
bhaal par bindiya muskaaye
tore gaal laaj se laal
bhaal par bindiya muskaaye

baalam tori nazar na lag jaaye ae
baalam tori nazar na lag jaaye

bholi
ras gholi pyaari
bholi
ras gholi

main matwaari panihaari
chhalke ras ki gagariya bhaari ee
main matwaari panihaari
chhalke ras ki gagariya bhaari ee
main matwaari panihaari
mohe bhool gaye banwaari ee ee
mohe bhool gaye banwaari
kunjan mein kunjbihaari
kunjan mein kunjbihaari
main matwaari panihaari
chhalke ras ki gagariya bhaari ee
main matwaari panihaari


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

In my recent article, I had listed the films from 1936 to 1942 in which Anil Biswas was associated with producer-director, Mehboob Khan under the banners of Sagar Movietone and later National Studios. Their association came to an end with the release of ‘Roti’ (1942). A news clipping in October 1942 issue of ‘Filmindia’ magazine revealed that on the eve of the release of ‘Roti’ (1942), National Studios was sold to K M Modi (I believe, he was the younger brother of Sohrab Modi) who was a film exhibitor.

At the time of the sale of National Studios, there were 3 films on the floor – ‘Apna Paraaya’ (1942), ‘Jawaani’ (1942) and ‘Lala ji’ (1942). These films were completed and released under the banner of National Studios with Mehboob Khan as producer. Incidentally, one song each from these films have been covered in the Blog which means that these films have already made their debuts in the Blog.

APNA PARAAYA (1942) was directed by Ramchandra Thakur. The star cast included Shahu Modak, Hansa Wadkar, Urmila, Sankatha Prasad, Qaiyam Ali, Agha, Jyoti, Dulari, Gulzar, Pesi Patel, Raj Rani, Wasekar etc. The condensed version of the story of the film, based mainly on a review of the film in ‘Filmindia’ magazine is set out below:

Vasant (Shahu Modak) returns to India from England after a long stay and finds everything not to his taste in India. Prior to his departure to England, he was married to Veena (Hansa Wadkar). Both have not seen each other as grown up persons for a long time. In England, Vasant has fallen in love with a sophisticated Laxmi (Urmila) who also returns to India with him. His father Jeewan Seth(Sankatha Prasad) wants him to stay with Veena which he refuses as he thinks that she is not suitable for him. This angers Jeewan Seth and in the ensuing quarrel, Vasant decides to leave the house of his parents.

Vasant wanders all over the places, looking for job but he gets none.(I wonder as to how England-return Vasant cannot get a job!). His love interest, the sophisticated Laxmi, deserts him. Ultimately, he gets a job in a village where his wife Veena stays with her poor uncle (co-incidence). She is waiting for her husband (Vasant) to take her to his place. She is heart broken when he does not turn up. Ultimately, her other rich uncle takes her with him in his place. Now Vasant gets a job as a teacher for Veena at her rich uncle’s place (another co-incidence).

While travelling in a train to reach his new place of employment, Vasant loses his bag to a thief who while on a run is crushed under the train. Vasant reaches Veena’s place and starts teaching Veena without knowing that they are actually husband and wife. Both Veena and Vasant are fond of each other but having already married, Veena does not outwardly show her feeling towards Vasant.

In the meanwhile, the thief who had been run over by the train is unidentified because of severity of the accident. At last, from the tag of the bag, dead body is identified as that of Vasant. Now Veena considers herself to be widow. However, seeing the condition of Veena, he narrates the true incidence in the train thereby disclosing himself to be Vasant. However, with this revelation, Vasant finds himself in difficulties. Due to some misunderstanding, police keeps him in lock-up for some time until the confusion gets cleared from both the families and Vasnat and Veena are united.

The film did not fare well at the box office. The film was not much advertised probably due to the change of hands at National Studios. I guess, the story of the film was not of much interest to the front benchers in theatres and for other cinegoers, the story of the film was too pedestrian to be interesting.

As of now, I could locate online only two songs (out of 11) from the film of which one has already been covered in the Blog. Here is the second song ‘gori kaahe khadi anganaa atariyaa mein aao’ to appear in the Blog. The song is sung by Anil Biswas and Maya on the words of Pandit Indra.

I am aware of the names of two female actor-singers of the 1940s – Maya Bannerji and Maya Devi. None of them seems to have acted in ‘Apna Paraaya’ (1942). To the best of my knowledge, none of them have done playback singing. Probably, Maya in this song may be a different person.

The composition and rendering by Anil Biswas show his mastery over folk music. Note the flute prelude, probably by Pandit Pannalal Ghosh. From the singing style and wordings, the song may have been picturised on some side actors performing in a nautanki (folk theatre).


Song-Gori kaahe khadi angna (Apna Paraaya)(1942) Singers-Anil Biswas, Maaya, Lyrics-Pt Indra Chandra, MD-Anil Biswas

Lyrics

gori kaahe khadi angnaa
atariya mein aao
gori kaahe khadi angnaa
atariya mein aao
aayi aayi balmaa
diya to jalaao
diya to jalaao
aayi aayi balmaa
diya to jalaao
diya to jalaao

o gori kaahe khadi angnaa
atariya mein aao
gori kaahe khadi angnaa
atariya mein aao

atariya mein naahin
nazariyaa mein aao
atariya mein naahin
nazariyaa mein aao
aayi aayi balmaa
nazar na lagaao
aayi aayi balmaa
nazar na lagaao

nazariyaa mein naahin
karejwaa mein aao
nazariyaa mein naahin
karejwaa mein aao
karejwaa mein aao
jigarwaa mein aao
karejwaa mein aao
jigarwaa mein aao
nazariyaa mein naahin
karejwaa mein aao
nazariyaa mein naahin
karejwaa mein aao

gori aisi aao
jaise baaghon mein phool
jaise joban mein dhool(??)
jaise baaghon mein phool
jaise joban mein dhool(??)
aayi aayi balmaa
zaraa to dam khaao
zaraa to dam khaao
aayi aayi balmaa
zaraa to dam khaao
zaraa to dam khaao

o gori kaahe khadi anganaa
atariya mein aao
gori kaahe khadi angnaa
atariya mein aao
aayi aayi balmaa
diya to jalaao
diya to jalaao
aayi aayi balmaa
diya to jalaao
diya to jalaao

o gori kaahe khadi angnaa
atariya mein aao
gori kaahe khadi angnaa
atariya mein aao
gori kaahe khadi angnaa aa aa


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Today, May 31, 2017 is the 14th Remembrance Day of Anil Biswas ( 07/07/1914 – 31/05/2003) who is regarded as the doyen among the Hindi film music directors. Despite not having a formal training in classical music, he rose to the stature of being called the ‘Bhishma Pitaamah’ of Hindi film music.

More than the music director, Anil Biswas was an institution by himself. Music directors like Naushad, C Ramchandra, Roshan and O P Nayyar considered him as their Guru. Playback singers like Mukesh, Lata Mangeshkar and Talat Mehmood had acknowledged his role in polishing their playback singing. I am sure, he must have also trained actor-singers like Surendra, Jyoti, Husn Banu, Sardar Akhtar etc in the 1930s when playback singing was not in vogue.

He was the first to introduce the concept of orchestration in Hindi film music. He along with Ghulam Haider were the first to make use of folk music which they blended well in their song compositions. He was the first to make use of counter melody. He was first in Bombay film industry to use playback singing technique in the film ‘Mahageet’ (1937).

Anil Biswas sems to be very fond of ghazals. I had gone through the list of songs composed by Anil Biswas and had observed that in most of the films for which he was the music director, he would have at least one lyricist who was proficiency in Urdu ghazals. He was instrumental in composing ghazals for the films in a style acceptable to the filmy audience thus moving away from the traditional format used in the 1930s. Few examples of his ghazal compositions:

dil jaltaa hai to jalne de – Safdar Aah Sitapuri – PEHLI NAZAR (1945)

mere liye wo gham-e-intezaar chhod gaye – Behzad Lucknowi – ANOKHA PYAAR (1948)

tumhaare bulaane ko jee chaahta hai – Behzad Lucknowi – LAADLI (1949)

zamaane kaa dastoor hai ye puraanaa – Prem Dhawan – LAAJAWAAB (1950)

ae jaan-e-jigar dil mein samaane aajaa – Rajinder Krishan – AARAAM (1951)

husn bhi hai udaas udaas – Majrooh Sultanpuri – FAREB (1953)

roothh ke tum chal diye – Qamar Jalalalabadi – JALTI NISHAANI (1957).

In regards to the last ghazal in the above list, Anil Biswas may probably be the first music director to compose this ghazal based on the khayal style of singing. Even the accompanying tabla beat sounds unusual for a ghazal composition.

Yet Anil Biswas was a modest man. He had no hesitation in telling that among the music directors of his time, Sajjad Hussain was the only one who used original tunes in his compositions. Rest of the music directors including him were inspired from classical/semi-classical music, folk music, Rabindra Sangeet and sometime western compositions.

Anil Biswas is one of the most discussed music directors on the internet. There are many articles on him, some of which have been written by those who had interacted with him. If I remember correctly, his life profile and musical career have been discussed in the Blog more than once. So I will skip that part in this article. However, I would like to discuss his association with one of the prolific directors of Hindi films who started his first assignment as director in 1935 and turned producer-director by early 1940s. The name of the producer-director is Mehboob Khan.

The name of Mehboob Khan became familiar to me in the 1950s because of his films like ‘Mother India’ (1957) and later ‘Son of India’ (1962). In my younger days, I had also known that he had produced and directed films like ‘Anmol Ghadi’ (1946) ‘Andaz’ (1949), ‘Aan’ (1951) and ‘Amar’ (1954). In all these films, Naushad was the music director.

Although, later on I became aware that Mehboob Khan had Anil Biswas as music director for films like ‘Roti’ (1942), it never occurred to me that Mehboob Khan had a long association with Anil Biswas since 1936 which ended with ‘Roti’ (1942). This revelation came to me because during the last two years or so, I have been concentrating on the films mainly of 1940s in my quest for unearthing rare songs from that era.

During 1936-42 period, the most enduring relationship between Mehboob Khan and a music director was that of Anil Biswas. Both of them were in the rolls of Sagar Movietone. Mehboob Khan was on the roll of Sagar Moveitone since its inception in 1929 mainly as a small time actor and also doing behind the screen works. Anil Biswas joined Sagar Moveitone in 1936. Both worked together for the first time for the film ‘Manmohan’ (1936). Although on record, the music director for the film was Ashok Ghosh, it is generally believed that most of the songs in this film were composed by Anil Biswas who was assisiting him for his first film. Later, Anil Biswas did independent music direction for Mehboob Khan in ‘Jaagirdaar’ (1937), ‘Watan’ (1938), ‘Hum Tum Aur Wo’ (1938), ‘Ek Hi Raasta’ (1939), and ‘Ali Baba’ (1940).

After the closure of Sagar Movietone towards the end of 1939 and eventually merging with General Pictures to form a new entity, National Studios in 1940, Mehboob Khan became the de facto boss of National Studios. Anil Biswas also joined National Studios. It is here that the association of Anil Biswas with Mehboob Khan created a sort of a record. Under the banner of National Studios, 14 films were produced, some of which were directed by Mehboob Khan. As many as 10 films had Anil Biswas as the music director. The films were ‘Pooja’ (1940), ‘Aurat’ (1940), ‘Aasra’ (1941), ‘Nai Roshni’ (1941), ‘Behan’ (1941), ‘Jawaani’ (1942), ‘Vijay’ (1942), ‘Gareeb’ (1942), ‘Apna Paraaya’ (1942) and ‘Roti’ (1942).

Sometime during the making of ‘Roti’ (1942), some creative differences between Mehboob Khan and Anil Biswas developed which led to the termination of their association of 6 years and 15 films. Both left National studios after the release of ‘Roti’ (1942). Mehboob Khan set up his own film production company, Mehboob Productions in 1942 and Anil Biswas joined Bombay Talkies in 1942. Both tasted success in the immediate post-National Studios days – Mehboob Khan in ‘Taqdeer’ (1943), ‘Humayun’ (1945), ‘Anmol Ghadi’ (1946), ‘Anokhi Ada’ (1948) etc and Anil Biswas in ‘Kismet’ (1943), ‘Pehli Nazar’ (1945), ‘Milan’ (1946) and ‘Anokha Pyaar’ (1948).

In 1947, Anil Biswas left Bombay Talkies to become a free-lance music director. I personally regard Anil Biswas’s compositions as a freelance music director during 1948-65 as the golden period of his song compositions. Unfortunately, during his freelance period, most of his films did not fare well on the box office front. This coupled with the changes in the environment of Hindi film industry probably made Anil Biswas to quit Hindi film industry in early 1960s and settled for a service in All India Radio, Delhi.

For Anil Biswas’s 14th Remembrance Day, I have chosen a song from Mehboob Khan-Anil Biswas combination film, AASRA (1941). Here is the first song ‘bithaayi kahaan ratiyaan o maharaja’ to appear on the Blog. The song is sung by Husn Banu on the words of Dr. Safdar Aah Sitapuri. The idea for the lyrics has probably come from a traditional Dadra bandish in raag Bhairavi:

banaao batiyaan chalo kaahe ko jhooti
wahin jaao jahaan rahen tum ratiyaan
sauwatan kaa ghar aawat jaawat
hamaara jiyaraa jaraa ke piyaa

Anil Biswas has composed this song in Dadra style with his own variations to suit the film music.

AASRA (1941) was produced under the banner of National Studios. The star cast included Sardar Akhtar, Amar, Husn Bano, Wasker, Veena, Kanhailal, N A Ansari, Bhudo Advani, K B Lall etc. The film was a light social comedy. The story was concerned with the problems which bachelors face when they come to Bombay (Mumbai) in search of employment. Among the problems is difficulties in getting the housing accommodation for bachelors. Probably, the problems for the lead actors (Sardar Akhtar and Amar) turns into a situational comedy in that they have to act as husband and wife to get the housing accommodation. The owner of the house has a daughter, Husn Banu. So one can visualise the hilarious situation.

Since Husn Banu has acted in the film, it is apparent that the song was picturised on her.


Song-Bitaai kahaan ratiyaan o mahaaraaja (Aasra)(1941) Singer-Husn Bano,Lyrics-Safdar Aah Sitapuri, MD-Anil Biswas

Lyrics

bitaai kahaan ratiyaan
o mahaaraja
bitaai kahaan ratiyaan
o mahaaraja
man bhaai kya batiyaan
o mahaaraja
man bhaai kya batiyaan
o mahaaraja
bitaayin kahaan ratiyaan
o maharaja

raat ke jaage nain gulaabi
raat ke jaage nain gulaabi
pag behkat hai jaise sharaabi
pag behkat hai jaise sharaabi
banaao naahin batiyaan
o mahaaraja
banaao naahin batiyaan
o mahaaraja
bitaai kahaan ratiyaan
o maharaja

raat andheri baali umariya
raat andheri baali umariya
tum bin darsat naahin dagariya
tum bin darsat naahin dagariya
lagaaye leyo chhatiyaan
o mahaaraja
lagaaye leyo chhatiyaan
o mahaaraja
bitaai kahaan ratiyaan
o mahaaraja
bitaai kahaan ratiyaan
o maharaja


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Chhoti Chhoti Baaten” (1965) was directed by Motilal for Rajvanshi Productions, Bombay. The movie had Motilal, Nadira, Moti Sagar, Manju, Kumar, Krishan Dhawan, Leela Misra, Sangeeta, Mridula, Mubarak etc in it.

The movie had six songs in it. Four of these songs, which have been discussed in the past, are,

That leaves two songs to be discussed. It turns out that the remaining two songs together are actually forming a three part song sung by Manna Dey and chorus and picturised as background song. Of the three parts, the first part has two stanzas, the second part has two stanzas, and the third part has one stanza. The first part is supposed to appear as a background song in the first half of the film. The second part appears when Motilal leaves his home in the village, after serious and incorrect allegations have been levelled against him. He wants to go away somewhere and die in peace. The third part appears after his death, when his mortal remains have been consigned to the fires of the funeral pyre, and all his family and friends are seen, with regrets written on their faces.

It is interesting to note a very subtle but a very meaningful shift of words in different parts. In Parts I and III, the words that appear in the sthaai of the song are

andhi hai duniya pyaare
matlab ki duniya

In Part II of the song, there is a small change in the words of the sthaai, as follows,

andhi hai duniya pyaare
paise ki duniya

In the video of the film that is available online, the song is drastically cut. Part I of the song is completely missing. Only one stanza of Part II is present. And the Part III is present. I do remember that all parts of this song were completely present in the film when I had once seen it on Doordarshan, long time back.

Shailendra is the lyricist of this multi part song and the music is composed by Anil Biswas. The singing voice is that of Manna Dey.

With this song, “Chhoti Chhoti Baaten” (1965) joins the list of movies that have all their songs covered in the blog.

Audio (Part I + Part II + Part III) (complete)

Video Part II (incomplete)

Video Part III (complete)

Song – Andhi Hai Duniya Pyaare (Chhoti Chhoti Baaten) (1965) Singer – Manna Dey, Lyrics – Shailendra, MD – Anil Biswas
Manna Dey + Chorus
Chorus

Lyrics (As Per Audio)
Part I
(andhi hai) duniya..aa..aa..aa..aa
matlab ki duniya..aa.aa
haaye ri duniya

yahaan
dil ka kare na koi mol pyaare
andhi hai duniya
andhi hai duniya pyaare
matlab ki duniya
(duniya) pyaare
matlab ki duniya
hey andhi hai duniya pyaare
matlab ki duniya
(duniya) pyaare
matlab ki duniya
dil ka kare na koi mol pyaare
(mol pyaare)
andhi hai duniya
andhi hai duniya pyaare
matlab ki duniya
dil ka kare na koi mo..ol
(raa..maa..aa)

aankh ke andhe
laakh mein ek do
aankh ke andhe
laakh mein ek do
mann ke hain andhe hazaar
aankh ke andhe
laakh mein ek do
kyon hum ne ro ro nain gawaaye
kyon hum ne ro ro nain gawaaye
koi bhi karey na vichaar pyaare
andhi hai duniya
andhi hai duniya pyaare
matlab ki duniya
(duniya) pyaare
matlab ki duniya
andhi hai duniya pyaare
matlab ki duniya
(duniya) pyaare
matlab ki duniya
dil ka kare na koi mo..ol
(raa..maa..aa)

bech kharid le
jo jee chaahe
bech khareed le
jo jee chaahe
duniya bani hai bazaar
bech kharid le
jo jee chaahe
raam ka naam
pukaarne waale
raam ka naam
pukaarne waale
tu apne daam pukaar pyaare
andhi hai duniya
andhi hai duniya pyaare
matlab ki duniya
(duniya) pyaare
matlab ki duniya
hey andhi hai duniya pyaare
matlab ki duniya
(duniya) pyaare
matlab ki duniya
dil ka kare na koi mo..ol
(raa..maa..aa)

Part II
koi na poochhe dilwaale ko
koi na poochhe dilwaale ko
raja ho chaahe ho fakee..eer
koi na poochhe
dilwaale ko
paisa hi boley
paisa hi chaaley
paisa hi boley
paisa hi chaaley
paisa hi aalamgeer pyaare
andhi hai duniya
andhi hai duniya pyaare
paise ki duniya
(duniya) pyaare
paise ki duniya
dil ka kare na koi mo..ol
(raa..maa..aa)

jag mein gyaanee
laakhon aaye
jag mein gyaanee
laakhon aaye
samjha ke sab gaye ha..ar
jag mein gyaanee
laakhon aaye
haaye ri duniya
roti maange
haaye ri duniya
roti maange
koi na maange pyaar haaye re
andhi hai duniya
andhi hai duniya pyaare
paise ki duniya
(duniya) pyaare
paise ki duniya
dil ka kare na koi mo..ol
raa..maa..aa

Part III
hmm hmm hmm
hmm hmm hmm
kyaa laa..aaye
kyaa
(hmm hmm hmm)
le jaaoge
hmm hmm hmm
oo oo oo oo oo oo
khaali rahenge dono haath
(kyaa laaye)
kya le jaaoge
reh gayi tere
karam ki gathri
reh gayi tere
karam ki gathri
kuchh bhi gaya na tere saath pyaare
andhi hai duniya
andhi hai duniya pyaare
matlab ki duniya
dil ka kare na koi mo..ol
(hmm hmm hmm)

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
भाग १
(अंधी है) दुनिया॰॰आ॰॰आ॰॰आ॰॰आ
मतलब की दुनिया॰॰आ॰॰आ
हाय री दुनिया

यहाँ
दिल का करे न कोई मोल
अंधी है दुनिया
अंधी है दुनिया प्यारे
मतलब की दुनिया
(दुनिया) प्यारे
मतलब की दुनिया
हे अंधी है दुनिया प्यारे
मतलब की दुनिया
(दुनिया) प्यारे
मतलब की दुनिया
दिल का करे ना कोई मोल प्यारे
(मोल प्यारे)
अंधी है दुनिया
अंधी है दुनिया प्यारे
मतलब की दुनिया
दिल का करे ना कोई मो॰॰ल
(रा॰॰मा॰॰आ॰॰)

आँख के अंधे
लाख में इक दो
आँख के अंधे
लाख में इक दो
मन के हैं अंधे हज़ार
आँख के अंधे
लाख में इक दो
क्यों हमने रो रो नैन गवाए
क्यों हमने रो रो नैन गवाए
कोई भी करे ना विचार प्यारे
अंधी है दुनिया
अंधी है दुनिया प्यारे
मतलब की दुनिया
(दुनिया) प्यारे
मतलब की दुनिया
अंधी है दुनिया प्यारे
मतलब की दुनिया
(दुनिया) प्यारे
मतलब की दुनिया
दिल का करे ना कोई मो॰॰ल
(रा॰॰मा॰॰आ॰॰)

बेच खरिद ले
जो जी चाहे
बेच खरीद ले
जो जी चाहे
दुनिया बनी है बाज़ार
बेच खरिद ले
जो जी चाहे
राम का नाम
पुकारने वाले
राम का नाम
पुकारने वाले
तू अपने दाम पुकार प्यारे
अंधी है दुनिया
अंधी है दुनिया प्यारे
मतलब की दुनिया
(दुनिया) प्यारे
मतलब की दुनिया
हे अंधी है दुनिया प्यारे
मतलब की दुनिया
(दुनिया) प्यारे
मतलब की दुनिया
दिल का करे ना कोई मो॰॰ल
(रा॰॰मा॰॰आ॰॰)

भाग २
कोई ना पूछे दिलवाले को
कोई ना पूछे दिलवाले को
राजा हो चाहे फकी॰॰ईर
कोई ना पूछे
दिलवाले को
पैसा ही बोले
पैसा ही चाले
पैसा ही बोले
पैसा ही चाले
पैसा ही आलमगीर प्यारे
अंधी है दुनिया
अंधी है दुनिया प्यारे
पैसे की दुनिया
(दुनिया) प्यारे
पैसे की दुनिया
दिल का करे ना कोई मो॰॰ल
(रा॰॰मा॰॰आ॰॰)

जग में ज्ञानी
लाखों आए
जग में ज्ञानी
लाखों आए
समझा के सब गए हा॰॰आर
जग में ज्ञानी
लाखों आए
हाए री दुनिया
रोटी मांगे
हाए री दुनिया
रोटी मांगे
कोई ना मांगे प्यार हाए रे
अंधी है दुनिया
अंधी है दुनिया प्यारे
पैसे की दुनिया
(दुनिया) प्यारे
पैसे की दुनिया
दिल का करे ना कोई मो॰॰ल
(रा॰॰मा॰॰आ॰॰)

भाग ३
हम्म हम्म हम्म
हम्म हम्म हम्म
क्या ला॰॰आए
क्या
(हम्म हम्म हम्म)
ले जाओगे
हम्म हम्म हम्म
खाली रहेंगे दोनों हाथ
(क्या लाये)
क्या ले जाओगे
ओ ओ ओ ओ ओ ओ
रह गई तेरे
करम की गठरी
रह गई तेरे
करम की गठरी
कुछ भी गया ना तेरे साथ प्यारे
अंधी है दुनिया
अंधी है दुनिया प्यारे
मतलब की दुनिया
दिल का करे ना कोई मो॰॰ल
(हम्म हम्म हम्म)
Lyrics (As Per Video)
Part II (incomplete)

jag mein gyaani laakhon aaye
jag mein gyaani laakhon aaye
samjha ke gaye sab haar
jag mein gyaani
laakhon aaye
haaye ri duniya roti maange
haaye ri duniya roti maange
koi na maange pyaar
haaye re
andhi hai duniya
andhi hai duniya pyaare
paise ki duniya
duniya pyaare paise ki duniya
ae andhi hai duniya pyaare paise ki duniya
duniya pyaare paise ki duniya
dil ka kare na koi moh
raama

Part III (complete)
hmm hmm hmm
hmm hmm hmm
kya laaye
kya
(hmm hmm hmm)
le jaaoge
hmm hmm hmm
ho o o o
o o
khaali rahenge donon haath
kya laaye
kya le jaaoge
reh gayi tere karam ki gathhri
reh gayi tere karam ki gathhri
kuchh bhi gaya na tere saath pyaare
andhi hai duniya
andhi hai duniya pyaare
matlab ki duniya
dil ka kare na koi moh
hmm hmm hmm


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Naaz”(1954) was produced and directed by S K Ojha for S K Films, Bombay. The movie had Ashok Kumar, Nalini Jaiwant, Nawab, Veena, S Nazir, Murad, Amar, Khwaja Sabir, Arif, Tiwari etc in it.
Read more on this topic…


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Naaz”(1954) was produced and directed by S K Ojha for S K Films, Bombay. The movie had Ashok Kumar, Nalini Jaiwant, Nawab, Veena, S Nazir, Murad, Amar, Khwaja Sabir, Arif, Tiwari etc in it.
Read more on this topic…


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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 more than eight years. This blog has over 13300 song posts by now.

This blog is active and online for over 3200 days since its beginning on 19 july 2008.

Total number of songs posts discussed

13351

Number of movies covered in the blog

Movies with all their songs covered =1012
Total Number of movies covered =3703

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Blog Start date: 19 july 2008 Active for 3000 days.
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