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

Posts Tagged ‘Anil Biswas


This article is written by Arunkumar Deshmukh, a fellow enthusaist 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 : 4226 Post No. : 15432

Today’s song is from a comedy musical film – Laadli-49.

During the period 1947 to 1950, there was a spate of comedy and musical films.It was also in this period that Naushad and C Ramchandra played havoc with their music. Films like Bela,Daak Bungla, Do Bhai, Jungle mein mangal, Natak, Shadi se pehle,Shehnai, Gunsundari, Hip Hip Hurray, Khidki, Mera Munna, Suhag raat, Andaz, Badi Behan, barsaat, Ek this ladki, Mahal, Namoona and Patanga stirred the HFM from upside down and then up again !

For all other MDs, this period played a challenge to come up to their highest and best level to compete. MDs like Anil Biswas handled the situation with ease, with his musicals like Laadli and Lajawab. Film Laadli-49 was made by Variety pictures – owned by Anil Biswas and his wife Ashalata (Mehrunnisa Bhagat). It was directed by an old friend of Anil Biswas – J P Advani. However, he directed only 3 films of Anil Biswas – Veena-48, Laadli-49 and Lajawab-50.

Jagatrai Pesumal Advani was born on 17-5-1903 in Hyderabad ( Sindh ). After graduating, he studied film making in Germany in the 1920s. After coming back to India, he joined Mohan Bhavnani – a big gun in those days- as his assistant. His first film as a Director was Heer Ranjha-1931. He shifted to Saroj Movietone in 1934 and then to Karachi to work for Golden Eagle Company. He was considered an expert who could handle the Heroines at his will.

He directed about 30 films, including a Hindi/Punjabi bilingual film Sassi-Punnu-46. His Filmography is- 1931: Heer Ranjha; 1933: Zehar-e-Ishq; 1934: Afghan Abla; Dilara; Gafil Musafir; Johar-e-Shamsheer; Tilasmi Talwar; Vasantsena; Flashing Sword; 1935: Bahar-e- Sulemani; Farebi Duniya; Shah Behram; 1936: Elaan-e-Jung; Shokh Dilruba; Sipahsalaar; 1937: Saqi; Insaaf; 1939: Dekha Jayega; 1940: Dharma Bandhan; Sneh Bandhan; 1941: Shehzadi; 1942: Suhagan; 1943: Sahara; 1946: Sassi Punnu; 1948: Veena; 1949: Laadli; 1950: Wafaa; Lajawaab; 1952: Saloni; 1954: Danka; 1955: Hasina.

The cast of the film was Sulochana Chaterjee, Jairaj, Kuldip Kaur, Ramesh Sinha, Randhir, Narbada Shankar and others. There was a coincidence that 2 Sulochanas acted in this film. Along with Heroine Sulochana Chaterjee, the old timer Sulochana Sr. (Ruby Myers) also acted in a side role. Born in Chandranagar, Sulochana Chatterjee was the daughter of a military man and the family, five girls, including the late Kamla Chatterjee ( she looked like Geeta Bali, and was Kidar Sharma’s wife), and one boy, used to travel along with their parents to wherever their father was transferred.
From Calcutta they moved to Jabalpore and it was here that Sulochana did her school­ing. She also took an active part in school dramatics. After some time the family was transferred to Bombay and here her younger sister, Kamla, was spotted by Sohrab Modi, a friend of their father’s, and given a role as a child star in Modi’s picture Jailor (1938).

Once Sulochana happened to visit the sets one day and after watching her sister at work, She was offered a part in Harishchandra Pictures’ “Aina”-44, which she accepted. She was co-starred with Trilok Kapoor. She starred in scores of films after that, among them the comedy “Ladli”-50, in which she appeared with Jairaj, and “Grahasti”-48 which was a memor­able hit and in which she play­ed with Yakub and Masood.

Sulochana acted in two Bengali pictures “Apanaela”, produced by Saroj Mukerjee and directed by Benoy Banerjee with Pradeep Kumar as her leading man, and Benoy Banerjee’s “Minoti” in which she shared stellar honors with Smriti Biswas and Paresh Banerjee. Her well known films are Chaitanya Mahaprabhu-53, Rami Dhoban-53, Shahjehan-46, Veena-48, Nav Durga-53, Jagte Raho-56, Jis desh mein Gaqnga behti hai-60, Sarswatichandra-68 etc.

In all she acted in 119 films. Her first film was Shobha-42 and last film was Shabas Daddy-79. After retirement, she settled in Bombay. Sulochana Chatterjee died on 30-8-1999.

Her favorite pastime, was playing with her sister’s children. She cooked, too, and knitted off and on. She was fond of English pictures , liked Ingrid Bergman and Gregory Peck and comedies. Sulochana could play Bad­minton and drove a car. A gifted linguist, she knew Bengali, her mother tongue, Hindi, English, Marathi, Punjabi, Kutchi and Guajarati. She spoke them all fluently.

Film Laadli was a comedy musical. There were 5 Lyricists and the MD was Anil Biswas. In Hindi film industry,right from 1931 onwards,many composers from Bengal came to Bombay to try their luck,but only a few could make their name here. There was a host of small time Bangla composers (some of them were Big names in Bengal) came to Bombay for a while,did 2-3 films and went back. Few of them were Shoolpani mukherjee, S P Mukherjee, V V Ganguly, Niren Lahiri, Shivram Ghosh, A C Biswas, Bhishmadev Chatterjee, Sushant Banerjee, Robin Chaterjee, Naresh Bhattacharya etc.

Besides these composers,there were some less successful composers from Bengal, in Bombay, like Ashok Ghosh, Pannalal Ghosh, Robin Banerjee, Hiren Bose, Shyamal Mitra, Arunkumar Mukherjee and Manas Mukherjee. Their major problem was Language and cultural difference.

There were 4 major composers from Bengal,who succeeded here and etched their names in the HFM history. I call them A grade. They all operated at the same time during the Golden Age period. Two composers came from East Bengal-Anil Biswas and S D Burman. Two composers came from West Bengal-Hemant Kumar and Salil Chaudhari.

Anil Biswas was the first major composer from Bengal to start his career in Bombay in 1935, at the age of just 21 years, whereas S D Burman was the oldest having started his career in Bombay in 1946, at the age of 40 years ! The longest tenure was that of Salil Chaudhari,but his song total is the lowest, with an average of about 5 songs per film.This is much lower than the average of 8+ and 9 of the others. This may be, because in later part of his career Salil da gave music to many parallel films which had minimum songs.

The two senior composers were from the East Bengal and the two junior composers were from the West Bengal. The styles of these two groups were different because of the different pattern of Eastern and Western Bangla music. All four depended and used heavily from the folk tunes and Bangla songs,from their respective regions. Anil Biswas and Burman da drew heavily from the Eastern Bangla folk tunes and that is why sometimes their music had similarities.

A case in point is song – “Sundari O sundari” from Lajawab-50. It was based on a folk tune of East Bengal. By coincidence S D Burman too used the same tune and same Mukhda for his Bangla film, “Samar’-50. Not only this,S D Burman again used the same tune for a song in film ‘Munimji”-55 ( Anadi re Anadi).
Anil Biswas was hailed as one of the most original,revolutionary and experimental composer,even dubbed as “The Bhishma Pitamaha”of HFM.

He was original. When Anil Biswas came on the scene in the mid 30s, the Parsee Theatre music,Marathi Natya sangeet and Gujarati drama and Lok kala Sangeet was being followed in film music. He decided to change this pattern and used Robindra Sangeet and Folk tunes for his songs. He was Revolutionary because he introduced western instruments in his music as a routine,which no one had thought of,so far. He was experimental,because he tried a variety of singers.

Those days,when playback was not yet common,non singers sang songs and it was a terrible task to make them sing properly. Anil Biswas tried the First ever playback,in Bombay,in his film “Mahageet”-37,singing the playback song himself to be shot on Hiren Bose in the film.

In a span of 30 years and in his 86 films having 777 songs,he used 76 singers. Among his singers Lata stands at First rank with 120 songs. The second place is shared by Surendra and Meena Kapoor( naturally), with 44 songs. Next name is that of Anil Biswas himself,with 43 songs.

Going through the list of singers,one finds very unknown names like Omkar, Kamlakar, Kokila, Gajadhar, D.Manek, Tarachand, Devaskar, Madhav kale, Yusuf Effendi, Solanki and Swapna Sen. Except Madhav Kale and Yusuf Effendi,I have never heard the other names myself,nor have I read about them anywhere. It is likely that these singers were from the early era and his earliest films. He himself first sang in ‘Dharam ki Devi’-35 and his last song was in ‘Sautela Bhai’-62.

Today’s song is the 6th song of this film to be discussed here. The film had an all time immortal song by the Anil Biswas – Lata duo…”Tumhare bulane ko jee chahata hai….” Such fine songs are now only in memory. Today’s song is also a good song. This is a Chorus song. Anil Biswas was particularly fond of Chorus songs and his no film was complete without at least one chorus song. Now, enjoy this chorus song….

( My thanks to Cineplot, Encyclopedia of Indian Cinema and History of Indian Film Music, for information used herein)


Song-Gareebon ka hissa gareebon ko de do (Laadli)(1949) Singer-Lata, Lyrics- S H Bihari, MD-Anil Biswas
Chorus

Lyrics

gareebon ka hissa gareebon ko de do
gareebon ko de do
gareebon ko de do

gareebon ka hissa gareebon ko de do
gareebon ko de do
gareebon ko de do

ameeron o o
ameeron hamen sookhi roti hi de do o o
ameeron hamen sookhi roti hi de do o o
gareebon ka hissa gareebon ko de do
gareebon ko de do
gareebon ko de do
o o o o
o o o o

jo pahle thhi haalat wahi hai hamaari ee ee
ye pahle bhi bhookhe hain ab bhi bhikhaari
ye pahle bhi bhookhe hain ab bhi bhikhaari
hamesha se hain haath phaile huye do o o
hamesha se hain haath phaile huye do o o
gareebon ka hissa gareebon ko de do
gareebon ko de do
gareebon ko de do
o o o o
o o o o

ye oonchi imaarat ye resham ke kapde ae ae
na kutiya hi hamko na khaadi ke tukde
na kutiya hi hamko na khaadi ke tukde
hamen bhi to apna badan dhaanpne do o o
hamen bhi to apna badan dhaanpne do o o
gareebon ka hissa gareebon ko de do
gareebon ko de do
gareebon ko de do
o o o o
o o o o

agar rookhi sookhi ye khaa kar bachenge
to kal ko ye Gandhi Jawahir banenge
agar rookhi sookhi ye khaa kar bachenge
to kal ko ye Gandhi Jawahir banenge
inhen sirf jeene ka mauka hi de do o o
inhen sirf jeene ka mauka hi de do o o
gareebon ka hissa gareebon ko de do
gareebon ko de do
gareebon ko de do

ameeron o (gareebon ko de do
gareebon ko de do
)
ameeron o (gareebon ko de do
gareebon ko de do
)
ameeron o (gareebon ko de do
gareebon ko de do
)


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 : 4207 Post No. : 15401

Today’s song is from a ‘C’ grade stunt film – ‘Return of Mr. Superman’ aka ‘Superman Ki Wapsi’ (1960).

Hindi film industry is full of third grade, mindless and cheap copies of successful foreign films and stories. Indian films can not copy the costly scenes, sets and A grade actors for C grade films, so they make do with childish cheap sets, unknown producers or directors, actors who are at the fag end of their careers and overall an easy treatment to films. It is painful to see such films.

There was an era, when even action/stunt films carried some prestige. They were made by reputed or specialist film makers like, Wadias, Mohan Pictures, Imperial, Ranjit or even Master Bhagwan. They used to spend a fair amount on erecting sets or on outdoor shootings. Above all, their stunts used to be real and actually breath taking. Famous stunt actors like Azad, Prakash, John Cavas, Fearless Nadia, Vasantrao and Baburao Pehelwan etc. used to undertake thrilling stunts using trained animals like tigers, lions, horses, monkeys, dogs and even jalopy cars and motor cycles. The audience went to watch the stunts. Story, histrionics or music/songs were secondary.

Superman is a comics character popularised first in USA. The first cinema on Superman came in 1948 with actor Kirk Alyn as the hero. This was like a film serial. The feature film came in 1951 with George Reeves first and then the most popular Christopher Reeves. Many actors have done this role till now. A Superman with extraordinary powers has been a dream for mankind since a long long time. May be, perhaps, the Gods in almost every religion were endowed with such powers in fiction and the mythology.

Indian film makers were hardly to miss such stories. But I find that more than flying in the air or jumping from building to building, like Batman or Spiderman, Indian audiences lapped up the ‘Invisible Man’ theme more. The first such film was made by Prakash Pictures, ‘Khwaab Ki Duniya’ in 1938. Then came the successful 1957 film ‘Mr. X’ and lastly the most popular film came on this theme in 1987 as ‘Mr. India’.

On this background, no wonder, Superman, Batman or Spiderman never captured the imagination or fascination of Indian film audience. 1960 saw 2 films on Superman and one was in 1987. Comparatively, Tarzan films became more popular here. Creative producers combined Tarzan with any and every character of Arabian nights, gave him son, daughter and brought him to city or even Circus. Indian avatars of Tarzan like, Zambo and Zimbo were also popular. these films helped Dara Singh to establish himself in Hindi films. Anyway, gone are the days when action or stunt films had special audience. Neither that audience nor those films have any presence now.

Since the day SFX (special effects – an improved version of old trick scenes) became popular in India, every hero has become a stuntman himself. Except probably Ajay Devgan and Akshay Kumar, most other actors are stuntmen by SFX only.

Coming to today’s film ‘Return of Mr. Superman’, the film was made by Manmohan Films – owned by the producer, director and lyricist Manmohan Sabir. From 1952 to 1986, he had directed 10 films. Today’s film was his 6th film as a director. Some songs of the film were also written by PL Santoshi, Kaif Irfani and Anand Bakshi. The cast of the film was Jairaj, Sheila Ramani, Majnu, Naazi, David, Ram Mohan, Rajan Haksar, Master Navin and many others.

Music Director of this C grade stunt film was Anil Biswas, who was once upon a time an A grade composer and many other composers followed him as their ‘Guru’. Anil Biswas (7-7-1914 to 31-5-2003) started his career in music in the early 1930’s. Usually, one generation is considered as 25 to 30 years, but in film music the generation period is 12 to 15 years. So, in his career from early 30s to late 60s, Anil Biswas saw two generations of music lovers. It was easier for him to adapt to changing tastes of music from 30s to late 40s. However, to adapt to changed tastes from 50s to 60s, it became difficult for him. The audience tastes changed drastically from 1930s to 60’s music. In the 30s and the 40s , the music was closer to traditional Indian music, but in the 60s, the film music followed the world music trends like Rock N Roll, Twist and other types.

In this stage of his career, Anil Biswas was in two minds – whether to continue what he knew best or to change over to new way of film music demands. He chose to mix the two, but this took him nowhere. This film music was a compromise on his abilities. After this film, he did two more non descript movies – ‘Lucky Number’ (1961) and ‘Hamen Khelne Do’ (1962). At last he retired after completing his last film ‘Chhoti Chhoti Baaten’ (1965) and left for Delhi to serve at AIR (All India Radio), Delhi. He gave music to 90 films composing 767 songs. He also sang 59 songs in 31 films.

The heroine of this film Sheila Ramani was one of my early favourites, from the time I saw her with Dev Anand in film ‘Funtoosh’ (1956). Earlier too I had seen her in few films, but she looked quite attractive and glamorous in ‘Funtoosh’.

Sheila Ramani, a forgotten name today, but most of us still remember her in Navketan’s ‘Taxi Driver’ (1954) where she was cast as Anglo-Indian club Dancer – Sylvie. Sheila was born on 2-3-1932, in Sindh province. She was selected as ‘Miss Mussoorie 1948’ and adjudged ‘Miss Simla 1950’. Made her debut as Champa, the femme fatale of ‘Badnaam’ (1952), and revealed herself as a danseuse of charm in ‘Anand Math’ (1952). She was one of the few Sindhi actresses besides Sadhana, who made it big in Bollywood. She was mostly seen as upper class mod girl in the 50s, a role she enacted to perfection all through that swinging era in films like V Shantaram’s ‘Teen Batti Chaar Raasta’ (1953), Sheikh Mukhtar’s ‘Mangu’ (1954), ‘Meenar’ (1954), ‘Railway Platform’ (1955), and ‘Funtoosh’ (1956).

Her Uncle Sheikh Latif alias Lachchu was a famous Pakistani producer who produced films like ‘Pattan’ (1955), ‘Khizan Kai Baad’ (1955), ‘Darbar-e-Habib’ (1956) etc. Sheila visited Karachi – Pakistan on the request of her uncle, to play the lead in Pakistani film ‘Anokhi’ (1956). The film was based on Hollywood’s ‘Fabulous Senorita’. “Gaadi Ko Chalana Babu, Zara Halkey Halkey Halkey, Zara Dil Ka Jaam Na Chalkey” sung by Zubaida Khanum was the popular song from the film which did modest to good business in Pakistan. The movie’s great music was composed jointly by Timir Baran (a Bengali who came from India for this purpose) and Hassan Latif. Sheila went back to India and remained as a middle-of-the-range performer in Bombay films. In the later part of her career, she was reduced to obscure films with titles that sounded like ‘Jungle King’ (1959), and ‘The Return of Superman’ (1960). In all, she acted in 24 films. Her last film was ‘Awaara Ladki’ (1967).

Sheila was very fond of sports especially football and swimming. Ballroom dancing was a virtual addiction for her and she used to go out for dancing as often as she could. Sheila was 5 feet four inches tall, and was so fastidious that any dress she would wear won’t be repeated for six months to come at least.

According to her son Rahul Cowasji, she married late Jall Edi Cowasji (President of Bombay Dyeing) on 31st March 1963 and retired from acting in 1962. Part of her family that remained in Pakistan converted to Islam. She was a Hindu. She used to live in Bombay with her husband Jall Cowasji till 1981. They moved to Khartoum (in Sudan, Africa) for 3 years and then to Sri Lanka for 3 years. After her husband’s death in 1984 she migrated to Australia on her own in the late 1980’s and lived in Sydney and Surfer’s Paradise until health problems required her to return to India in the new millennium. She used to live in her husband’s ancestral home in Mhow, near Indore (Madhya Pradesh). She was frail and bed ridden for few years before her death on 15-7-2015.

Her favorite Hindi film of her career was ‘Taxi Driver’ (1954). Sheila was also the leading lady of India’s first Sindhi film after partition – ‘Abana’ (1958), in which, young Baby Sadhana played her younger sister’s role. (Thanks to Cineplot and Sheila’s son Rahul, for some of the information in this Bio).

One more person from the cast of the film – Ram Mohan – needs introduction to our readers with his short Bio. Ram Mohan Sharma, a young, handsome lad from Ambala, was born on 2-11-1929. He was a graduate (BA) and had come to Bombay in 1945 in search of a career in cinema.

The youngster, who was in his early twenties, with fair colour, curly hairs & sharp features, approached Jagdish Sethi to get work in movies as an actor.  Jagdish Sethi found him sincere and gave him a supporting role in ‘Jaggu’ (52), which he was to make. The movie had very good music, scored by Hansraj Behl & it had moderate success, when released. Later, Ram Mohan got small roles in few movies & in 1954, Sethi Sahab took him in the romantic role opposite Shyama in ‘Pensioner’. The movie did not do well & it was the end of Ram Mohan’s career as hero.

Life goes on and he decided to accept any role offered to him. Soon he was a known name in the film circles. In ‘Do Behnen’ (1959), which had Shyama in double role, Ram Mohan enacted the role of villain, which gave his career a big boost as bad man. Later he came in contact with Sunil Dutt & Nargis and forged a permanent friendship with them. Although Ram Mohan mostly got roles of tough characters, but inside he was soft hearted. He was a member of film artists association. He requested Sunil Dutt Ji who was feeling depressed after Nargis Ji passed away, to help the ‘Have Nots’ of film industry. Virtually an encyclopedia of film industry, Ram Mohan knew every technician, junior artists as well as old & forgotten artists, who needed help. Whenever they both were free, they used to visit the ailing artists in hospital or their residences, to give them moral and financial support. Charatcter actor Rajan Haksar was in a charity hospital, after failure of his kidneys. Both benevolent persons visited the hapless artist to boost his spirit. Ram Mohan was a confidant of Asha Parekh, the kind hearted lady who was president of the Artists Association & they together helped many artists, who were in dire need of assistance.

Ram Mohan was also the vice president of CINTAA (Cine and TV Artists Association) for 4 years and secretary for 6 years. Ram Mohan Ji had high reputation every where and when he came to know about the miserable condition of AK Hangal, he met a political leader and arranged the financial help through Maharashtra Govt, on a regular basis. At the time of bereavement, he made it a point to help the family till all religious formalities were over. Every one in the film industry used to address him as Ram Mohan Ji ,to show their genuine respect to him.

In his career of more than five decades, Ram Mohan appeared in more than 250 movies (the number varies from 240 to 277), mostly in negative roles. He did not believe in self publicity and did his philanthropic work quietly. Ram Mohan was keeping indifferent health for six months, when his pillar of strength, his life partner passed away. Ram Mohan Ji also followed suit and breathed his last on 06th December 2015 .

Ram Mohan had 3 sons and 1 daughter, all very well settled in life. He will always be gratefully remembered by thousands of anonymous film artists who were helped by him. His memories will be cherished by his admirers, who loved his work on and off the screen. Truly, to find people like him, in this era is rarity. Let us hope his selfless work will inspire other persons connected with the film industry to help their less fortunate colleagues and the tradition of Vasudhaiva Kutumbkam set by him will continue. He found an admirer in Gulzar Sahab ,who always referred him as Ram Mohan Ji. Please see the credit titles of Izaazat, where his name is mentioned as Ram Mohan ji. (Thanks to Blog – ‘Beete Hue Din’, and Shri MN Sardana ji, for some of this information).

Today’s song certainly reminds us the type of club music of the late 1950s and early 1960s. This, of course, is not a club song, but a love song between hero and heroine. The song does not have anything to suggest the famous Anil Biswas touch of yore. It is one of those routine songs of those times.


Song – Dekh o babu dekh (Return of Mr Superman) (1960) Singer – Meena Kapoor, Lyricist – PL Santoshi, MD – Anil Biswas

Lyrics

dekh o baabu dekh
o baabu dekh
dekh o baabu dekh
o baabu dekh
dil ki dukaan se main layi hoon ye cake
marzi ho to take baabu
marzi ho na take
o babu dekh
dekh o baabu dekh
o baabu dekh
dekh o baabu dekh

bahut hai mehngi
bahut hai sasti
gaahak ki jaisi ho hasti
bahut hai mahangi
bahut hai sasti
gaahak ki jaisi ho hasti
le jaayega koi dilwaala kismat waala cake
o baabu dekh
dekh o baabu dekh
o baabu dekh
dekh o ba abu dekh

dekh ke iski lazzat mister
ho jaayegi ulfat mister
dekh ke iski lazzat mister
ho jaayegi ulfat mister
lekin sun lo shart humari
doge na tum phenk
for godsake
dekh o baabu dekh
o baabu dekh
dekh o baabu dekh

hum to tumse pyaar karega
pyar ka hi iqraar karega
hum to tumse pyaar karega
pyar ka hi iqraar karega
chaahe ho nadiya ka kinara
chaahe romantic lake
o baabu dekh
dekh o baabu dekh
o baabu dekh
dekh o baabu dekh

dil se dil ka sauda kar lo
pyaar se apna pocket bhar lo
dil se dil ka sauda kar lo
pyaar se apna pocket bhar lo
beet gayi gar yoonhi jawaani
ho jaaoge late
o baabu dekh
dekh o baabu dekh
o baabu dekh
dekh o baabu dekh

———————————————————–
Devnagri Script lyrics (Provided by Sudhir)
———————————————————–
देख ओ बाबू देख
ओ बाबू देख
देख ओ बाबू देख
ओ बाबू देख
दिल की दुकान से मैं लाई हूँ एक केक
मर्ज़ी हो तो टेक बाबू
मर्ज़ी हो ना टेक
ओ बाबू देख
देख ओ बाबू देख
ओ बाबू देख
देख ओ बाबू देख

बहुत है महंगी
बहुत है सस्ती
गाहक की जैसी हो हस्ती
बहुत है महंगी
बहुत है सस्ती
गाहक की जैसी हो हस्ती
ले जाएगा कोई दिलवाला किस्मत वाला केक
ओ बाबू देख
देख ओ बाबू देख
ओ बाबू देख
देख ओ बाबू देख

देख के इसकी लज़्ज़त मिस्टर
हो जाएगी उलफत मिस्टर
देख के इसकी लज़्ज़त मिस्टर
हो जाएगी उलफत मिस्टर॰॰र्र
लेकिन सुन लो शर्त हमारी
दोगे ना तुम फेंक
फॉर गॉड सेक
देख ओ बाबू देख
ओ बाबू देख
देख ओ बाबू देख

हम तो तुमसे प्यार करेगा
प्यार का ही इक़रार करेगा
हम तो तुमसे प्यार करेगा
प्यार का ही इक़रार करेगा
चाहे हो नदिया का किनारा
चाहे रोमांटिक लेक
ओ बाबू देख
देख ओ बाबू देख
ओ बाबू देख
देख ओ बाबू देख

दिल से दिल का सौदा कर लो
प्यार से अपना पाकिट भर लो
दिल से दिल का सौदा कर लो
प्यार से अपना पाकिट भर लो
बीत गई गर यूं ही जवानी
हो जाओगे लेट
ओ बाबू देख
देख ओ बाबू देख
ओ बाबू देख
देख ओ बाबू देख


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 : 4113 Post No. : 15264

Today’s song is from an old film Ek hi Rasta-39. The film was made by Sagar movietone. It was directed by Mehboob Khan and the music was by Anil Biswas. These two legends actually established themselves in the cinema industry through Sagar Movietyone, which rightly included their names in their list of ” Jewels of Sagar “.

Anil Biswas (7-7-1914 to 31-5-2003), however, had already done 9 films as a Music Director (Dharam ki Devi-35, Bharat ki Beti-35, Bal hatya-35, Shokh Dilruba-36, Sher ka panja-36, Sangdil Samaj-36, Prem Bandhan-36, Pratima -36 and Pyar ki Jogan-36) before coming to Saqgar Movietone. Of course, none of these films were famous or hits. He got success with his film Manmohan–36 from Sagar, first time. The film was also a Milestone for Sagar. Director Mehboob Khan (9-9-1907 to 28-5-1964) also had already directed one film – Al Hilal-35 very successfully and Manmohan- 36 was his second film as a director in Sagar, equally successful again.

The two became thick friends. Anil Biswas used to call him ‘ Mawali ‘ and Mehboob khan called him ‘ Bangali ‘. Cameraman Faredoon Irani also joined them and three friends enjoyed work and life together in Sagar and in National Studios, till, due to differences of work philosophies, these friends parted ways and Anil Biswas separated from the two others, never to work together ever again in life. They had worked together in 6 films (5 Sagar and 1 National Studios). Mehboob Khan directed 8 films for Sagar and 2 for National Studios. Anil Biswas was MD for 11 Sagar films and 2 films of National.

Film Ek hi Rasta-39 or The Only Way, was the first Multi-Hero film in India. It had 3 Heros and 2 Heroines. Heros were Shaikh Mukhtar, Harish and Arun Ahuja and Heroines were Anuradha and Jyoti. The real name of Anuradha was Khurshid Akhtar (same as Shyama). She was the youngest sister of actresses Miss Zohra and Mushtari. After Miss Zohra separated from her husband Rafiq Ghaznavi, Anuradha had married him. Jyhoti’s real name was Sitara Bai. She was singer actress Wahidan Bai’s younger sister. Nimmi was Wahidan’s daughter- who married singer G M Durrani.

Film Ek hi Rasta was based on two Hollywood films, namely ‘ The road back’-37 and ‘ Seventh Heaven’-37. The second world war had just begun. Mehboob tried to depict the ill effects of war in an artistic way in this film. The main Hero of the film was Arun Ahuja.

Arun Ahuja’s real name was Gulshan Singh Ahuja, a Sikh, born on 26-1-1918 at Gujaranwala (now in Pakistan). After the school education, he joined Mughalpura Engineering college and secured an Engineer’s degree in 1937. During his college life he had won the Best Football player of the year award. Mehboob Khan was on a Talent Hunt in Lahore. From among the 100 and odd candidates, his choice fell on the well built, athletic, dashing and handsome Gulshan. He was selected and brought to Bombay to act in film Ek hi rasta-39, with a screen name of Arun Ahuja. He was variously billed as Aroon, Arun, Aroon Kumar, Arun Ahuja etc.

His first film was an outstandingly successful hit film. Arun got roles in Bhole Bhale-39 and Civil Marriage-40. Later Mehboob khan took him for film Aurat 40, which he directed for National Studios. The versatile actor acted in over 25 films in 6 years, some of his films were Kanchan, Holiday in Bombay, Beti, Nurse, Savera, Return of Toofan Mail, Shankar Parvati, Andhera, Bharthari, Caravan, Amrapali etc. From 1945 onwards he became a Free lancer.

During the film Savera-42, he fell in love with his co-star – Nirmala. They got married on 5-5-1945. After marriage Nirmala (7-6-1928 to 15-6- 1996) completed 4 pending films and stopped working. Her last film Sudhar was released in 1949. In this film also she paired with Arun. Thus her last film also had her life partner. She acted in only 12 films, but she sang 63 songs in 23 films.

Arun Ahuja was in demand. He continued working in films. He set up his own production company – Arun Productions and he produced 2 films. One film Sehra was released in 1948, but the other film ” Jo hai saajan” remained unreleased for some reasons. Film Sehra was also a huge flop. Arun suffered heavy losses. He tried to work in films to compensate it, but now due to competition from new stars, new films were slow to come, so he did not get many films. His last film was Aulad-54. He had to sell all his property, bungalow, cars and jewellery. He shifted from his bungalow in Bandra to a chawl in far off suburb Virar, with his family, in 1962. Here his last son Govinda was born in 1963.

His health deteriorated. Nirmala decided to revive her singing, to help the financial difficulties of the family. . Composer A R Qureshi arranged her stage programme in Calcutta. It went off with tremendous success and offers started pouring in. She became famous as a Thumri singer. She did many jalsas in India and abroad. Their financial position improved. Their son Govinda also became a big star. He bought a house in Juhu and the family shifted to Juhu for the sake of convenience. However, Arun Ahuja continued to stay in Virar. He did not shift to Juhu.

Arun Ahuja died on 4-7-1998, two years after his dear wife’s death on 15-6-1996.

Film Ek hi rasta-39 was a hit film. Though it was a debut film of Arun, the benefit of the film being a hit went to the other Hero- Shaikh Mukhtar. The tall, strong and not so good looking actor had a meaty role in the film.All the sympathy of the audience went to him when he kills the person who accuses him falsely.

The second world war had just begun in 1939. The film, however, tried to stress that no problem is solved with a war. War is not a solution.Of course, wars do not care what films say. The II WW went on till August 1945, when the Germans were defeated and Hitler committed suicide, along with his lover, after marrying her in the last hour of their life. The Japanese had already surrendered. The film’s story has already been provided in one of the song-posts of this film, so I will not repeat it . The duet song was sung by Wahidan Bai and Anil Biswas.

Not much information is available on Waheedan Bai. Her younger sister Sitara Bai aka Jyoti and her own daughter Nawab Banoo aka Nimmi were actresses. Waheedan Bai was from a Tawayef family. Her daughter Nimmi, had always denied this-understandably too, but Waheedan Bai’s name gave away the true story.

Waheedan Bai belonged to a small town Fatehabad, near Agra. Her father’s name was Basheer khan. She was second amongst 4 sisters. The youngest was Sitara Bai aka Jyoti. Waheedan was a trained and good singer, but Tawayafs did not get social status, so she got married early to one Abdul Hakeem from Nasirabad, settled in Meerut. He had met Waheedan in a shrine in Agra, where she recited verses from Koran.

Soon after their marriage, His father, a contractor with Military, died and Hakim inherited the business. He was a novice and was cheated by his manager and they lost everything. The family moved to Calcutta to start a Leather business. Here also he failed. In Calcutta, their neighbour was director A.R.Kardar. Through his wife, Bahar, Kardar was contacted and he gave a small role to him in a film. Here again he got terrified and ran away, at the time of shooting.

Waheedan came forward and after hearing her singing, she was given a song in the film and it was recorded. Meanwhile Chandulal Shah offered her roles in his films. They shifted to Bombay and she joined Ranjit Movietone. Her first film was Toofani Toli-37. Prithvi Putra-38 was the second film. Her songs in her films were liked and became famous.She worked in other films like Prof. Waman, M.Sc.-38, Rikshawala-38, The Secretary-38 and Thokar-39.

She got acquainted with Mehboob Khan and he offered her lead role opposite Surendra in film Alibaba-40, a Sagar Movietone film initially, but later on sold to Ranjit of Chandulal Shah, in a game of gambling. Film Alibaba-40 was made in Hindi and Punjabi. The film songs became very popular. When Sagar merged into National Studios, she worked in film Sanskar-40.

Waheedan contracted T.B. and left films. She acted in only 8 films and sang 26 songs in 11 films-including her 8 films. She died in 1942.( based on information from the book- Sagar movietone by Biren kothari ji and my notes)

Here is the song. This will be only the 3rd song from this film to feature here. There were 12 songs in the film and the singers were Jyoti, Waheedan bai, Anil Biswas, Harish and Arun Ahuja.


Song-Mujhe mil jaayegi unki dagariya (Ek Hi Raasta)(1939) Singers-Anil Biswas, Wahidan Bai, Lyrics-Pt Indra Chandra, MD-Anil Biswas
Both

Lyrics

mujhe mil jaayegi ee
unki dagariya
mil jaayegi ee
unki dagariya
haan mil jaayegi
chaahe ghir-ghir aaye badariya
chaahe ghir-ghir aaye badariya
mil jaayegi ee
unki dagariya
mil jaayegi ee
unki dagariya
haan mil jaayegi

chaahe panchhi na bole
chaahe panchhi na bole
chaahe chandrmaa aankh na khole
chaahe panchhi na bole
unhe dhoondh nikaalegi hamri najariya
dhoondh nikaalegi hamri najariya
mil jaayegi ee
unki dagariya
mil jaayegi ee
unki dagariya
mil jaayegi

dwaar naya chhat nayi naya ghar
ghar ka sab saamaan naya
dwaar naya chhat nayi naya ghar
ghar ka sab saamaan naya
phir bhi sakhi kahin tikti nahin hai
phir bhi sakhi
phir bhi sakhi kahin tikti nahin hai
vyaakul
vyaakul hamri najariya aa aa
vyaakul
vyaakul hamri najariya

mujhe mil jaayegi unki dagariya
haan mil jaayegi ee unki dagariya
haan mil jaayegi


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 :

4091 Post No. : 15233 Movie Count :

4186

Today’s song is from the film Vijay-42 – a very obscure film. The film was made by National studios. It was directed by Mohan Sinha. Lyrics of all the 10 songs of the film were by Dr. Safdar Aah Sitapuri, which were composed by Anil Biswas.

Due to heavy losses and the general effects of the second world war, Sagar Movietone was in the red and it joined hands with Yusuf Fazal Bhoy (of RCA)’s company General Films to start a new venture ” National Studios “, in which even Tatas invested some money. National studios made a total of 16 films, before it was wound up. Chimanlal Desai of Sagar left after the first 3 films,namely Aurat, Pooja and Sanskar – all in 1940, and started his own Amar pictures.

The cast of film Vijay was Durga Khote, Harish, Husn Bano, Sankatha Prasad, Vaskar, Maya Devi, Ansari, Agha etc etc.

In our life, there are times when we think of ” Lucky and Unlucky”. Human nature, in general is such that it tends to consider certain things as Lucky for him. It can be people, place or even inanimate things. I have noticed that mostly those people whose livelihood revolves round their physical performance, say like Sports, Acting or other artists believe in Lucky-Unlucky most. There was that famous Cricketer who always entered the playing field with his right foot first. Another one put on his left shoe first. Everybody’s method of wooing the Luck factor is different.

A performance industry like Film Industry is not immune from this Lucky-Unlucky factor. Individual actors or MDs, Lead Pairs, Film Titles, Film stories etc have been labelled Unlucky unabashedly, by the industry. Let us see some examples…

Composer Daan Singh had 6 films in hand, but 4 remained incomplete and only 2 got released. Even his 2 Rajasthani films remained unfinished. He was promptly labelled Unlucky and had to go back to his native place. Kamal Rajasthani had the same story. Out of 9 films on hand, 7 were unfinished and only 2 C grade films were released. He too was called Unlucky.

Rajendra Kumar- Waheeda Rahman was an unlucky pair. Dalsukh Pancholi gave them lead roles in his film ‘Nirmala’. He died and the film was shelved half way. Film ‘Palki’-67 was under making, when its director S U Sunny died. The film was somehow competed but it flopped miserably. Then S S Vasan brought them together in film Shatranj-69. He died during the shootings and it was left incomplete. In film Dharti-70, this pair was in lead, but the director’s mother died on the sets and the film was left stranded. Is it a wonder, if the pair was called ‘Unlucky’ ?

Another Unlucky pair was Dev Anand- Meena Kumari. In film Sanam-51, Meena Kumatri was a side Heroine. From this film Dev-Suraiya pair separated for ever. Its director Nandlal Jaswantlal started his downfall and subsequently died later. The pair came again in films Tamasha and Baadbaan , made by the employees of Bombay Talkies. Both films flopped and Bombay Talkies closed down for ever. Another of their film “Kinare Kinare” was delayed for almost 10 years, finally releasing in 1963, but flopped to such an extent that its producer Nyay Sharma got heart attack due to high debts. No one dared to bring this pair again in any film !

Finally, the curious case of unlucky actor Gajanan Jagirdar. In 1941, Jagirdar worked in Prabhat’s film ” Padosi”. After this film , V. Shantaram and Jayashree left Prabhat. In 1944, Jagirdar directed and acted in and as “Ramshastri” for Prabhat. During the film shooting, Prabhat’s partner Vishnupant Damle expired and Prabhat became rudderless. Third time when Jagirdar went to Prabhat to act as and in ” Lokmanya Tilak”, Prabhat not only closed down but was also auctioned ! Jagirdar acted in film “Mahatma” in English, Hindi and Marathi in 1953 for Alhad Chitra’s Datta Dharmadhikari. Due to high debts, the company not only closed down, but the wife of Dharmadhikari had to cook and make Tiffins to survive ! Finally, when he acted in film ” Shahir Parshuram”-61, made by Mangal pictures, the company closed down and was sold out ! No wonder, in film circles, Jagirdar was typedcast as ” Unlucky ” !!

Why I remembered this Lucky-Unlucky matter was the title of today’s film – Vijay. The name Vijay has a special significance in film industry. When Amitabh Bachhan was going through a real bad patch in his career, he got the film “Zanjeer”-73, by chance and this film changed his life for ever and he never looked back. This hit film had Amitabh as Vijay in it as his name. Amitabh was so much enamoured with the name Vijay, that he started insisting that in every film his name should be Vijay – for luck. And sure enough, in films like Deewar, Hera Pheri, Trishul, Shahenshah, Agneepath (My name is Vijay Deenanath Chavan), Shaan, Shakti, Don, Dostana etc he was named Vijay and the films succeeded. Even in film Sholey, his name was Jay – a short form of Vijay, to pair with name Veeru !

According to one film site, Amitabh was named Vijay in as many as 20+ films from 1973 to 2000. Since finding name Vijay successful, many other actors too wanted this name and consequently, Jeetendra was Vijay in 18 films, Mithun Chakrawarty was Vijay in 16 films. Additionally Shashi Kapoor in 7, Shatrughna Sinha in 6, Raj Babbar in 6, Jacky Shroff in 5, Sunil Dutt in 4 films. Further Govinda, Rajesh khanna, Vinod Khanna etc also had Vijay name by choice in their films.

So much for the concept of Lucky – Unlucky !

Film Vijay-42 was directed by Mohan Sinha. Mohan Sinha was born on 2-12-1903 at Indore. He studied upto Matriculation in Indore. His uncle was General Bhavnani Singh, who was in the Indore state army. With his help, Mohan got in state army as a Lieutenant. However, he did not continue for long and left the army. In 1933, he started a film company at Indore-Navyug films. But due to lack of opportunities in Indore, it was closed soon.

Mohan came to Bombay, floated Krishna Films and made and directed a film ” Fashionable India”-35. It was a hit film and he got offers from Rajputana films,General Pictures, Circo and National. He worked with all of them. Sinha went to Calcutta and started Murli pictures. He made ” Swaraj ke sipahi”-37, which was a flop. He came back to Bombay and directed Industrial India-38, for General films. Then came Swastik-39, Laxmi-40,Anuradha-40 and Vanmala-41. He floated Murari Pictures in 1942 and made Badlati Duniya-43 and Krishnarjuna yudha-45 ( This film was appreciated by Dr. Rajendra prasad, Dr. Shamaprasad Mukherji, Veer Savarkar and Acharya kriplani also)

In 1946, Mohan Sinha directed K L Saigal in Omar Khayyam, Surendra in 1857, Raj Kapoor in Dil ki Rani-47 and Dev Anand in Jeet-49. Mohan Sinha directed in all 32 films. He wrote lyrics for 62 songs in 7 films. His last film was Shaan E Hind-60. He died in 1984. Mohan Sinha’s granddaughter Vidya Sinha was an actress. Vidya’s mother was Mohan’s daughter and she died while giving birth to Vidya. From what I had read somewhere, Vidya’s father PRATAP RANA was so grief stricken that he refused to see his new born daughter and it was Mohan who brought her up and even named the little one after her Late mother VIDYA and gave her his own surname.

All the songs of film Vijay-42 were written by Dr.Safdar Aah Sitapuri. It was director Mehboob, who brought Safdar as a Lyricist for his film Aurat-40, made by National Studios. The composer was Anil Biswas. The pair of Anil Biswas and Safdar lasted for many films. In fact, Dr. Safdar wrote his last song for film Maan-54 for which Anil Biswas composed the music.

Dr. Safdar gave songs to many films of National Studios like, Asra, behan,Roshni, Roti, Vijay etc. His best known song was was the famous Mukesh song ‘ Dil jalta hai to jalne de” from Pehli Nazar-45. He wrote 197 songs for 28 films. He also tried his hand at directing 2 films, namely Bhookh-47 and Maan-54.

Today’s song is a very rare song. According to the uploader, our own Sadanand Kamath ji, it is probably the only song which used the word ” Dilchasp’ in the lyrics.

The song is very melodious and is a duet of Anil Biswas and Amar- an occasional singer. The real name of Amar was Nasir. He was from Punjab. He was born in 1920. After doing bit roles in some films,he got a major break in film Sanyasi-45,in which he sang 5 duets and 1 solo. His solo song,’ Tooti hui kashti’ became very popular.

In 1946,he was the Hero of film Bindiya, where Ragini ( who later migrated to Pakistan) was his Heroine. MD was Kamal Dasgupta, who gave him 3 songs.

Then he was Hero of Suraiya in Natak-47. He sang 1 duet with her and 2 solos. Later he did films like Maang, Lalaji, Vijay, Shukriya, Keemat etc. After 1950 he was doing character roles till 1970. He acted in total 89 films and sang 18 songs in 8 films. He died in 1980.

With this song, “Vijay”(1942) makes its debut in the blog.


Song- Haay dil haay dil (Vijay)(1942) Singers- Anil Biswas, Amar, Lyrics- Dr. Safdar Aah Sitapuri, MD- Anil Biswas
chorus

Lyrics

haay dil
haay dil
haay dil
haay dil

kaash khoya hua mera mil jaaye dil
kaash khoya hua mera mil jaaye dil
haay dil
haay dil
haay dil
haay dil

ye haseenon ka dilchasp baazaar hai
jisko dekho wo dil ka khareedaar hai
ye haseenon ka dilchasp baazaar hai
jisko dekho wo dil ka khareedaar hai
kaise bach kar yahaan se bhalaa jaaye dil
kaise bach kar yahaan se bhalaa jaaye dil
haay dil
haay dil
haay dil
haay dil

koi kahta hai dilwaale aana idhar
koi kahta hai dilwaale aana idhar
koi zaalim chalaata hai teer e nazar
koi zaalim chalaata hai teer e nazar

sa yahi chaahte hain ki mit jaaye dil
sab yahi chaahte hain ki mit jaaye dil
haay dil
haay dil
haay dil
haay dil

kaash khoya hua mera mil jaaye dil
kaash khoya hua mera mil jaaye dil
haay dil
haay dil
haay dil
haay dil


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 :

3994 Post No. : 15087

Today’s song is from film Naiya-1947. This social film was made by Mohan Pictures of Ramniklal Shah, which normally made C grade stunt films. The director was Aslam Noori and the music was by Anil Biswas. The cast of the film included Mazhar khan, Munawar Sultana, Ashraf khan, Anwar, Shehzadi, Suman, Balakram, Siraz etc etc. The film had 6 songs listed in HFGK, with record numbers. However it also indicates that there could be 3 more songs, about which no information is available. Lyricist’s name is not mentioned in HFGK,but I find that moviepedia.in mentions name of Aslam Noori – the director as its Lyricist also.

Though 1947 was an year of turmoil due to Partition, it is in this year that a Record production of films was registered, with 181 Hindi films in 1947 alone. This record took another 47 years to get broken, when in 1988, as many as 185 Hindi films were made.( ref: Film Index by Harmandir ji ).

It was also that due to Partition, many Muslim composers like G A Chishti aka Babaji, Ghulam Haider, Firoz Nizami, Rafiq Ghaznavi etc. shifted their base to the new country Pakistan. Some of them continued to visit India and do films, for few more years, on and off. Lyricists like Wahzad Lucknowi and Tanvir Naqvi etc, Singers like Nurjehan, Khurshid, and some actors and actresses too migrated to Pakistan. However, their void was filled up, when younger and talented second line of artistes took over and India did not suffer much.

MDs like Sardar Malik and Ramprasad made their debut, as did lyricists Shakeel Badayuni and Rajendra Krishna in 1947. Asha ( in a chorus), M S Subbulaxmi also debuted this year. Films Jugnu, Do Bhai, Dard and Shehnai saw lasting music getting created in them.

The film industry got a shock in early 1947 with Saigal’s death. Alongwith movies with memorable music, we also had Films like Naiya, whose songs failed to make their mark. The movie “Naiyya” came and went almost unnoticed at the box office.

Artistes leaving one country and migrating to another can be understood, because they continue same work in the new place too. But ever thought what must artistes, who retire or leave films, be doing in their after – life ? One day this question came to my mind and I started thinking. The simple answer was that if it was a woman, she would look after her family and be a housewife, and if it was a man, either he would spend life as a retired person or die in penury. I decided to find out if there was any other way people did spend their balance life.
I found at least 4 cases where people who left this industry midway, did something unusual.

The first case is that of an actor called SHASHI KAPOOR. No-No, he is not that Shashi Kapoor, who was famous actor of the 60s and 70s, who acted in films like Deewar, Dharmaputra, Trishul and many films with Nanda and Sharmila and who was the younger brother of Raj kapoor and Shammi Kapoor.

This actor’s name was Shashi chand F. Kapoor. He acted in the 40s and 50s mainly as a child actor. He acted in 21 films in all. His last film was Bhagwat Mahima-1955. He left films, though in demand and pursued studies. He did B.Sc, M.Sc, LL.B. and taught in Wilson and Kirti colleges, Bombay, and also did work in S.B.I. Then he went to USA for further studies, did his Ph.D. from Michigan University. He worked as faculty member of Michigan University from 1967 to 1998. Then he retired and remained in USA. Sometime back, he gave interviews on Cineplot and Maitri Manthan sites.

The second case is of a Music Director-Mukund Rai Trivedi, who was one of the RAI-FRANK jodi of composers. They together gave music to film GOGOLA-1964. Mukund Rai soon realised that his choice of career was wrong and he left. He joined his family business of Mining in Balaghat-MP and became a very rich and powerful person.

The third case is of ARJUN BAKSHI who was Hero of Malhar-51. He acted in some more films, then wrote screenplays and then left films. He shifted to Canada and opened a Music Shop.

The fourth case is very strange !

ASHRAF KHAN was an actor and singer in many films in the period of 30s to 50s. He left films ……..and became……..believe it or not…..a SUFI SAINT !

I had first time written a short note about him somewhere 7 years ago…in 2012 or so. Here is his information again, but in a different format with some more information collected later on. My friend shri Kamlakar Pasupuleti ji had done lot of research on this actor. It was from his Blog, I first learnt the details about Ashraf Khan.

Ashraf Khan shot to limelight with film Baghban – 1938 . He played the role of a mendicant and rendered three lovely songs composed by Music Director Mushtaq Husain . Ro ro nain gavanvun ,sajanva aan milo was the most popular song among the three songs he rendered. The movie was a great hit and all the nine songs in the movie were popular. The movie was directed by AR Kardar. The lyrics were penned by the comedian Mirza Musharraf. He was paid Rs 90 / – for the nine songs he wrote for the movie. It is important to know how Ashraf Khan progressed in his life and attained the spiritual powers with which he helped millions of people across the globe .

Ashraf Khan was born in Indore in 1901. He lost his father at a young age of seven. The burden of taking care of his widowed mother and a young sister fell on his shoulder . Indore was a famous city for wrestling and the wrestling competitions were held for all ages including children. He took up wrestling as a profession for some time . He later became a Shepard boy and guarded the sheep .

He had a good voice and used to sing while taking the sheep in and out of the city. One evening while returning home from the outskirts he started singing loudly. A Gujarati drama company was stationed in a near by bungalow. The owner of the drama company heard his song and he was called inside. The owner asked the boy if he is willing to work for the drama company. The boy replied Yes. There upon the owner asked him if he can play the role of a girl. The boy daringly replied No, will play the role of a boy . The owner was impressed and he got into the Gujarati drama company.

He started playing small roles and as he grew up was given the role of a hero . His salary increased gradually and by the time he was playing hero roles he was paid Rs 600 / per month. He used to give away his entire earnings to his mother. His mother used to give him four annas a day as his allowance as he had the habit of eating Paan( betal leaf ), but Ashraf Khan used to return back the four annas to his mother in the evening.

Ashraf Khan’s mother tongue was Urdu and Pushtu but he learnt to speak Gujarati with ease and he rendered his dialogues fluently. He gave record breaking performances in Malopati Manjh ( Prithvi Vallabh ). He played the role of a hero Prithvi Vallabh in three thousand shows. Prithvi Raj Chauhan was another stage performance in which he played the hero role of Prithviraj Chauhan in two thousand shows. Ashraf Khan was associated with the Gujarati stage even after joining the films .

With the advent of talkie he moved over to Bombay in 1931. His first film was Shakuntala-31 ( made in Bombay.There was another film Shakuntala made same year in Calcutta by Madon Theatres) With his experience in stage he was hired for three movies Bhartruhari, Gul-e-Bakavali and Veer Kunal. He played the role of a hero initially and later in life played character roles. He acted in more then two dozen movies. Mehboob Khan portrayed him as a mad professor in his famous film Roti – 1942. It was during the filming of Roti that he came in contact with Peer-o-Murshid ( Spiritual Guide) Ghulam Sarvar. Ghulam Sarvar belonged to Lahore and was employed in railways as a guard. He had many followers in Bombay. Ashraf Khan’s devotion towards his spiritual guide was so great that when ever he visited Bombay he used to carry his luggage on his head and escort him home .

Large crowds used to gather to meet Peer-o-Murshid Ghulam Sarvar in the 1940’s and among the film personalities the notable were A R Kardar, Mehboob Khan, Yaqub, Prithviraj Kapoor , Trilok Kapoor, Sardar Akhtar, Akhtari Faizabadi, Jaddan Bai etc etc to name a few. Akhtari Faizabadi and Jaddan Bai used to sing devotional songs during the assembly .

Taking care of the visitors foot ware was the first duty assigned to him by his Peer and Ashraf Khan never thought it was a menial job He knew that the peer is shedding his ego by assigning such tasks. Peer-o-Murshid Ghulam Sarvar was so pleased with his devotion that he handed over his Gaddi ( seat ) to Ashraf Khan. Ashraf Khan became a Peer .

His association with the Gujarati stage lasted till his end. In 1962 after his last stage show at Dharoji in Gujarat he returned to the Durgah where he was stationed with his family . It was the ninth day of the Gyarhvi Sharief ( the eleventh month of Islamic calender ). He lied down on his bed and spoke few words to his wife and fell unconscious, but his lips started moving as if he is narrating verses from Ayat Sherief. This situation continued the whole of that night and the next day. His wife , family members and devotees remained at his bed side reading verses from Ayat Sherief He opened his eyes in the evening. His devotees asked him how he was and he replied that where ever he is, he is doing well .

He was brought to the hospital at Rajkot in this condition. Ashraf Khan passed away at eleven PM on the eleventh day of the Gyarhvi Sherief, the eleventh month of Islamic calendar. His mortal remains were brought for funeral to the residence of Dr Malik who was a friend and a devotee. His devotees were chanting holy verses from Ayat Sherief and Darood Sherief . Around 4 O’ clock in the morning he opened his eyes once again, looked all around him with a smile and closed his eyes. This was a surprising moment for all those who were present around him. A dead man opening his eyes and smiling was some thing strange. The crowd shouted Hazrat is alive, Hazrat is alive, call the doctor. There are several people alive today who witnessed this strange incidence. Dr Malik examined him and pronounced him dead. He was buried at a place which is located on the highway . The Urs is celebrated every year and lakhs of devotees all across the globe visit his Mazaar ( Tomb ).

There are hundreds of families in Hyderabad whose vows were fulfilled by the spiritual powers of Hazrat Ashraf Khan. Each family has a different story to narrate. Many sickly people got cured, many got rid of financial troubles, rivals became friends, many women became mothers after best efforts by doctors failed .

Amirbai Karnataki rendered a couple of devotional songs in his praise. Some disc collectors of Hyderabad had them in their collection .

Ashraf Khan acted in 30 films in all. Some of his films were- Aaiye 1949, Phool 1945, Roti 1942, Baghban 1938, Ajamil 1934, Roop Basant 1933, Malati Madhav 1933, Husn Ka Gulam 1933, Veer Kunal 1932, Gul-e-Bakavali 1932, Bhartruhari 1932. He sang 59 songs in 14 films. Some of songs rendered by Ashraf Khan were in movies …..Baagbaan 1938, Baaghi 1939, Aazaadi-E-Vatan 1940, Roti 1942, Pagli Duniya 1944 and Naiya-1947. His last film was Arab ka sitara-1961.

Noted Record Historian, and President of S.I.R.C., Dr. Suresh Chandvankar also wrote about Ashraf Khan in his book in Marathi ” पूर्वसूरींचे सूर “. He says that after the death of his parents, Ashraf khan was looked after by his father’s Hindu friend Baburao. He learnt Gujarati so well that people thought that he was a Gujarati. He entered Gujarati stage. Due to his good singing, in later period he was called Saigal of Gujarat. In 1960, he was felicitated by the President of India. In Bombay he had a bungalow in Girgaon. From 1950 onwards, he inclined towards Sufism, while still working on stage and films.

After his death, his Darga is set up at Dana Limdi, on the Bombay-Gujarat highway, where every year an Urs is held and lakhs of visitors come.

Truly, reality is stranger than fiction, indeed !

Another interesting name in the list of the cast of film Naiya-47 is that of Shiraj or Master Shiraj. He was one of the most popular and very famous Hero in the silent era. Like many others, when the Talkie era began, he too was relegated to the background and with great difficulty could get character roles in films. His first Talkie film was Mast Faqir-1934. He sang one song each in 2 films- Baghdad ka chor-34 and Chalta Purja-34. He continued doing roles in films.

During his good times, he had learnt the art of Massaging, as a Hobby and this became his last straw for survival. When film roles were not available, he used to roam about with his kit and do Massaging to earn a living. After doing about 26 films, till Naiya-47, he stopped getting credited in the cast. Now he worked as an extra.

He was last seen in film Guddi-1971- doing massage to Omprakash in one scene. In that film, Dharmendra tells Jaya Bhaduri (Guddi) that Master Shiraj was a star in silent film era. Director Hrishikesh Mukherjee ensured that Shiraj got his name in the film credits of Guddi-71.

Master Shiraj was just one of those unfortunate film artistes who spent their end-time in a very pathetic manner. Some other examples are- actor/singer Parshuram died on road as a beggar, Singer Vatsala Kumthekar died on road as a mad beggar,Wasti was seen begging near Liberty cinema and Rattanbai was seen begging near Haji Ali. There are many more such stories. The world of films is the most unpredictable and unless the artiste is wise to secure his future, there is no light at the end of the tunnel !

Today’s song from film Naiya-47 is a typical old time style song. Nothing special about the song, but the singer was special.


Song-Siyaram ram Siyaram(Naiyya)(1947) Singer- Ashraf Khan, Lyricist- Safdar Aah Sitapuri, MD- Anil Biswas
Chorus

Lyrics

Siyaram ram siyaram ram
Siyaram ram siyaram ram
Siyaram ram siyaram

Pran ka panchhi ud gayo raam
tan ka pinjra soona soona aa
Pran ka panchhi ud gayo raam
tan ka pinjra soona soona
Siyaram ram siyaram ram
Siyaram ram siyaram ram
Siyaram ram siyaram

janam janam ki sangi saansen aen
pawan pawan mein mil gayi jaan
Siyaram ram
siyaram

janam janam ki sangi saansen aen
pawan pawan mein mil gayi jaan
Siyaram ram
siyaram

tod ke naata maat pita khud
chita maan chola rakh diya aaj
Siyaram ram
Siyaram

raamnaam chhut kahu na apna
raam
siyaram
raamnaam chhut kahu na apna
sumran kar man raam ka naam
tan ka pinjra soona soona
pran ka panchhi ud gayo raam
tan ka pinjra soona soona
Siyaram ram Siyaram ram
Siyaram ram Siyaram ram
Siyaram ram Siyaram

mahal domahle sona chaandi ee
raaj paat jag ka sukh chain aen
mahal domahle sona chaandi ee
raaj paat jag ka sukh chain
jaise sapna dekh rahe thhe ae
aankh jo moondi khul gaye nain
Siyaram ram Siyaram
jaise sapna dekh rahe thhe ae
aankh jo moondi khul gaye nain
Siyaram ram Siyaram

kaunn bharam maan phansa thha man re
kaunn bharam maan aan
kaunn bharam maan phansa thha man re
aise bharam ko sau parnaam
tan ka pinjra soona soona
pran ka panchhi ud gayo raam
tan ka pinjra soona soona
Siyaram ram Siyaram ram
Siyaram
Siyaram ram Siyaram ram
Siyaram ram Siyaram ram

Siyaram
Siyaram ram Siyaram ram
Siyaram ram Siyaram ram
Siyaram ram Siyaram ram
Siyaram ram Siyaram ram


This article is written by Sudhir, 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 : 3972 Post No. : 15058

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Blog 10-Year Challenge (2009-19) – Song No. 34
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Ten years back, 3rd June, 2009, five songs and five films. The films are,

Shart 1954
Return of Mr Superman 1960
Ganga Jamuna 1961
Khoj 1971
Ek Baar Muskura Do 1972

The film ‘Shart’ from 1954 made its debut on the blog with the iconic “Naa Ye Chaand Hogaa Na Taare Rahenge”. In terms of completion, the films ‘Shart’ and ‘Ganga Jamuna’ have been yippeee’d already. The remaining songs of the rest of the three films are waiting in the wings.

Coming of 1960s also saw the waning of the career of music director Anil Biswas. Active in the industry since 1935, Anil Biswas has made a very significant and a lasting contribution to the music of Hindi cinema. A trendsetter in many ways, Anil Da has also been responsible to introduce and groom some of the finest singing voices in the industry.

After two and half decades, in the beginning of 1960s, his body of work was reduced to just a trickle. In 1961, he directs the music for ‘Lucky Number’; in 1962, it is ‘Sautela Bhai’; and after many delays, ‘Chhoti Chhoti Baaten’ finally got released in 1965.  And it turns out to be his last film in the industry. He had actually moved to Delhi already, during this time frame (March of 1963) and was working at the All India Radio as the director of the National Orchestra and Chief Producer of the program ‘Sugam Sangeet’.

Today, we revisit one of his lesser known films – ‘Return of Mr Superman’ from 1960. The song is a mujra performance, presented on screen by Heera Sawant. I hope I am correctly identifying the main dancer in this clip. I request other knowledgeable readers and friends to please confirm or correct me. There are other actors in the audience that can be identified. We can clearly make out David and Rajan Haksar. There is another gentleman with ruffled hair and a large round eyes. I request the readers and friends to please help put a name to this face. Also, there is a trio of supporting singers on screen, who lip sync the chorus lines. Again, the request is to help identify these ladies.
[Ed Note: Prakash ji has identified the “. . .gentleman with ruffled hair and a large round eyes.” as Jagdish Kanwal. Thanks Prakash ji.]

The film is produced and directed by Manmohan Sabir, for his home banner – Manmohan Pictures, Bombay. The film has seven songs listed in the Geet Kosh, written by four songwriters – Anand Bakshi, Kaif Irfani, Manmohan Sabir, and PL Santoshi. This song is written by Manmohan Sabir. The music, of course, is by Anil Biswas.

The cast of the film is listed as Jairaj, Sheela Ramani, Helen, David, Naazi, Majnu, Shammi, Ram Mohan, Rajan Haksar, Jagdish Kanwal, Heera Sawant, Nazeer Kashmiri, Mohinder, Saleem Raza, Robert, Gulab, Ramesh, Arvind, Harun, Master Naveen, Krishna, and Funny Walker.

There is one interesting discussion that we have had earlier on this blog, relating to one song purportedly from this film. The song is “Stella O Stella O Stella”. The curiosity about this song is that it has also appeared earlier in the film ‘Chaar Dil Chaar Raahen’ from 1959. This earlier film also has music directed by Anil Biswas. On our blog, it so happens that this song, as it appears in ‘Return of Mr Superman’ is already posted; and the same song as it appears in ‘Chaar Dil Chaar Raahen’ has not yet been posted.

I would like to bring to the notice of interested readers, the fact that this song does NOT appear in the list of songs given in Geet Kosh for the film ‘Return of Mr Superman’. The original song, as appearing in ‘Chaar Dil Chaar Raahen’, written by Sahir Sb, is the correct attribution of this song. The appearance in the later film ‘Return of Mr Superman’ is simply a repeat use, probably inserted at a short notice to fill a certain scenario. The song certainly does not belong to this later film.

Coming back to the song for today – as one listens carefully, one realizes that this is actually a ghazal that has been presented as a mujra. An interesting variation. I am sure we will find more such instances, if we start looking carefully. Earlier, we have identified a couple of ghazals that has been presented as qawwaalis (and I am sure there are more of such instances also). So now we have another variation – I am sure we will find more cases of a ghazal presented as a mujra. As one listens to the wordings, it is really a very endearing expression –

dil to tujh ko de diya, ab jaan bhi de denge hum
jaan lene se na ab, ae jaan e mann ghabraaiye

So, remembering Anil Biswas – his rememberance day was 31st May, just three days ago. Getting on to another 10 year connect. And getting to listen to this wonderful mujra. . .

Editor note-With this song, Meena Kapoor completes 100th song as a singer in the blog.

Song – Dil Milaate Jaaiye Nazren Milaate Jaaiye (Return of Mr Superman) (1960) Singer – Meena Kapoor, Lyrics – Manmohan Sabir, MD – Anil Biswas
Chorus

Lyrics

dil milaate jaaiye..ae..ae
nazren milaate jaaiye
dil milaate jaaiye
nazren milaate jaaiye
ik nazar ae meharbaan
ab aur na tarsaaiye
ik nazar ae meharbaan
ab aur na tarsaaiye

haaye na tarsaaiye
ab aur na tarsaaiye
dil milaate jaaiye
nazren milaate jaaiye
dil milaate jaaiye
nazren milaate jaaiye

aap ka parda rahe aur
hum ko ho deedaar e yaar
aaaa aaaa aaaa aaaa
bach ke duniya ki nazar se
ae ji khwaab mein aa jaaiye
bach ke duniya ki nazar se
khwaab mein aa jaaiye
khwaab mein aa jaaiye
khwaab mein aa jaaiye
dil milaate jaaiye
nazren milaate jaaiye
dil milaate jaaiye
nazren milaate jaaiye

gair ki mehfil mein hum se
parda-daari kis liye
haaan aaaa aaaa aaaa
hum tumhaare hain
tumhaare
tumhaa..are
ae ji hum se na sharmaaiye
hum tumhaare hain
tumhaare
hum se na sharmaaiye
hum se na sharmaaiye ji 
hum se na sharmaaiye
dil milaate jaaiye
nazren milaate jaaiye
dil milaate jaaiye
nazren milaate jaaiye

dil to tujh ko de diya
ho oo oo oo oo
dil to tujh ko de diya
ab jaan bhi de denge hum
haaan aaa aaa aaa aaaa
jaan lene se na ab
ae jaan e mann ghabraaiye
jaan lene se na ab
ae jaan e mann ghabraaiye
jaan e mann ghabraaiye
ji jaan e mann ghabraaiye
dil milaate jaaiye
nazren milaate jaaiye
ik nazar ae meharbaan
ab aur na tarsaaiye
dil milaate jaaiye
nazren milaate jaaiye

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

दिल मिलाते जाइए॰॰ए॰॰ए
नज़रें मिलाते जाइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए
इक नज़र ए मेहरबान
अब और ना तरसाइए
इक नज़र ए मेहरबान
अब और ना तरसाइए

हाए ना तरसाइए
अब और ना तरसाइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए

आप का पर्दा रहे और
हमको हो दीदार ए यार
आ आ आ आ
बच के दुनिया की नज़र से
ए जी ख्वाब में आ जाइए
बच के दुनिया की नज़र से
ख्वाब में आ जाइए
ख्वाब में आ जाइए
ख्वाब में आ जाइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए

गैर की महफिल में हमसे
पर्दादारी किस लिए
हाँ आ आ आ आ
हम तुम्हारे हैं
तुम्हारे
तुम्हा॰॰आरे
ए जी हम से ना शर्माइए
हम तुम्हारे हैं
तुम्हारे
हम से ना शर्माइए
हम से ना शर्माइए
जी हम से ना शर्माइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए

दिल तो तुझको दे दिया
हो ओ ओ ओ ओ
दिल तो तुझको दे दिया
अब जान भी दे देंगे हम
जान लेने से ना अब
ए जान ए मन घबराइए
जान लेने से ना अब
ए जान ए मन घबराइए
जान ए मन घबराइए
जी जान ए मन घबराइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए
इक नज़र ए मेहरबान
अब और ना तरसाइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए


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 : 3931 Post No. : 15003

Mukesh song ” Dil jalta hai to jalne de” actually introduced me to the film Pehli Nazar-45. Being a Muslim social film, it was quite popular in Hyderabad, which was Nizam state, with a considerable Muslim population in it.

When the Fazli Brothers-the Director brothers- decided to make their first Muslim social film, ” Qaidi” in 1940, they were not sure how the purists in their religion would accept a film on Muslim life.But the director-Hussanain Fazli- was very firm that come what may, he would produce a Muslim social film. Just to be on a safe ground, he chose to make the film in Calcutta- far off from Bombay to avoid any resistance from the fundamentalists. The film was made by Film Corporation of India, Calcutta.

Contrary to Fazli’s fears, film Qaidi-40 was received by the Muslim community with open arms. It was a Box office success wherever it was released. For first time perhaps, the community was treated with a film about their culture and social life. Film Qaidi-40 set the ball rolling. It gave a feeling of ” yes, we can do it” not only to Fazli Brothers but many other producers, like Mehboob, K.Asif, Mazhar Khan etc etc.

From the 40s to the 47, there was a line of Muslim social films lined with pride and confidence. Notable amongst them was Paak Daaman-40 by Rustom Modi, Masoom-41 by Fazli brothers, Muslim ka lal-41 by Mohan Pictures, Fashion -43 by Fazli Brothers, Najma-43 by Mehboob, Salma-43 by Nazir Ahmed, Ismat-44 by Fazli Brothers, Bade Nawab saab-44 by actor Kumar and Pramila, Bhaijaan-45 by United Films and Phool-45 by K.Asif.

With this background, the Actor, Producer and the Director Mazhar Khan decided to make a Muslim social film and he started ” Pehli Nazar’ in 1945. When he was thinking about the cast, one of his friends from Lahore told him about a new beautiful girl from Lahore who acted in film Khazanchi-41 in a small role of a Bar Girl-on whom a full song was filmed. She, though a Muslim, called herself “Asha”. Mazhar khan saw the film and decided to feature this girl as heroine of his film. he went to Lahore, met the girl and gave her such a lucrative offer that she accepted it immediately. She was Munawar Sultana.

We have often heard and read that in olden days, young film aspirants from far off cities and smaller towns, ran away from homes to the Maya Nagari-Bombay, to try their luck. Few of them succeeded. But mind you, not ALL stars came running away to Bombay. Many of them were brought honourably too, particularly from other film centres like Calcutta and Lahore. For example, Shamshad Begum was brought to Bombay, honourably from Lahore. Saigal was brought from Calcutta to Bombay, with attractive offer.

That, precisely, was the fame of Bombay, that careers are made in Bombay and opportunities are found in abundance for them who have Talent and Luck ! Munawar Sultana, was one such star, who was brought from Lahore with an offer of Rs. 4000 pm and rented furnished accomodation – by Mazhar Khan

Munawar Sultana was born on 8 November 1924, in Lahore, into a strict Punjabi Muslim family. According to an interview with son Sarfaraz and daughter Shaheen, conducted by Shishir Krishna Sharma, Munawwar’s father was a radio announcer. Munawwar wanted to become a doctor, but was side-tracked by an offer in films. This was a small role in the film, Dalsukh Pancholi’s Khazanchi (1941), where she played a barmaid, and had a song, “Peene Ke Din Aaye” picturised on her. She went by the screen name Asha for this period.
In 1945, she was visited in Lahore by producer-actor-director Mazhar Khan, who contracted her on a monthly fee of Rs. 4000 plus an apartment, and brought her to Bombay. Munawwar’s first film with Mazhar was Pehli Nazar, where she was cast opposite actor Motilal. In the popular song “Dil Jalta Hai Toh Jalne Do” (Let the Aflame Heart Burn) playbacked by singer Mukesh for Motilal, Khan focused on Munawwar’s close-ups during the picturisation.

Following Pehli Nazar, she was kept busy through 1947 to 1949 working in several films. Baburao Patel wrote in the cine-mag Filmindia 1949, about her being one of the most over-worked actresses along with Suraiya and Nargis.
In 1947, Munawar acted in four films Dard, Elaan, Andhon Ki Duniya and Naiyya. Dard was directed by Kardar under Kardar Productions. In spite of no big stars being in the film, it turned out to be a surprise “musical hit” at the box office. The hero of the film was Kardar’s brother Nusrat (Kardar). The song “Afsana Likh Rahin Hoon” became a big success. Elaan garnered positive reviews for Munawwar. A Muslim social, the film was praised for its “progressive attitude” towards the need of education.

A lot has already been written about Elaan-47,elsewhere,as well as on this blog too,earlier.

When Mehboob Khan heard the story initially,he spent few days thinking about it.He anticipated the adverse reactions of the Fundamentalists on this film. His team for this film included many Muslims, almost in every department. Major contributors like Naushad, Zia Sarhadi, Amirbai Karnataki and most important , Munawar Sultana,the Heroine,were all Muslims.Others at least were connected indirectly,but Munawar was the Heroine.

Mehboob Khan had a sitting with her and explained to her the entire story and the likely repercussions to the film.He gave her an option to opt out of the film. Munawar played very brave and firmly told Mehboob Khan that she was 100% with him and was ready to work and face,whatever happens as an aftermath.
This act of courage was loved and appreciated by Mehboob Khan very much and he remained indebted to her ever after.
1948 saw Munawar in four more films. Parai Aag, Sona, Majboor and Meri Kahani

1949 was Munawar’s busiest year with seven releases. Out of her four films released in 1950, Munawar’s most notable film was Babul (Father’s House). She acted opposite Dilip and Nargis in this love triangle. Directed by S. U. Sunny, the music was composed by Naushad The film became a major success at the box office. She acted in a few more films till 1956, with Jallad being her last appearance.

From 1950, Munawar’s career slowed down, and she acted in fewer films. She met her husband Sharif Ali Bhagat, a businessman, on the sets of a movie for which he provided furniture. He produced two films with Munawar in the lead, Meri Kahani (1948) and Pyar Ki Manzil (1950). Following the sudden death of her husband in 1966, Munawar managed her family of four sons and three daughters . In the last eight years of her life, Munawar suffered from Alzheimer’s disease. She died on 15 September 2007, at her home in Ambedkar Road. Pali Hill, Mumbai, Maharashtra, India.

For the second Heroine’s role, Mazhar had already signed actress Veena. He was impressed with her looks and style. Getting Veena for this film posed no problem.The Hero was to be Motilal. Anil Biswas too had been signed for its music. The shooting started in early 1945. In between Mazhar khan himself as well actress Veena were acting in K Asif’s film Phool-a Muslim social film again. This film was full of Top stars of those times, so even after completion of the shooting of the film Pehli Nazar, the film was not released in Bombay. The film was censored in the end of 1945. Then the film was first released in Lahore and then in major cities of Northern India. Finally Pehli Nazar was released in Bombay on 18-4-1947 at Minerva Theatre. Originally it was to be in Royal opera House, but the inordinate delay in Bombay release forced it to be in Minerva, another posh theatre of repute.

The film and the acting, particularly of Motilal and Munawar Sultana was appreciated by newspapers and film magazines. There were different opinions about the end of the film. Overall Mazhar khan was successful in fulfilling his dream of making a good Muslim social film, after all. The cast of the film was Motilal, Veena, Munawar Sultana, Baburao Pendharkar, Balakram,Bhudo Advani, Cuckoo, Parveen ( made her debut in this film), Nemo, Nafeesa Begum, Bibbo, Leela Pawar etc etc.

Nemo’s real name was M M Beg. Born at Calcutta on 27th December 1903. Passed Senior Cambridge exam and entered Film line. In 1933. He edited the periodical ‘ AKKAS’ for New Theatres, in English and Urdu. Wrote story of film “President”. Debut in film Yahudi ki Ladki-33 Mostly worked in NT films. till Kashinath-43. In all, he worked in 25 films, 17 of them with new Theatres only. I remember him in film Shri 420 as the seth who brings Police to stop the song and dance of the Basti.

The story of film Pehli Nazar-45 was….. Nasir Mirza and Akhtar Mirza were Lucknow based brothers. Due to a rift between them they lived separately in the same Haveli as neighbours. There was no talk between the brothers.

However Shahida ( Veena), daughter of Nasir and Husna (Munawar Sultana) daughter of Akhtar were bosom friends since childhood and were almost inseparable.

Nasir’s friend in Bareilly sends his son Mushtaq (Motilal) for studies in Lucknow. Mushtaq and Shahida become friendly and Nasir gets them engaged. But, as the brothers are not on talking terms this is kept secret.

One day Mushtaq happens to see Husna, she also sees him and love blooms between them. Mushtaq is so enamoured with Husna, that he breaks his engagement with Shahida. Upset Shahida feels guilty that she did not inform Husna about their engagement.

When Husna learns about the engagement of Shahida and Mushtaq, she feels guilty and perturbed. There is now a chaos in both families. Husna fears that her father may commit suicide to avoid humiliation. After lot of thinking Husna decides to end her life and consumes poison and dies.

The brothers are in shock and grief. They realise their follies and unite. Mushtaq finally marries Shahida only.

There are 10 songs in this film. 7 songs are already discussed. There are several stories about the recording of song ” dil jalta hai to jalne de”. which have been discussed earlier, so we bypass them today. Songs of this film have been discussed by Sadanand ji, Sudhir ji and Atul ji. With me presenting a song today, the film becomes Unique whose songs have been discussed by all 4 of us !

Today’s song is a song and dance, shot on Cuckoo and others. HFGK is silent on the names of singers. This is an issue which is unnecessarily magnified. One must understand that Harmandir ji did this colossal work of HFGK, with great hard work and used whatever information was available to him that time. In few cases no information was available, in some cases wrong information was used and in some case doubtful information was there. He added ” Addenda” to all volumes, with additional information correcting the gaps etc. So, even if singers are not mentioned for some songs, later on experts have rightly identified the voices and due credit is given. We did it on our Blog this, several times. So ” HFGK does not mention singer” need not be made into a big issue at all. In today’s case Sadanand ji-the uploader- has identified the main voice as that of Binapani Mukherjee. Some other expert has identified Naseem Akhtar as the second voice. I am considering both these names as singers.
Editor note- There is a third female voice in the song as well.

( I am thankful for some information used from ‘Forgotten movies on Muslim culture 1933-1947’ by Kamlakar Pasupuleti ji, The Filmdom-1946, Harish Raghuwanshi ji, and my notes ).


Song- Khan Kaabul se aaya ji wai wai (Pehli Nazar)(1945) Singers – Naseem Akhtar, Binapani Mukherjee, Unknown female voice, Lyrics- Dr. Safadar Aah, MD- Anil Biswas

Lyrics

hoy
khan kaabul se aaya ji
wai wai wai
pista chilgoza laaya ji wai wai

shawl lena ji pashmeena lena
ho na naqdi to kishton pe lena
shawl lena ji pashmeena lena
sasta sauda lagaaya ji
sasta sauda lagaaya ji
wai wai wai wai
wai wai wai wai
kaabul se aaya
haan maano(?) hamaari gali aana
hamaari gali aana
zara nainon se naina milaana
ji naina milaana

khan aaya ji
aaya ji
wai wai wai wai
wai wai wai wai
kaabul se aaya
chalo kaabul hamaare saath janiya(?)
ho janiya janiya (??)
chalo kaabul hamaare saath janiya(?)
mujhe maaregi teri pathaniya
mujhe maaregi teri pathaniya

main pathaani ko ghar se nikaaloon
main pathaani ko ghar se nikaaloon
paani paani(?)
phir to bainyyaan main tere gale daaloon
phir to bainyyaan main tere gale daaloon

tujhko ?? banaaya ji
aurat banaaya ji
bibi banaaya ji
wai wai wai

aayi meri pathaani hathheeli
kahin mujhko chhupa le chhabeeli
kahin mujhko chhupa le chhabeeli
zara mujhko nigode bata de
kya huye tere shaadi ke waade
kya huye tere shaadi ke waade

sab bhulaaya
sab bhulaaya
bhulaaya ji
wai wai wai wai
wai wai wai wai
kaabul se aaya
kyun aaya

khan ki ham to aurat pathaani
ae kaun shaitan ki tu hai naani
ae kaun shaitan ki tu hai naani
mard hamaara churaaya ji wai wai wai
mard hamaara churaaya ji wai wai wai
mard hamaara churaaya ji wai wai

jaan jaane de
jaan jaane de
hatt jaa deewaane
kyun re aaya thha naina ladaane
kyun re aaya thha naina ladaane
too ne isko bhulaaya ji
too ne isko bhulaaya ji wai wai wai
too ne isko bhulaaya ji wai wai wai
too ne isko bhulaaya ji wai wai wai


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

Blog Day : 3796 Post No. : 14784

Today’s song is from the film Mahatma Kabir-54.

India has been attacked and ruled by outsiders for centuries. Religions other than Hinduism ruled this country and at times it was feared if our religion will become extinct. Perhaps, from this feeling Bhakti Movement started in India in one part and over the years it engulfed the entire Bharatvarsha. During this period, many saints, teachers and holy figures came up and helped the country to be strong once again in matters of religion.

The Bhakti movement refers to the theistic devotional trend that emerged in medieval Hinduism and later revolutionised in Sikhism. It originated in eighth-century south India (now Tamil Nadu and Kerala), and spread northwards. It swept over east and north India from the 15th century onwards, reaching its zenith between the 15th and 17th century.

The Bhakti movement regionally developed around different gods and goddesses, and some sub-religions were Vaishnavism (Vishnu), Shaivism (Shiva), Shaktism (Shakti goddesses), and Smartism. The movement was inspired by many poet-saints, who championed a wide range of philosophical positions ranging from theistic dualism of Dvaita to absolute monism of Advaita Vedanta.

The movement has traditionally been considered as an influential social reformation in Hinduism, and provided an individual-focused alternative path to spirituality regardless of one’s caste of birth or gender. Postmodern scholars question this traditional view and whether the Bhakti movement ever was a reform or rebellion of any kind.

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

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

Kabirdas ji is one saint who is revered equally by Hindus and Muslims as well as Sikhs. He belonged, in fact, to all Indian masses.

Kabir was born near Kashi (Varanasi) to a Bramhin widow, who deserted him, for fear of social boycott. He was found and brought up by a Muslim weaver couple-Niru and Naima. Vaishnava Saint Ramanand accepted him as his disciple. Unlike some other saints, Kabir did not become a Sadhu or a Fakir, but he married and led a normal life earning from his Loom works. He had 1 son and 1 daughter also.

Kabir campaigned against social discrimination and economic exploitation. He vehemently opposed dogmas in Hinduism and Islam. His language was straight from the heart, using common vernacular words, which appealed to the masses. He was against Moorti-puja and believed in Bhakti and Sufi ideas. He was an illiterate person. His poems and Dohas were heard ,noted and written by his followers. His works are included in the Guru Granth Sahib of the Sikhs also. His dohas were in Awadhi, Brij and Bhojpuri languages. Through his philosophies, he spread the message of unity during his times. For him Ram and Rahim were the same.

While the authentic period of kabir is 1440 to 1518, there are popular legends about him living for 120 years and after death, his body turning into Flowers.

More than anything else, Mahatma Kabir is remembered for the courage of his convictions. He was a religious reformer who slashed down the orthodox bigotism of Hindus and Muslims alike. He denounced with a touch of satire, the whole apparatus of piety of the temple and the mosque, the idol and the holy water scriptures and the priests, labelling them as cults that vainly tried to replace Reality with Ritual. And thus it was that while courting bitterness from the accepted monopolists of Faith, he tried to eliminate the bitterness that then existed between Hindu and Muslims of that day. The life story of Kabir saheb is surrounded by numerous contradictory legends, on many of which reliance cannot be placed. It is therefore not to be expected that any one version of his life could satisfy all such sections of people who claim to know anything about him.

Mahatma Kabir-54 was made by New premier Films, Bombay and it was directed by Gajanan Jahagirdar. The music was by Anil Biswas and the cast included Surendra, Sulochana, Jahagirdar, Randhir, Lalita Pawar and others. The story of the film is…

The story of Mahatma Kabir begins with the unfolding of a lotus as divine light penetrates through its petals. The infant that lay within, stretched out its chubby arms to Nooru and Naima, a weaver couple of Benares, who brought him up as Kabir, their foster son. But Kabir grew into a strange boy, dreamy and listless, curious of matters spiritual, until one day he saw in Swami Ramananda his destine teacher. Eager to meet his Guru alone, he lay upon the steps of the Ganges, where Ramananda was accustomed to bath. The master trod upon his body unexpectedly and exclaimed “Ram Ram”. Accepting this as a token of the mantra of initiation, and with inspiring words of the Guru, Kabir stepped forth in pursuit of his mystic mission.

As a youth, he found his opposition from the orthodox groups increasing in the threatening proportions. His family was ostracised socially and economically, a calamity to which his foster father Nooru succumbed. All legends agree that Kabir a simple unlettered weaver relied in work as a means of living independently of any charity and earned his livelihood from the loom. The work of his hands helped him rather than hindered the impassioned meditation of his heart from the depths of which he sang the rapturous lyrics of divine love.

Kabir Saheb was constantly harassed by the Mahajan for the repayment of his foster father’s debt which on account of his economic boycott he was not able to repay. He was involved in a theft charge and presented before the Ruler of Kashi who ordered him to be whipped. The sentence was executed but Kabir smiled at the foolishness of those trying to punish him for the offence he had not committed, while the real offender on whom the lashes were actually falling cried in pain. The repentant Kashi Naresh honoured and feted Kabir and the entire ensemble shouted Kabirji ki jai. Returning home Kabir found his ancestral home attached by his Mahajan. People offered to pay off the debt but Kabir declined their offer. He thought that Ram was taking him closer to Himself by removing slowly the barriers of worldly possessions.

With the ancestral house gone, Kabir walked away to the ruins in the outskirts of the Kashi with his foster mother Naima and wife Loi. From there, this apostle of Universal Love, travelled through the length and breadth of the land and the countries beyond, spreading his gospel far and wide while his foster-mother and wife Loi suffered the privations of life. After many years he returned to Benares, where his ailing mother held her breath only to see him for the last time. Now Kabir was an old man, but much revered and still more opposed. This opposition culminated in his being presented before Sikander Lodi on a charge that he was not only an enemy of Islam but also a traitor to the throne of Delhi. Sikander referred the matters to the Kazi of Benares, who ordered him to be thrown into the Ganges tied hand and foot. The cruel sentenced was carried out, while a vast multitude, thronging the Benares Ghats looked on with throbbing hearts and streaming eyes.

As expected Kabir survives and the Kazi and Sikander bow their heads in respect. Finally when Kabir dies, his body turns into flowers and Hindus and Muslims share it for their respective last rites.

The music for this film was given by Anil Biswas. C.H.Atma, who unsuccessfully tried to become a singing star in films like Bhai sahab-54 and Bilwamangal-54, had sung a Bhajan ” Ram Ras Barse re manwa ” in this film as a playback-in Saigal style. Anil Biswas and Saigal were good friends. Whenever Saigal wanted to avoid any unwanted visitor to him, he would escape to Anilda’s home and take his afternoon siesta. Unfortunately, Saigal never sang for Anilda, though he had kept one tune ready for him. This was later used for a song by Mukesh in another film.

Not Saigal, but singers who liked Saigal, sang for Anil Biswas…like Mukeh in Pehli Nazar-45 (dil jalata hai to jalne de), Kishore kumar in film Fareb-53 ( husn bhi hai udas) and C.H.Atma in the film Mahatma Kabir-54 (Ram ras barse re Manwa).

The Hero of Mahatma Kabir was Surendra. At one time he was projected as Bombay’s answer to Calcutta’s Saigal, by Sagar Movietone. While working in Sagar and National, Anil Biswas had used Surendra’s voice in films like Jagirdar, Mahageet, Gramophone singer, Comrade, Aurat and Jawani. Sagar Movietone always tried to compete with New Theatres, Calcutta. When they made President-37, Sagar made Jagirdar-37 and when Street singer-38 was made, Sagar made Gramophone singer-38. Though Surendra was popular, he could never match Saigal. It is to the credit of Surendra, that personally he revered Saigal and never thought of competing with him.

It was Naushad, who first stopped Surendra’s singing and gave him playback of Ustad Amir khan in film Baiju Bawra-52. When he was sporadically heard in films Gharbar-53 and Gawaiya-53, Anil Biswas bloked his singing again and all songs for Surendra in film Mahatma kabir were sung by Manna Dey as playback. After this Surendra only sang in film Pati patni-66. It was rumoured that Surendra himself requested the producer to allow him to sing his last song. He did it free too !

Amirbai Karnataki , who sang in this film was also in her last phase of film singing and after Mahatma Kabir-54, she sang only one song each in 57,61,64 and 72. Thus ended her singing career.

HFGK mentions that today’s song is written by Kabir himself. However, I find that except the Mukhda ‘ Ram Rahima ‘(repeated several times till last), the antara words are from a famous song by Wajid Ali Shah- ‘ Babul mora ‘, which was used in films like The trapped-31, Nachwali-34, Street singer-38 and Shatranj ke khiladi-77.

The song by Manna Dey and Chorus is very good. As such Anil Biswas was an expert in composing chorus songs, in his films. You may find at least one or two chorus songs in most of his films.


Song-Ram Rahima Ram Rahim (Mahatma Kabir)(1954) Singer- Manna Dey, Lyrics- Kabir Das , MD- Anil Biswas
Chorus

Lyrics

ram rahimaa
ram rahim
ram rahimaa
ram rahim
ram rahimaa
ram rahim
ram rahimaa
ram rahim

baabul mora
(ram rahimaa ram rahim
ram rahimaa ram rahim
)
naihar chhuta hi jaaye
(ram rahimaa ram rahim
ram rahimaa ram rahim
)
baabul mora
(ram rahimaa ram rahim
ram rahimaa ram rahim
)
naihar chhuto hi jaaye
(ram rahimaa ram rahim
ram rahimaa ram rahim
ram rahimaa ram rahim
ram rahimaa ram rahim

chaar kahaar mil ab doliya aa aa sajaawen
(ram rahimaa ram rahim
ram rahimaa ram rahim
)
mora apna begaana aa aa chhuto jaaye
(ram rahimaa ram rahim
ram rahimaa ram rahim
)
baabul mora aa aa aa aa aa aa aa
(ram rahimaa ram rahim
ram rahimaa ram rahim
)
naihar chhuto hi jaaye
(ram rahimaa ram rahim
ram rahimaa ram rahim
)
baabul mora aa baabul mora
(ram rahimaa ram rahim
ram rahimaa ram rahim
)
baabul mora aa aa baabul mora aa aa
(ram rahimaa ram rahim
ram rahimaa ram rahim
)
baabul mora aa aa aa
(ram rahimaa ram rahim
ram rahimaa ram rahim
ram rahimaa ram rahim
ram rahimaa ram rahim
ram rahimaa ram rahim
ram rahimaa ram rahim
ram rahimaa ram rahim
ram rahimaa ram rahim
ram rahimaa ram rahim
ram rahimaa ram rahim
)


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

Blog Day : 3774 Post No. : 14752

Today’s song is a very melodious duet by Surendra and Waheedan Bai, in film Alibaba-1940.

Alibaba’s story is from Arabian Nights stories and is one of the most popular stories around the world. No wonder, our film makers took up this story. Films with ‘Alibaba’ title were made in 1940, 1946 and 1976. Films with ‘Alibaba and 40 Thieves’ title were made in 1932, 54, 66, 80 and 2004. ‘Alibaba and Marjina’ was made in 1977. There may be some more which I have missed. Comparatively, more films were made on Alladin and his Magic Lamp. After all magic has its own attraction. Even in silent era films were made on these two characters.

After the successful film ‘Ek Hi Rasta’ (1939), Mehboob started work on ‘Alibaba’. He had made the beginning of his film career by acting in the silent film on Alibaba. He was one of the 40 thieves ! By now, due to his continuous success, Sagar Movietone had benefited much and he was highly respected in the company. Besides Mehboob, Sagar Movietone had a team of other directors like CM Luhar, Sarvottam Badami, Hiren Bose, Ramchandra Thakur etc. They too were making films for Sagar. However, their films were not as successful as those by Mehboob. In addition, the onset of Second World War had a negative impact on Sagar and it went into loss. Soon, the owners decided to close the company.

By this time, Mehboob was ready with all the arrangements to start the shooting of ‘Alibaba’. Closing down of Sagar was a shock to him. He approached Ardeshir Irani of Imperial and asked for permission to shoot his film there. Irani was very happy. The novice ‘extra’ who had worked in his company – without pay for first five months – had now become acclaimed top class successful Director. Irani was proud of Mehboob. He gladly permitted him to shoot his entire film there.

In the film ‘Alibaba’, Surendra was to do the double role of Alibaba and his son. Now, Mehboob needed two heroines. He selected Waheedan Bai and Sardar Akhtar. Akhtar was the youner sister of Bahar – wife of AR Kardar. In an article in Filmfare dated 16-8-1957, Mehboob wrote “the moment I saw Sardar Akhtar, I fell for her and knew that one day she will be my wife.” Sure enough, he married her later.

It was during the shooting of film ‘Aurat’ (1940), Mehboob was attracted towards Jyoti – sister of Waheedan Bai and one of the cast of Aurat – and he started spending time with her, having tea together, lunch together etc. Sardar Akhtar noticed this and played her cards well. She encouraged Jyoti to accept outside film offers lest she would be out of circulation. Then she poisoned Mehboob by telling him that Jyoti was not a good girl and that she was more interested in outside film roles. Consequently, Jyoti’s role in film ‘Aurat’ was reduced. By the time film ‘Aurat’ was completed, Akhtar had fully influenced Mehboob and then insisted on getting married. He too wanted it and they got married just before the film was released.

Mehboob had wanted to make ‘Alibaba’ in Hindi and Punjabi. Anil Biswas was his pet MD for so many films. He asked Anil da to do the music of Hindi and Punjabi versions. Anil da flatly refused saying that he did not know Punjabi. Even after lot of discussion, he was not ready. Mehboob left the matter as it is. After a week or so, there appeared a news in papers that “. . . Anil Biswas, a Bengali, gives music to Hindi films but can not give music to Punjabi films”. Someone showed this news to Anil Biswas. He was agitated and ran to Mehboob. Anil da said, “OK, I will give music in any language that you make films in. French, English, Arabic, Spanish – any language, but stop spoiling my reputation.”  Mehboob just smiled and said, “Ja Bangali ja. Punjabi gaanon ko music de “. Anil Biswas sought assistance from a Punjabi technician Shahji, who helped him to understand the basic naunces of Punjabi music. The music he ended up composing for the Punjabi version was much better than the one given to Hindi version, according to Anil Biswas himself !

Basic Arabian Night story was adapted for Hindi by Dr. Safdar Aah and for Punjabi, it was Lala Yaqub. The Punjabi lyrics were by Shah Aziz. For film ‘Alibaba’, Mehboob had 4 assistant directors, Chimankant Gandhi, Jagdish Coopal (he also did a small role in the film), Narwekar and Gazi Banwali.

Mehboob Khan came up from a very poor family and he had to struggle hard to reach this stage. So he knew how it feels to miss opportunities to make it big. He himself had lost the opportunity to become a hero twice. First when he was almost selected for ‘Alam Ara’ (1931), vacating for Master Vithal and second time for film ‘Shehar Ka Jaadu’ (1934), this time making way for debutante Motilal.

Mehboob helped many actors to start their careers or do a memorable role first time, in his films, like Sitara Devi, Aruna, Surendra, Maya Banerjee, Arun Ahuja, Harish Taranath, Sheikh Mukhtar, Jyoti, Waheedan Bai, Sardar Akhtar, Veena and Nargis. Mehboob also gave Raj Kapoor his first big and famous film – ‘Andaz’ (1949).

Mehboob was very strict but also kind hearted when it came to remembering people who had helped him in some way. Much of the shooting of ‘Mother India’ (1957) was in rural area of Bilimora, Kolhapur and Nashik. In village Shiroli, near Kolhapur, when the shooting was going on, a major portion of the harvest in the field of a farmer was destroyed. Mehboob Khan met that farmer, apologized and paid fully for all damages. Not only that, when he learnt that the farmer and his family has never seen Bombay, he brought all of them to Bombay , at company’s expenses, and showed them around for a week. In addition, when film ‘Mother India’ was to be released in Rajaram Talkies in Kolhapur, Mehboob wrote to the distributor at Kolhapur to invite the farmer’s family as a special guest for the film premier !

Mehboob Khan’s life is nothing short of a film story. There are many things which have to be brought to people to focus on his qualities. An illiterate village boy touching the sky with hard work and determination is his life story.

Today’s song is very melodious and I liked it. I am sure you too will like it.

[Acknowledgement: Most part of the write up uses the information from the books, ‘Mehboob Khan’ by Shashikant Kinikar and ‘Cinemacha Cinema’ by Isak Mujawar).


Song – Dil Ka Saaz Bajaaye Jaa  (Alibaba) (1940) Singer – Surendra, Waheedan Bai, Lyrics – Dr Aah Sitapuri, Music – Anil Biswas

Lyrics (Provided by Sudhir)

hmmmm mmmmm

aaaa aaaa
dil ka saaz bajaaye ja
aaaaaaa
dil ka saaz bajaaye ja
jis taar mein tere naghme hain
jis taar mein tere naghme hain
mizraab usi pe lagaaye ja
mizraab usi pe lagaaye ja
dil ka saaz bajaaye ja
aaaaaa
dil ka saaz bajaaye ja

ae. . . pyaare geet sunaaye ja
ae. . . pyaare geet sunaaye ja
baithi hoon ishq ke jhoole mein
baithi hoon ishq ke jhoole mein
main sadqe peeng badhaaye ja
main sadqe peeng badhaaye ja
ae. . . pyaare geet sunaaye ja
ae. . . pyaare geet sunaaye ja

ye beda paar lagaaye ja
ye beda paar lagaaye ja
dariya e mohabbat gehra hai
dariya e mohabbat gehra hai
haaaa aaa
dil ki naav chalaaye ja..aa..aa
dil ki naav chalaaye ja
har baar mujhe apnaaye ja
har baar mujhe apnaaye ja
ye mera tera farq mitey
ye mera tera farq mitey
tu dil mein yun hi samaaye ja
tu dil mein yun hi samaaye ja
ye mera tera farq mitey
ye mera tera farq mitey
tu dil mein yun hi samaaye ja
tu dil mein yun hi samaaye ja..aa..aa

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

हम्ममम मम्ममम

आsss आsss
दिल का साज बजाए जा
आsss
दिल का साज बजाए जा
जिस तार में तेरे नग़में हैं
जिस तार में तेरे नग़में हैं
मिज़राब उसी पे लगाए जा
मिज़राब उसी पे लगाए जा
दिल का साज बजाए जा
आsss
दिल का साज बजाए जा

ए॰॰॰ प्यारे गीत सुनाये जा
ए॰॰॰ प्यारे गीत सुनाये जा
बैठी हूँ इश्क़ के झूले में
बैठी हूँ इश्क़ के झूले में
मैं सदक़े पींग बढ़ाए जा
मैं सदक़े पींग बढ़ाए जा
ए॰॰॰ प्यारे गीत सुनाये जा
ए॰॰॰ प्यारे गीत सुनाये जा

ये बेड़ा पार लगाए जा
ये बेड़ा पार लगाए जा
दरिया ए मोहब्बत गहरा है
दरिया ए मोहब्बत गहरा है
हाsss आsss
दिल की नाव चलाये जा॰॰आ॰॰आ
दिल की नाव चलाये जा
हर बार मुझे अपनाए जा
हर बार मुझे अपनाए जा
ये मेरा तेरा फ़र्क मिटे
ये मेरा तेरा फ़र्क मिटे
तू दिल में यूं ही समाये जा
तू दिल में यूं ही समाये जा
ये मेरा तेरा फ़र्क मिटे
ये मेरा तेरा फ़र्क मिटे
तू दिल में यूं ही समाये जा
तू दिल में यूं ही समाये जा॰॰आ॰॰आ


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

Blog Day :

3765 Post No. : 14738 Movie Count :

4028

Today’s song is from the first decade of the Talkie films, viz 1930s. This song is from “Hum,Tum aur Woh”(1938). This was a film made under the banner of Sagar Movietone, a highly prestigious and famous film company of the times. This company was riding on waves of popularity and fame during those days of 1938.

Shri Biren kothari ji has written a wonderful book on Sagar Movietone. It is based on interactions with the surviving members of the Desai clan as well as several contemporary documents and is regarded as an authentic volume on Sagar Movietone. However, oday’s article is based on another book, “Mehboob Khan” written by Shashikant Kinikar, published in 2015, 2 years after Kothari ji’s book. This 300+ page book, in Marathi, has plenty of original photos and articles on Mehboob Khan written by Anil Biswas, Sitara Devi, Shamshad Begum, P.K.Nair, Wazahat Mirza, Naushad and Shakeel Badayuni and therefore it is full of several anecdotes which are unknown to many. The book also contains 4 articles by Mehboob Khan himself. The book is an excellent treatise on Mehboob Khan-the Director and the Human Being, with 230 pages dedicated on him and his films.

However, Mehboob’s story is incomplete without Sagar’s story.

Hindi film industry has produced some great directors who, besides having a commercial outlook, also served the society by making films on burning social issues. On their parts, they contributed their “Two Cents” to serve the Nation. Such directors included Raj Kapoor, V.Shantaram, Guru Dutt, Satyajit Ray and Mehboob Khan-to name a few.

Born as Ramzan Khan in 1907 in Bilimora, Gujarat, Mehboob was from a Gujarati Muslim family. He never got a formal education in his young age, but he was keen on two things-5 times Namaz and seeing films. His father being in Police Department, films were free for him. One day he ran away to Bombay to become an actor. However his father found him out and brought him back. He was immediately married off, with a belief that he would improve.

Two years after marriage and one child, he ran to Bombay again and worked in Imperial film co. as an extra for Rs.30 pm. This too after he worked without any pay for 5 months due to the mistake of the clerk ! He worked in crowd scenes and sundry roles-without a dialogue, of course, starting as one of the 40 thieves of Alibaba. He worked in several films uncredited. His first, big and credited role came in the film “Shirin Khushru”-1929.

In 1927, after the Talkie film “The Jazz Singer” was shown in US, the world started making Talkie films. India too jumped into the bandwagon. In 1931, Imperial-competing with Madon Theatres of Calcutta- wanted to make a Talkie and started work fast. Mehboob Khan was almost finalised as the Hero. Even his costumes were made ready, but he was destined for something different, and Master Vithal was made the Hero of India’s first Talkie. Ardeshir Irani’s safety valve of minimizing the risk of the first venture by selecting the existing popular Hero, scuttled Mehboob’s dream.

Meanwhile, Imperial started a new company,’Sagar Movietone’, along with Dr. Patel and Chiman Desai. Some artistes and techies were shifted to Sagar-including Mehboob- from Imperial. Mehboob continued to work in 12 silent films. Here, he met Faredoon Irani, Cinematographer and they became thick friends. Irani was with Mehboob till the end.

During this period, Mehboob wrote a film story and convinced the owners to allow him to direct this film. Owners were hesitant, naturally, to allow this young extra actor to direct a film. Lastly a deal was struck, that Mehboob and Faredoon should be allowed to shoot one reel film. If they like it, continue or else, scrap it and recover money from these two chaps. After one reel shooting the owners realised that they had struck Gold in the process and Mehboob completed his first Directorial venture ” Al Hilaal “-35. The film was a great success and Mehboob ‘chal pada’. Mehboob went on to direct 7 more films for Sagar. All his films were successful.

From film Jageerdar-37 Mehboob and Anil Biswas pair teamed up for 8 films-till Roti-42.

When Mehboob was making arrangements for his next film, Alibaba, the sudden news that Sagar is closing down hit them. Mehboob Khan contacted Imperial to allow him to shoot for his film in their studio, which Ardeshir gladly permitted. The film shooting proceeded til Sagar became National studios. Mehboob made 3 important films of his career in National studio, namely Aurat-40, Behan-41 and Roti-42.

When National studio also closed down all workers came on road. However, Mehboob decided to start his own company. One Mr. Lalaji of Manoranjan Distributors of Delhi promised capital. National studio was renamed as Central studio by the owner, K.K.Modi-elder brother of Sohrab Modi. He allowed Mehboob to use the studio till his own studio came up. Mehboob took a place nearby to start his office. In this period there was a rift between Mehboob and Anil Biswas and they separated for ever-albeit bitterly.

Mehboob wanted a Logo for Mehboob Productions. He selected a sher written by Agha Jani kashmiri for film “Al Hilal”….” Muddai lakh bura chahe to kya hota hai, vahi hota hai jo manjur e Khuda hota hai”. It was recorded in the voice of Rafiq Ghaznavi with appropriate prelude music and sound of lightening and clouds. He also took Sickle and Hammer for the Logo, and clarified that because he respected workers and certainly he was not a communist.

His first film Najma-43 ( his daughter’s name was Najma), with Ashok Kumar and Veena was a Hit film. It was followed by Taqdeer-43, Humayun-45,Anmol Ghadi-46, Elaan-47, Anokhi Ada-48, Andaaz-49, Aan-52, Amar-54 and his Magnum Opus Mother India-57. After the high of Mother India, Mehboob aimed to fly even higher with Son of India (1962) but the film was a total misfire and, in fact, his weakest film. Mehboob had been neglecting health inspite of suffering Heart attacks. In May 1964, he suffered another attack but survived. His financiers were after him for repayment and he was worried. He called Rajendra Kumar and asked for a loan of 4 lakh rupees against his studio to be made in his name. Rajendrakumar refused to take the studio and promised to give him the amount next day at 11 am, without any mortgage. In the evening, news of Nehru’s heart attack came. Mehboob became restless. Soon the death news came and Mehboob became grief stricken. Akhtar gave him sleeping pills, but he had to be admitted to Nanavati Hospital. He too died at 2 am on 28th May 1964. At the time of his death, Mehboob Khan was harboring ambitions to make a film on the life of Habba Khatoon, the 16th century poetess-queen of Kashmir.

Mehboob Khan directed 8 films for Sagar, 3 films for National and 11 films for Mehboob productions.( based on information from Upperstall, Mehboob Khan by Shashikant Kinikar and my notes).

One advantage of reading a Biography is that you get to know the person’s version on controversies. As far as Mehboob and Anil Biswas’s split is concerned, Mehboob’s version is 180 degrees opposite to what Anil Biswas gave. Difficult to side anyone. But this split did help first Rafiq Ghaznavi and then Naushad.

In the cast of the film, one finds a name Sunalini Devi. Now let us know something about Sunalini Devi, the actress. She was born on 1-1-1896 in Hyderabad Deccan. Her father, Aghornath Chattopadhyay-a Bengali settled in Hyderabad – was a Sanskrit scholar, was proficient in 27 languages and was the first Indian to get the D.Sc. honour. Sunalini was the elder sister of Sarojini, who became Sarojini Naidu after her marriage, and Harindranath Chattopadhyaya-renowned poet.

Sunalini learnt Music and Dance from her third year of age itself. Due to her sweet voice, she was called ‘ Kokila ‘. It is to be noted that her younger sister Saojini naidu was called ‘ Nightingale of India’ ! It is unfortunate that the film industry did not use Sunalini’s music skill in her films and she sang just one song in her career in film ‘ Raja Rani-42’.

Sunalini started acting in stage dramas from 1918. her first movie was ” Light of Asia”-released initially in Germany and Poland in 1925 ( its restored version was released on 5th July 2001, in India. This film was made by Himanshu Rai. The film was shot in Lahore. It was a silent film on Gautama the Buddha. Her first Talkie film was ‘ veer Kunal-32’. She acted in 56 films. Mostly she was known for motherly roles only. She had, like her more eminent sister, married a south Indian- mr.A.S.Rajan, a writer from Madras.

Some of her more known films are, Aurat, Lalaji, Inkaar, Nai roshni, Talaash, Bairam khan, Tamasha, Dilruba, Malhar etc etc. She retired from films in 1956.

Let us now listen to the song of today. It is sung by Maya Banerjee and Harish. The music was by Anil Biswas. I find the tune of this song a little unusual. It looks like the lady is stressing her point with fists hammered on a desk.

With this song, this film “Hum Tum aur Woh” (1938) makes its Debut in the Blog.


Song-Hamen preet kisi se nahin karni (Ham Tum Aur Wo)(1938) Singers-Maya Banerjee, Harish, MD-Anil Biswas

Lyrics

hamen preet kisi se nahin karni
hamen preet kisi se nahin karni
hamen preet ki reet bataao nahin
hamen preet ki reet bataao nahin
hamen preet kisi se nahin karni
hamen preet kisi se nahin karni
hamen likh likh chithhiyaan mat bhejo
hamen likh likh chithhiyaan mat bhejo
hamen jamuna kinaare bulaao nahin
hamen jamuna kinaare bulaao nahin
hamen preet kisi se nahin karni
hamen preet kisi se nahin karni

ham likhh likhh chithhiyaan bhejenge
tumhen apne paas bulaayenge
ham likhh likhh chithhiyaan bhejenge
tumhen apne paas bulaayenge

ham roothhenge
ham jhagdenge
ham roothhenge
ham jhagdenge
ham dor se kheench ke laayenge
ham dor se kheench ke laayenge
in baaton se hamko daraao nahin
in baaton se hamko daraao nahin

hamen preet kisi se nahin karni
hamen preet kisi se nahin karni
hamen preet ki reet bataao nahin
hamen preet ki reet bataao nahin
hamen preet kisi se nahin karni
hamen preet kisi se nahin karni


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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.

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has more than 15500 song posts by now.

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

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