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

Posts Tagged ‘Anil Biswas


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

4637 Post No. : 16292

Today, March 29th 2021, we are celebrating Holi, the festival of joy and merry-making albeit in a subdued manner due to COVID-19 guidelines, banning public and private celebrations of Holi.

During Holi, the most popular genre of Hindustani semi-classical music is Hori which, in Brajbhasha means ‘happiness’. (I understand that in Brajbhasha region, people pronounce holi as ‘hori’). The ‘hori’ songs are written mostly in Brajbhasha or Awadhi. Obviously, hori singing is popular in Uttar Pradesh and a part of Bihar. The joy and merry-making mood come in the background of the expectation of a good Rabi harvest. The blooming of flowers in the spring season (Phagun) and the mustard fields with yellow flowers create a colourful atmosphere in North India. The mood of the rejoice among the farmers and villagers create the spirit behind the Holi celebration which has, over a period of time, percolated all over the country.

The tradition of playing with colours during Holi is linked to Radha-Krishna Leela (divine play) especially in Brajbhasha region of Uttar Pradesh. Hori singing reflects Krishna’s revelries and playing pranks with Radha. Hori is generally rendered in Thumri style and conventionally, the song will have a mukhda and an antara. One of the various names of Krishna such as Shyam, Kaanha, Nandlala, Banwari, Baanke-Bihari etc would appear either in mukhda or antara part of the hori song.

In the Awadh region of Uttar Pradesh and the Mithila region of Bihar and Jharkhand (also some part of Nepal), hori singing also centres around Lord Ram. The earliest recorded hori song which I have come across is ‘Jamuna tath Ram khelen hori’ by Janaki Bai of Allahabad (Chappan Churi), recorded in 1910 which is a ‘Ram Hori’ song. Pandit Chunnilal Mishra has rendered even ‘Shiv Ki Hori’.

The traditional hori songs are based on the folk singing of the particular region and are thus embedded with the rural atmosphere. I guess, over the years, the folk songs rendered during the holi festival became so popular that some of the Hindustani classical vocalists adapted the traditional hori songs in their concerts, rendering mostly in the form of Thumris. On the video sharing platforms, some of the hori thumris rendered by Ustad Faiyyaz Khan, Kesarbai Kerkar, Ustad Bade Ghulam Ali Khan, Pandit Bhimsen Joshi, Pandit Kumar Gandharv, Begum Akhtar, Shobha Gurtu, Girija Devi, Siddheswari Devi etc are available.

The popularity of hori songs attracted Hindi films when talkies came in 1931. The hori songs in Hindi films have now been adopted as holi festival songs, written and sung in typical Bollywood style. There are hundreds of holi songs picturised in Hindi films. As of now, we have on our Blog as many as 62 songs tagged as ‘Holi Songs’. On the basis of the movie-wise listing of the songs available on-line, the credit for the first traditional hori song used in Hindi film was ‘mope daar gayo saari rang ki gagar’ in ‘Ghar Ki Laxmi’ (1931). Probably, in the film, this song may have been rendered by Rampyari, the then famous singer-actor-dancer whose name I found in the star-cast. Unfortunately, neither the film nor the gramophone records of the songs from this film are available. It may be noted that in the early years of talkies, many film songs were not released on the gramophone records.

Luckily, I got a rare mp3 clip of the traditional hori song with the same mukhda as in ‘Ghar Ki Laxmi’ (1931) in the film ‘Comrades’ (1939) which I am presenting on the occasion of the Holi festival. The song is rendered by Wahidan Bai, the mother of Nimmi. The lyrics are traditional but it has been attributed to Dr. Safdar Aah Sitapuri. Probably, he may have changed a few words. For example, in my view, the line ‘kaisa dhokha diya’ seems to have been added in the traditional lyrics as these are in pure Hindi. The song is set to music by Anil Biswas.

The song is a typical hori thumri having a mukhda and an antara with the name of Krishna appearing as ‘Shyam’ in the antara. Being trained in Hindustani classical singing, Wahidan Bai has tendered this hori thumri with elaborations and ornamentations. It is worthwbhile to note that as to how elaborately she has rendered the line ‘bin rang daare jaane na doongi’ with ornamentations. The ‘murki’ element in the song while singing jaa….ne na doongi..ee, jaa…..ne na doongi..eeeee is my favourite.

This song becomes the earliest ‘holi song’ from Hindi films to be covered in the Blog though are a few more ‘holi songs’ pertaining to the Hindi films were released prior to 1939.

Audio Clip:

Song- Mo pe daar gaye saari rang ki gagar (Comrades)(1939) Singer-Wahidan Bai, Lyrics-Safdar Aah Sitapuri, MD-Anil Biswas

Lyrics

aaaaaaaa aaaaa
aaaaa aaaa aaaaaaaaa
aaaaa aaaa aaaa
aaa

mope daar gaye saari rang ki gagar
mope daar gaye saari rang ki gagar
kaisa dhokha diya aa aa aa
mope daar gaye saari rang ki gagar
mope daar gaye saari rang ki gagar
main to bhool se dekhan laagi udhar
main to bhool se dekhan laagi udhar
mope daar gaye saari rang ki gagar
mope daar gaye saari rang ki gagar
main to bhool se dekhan laagi udhar
main to bhool se dekhan laagi udhar
mope daar gaye saari rang ki gagar
mope daar gaye saari rang ki gagar

bin rang daare jaane na doongi
bin rang daare…ae
jaa….ne na doongi..ee
jaa…..ne na doongi..eeeee
haa…n
jaane na doo…ngi
bin rang daare jaane na doongi
bin rang daare jaane na doongi
Shyam kaho ab jaat kidhar
Shyam kaho ab jaat kidhar
mope daar gaye saari rang ki gagar
mope daar gaye saari rang ki gagar
kaisa dhokha diya aa aa aa
mope daar gaye saari rang ki gagar
mope daar gaye saari rang ki gagar


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 :

4579 Post No. : 16189

———————————————–——————————-
Blog 10-Year Challenge (2011-2021) – Song No. 6
——————————————————————————
As many as six songs from six different movies were covered on this day ten years ago (on 30 January 2011). Here are the details:-

Blog Post number Song Movie Year Remarks
3465 Jab tumne muhabbat chheen li Amaanat 1955 YIPPEED by now
3466 Lelo sone ka laddoo Multi part song Paisa Hi Paisa 1956 5 songs covered out of 10
3467 Dil hai ye tera dil tu liye jaa Ghulaam Begam Baadshah 1956 3 songs covered out of 6
3468 O mere bichhde balam (Mr John) Mr John 1959 3 songs covered out of 6
3469 Jhoom jhoom kar chali akeli Taj 1956 YIPPEED by now
3470 Aankhon mein tum dil mein tum ho Half ticket 1962 YIPPEED by now

Three movies have since been YIPPEED in the blog. Songs from three movies are eligible for Blog Ten Year Challenge today. One of these movies (Mr John-1959) has already been covered today.

“Paisa Hi Paisa”(1956) is another eligible movie for Blog Ten Year Challenge today. This movie was directed by Mehrish for Mehboob Productions Limited, Bombay. The movie had Kishore Kumar, Shakila, Radhakishan,Muqri,Zul Velani,Murad, Sham Kumar, Amar Kumar, Kumud Tripathi, Mala Sinha, Husn Bano, Haroon, Siddiqui, P.Bali etc in it.

The movie had ten songs in it. Five of these songs (including one multiple version song) have been covered in the blog. Here are the details:-

Song Date posted
Lelo sone ka laddoo Multi part song 30 January 2011
Paise ka mantar paise ka jantar 10 May 2011
Pyaar kiya jhhakhh maari 20 December 2014
Bas ek tum bin kal na pade 19 November 2016

As part of Blog Ten Year Challenge, here is the sixth song from “Paisa Hi Paisa”(1956). The song is sung by Asha Bhonsle and Rafi. Majrooh Sultanpuri is the lyricist. Music is composed by Anil Biswas.

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

Lyrics of this song were sent to me by Prakashchandra.


Song-Uff na karna (Paisa Hi Paisa)(1956) Singers-Asha Bhonsle, Rafi, Lyrics-Majrooh Sultanpuri, MD-Anil Biswas

Lyrics

uff na karnaa aaa aaa aaa
aaa aaa aaa aaa
tum mohabbat meri badnaam na ho o o o
aaj ulfat ka zamaane mein kahin
aaaa aam na ho o o o o

pee jaa agar aansoo bahey
hotaa hai gham hota rahey
pee jaa agar aansoo bahey
hotaa hai gham hoha rahey ae
honay bhi de honay bhi de honay bhi de
pee jaa agar aansoo bahey ae

o o o o
o o o o
o o o
o o o o o
o oo o o o
ek jaan aur laakhon sitam
betaab hain rone ko hum
ek jaan aur laakhon sitam
betaab hain rone ko hum m
roney bhi de roney bhi de roney bhi de
ek jaan aur laakhon sitam

o o o o
o o o o
(aakshi)
ae balma khisak jaa aaj tu
varnaa lutegi aabroo
balma khisak jaa aaj tu
varnaa lutegi aabroo
lutegi aabroo
balamaa lutegi aabroo
chal de yahaan se uff na kar
aayaa karey munh ko jigar
chal de yaahaan se uff na kar
aayaa kare munh ko jigar r
aaney bhi de aaney bhi de aaney bhi de
chal de yahaan se uff na kar

o o o o
o o o o o
o o o o o o
teraa hi dum bhartaa hoon main
marne se kab dartaa hoon main
teraa hi dum bhartaa hoon main
arrey marne se kab dartaa hoon main
nahin dartaa hoon main
sajaniyaan (haa)nahin dartaa hoon main
dekho idhar ye main chalaa
hatt jaa aree duniyaa zaraa aaa
jaaney bhi de jaaney bhi de jaaney bhi de
dekho idhar ye main chalaa


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

Blog Day :

4542 Post No. : 16112

Chandraseniya Kayastha Prabhu, popularly known as CKP is one of the numerically smallest Marathi speaking communities of Maharashtra. But he cummnity has produced many intellectuals, playwrights, writers and bureaucrats. They are also regarded as an elite and a broad-minded community. But when one of their girls, Saroj Shilotri (Shobhna Samarth after marriage) tried to venture into films, her maternal uncle (who became the guardian after the death of her father) vehemently opposed her entry into films. The reason was, ‘who will marry her’? Those days, even broad-minded communities regarded working in the films as an act of moral turpitude.

Luckily for Shobhna Samarth, before signing her first film in 1935, she got engaged to Kumar Samarth who also belonged to CKP community. He had just returned from Germany after completing a course in cinematography. Later, they married. But her maternal uncle did not forgive her for the act of what he regarded as a sacrilege of family traditions.

About 5 years later, Shobhna Samarth’s maternal uncle again faced a similar situation. This time, it was his daughter, Nalini Jaywant who was inclined to join the film industry after she was picked up by producer Chimanbhai Desai for his film, ‘Radhika’ (1941). After a great deal of persuasion by a common friend of Chimanbhai Desai and Nalini Jaywant’s maternal uncle, the latter reluctantly permitted her to act in the film.

Today, December 24, 2020 is the 10th Remembrance Day of Nalini Jaywant. 10 years ago, she died of a heart attack but it came to the notice 3 days after her death in her bungalow by neighbours, thanks to the continuing howling by her two pet dogs. She was staying alone after the death of her husband, Prabhu Dayal and was leading a life of a recluse with a couple of pet dogs to give her the company. A distant relative of her is said to have took her body on a municipal ambulance and cremated her.

This unfortunate happening shows that Nalini Jaywant’s 25 years of an active and successful filmy career with 63 films did not counted at the end. During her heydays, she used to host a number of filmy parties and get-together in her bungalow. But after the death of her husband, Prabhu Dayal, the same bungalow had witnessed almost a deserted look during her last 20 years. Her first marriage her director, Virendra Desai in 1945 who was already married with children (whom she divorced in 1948) probably the marriage arising out of infatuation. The second with Prabhu Dayal in 1963 were probably the marriage of convenience. Her parents and brothers kept distance from her. Probably, they did not like her indulgence in socially unexpected behaviour after she joined the films.

Nalini Jaywant (18/02/1926 – 24/12/2010) had two distinct phases of her filmy career. The first phase began with her debut film ‘Radhika’ (1941) produced by Chimanbhai Desai and directed by his son, Virendra Desai. Baburao Patel, the editor of ‘Filmindia’ magazine did not review the film by saying that he did not want to waste the costly paper by reviewing the useless film. Her second film to release was Mehboob Khan’s ‘Bahen’ (1941) where she was paired with Sheikh Mukhtar in the role of his younger sister. This was followed by ‘Nirdosh’ (1941) with Mukesh, ‘Aankh Michowli’ (1942) with Satish Batra and ‘Aadab Arz’ (1943) with Karan Diwan. These films did not create much ripples in the box office front but Nalini Jaywant established herself in the Hindi film industry as an accomplished actress.

Sometime in 1945, Nalini Jaywant married Virendra Desai who was already married with children. This was not liked by his father, Chimanbhai Desai who expelled Virendra Desai from the house and removed him from his film production company, Amar Films. Later, both of them signed a 2-year contract with Filmistan – Nalini Jaywant as an actress and Virendra Desai as a director with a monthly salary and a bungalow in Malad to stay. However, both of them did not get any assignment during the period of contract though Filmistan had produced films like ‘Shikaari’ (1946), ‘Aath Din’ (1946), ‘Safar’ (1946), ‘Do Bhai’ (1947), ‘Saajan’ (1947). ‘Shehnaai’ (1947) etc during the period of their contract. The two-year contract was like two-year ‘vanwaas’ for them from films. This gap was long enough for the film industry to forget their existence.

The first thing Nalini Jaywant and Virendra Desai did after the period of contract got over was to re-establish themselves in the film industry. Both of them formed a film production company, Nalini Films. ‘Gunjan’ (1948) was the outcome of it which was directed by Virendra Desai. After the failure of the film at the box office, Nalini Jaywant divorced Virendra Desai in 1948. My assessment of their divorce is that she may have realised that so long as her name is attached with Virendra Desai, she would not get any role in the new films in the making as her husband would insist to be the director of her films. The divorce was also good for Virendra Desai in that he went back to his family.

The first film Nalini Jaywant signed after her divorce was ‘Anokha Pyaar’ (1948) with Dilip Kumar and Nargis. This film gave her a new lease of life in her filmy career. Film critics praised her in the role of a flower girl. But the real-take off in her filmi career came from a hit film. ‘Samaadhi’ (1950) in which she paired with Ashok Kumar for the first time. This was followed by another big success for her in ‘Sangraam’ (1950), once again pairing with Ashok Kumar. The success of Ashok Kumar-Nalini Jaywant combination resulted in both working together in as many as 11 films during 1950-57. Her second film. ‘Shikast’ (1953) was a milestone in that she could stand-up to the acting caliber of Dilip Kumar for which he praised her for her performance.

The box office success of ‘Naastik’ (1954) in which she was paired with Ajit resulted her working with him in 11 films. But after ‘Kaala Paani’ (1958), Nalini Jaywant did not have films to much talk about. From the beginning of the 1960s, film offers started declining. Many new leading actresses had joined the film industry and the age was catching with her.

The box office failure of ‘Amar Rahe Ye Pyaar’ (1961) jointly produced by Radhakrishan and Prabhu Dayal and directed by Prabhu Dayal financially broke both of them. While Radhakrishan committed suicide by jumping from his building, Prabhu Dayal who by this time had married Nalini Jaywant, became an alcohol addict. ‘Bombay Race Course’ (1965) was virtually her last film as a heroine after which she did not work in the films until she was offered character roles in ‘Bandish’ (1980) and ‘Naastik’ (1983).

In an interview published on DNA India on the eve of Dilip Kumar’s 90th birthday, he said among other things that he consistently rated Nalini Jaywant as his formidable co-star. He further said that she was the only actress who could spring surprises in the final takes if he was not alert, thanks to the natural spontaneity she possessed.

In a rare interview of Nalini Jaywant published in the Deccan Herald after her death in 2010, she regretted that she could get the opporrtunity to show her acting prowess only in films like ‘Anokha Pyaar’ (1948), ‘Samgraam’ (1950), ‘Shikast’ (1953), ‘Raahi’ (1953) and ‘Kaala Paani’ (1958). She said that she was not interested in making a come back in the film when the offer came for a character role in ‘Naastik’ (1983). But she had to accept it after many requests from Pran and Promod Chakravarty.

Pranay Gupte, the first cousin of Nalini Jaywant [Pranay’s mother, Professor (Dr.) Charusheela Gupte and Nalini Jaywant’s mother are sisters] who had visited her bungalow many times in his teen, wrote a tributary article – ‘Alone and Forgotten’ which appeared in ‘The Hindu’- December 29, 2010. In this article, he said “Actor Nalini Jaywant was a relic of a glorious past who lived in an unforgiving present. Listening to her in the autumn of her life made you flinch”. By the way, Pranay Gupte is a veteran international journalist and authors of several books who is based in the U.S.A.

On the occasion of Nalini Jaywant’s 10th Remembrance Day, I have selected one of the songs from her second released film ‘Bahen’ (1941). In this film, there were 12 songs of which 2 songs have been covered in the Blog. The songs picturised on Nalini Jaywant in the film were sung by her.

The song I am presenting is ‘aayi jawaani jiya lehraaye’ which is rendered by and picturised on Nalini Jaywant who was 15 years of age. The song is written by Safdar Aah Sitapuri which is set to music by Anil Biswas. As the song comes to an end, one can see Shaikh Mukhtar weeping because he does not want his sister to go away from him after marriage. A young Kanhaialal, the prospective bridegroom, is also seen at the end of the song.

Video Clip:

Audio Clip:

Song-Aayi jawaani jiya lahraaye (Bahan)(1941) Singer-Nalini Jaiwant, Lyrics-Safdar Aah Sitapuri, MD-Anil Biswas

Lyrics (Based on Video Clip)

jiya lehraaye
aayi jawaani
jiya lehraaye
aayi jawaani
jiya lehraaye
piya ghar jaana
sajan ghar jaana
piya ghar jaana
sajan ghar jaana
naihar ki galiyon mein kachhu na suhaaye
naihar ki galiyon mein kachhu na suhaaye
aayi jawaani
jiya lehraaye
aayi jawaani
jiya lehraaye

sakhiyaan saheliyaan hoy gayin suhaagin
sakhiyaan saheliyaan hoy gayin suhaagin
hoy hoy mora jiya lalchaaye
hoy hoy mora jiya lalchaaye
pee ke kunwar bin sooni sooni laagoon
pee ke kunwar bin sooni sooni laagoon
sundar gahanwa more man bhaaye
sundar gahanwa more man bhaaye
aayi jawaani
jiya lehraaye
aayi jawaani
jiya lehraaye
piya ghar jaana
sajan ghar jaana
piya ghar jaana
sajan ghar jaana
naihar ki galiyon mein kachhu na suhaaye
naihar ki galiyon mein kachhu na suhaaye
aayi jawaani
jiya lehraaye
aayi jawaani
jiya lehraaye


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 :

4527 Post No. : 16087

“Angulimaal”(1960) was produced by M/s Prakash Veramal and directed by Vijay Bhatt for P V Films, Bombay. This historical movie had Nimmi, Bharat Bhushan, Anita Guha, Ulhas, Chandrashekhar, Achla Sachdev, Manmohan Krishn, Prem Adeeb, Kesri, Rammohan, Vinod Kumar, Sheela Kashmiri, Vimla, Helen etc in it.

The movie had seven songs in it. Six songs have been covered in the past. Here are their details :-

Song Date of posting Singers Remarks
Aayi aayi basanti belaa 18 March 2011 Lata Mangeshkar, Manna Dey, Meena Kapoor
Dheere dheere dhal ri chanda ( 20 April 2011 Aarti Mukherjee
Bade aaye shikaari shikaar karne 5 May 2011 Manna Dey, Asha Bhonsle
Jaa ri na bataaun main to naam chitchor kaa 6 May 2011 Lata Mangeshkar, Meena Kapoor
Mere chanchal naina madhur ras ke bhare 27 October 2018 Meena Kapoor
Buddham sharnam gachhaami 11 October 2020 Manna Dey Picturised as a Five part song

The eighth and final song from the movie is sung by a male voice and Asha Bhonsle. Bharat Vyas is the lyricist. Music is composed by Anil Biswas.

The song is picturised on Manmohan Krishn and a lady who I guess is a young Achla Sachdev. I request our knowledgeable readers to throw light on the picturisation of the song including the identification of the lady. I feel that the male voice is that of Manmohan Krishn himself, who was an occasional singer as well.

With this song, all the songs of “Angulimaal”(1960) are now covered and the movie joins the lists of movies that have been YIPPEED in the blog.


Song-Murliwaale Gopal teri sharan mein hai mera laal (Angulimaal)(1960) Singer-Asha Bhonsle, Lyrics-Bharat Vyas, MD-Anil Biswas
Murli Krishn

Lyrics

om namo brahmanayadevay
go bramhanahitayse
jagathitay krishnay govinday namo namah
om

muraliwaale gopal,
gopaal
gopal

muraliwaale gopal
teri sharan mein hai mera laal
tere charan mein hai mera laal
muraliwaale gopal
teri sharan mein hai mera laal
tere charan mein hai mera laal
tu hi rakhana ise sambhal
teri sharan mein hai mera laal
tere sharan mein hai mera laal
tere charan mein hai mera laal
muraliwale gopa aa aal

phool mera hai komal-komal
kathin tera sansaar
iski dag-mag naiya kanhaiya tu hi lagaana par
khewaiyya tu hi lagaana par
har sankat dena taa aal
teri sharan mein hai mera laal
tere sharan mein hai mera laal
tere charan me hai mera laal
muraliwale gopaa aa aal
muraliwale gopal, ho muraliwale gopal

nainon ke gangaajal se
jeewan ke paap dhula de
nainon ke gangaajal se
jeewan ke paap dhula de
apni umar chadhhaaun tujhe
mere laal ko amar bana de
mere laal ko amar bana de
hey shaanti ki liye mashaal
jagaaye jag mein jyot vishal
kare uncha bharat ka bhaa aal
teri sharan mein hai mera laal
teri sharan mein hai mera laal
tere charan mein hai mera laal
muraliwaale gopal
teri sharan mein hai mera laal
tere charan mein hai mera laal
muraliwaale gopaa aa aal


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 :

4524 Post No. : 16083

Today’s song is from the film 300 Days and after-1938. This was a film made by Sagar Movietone. Based on an English film “A Billionaire’s story “, directed by the famous Haward Hawks. The film was adapted to indian conditions by Babubhai Mehta and the dialogues were written by Wazahat Mirza and Waqif. Music was by Anil Biswas and the 9 songs were written by Zia Sarhadi. Cinematographer was Faredoon Irani. The film was a comedy film directed by Sarvottam Badami. Later he further directed two more comedies – Aap ki Marzi and Ladies Only both in 1939.

Badami was a living example of the famous saying ” where you come from is immaterial. What is important is where you have reached. ” An ordinary Motor Machanic became a famous film director, Head of the Documentary section of Films Division and a management consultant for an Industrial House like the Kamanis in Bangalore. His life story is very inspiring indeed.( another Motor Mechanic became a famous writer and director-Gulzar).

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

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

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

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

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

After Aap ki Marzi-38, he followed his mentor, Dr. Patel and joined Sudama Pictures, when in 1939, Sagar Movietone merged into National Films. Badami

also worked in Famous Cine Laboratories, from 46 to 48.

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

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

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

The cast of the film was Sabita Devi, Bibbo, Motilal, Yakub, Sankata prasad and many more. Though Motilal was the Hero, his name came after two leading ladies as they were seniors and he was comparatively a junior actor. Sabita Devi was a beautiful Anglo Indian girl who joined films in the silent film era. When Talkie started, she too had a problem of Hindi speaking and singing, like all other non indian girls in films in those days. She was a determined lady and she , just like Ruby Meyers (sulochana), learnt Hindi to speak and did singing lessons too, by taking a one year’s gap in career.

The real name of Sabita Devi was IRINA GASPER. She was an Anglo-Indian, born in an affluent family of Calcutta, in 1914.

After completing education she wanted to join films, but her family objected. Without the family’s knowledge, she sent her resume and Photo to British Dominion Film Co., owned by Dhiren Ganguly in Calcutta. When they informed their consent the family resisted and kept her locked in the house. She fell ill and finally, the family conceded to her wish.

Her first Silent film was Flames of Flesh-1930. Then came Kanthahaar, A touch of Love, After the death, Aparadhi, Money makes what not and Bhagyalaxmi as silent films.

When the talkie came, she determinedly learnt Hindustani and Urdu and also Music.

Her first Talkie film was Radhakrishna-33, in which she sang 16 out of 23 songs in the film, but no records were made. Next was Ek din ka Badshah-33. She shifted to Bombay for better opportunities. In 1934,came Shahar ka Jaadu,with Motilal as a debut actor and this film was a Hit. Later she and Motilal became a popular pair.

She did many films. Her some films were-

300 days and after, Apki marzi, kokila, Kulvadhu, Amrapali, Ladies only, Chandragupta, Chingari, Dr.madhurika, grihalaxmi, holiday in bombay, Jeevan Lata, King for a day, Lagna bandhan, Manmaani, , Phantom Of the hills, Silver king, vengeance is mine, Village Girl etc etc. In all, she acted in 23 Talkie films and sang 15 recorded songs in 7 films.

She was a good Piano and Harmonium player. In later days in 1943 onwards, she stopped singing herself. Her last picture was Amrapali-45.

In 1946, she got married and left for England. She came back again only to die in Calcutta in 1965.

The other leading lady in the film was Bibbo, whose real name was Ishrat Sultana. Besides being an actress, she was also India’s First Woman Music Director.

Film 300 Days and after-38 was a popular film which was a comedy.

I started seeing films from almost the end of the 40’s decade. During that period, some films of the 30’s were still being shown in the Morning shows in specific theatres of Hyderabad. These theaters were known to show old films at concessional rates. The tickets started at 4 Annas, 6 annas, 8 annas and 12 annas for Balcony. So, it was affordable to me. The Morning shows used to be only on Fridays, Saturdays and Sundays at 11 a.m. Invariably, I used to miss school on saturdays and see different films on Saturday and Sundays regularly. As a habit, I used to note down the seen film’s details in a notebook. I remember having seen this film in Royal Talkies in Hyderabad. This way I was lucky to see some films from the 30’s. The story of this film was….

Sudhir (Motilal) is a bachelor billionaire,doing nothing and enjoying life to the fullest with wine, women and gambling. As a result, his health starts falling prematurely when he is just 25-26 yrs only.

one day he falls down and a Doctor is called. After many tests and inspection of everything his family doctor tells him that because of his wayward living and uncontrolled lifestyle he is suffering from many ailments.If he treats them now, he may get all those again and again. The only remedy is Sudhir should do hard manual work, exercises and lead a simple living, which,the doctor says, Sudhir will never be able to do.

Sudhir is angry. He challenges the doctor that he will leave all his wealth, go out in the world, do physical work and earn money for himself. The doctor takes a bet with him and the deal is Sudhir should go out for 300 days without using a single paisa from his existing wealth for himself. Sudhir is ready for this.

Next day Sudhir goes out with a few ordinary clothes, little money and a strong will to face the big bad world.

The film is full of funny situations when Motilal gets different jobs and does not know how to do them. First he tries to work as a Vegetable vendor, but he does not know the names of any vegetable.

He even takes some fruits as vegetables,to sell. Next he tries to work as an assistant in a Barber shop, where he shaves off half the mustache of a customer. He tries to work as a car driver and a Tram ticket collector also.

Finally, he joins as a worker in a Soap factory, where he has to drive sometimes Seth’s wife -Ramola devi(Bibbo), who tries to entice him. Sudhir starts liking a typist girl in the factory Sharada(Sabita Devi). Sharada teaches music to Ramola, wife of Seth Laxmi Das. Motilal takes her everyday to the tuition. They start loving each other. Motilal stays with a kind hearted Vegetable vendor woman as a tenant. She tends to him , feeds him well and takes his care as her son.

Suddenly the Factory must close down due to some loss. All workers are worried. Motilal secretly sends his own money to Sethji as an anonymous partner. The Factory is saved.

Now in this all jumble, 300 days come to an end. Surprisingly Motilal finds himself absolutely fit, healthy and understands the meaning of true life and Love.

He goes back to the doctor to claim his bet money, which he donates to a school.

Sudhir marries Sharada and brings the kind vegetable vendor lady as his family member to live with him for ever.

Today’s song is sung by Sabita Devi.


Song- Koi geet manohar nyaara (300 days and after)(1938) Singer- Sabita Devi, Lyricist- Zia Sarhadi, MD- Anil Biswas

Lyrics

Koi geet manohar nyaara
Koi geet manohar nyaara
nit gaaye saanjh ka taara
nit gaaye
nit gaaye saanjh ka taara
Koi geet manohar nyaara
Koi geet manohar nyaara
mera ghar ho nadi kinaare ae
mera ghar ho nadi kinaare

mera ghar ho nadi kinaare
jahaan pushp hon pyaare pyaare
mera ghar ho nadi kinaare
mera ghar ho nadi kinaare
jahaan pushp hon pyaare pyaare
rahoon ban mein saanjh sakhaare
rahoon ban mein saanjh sakhaare
sun geet manohar nyaara
sun geet manohar nyaara
nit gaaye saanjh ka taara
nit gaaye
nit gaaye
nit gaaye saanjh ka taara
Koi geet manohar nyaara
Koi geet manohar nyaara


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 :

4517 Post No. : 16071

Today’s song is from the film Sautela Bhai-62. The film was made by Alok Bharti, Bombay. It was directed by Mahesh Kaul and Anil Biswas provided the Music.The cast of the film was, Guru Dutt, Pranoti Bhattacharya, Bipin Gupta, Rajkumar, Ratna, Honey Irani, Sarosh Irani, Asit Sen, Bela Bose, Kanhaiyalal etc.etc.

The film was based on a famous novel in Bangla- ” Baikunther will “, written by Sarat Chandra Chatterjee. Many people mix up this novel with another novel- ” Krishnakanter will “, written by Bankim chandra Chatterjee. Films were made on both the novels. This reminds me that in 1932, Bharat Laxmi Pictures of Calcutta had made a film ” Krishkanter will” in Bangla language. When I went into details, I found that a silent film was also made on this novel in 1927 and a Talkie was made in 1932. One more film was also made in 2007. Even a Tamil film was made on this novel -Rohini in 1953. Its storyline was woven around a forged will and it was very popular. Comparatively, Baikunther will was made only once in Bangla and now this in Hindi. This novel was based on a family issue.

The screenplay and dialogues of film Sautela Bhai-62 were by Dev Kishen and Mahesh Kaul had directed it. The story of film Sautela Bhai-62 was….

Baikunth Muzumdar (Bipin Gupta) is a small time grocery merchant, having property and money in a village. After his first wife’s death, who has borne him a child, he gets marries again to Bhawani (Pranoti Bhattacharya). Contrary to everybody’s fears, Bhawani gives her love to Gokul, the infant. When she gets her own son, Vinod, both brothers love each other, like Ram-Laxman. Gokul (Guru Dutt) looks after family business, while Vinod (Rajkumar Khatri) goes to Calcutta for college studies. There, he gets into bad company and starts drinking etc.

Meanwhile, Baikunth dies after making a will, giving all property to Gokul, on wife’s instructions, as she is sure that Gokul will look after Vinod very well. When Vinod comes back, he is taunted by Gokul’s wife and father in law (Kanhaiyalal). Vinod thinks that, being a step brother, Gokul has instigated this. He leaves the house with his mother against her will. He also plans to put a case against Gokul.

When Gokul learns all this, he goes to Vinod’s house, drags him out, beats him and gives away all the property to him in exchange of his love, which he professes with tears. Seeing all this, Vinod repents and realises how much Gokul loves him. He begs pardon and then all is well in the end.

In the star cast, you find 2 names Rajkumar and Sarosh Irani. I remember, when I was new in this Blog group, there was a discussion in 2011 about who this Rajkumar was. It was only later, when I started my research on my project ” Same Name Confusion”, I found that this Rajkumar was different from the ” Jaani” wala Rajkumar.

In fact, I found that there were 5 Rajkumars operating at the same time in the film industry, causing so much confusion that filmology details were mixed up of everybody. The first was Kannada Hero Dr. Rajkumar. However, he never worked in any Hindi film, so no confusion about him.The second was the famous Dialogue master Raaj Kumar ‘Jaani’. Third was Rajkumar Gupta ( from Ranchi), who was the main character in popular film Jagriti-54. He never worked again in any film. Fourth was Raj(u) Kumar, a junior artist, who did minor roles- mostly uncredited-in films like Shri 420-55, Jagte Raho-56. Dilli ka Thug-58, Aaj aur kal-63, Ziddi-64 etc etc..The fifth was this Rajkumar, who mostly worked in Religious and Mythological films. His name was Rajkumar Khatri.

Rajkumar khatri may have been born in or around 1940. He started as a child artiste in films like Janmashtami-50, Jai Mahakali-51 and Insaan-52. His first film as an adult was Shuk Rambha-53, in which he did the role of young Shukdev. He was a fine actor, not extraordinary, but there was something special about his screen presence. Apart from his boyish looks, he had an unspoken charm and emanated an inherent goodness. In his second film “Tulsidas”-54 he played the role of Shri Ram. He was hardly 15-16 year old then. This must be the youngest and most boyish looking Shri Ram ever seen on the screen !

Rajkumar khatri acted in 61 films, mostly Religious and Mythological films (47 to be precise). Not that he did not work in any social films, but such films were less. He was seen in films like Sautela Bhai-62, Aaj aur kal-63, Ustadon ke ustad-63, Ziddi-64, Nai umer ki nai fasal-65 etc etc. Due to his young looks, boyish face and innocent looks, he was generally given roles of younger brother. As Laxman, he acted in 7 films. His last film was probably Chintamanee Surdas-87.

In the mid 80s, when film offers became scarce, he joined Prakash Mehra as an assistant. He used to live in Chembur. He was known as Chhota Rajkumar in the industry. He worked with Prakash Mehra for a long time, as Assistant Director and as also his P.A. Reportedly, he died in September 2014. No further information on him was available. (Thanks to maitrimanthan.com for information.)

Now let us come to the other name Sarosh Irani. Normally the filmgoers are aware of Daisy Irani, Honey Irani or Aruna Irani. Few people even knew Menaka Irani, but hardly anyone knows about Sarosh Irani. Being an unusual name we debated earlier whether this is a Girl’s name or Boy’s. Here is some information on Him….

Sarosh was born to Perin and Noshir Irani on 7 August, 1948 in Bombay. He is third among five siblings, namely, Menka, Bunny, Sarosh, Daisy and Honey. In 1979 he married Mona and the couple is blessed with two lovely daughters, Sabah and Delnaaz. He did his initial schooling in Deolali’s well-known boarding school, The Barnes School. After he joined the film industry he went to St. Teresa’s High School in Bandra.
Sarosh’s first film as a child-actor was Masoom released in 1960. He was finalised to play the eldest of the three siblings in the film. Little Honey Irani was chosen to play his younger sister. The song ‘Nani Teri Morni Ko Mor Le Gaye‘ picturized on her, sung by Ranu Mukherjee.

Sarosh says “Satyen Bose was a good Director. He had a lot of patience, he would wait till we gave the shot just like he had visualised. He would keep encouraging, even enact and show us at times. He was very friendly, never rude. I had a nice time shooting with him. Soon I got offers for Aarti (1962) and Sautela Bhai (1962). I started liking acting.”

Tarachand Barjatya‘s Aarti (1962) was directed by Phani Majumdar. Alok Bharati‘s Sautela Bhai (1962) directed by Mahesh Kaul was based on Sarat Chandra Chattopadhyay‘s “Baikunther Will” and had Pranoti Ghosh, Bipin Gupta, Guru Dutt, Raj Kumar and Kanhaiyalal playing pivotal parts. It’s a story of two step-brothers, the elder one a good-hearted rustic played by Guru Dutt and the younger, an educated weakling, spoiled by his crooked friends played by Raj Kumar. The film was honoured with the All India Certificate of Merit for the Third Best Feature Film at the 10th National Film Awards. The film is also known for Guru Dutt’s best ever performance as an actor. Sarosh played his childhood part.

Sarosh did a total of 5 films as a child actor – Masoom (1960), Aarti (1962), Sautela Bhai (1962), Man Mauji (1962) and Grahasti (1963). By the time Grahasti (1963) was released Sarosh was about 15 years old, an age when one is neither a child nor an adult and child stars hardly get acting assignments. In his short acting career Sarosh has left a mark, Masoom (1960) and Sautela Bhai (1962) are among our most loved films. Around 1967 Sarosh joined his brother-in-law Kamran as an assistant director. The first film he assisted on was Watan Se Door (1968) which had Dara Singh and Nishi in leading roles. He assisted Kamran on about six films including Chalbaaz (1969) and Aisa Bhi Hota Hai(1971).

After his stint as a child-actor he and his brother, Bunny started their own construction company, B Irani S Irani. In 1976 looking at favourable opportunities he went to Iran where he worked in the construction business. When the war broke out he was forced by the family to return and he came back to India with his wife towards the end of 1983. On his return he joined his brother Bunny (now retired) who by then was looking after the Irani Cafe, B Merwan which was started by their grandfather.

Since then he hasn’t been associated with the film Industry directly but is glad to see the next generation, his nephews and nieces, Farah Khan, Sajid Khan, Farhan Akhtar and Zoya Akhtar do well and make a mark in the entertainment industry. ( Thanks to maitrimanthan.com for information.)

The music director Anil Biswas, once upon a time in Top rung and respected as the original composer and a Mentor to many MDs, including C Ramchandra, was on the way to end his musical career. After this film, he only did one more film- by his friend Motilal- Chhoti Chhoti Baten-1965. Then he retired from the films and joined All India Radio at Delhi. Today’s song is sung by Meena Kapoor, Pankaj Mitra and chorus. The song is shot on Dulari and Radhakrishna. The video also shows Pranoti and Bipin Gupta.


Song-Maiyya maiyya boley baal kanhaiyya (Sautela Bhai)(1962) Singers-Meena Kapoor, Pankaj Mitra, Lyrics-Shailendra, MD-Anil Biswas
Both

Lyrics

maiyya aa aa
maiyya aa
maiyya aa
maiyya maiyya boley baal kanhaiyya
chalat chalat pag dukhan aaye
ab to god uthha le
maiyya aa aa aa aa aa aa aaaa aa aa aa

aa ha ha haa ha ha
aa haa haa haa
balihaari yashoda hari leenhe godi uthhaaye
yashoda hari leenhe god uthhaye
aah mamta ki ye chhavi jo dekhe
mamta ki ye chhavi jo dekhe
dekhat hi rah jaaye
chhavi dekhat hi rah jaaye
chhavi dekhat hi rah jaaye
chhavi dekhat hi rah jaaye
yashoda hari leenhe god uthaaye
yashoda hari leenhe god uthaaye

hmm hmm hmm hmm hmm hmm hmm hmm
hmm hmm hmm hmm hmm
lori ga nit rain sunaaye
bhor hi choom jagaaye yashoda
bhor hi choom jagaaye
kahe jaago o
jaago o o o
kahe jaago jaago jaago re kanhaiyya jaago
re gopaala
jaago jaago jaago

paraat mein nand kunwar ka
maa mukh chandr dhulaaye
dekho maa mukh chandr dhulaaye
jal bich sundar shyam hanse ae ae ae ae ae ae
jal bich sundar shyam hanse
jyun neelkamal muskaaye
jyun neelkamal muskaaye
sheet lage na lage natkhat hari
sheet lage na lage natkhat hari
kat kat daant bajaaye

hari kat kat daant bajaaye
yashoda hari leenhe god uthhaaye
yashoda hari leenhe god uthhaaye


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 :

4506 Post No. : 16048

Today (18 November 2020) has got to be an important day in the calendar of Hindi Film Song lovers, especially those who are interested in the history of HFM and its artists. It was on this day 69 years ago that Harmandir Singh Hamraaz, the man behind Hindi Film Geet Kosh (HFGK) was born on 18 November 1951.

We in this blog are very familiar with Mr Harmandir Singh Hamraaz. The fact that we now have the details of almost all Hindi movies and their songs from 1931 till 1985 is something that we take for granted today. But that was not always the case. When we were growing up, there was no authentic record like HFGK those days. Hearsay ruled the roost. Artists claimed to have sung tens of thousands of songs. Their words were accepted and even included in publications such as Guinness Books of world records.

We lived in an era before internet and even TV. Information on any subject was difficult to obtain, so any information was like gold dust. Today we are upto date on informations pertaining to election results, sporting events results etc, but that was not the case till 1970s. I was a cricket enthusiast, but I often learnt about the results of cricket matches after several days, and sometimes even after weeks.

Information about Hindi movie songs was entirely dependent upon access to its record, or depended on the announcement made about the song on radio station. There were many Hindi movie music fans who were into noting down lyrics of songs. I was among them. I needed to listen to the lyrics of a song quite a few times on radio before I managed to get the lyrics correct. I would then note the lyrics down in a diary. Alongwith the lyrics, details about singers, lyricist and music director were also noted down, as announced on radio stations broadcasting these songs.

That diary had about 200 such lyrics. During those days (1970s), I had no idea how many songs of interest were there in Hindi movies. I was not alone, no one else was any wiser. In any case, I was only interested in new songs, recorded after 1970s. Older songs (any song prior to 1967) were “boring” to my mind. Singers like K L Saigal were objects of mirth for teenagers and pre teens like us, who wondered why these old timers could not sing like Kishore Kumar.

It was in 1980 that the first volume of HFGK (chronologically the third volume, namely volume III- dealing with songs of the third decade- 1951 to 1960) was published. It was published without any fanfare. It was followed by volume II (songs from 1941 to 1950)in 1984, volume IV (1961 to 1970) in 1986 and volume I (1931 to 1940)in 1988. Volume V (1971 to 1980) was released in 1991. All these were accompanied by functions graced by film personalities.

After a long wait of 18 years, volume VI (1980 to 1985) was published on 14 march 2018.

These compilations were authentic because the number of movies released were taken from authorised sources. Movies in India could only be released after obtaining censor certificate, and these censor offices had the list of movies censored by them. Number of songs available in these movies were taken from movie booklets, catalogues of record companies etc.

Collecting information contained in these volumes and presenting them in book form, and finally getting them printed and published had been a Herculean task. Harmandir Singh Hamraaz was doing something which was never done before. And he was doing it in a country where there is not much appreciation for this kind of work, no matter if it rewrote Hindi Film music history. In India, people do not buy even normal books and magazines, so it was not very likely that most “music lovers” would buy such volumimous books on a topic that is clearly a non best seller. Forget selling these books, there were no takers for publishing these books either. Finally Harmandir Singh Hamraaz had to publish these volumes himself. The responsibility of publishing Volume III in 1980 was taken up my Mr Harmandir Singh Hamraaz’s father.

Harmandir Singh Hamraaz got married only after he had seen the publication of volume III in 1980. His wife has been the publisher of the subsequent volumes of HFGK.

People today cannot imagine the influence of HFGK on our knowledge of HFM. When people went through the contents of the HFGK, they realised that only about 44,000 songs were created in Hindi movies from 1931 to 1980. Only around 25000 songs were created between 1945 and 1975. And we had two playback legends claiming to have sung 25000 and 28000 songs respectively during this period ! On counting their songs, it turned out that their actual count was in the region of 5000 songs each.

Even less prolific singers were supposed to have sung thousands of songs in the pre HFGK days. Influenced by HFGK, Mukesh Geet Kosh was published and it turned out that Mukesh had sung less than 1000 songs in Hindi movies. Mukesh fans were quite unhappy with Harish Raghuvanshi jee, a major contributor of HFGK and the author of Mukesh Geet kosh. 🙂

A blog like ours cannot be imagined in its present form if we did not have HFGK available to us. Thanks of HFGK, we can accurately gauge the progress of the blog on a regular basis. For instance, HFGK volume III tells us that the decade of 1950s (1951 to 1960) had 1160 movies and about 9000 songs. The blog today has 5099 songs from 1007 movies from this decade. Based on information from HFGK, we know when we cover all the songs of a movie. We know for sure that 384 of these 1007 movies have been YIPPEED. So we only need to look at the songs of 1007-348= 659 movies plus the 153 missing movies. So we know for sure that a little under 4000 songs from this decade are yet to be covered. Not every song will be available. yet that gives us an idea which movies and which songs to search for.

That is not all. HFGK also tells us about our progress in covering songs of a particular year, a particular artist etc. Thanks to the information contained in various volumes of HFGK, now we can say with confidence that we have less than 100 songs each to be covered for artists like S D Burman, Naushad, O P Nayyar, Roshan, Shailendra etc. We can confidently state that the year 1968 saw 458 songs created in 72 movies and that the blog has 313 of these songs (from 68 movies). So we are just 145 songs short of covering all the songs of the year 1968.

One can say that HGFK has opened an entirely new dimension for Hindi Film music lovers to explore and savour. With advent of time, Internet has happened which has made it very easy for people to collaborate online. Harmandir Singh jee left us the treasure of HFGK. Now we can go through its contents and seek to search for songs and movies that we may not otherwise be aware of.

He compiled HFGK in an era before computers and internet. Today, equipped with them, we can use the data contained in HFGK and gain valuable insight into HFM. In a way, we and others like us are reaping the rewards of HFGK. We in this blog are in a way trying to take the next step, namely trying and locating all the songs mentioned in HFGK, and gaining information that was not available at the time HFGK got compiled.

While Harmandir Singh Hamraaz is well known among hardcore HFM historians, he is not known among casual music lovers and definitely not in government circles. He deserves government recognition for his Herculean task. He should have been awarded Padmshree for his contributions. As fas as I know, these awards are accorded only if someone gives nomination. In most cases, the persons themselves send their own nominations. Knowing important persons in the Government also helps. It is clear that a self respecting person like Har Mandir Singh jee will not send his own nomination. I think some hardcore HFM lovers should take the lead and send his name for Padmshree. He richly deserves this honour.

On this occasion, here is a song from “Laadli”(1949). This movie, HFGK part II tells us, is directed by J P Advani for Variety Pictures, Bombay. This “social” movie had Sulochana Chatterjee, Jairaj, Kuldeep, Sulochana (senior), Ramesh Sinha, Shivnath Seth, Pt Iqbal, Narbada Shankar, Urvashi, Shivji, Randheer etc in it.

The movie had eleven songs in it. Six of these songs have been covered in the past.

Lata Mangeshkar’s voice figured in seven songs. Four out of these seven songs have been covered in the past.

The song under discussion is sung by Lata. Nazim Panipati is the lyricist. Music is composed by Anil Biswas.

What a fun song it is ! I am sure that most of us would not have become aware of it without consulting HFGK.

I take this opportunity to wish Shree Harmandir Singh Hamraaz a very happy birhday. Let there be many more happy returns of the day.


Song-Khula hua hai dil ka ye darwaazaa re(Laadli)(1949) Singer-Lata, Lyrics-Nazim Panipati, MD-Anil Biswas

Lyrics

intzari mein teri saara sitamber beeta
rote rote teri furkat mein november beeta
aahen bhar bhar ke ye kehta hai calendar mujhse
hichkiyaan lete huye saara december beeta aa aa aa aa aa

khula hua hai dil ka ye darwaaja re ae
aathh roz ki chutti lekar aaja re
aaja re
khula hua hai dil ka ye darwaaja re ae
o baabu mere
aath roz ki chutti lekar aaja re
aaja re

dil tere hizr mein deewaana bana jaata hai
thandi aaho se barf khaana bana jaata hai
thandi aaho se barf khaana bana jaata hai
do hi ashkon se hua aa aa aa aa aa
do hi ashkon se hua unki gali mein keechad
meri afsaani bhi afsaana bana jaata hai
arre aa aa aa aa aa aa
aa dil ka rog mita ja re
mita ja re
mita ja re
aathh roz ki chutti lekar aaja re
aaja re
khula hua hai dil ka ye darwaaja re
o ainak waale
aath roz ki chutti lekar aaja re
aaja re

ho gaye qaid mere dil ko churaane waale
haspatalon mein gaye aankh milaane waale ae
haspatalon me gaye aankh milaane waale
aa tujhe dil ki main aen aen aen aen
aa tujhe dil ki main ik lori suna du jaalim
o mujhe hizr ke choolhe mein jalaane waale
mere dil ki ee ee ee
mere dil ki lagi bujha ja re
bujha ja re
bujha ja re
aathh roz ki chutti lekar aaja re
aaja re
khula hua hai dil ka ye darwaaja re
o baabu mere
aathh roz ki chutti lekar aaja re
aaja re


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

Blog Day :

4477 Post No. : 15983

I wonder why Guru Dutt (09/07/1925 – 10/10/1964) who till 1958, had acted in lead roles in films of his own banner only, decided to act in films outside his banner. His first film outside his banner in a lead role was ’12 O Clock’ (1958) followed by ‘Sautela Bhai’ (1962), ‘Bharosa’ (1963), ‘Bahurani’ (1963), ‘Suhaagan’ (1964) and ‘Saanjh Aur Savera’ (1964). While his first film outside his banner as a lead actor may be an aberration, some of his later films as an actor outside his banner may probably have been out of financial compulsion following the box office failure of his film ‘Kaagaz Ke Phool’ (1959).

There is always hidden desire of any intellectual film director to direct a film on a story of his choice and on his terms. But very few producer/financier would agree to produce/finance such a film from the point of view of the commercial consideration. For Guru Dutt, ‘Pyaasa’ (1957) and ‘Kaagaz Ke Phool’ (1959) were two such films which he was keen to bring them to the notice of the film audience.

I came to know from an article by Nasreen Muni Kabir in https://scroll.in that the idea of making ‘Pyaasa’ (1957) had virtually begun in 1948 when Guru Dutt had written a story out of the frustration when he came to Mumbai in 1948. The post-partition period was difficult to adjust to a new environment. It was also difficult for the Padukone family to sustain in a big city without work. And Guru Dutt was not getting film offers. So, he wrote the story titled ‘Kashmakash’ making a poet the protagonist who faces the problem in getting his poems published. The story remained in the limbo until he established himself as a film director of repute.

In 1951, in the wake of his commercially hit film, ‘Baazi’ (1951) for which Sahir Ludhianvi had written popular songs, Guru Dutt had become a successful film director. I remember to have watched an interview of a film celebrity during its B/W avatar (I do not recall now as to who was the film celebrity). That film celebrity mentioned that during the making of Baazi’ (1951), Sahir Ludhianvi had given to Guru Dutt a copy of his collections of poems ‘Talkhiyaan’ (1944). Guru Dutt was very much impressed with a couple of nazms which included ‘jinhe naaz hai Hind par wo kahaan hai’. This nazm matched with the gloom of a poet in his story. Guru Dutt had decided to include this nazm whenever he makes the film based on his story, ‘Kashmakash’.

Since Guru Dutt was not sure of getting producer or financier for such a film and also the response on the box office due to gloomy nature of the story, he felt that he will have to take the financial risk in producing the film. For that he required his own resources to make the film as a producer. This explains as to why Guru Dutt, in the meanwhile, concentrated on making saleable light comedy films like ‘Aar Paar’ (1954) and ‘Mr and Mrs 55’ (1955) to fill his coppers for producing a film on a subject for which box office outlook was uncertain.

Abrar Alvi, in Satya Saran’s book ’10 years with Guru Dutt’ (2008) has mentioned that during one of the shooting schedules of ‘Mr and Mrs 55’ he narrated the story of a real life Gulabo, a courtesan to Guru Dutt which fascinated him to give a shape to his story, ‘Kashmakash’. In the meanwhile, he got busy with producing ‘C.I.D’ (1956) which also got the tremendous success at the box office. Now, Guru Dutt was ready to produce and direct the film of his choice. ‘Kashmakash’ became ‘Pyaasa’ (1957). Contrary to Guru Dutt’s expectation, ‘Pyaasa’ (1957) did good business at the box office and also got critics’ appreciation.

Probably, the success of ‘Pyaasa’ (1957) gave Guru Dutt a confidence in producing another of his favourite gloomy subject. That the fame and glamour attached to a successful film director has its cost in terms of personal spaces. A single failure would wipe out all the gains of a successful director earned over the years. A commercial failure would get more highlighted than the appreciation of his brilliant work of the past. The box office failure of ‘Kaagaz Ke Phool’ (1959) overshadowed the brilliant work as a director. What hurt Guru Dutt most was not the box office failure but the way the critics slammed him as narcissist and as his own biopic. After a gap of over a decade, Guru Dutt’s box office disaster got recognition as one of the greatest classic Hindi films.

The box office failure of ‘Kaagaz Ke Phool’ (1959) has affected the banner, Guru Dutt Films financially. There was not enough money to sustain the staff of Guru Dutt Films. It is during this time, Guru Dutt seems to have found a way of raising funds by acting in the films made outside his own banner during 1962-64. He also took the decision not to direct any films in future. His next two films under his own banner – ‘Chaudhavin Ka Chaand’ (1960) and ‘Sahab Bibi Aur Ghulam’ (1962) became box office hits, redeeming his film production banners.

‘Sautela Bhai’ (1962) was his first film in a lead role outside his banner after the debacle of ‘Kaagaz Ke Phool’ (1959). The film was directed by Mahesh Kaul. The main star cast included Guru Dutt, Pranoti Ghosh, Bipin Gupta, Rajkumar, Kanhaiyailal, Asit Sen, Bela Bose, Rani, Jeevankala, Radheshyam, etc. The film was based on a story, ‘Baikunther Will’ by Sharatchandra Chattopadhyay.

So far, 4 songs out of 8 from the film have been covered on the Blog. Here is the 5th song, ‘ab laagi naahin chute raama chaahe jiya jaaye’ from ‘Sautela Bhai’ (1962) which is presented here. The song is sung by Lata Mangeshkar and Meena Kapoor on the dancers, Rani and Jeevankala, respectively. There is also a male voice in a couple of lines in the song which, I feel, is that of the music director, Anil Biswas. The song was written by Shailendra.

Half-way through the dance, Guru Dutt makes a surprise entry and finds that his step brother (I guess, he is Rajkumar Jr.) is drunk and seen in the midst of the dancers. In a fit of rage, Guru Dutt assaults him. Some of patrons push Guru Dutt out of the courtesan’s house after which the singing and dancing resume.

Video Clip:

Audio Clip:

Song-Laagi naahin chhoote raam chaahe jiya jaaye (Saautela Bhai)(1962) Singers-Lata, Meena Kapoor, Anil Biswas, Lyrics-Shailendra, MD-Anil Biswas
Lata Mangeshkar + Meena Kapoor
Unknown male voice

Lyrics(based on video clip)

ab laagi naahi chhoote raam
laagi naahi chhoote raama
chaahe jiya jaaye raama
chaahe jiya jaaye raama
chaahe jiya jaaye
laagi naahi chhoote
naahi chhoote
naahi chhoote raa…m aam
chaahe jiya jaaye

waade ae ae kaa tere kisko bhala
o bhala aitbaar thha aa

phir bhi tamaam raat piya intzaar thhaa
khaamoshiyon mein har kisi aahat pe chaunk kar
aji aahat pe chaunk kar
kisi aahat pe chaunk kar
kehna mere is dil ka yahi
yahi
baar baar thha aa aa aa
kya
ae pare hatt
ke laagi naahi chhoote raa aam
chaahe jiya jaaye raa..m
chaahe jiya jaaye raama
chaahe jiya jaaye raama
chaahe jiya jaaye
laagi naahi chhoote
naahi chhoote
naahi chhoote raa.. aa aam
chaahe jiya jaaye

yoon hi raha jo teri wafa
ho jafaaon ka Silsila aa
niraash hoke toot hi jaayega dil mera
kya gujri mujhpe
tum ye kisi se na poochhna
kisi se na poochhna
kisi se na poochna

sun lena meri kabr se ae
aayegi ye sada aa aa
kya
ke laagi naahi chhoote raa. aa aam
chaahe jiya jaaye raama
chaahe jiya jaaye

chaahe jiya
chaahe jiya
chaahe jiya
chaahe jiya jaaye
laagi naahi chhoote
naahi chhoote
naahi chhoote raa….. aa aa aam
chaahe jiya

[Interruption in dances]

aa aa aa
aa aa aa aaa
ek maazra sunaata hoon main husn ishq ka

waah

[dialogues]

lekin wo dono kabron se aati thhi yeh sada
kya
laagi naahi chhoote raama
chaahe jiya jaaye raama
chaahe jiya jaaye

aaha
subhaan allah

laagi naahi chhoote raama
chaahe jiya jaaye raama
chaahe jiya jaaye

chaahe jiya
chaahe jiya
chaahe jiya
chaahe jiya jaaye
ah ah ah
waah waah jiyo


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

Blog Day : 4468 Post No. : 15961

‘Angulimaal’ (1960) was directed by Vijay Bhatt of Prakash Pictures which had been known for producing mythological and historical films among other genres. The film was a presentation of Thai Information Services Co Ltd. It is said that on the occasion of 2500th birth anniversary of Lord Buddha, Thai Government financed the film. I find from the credit title of the film that a Thai sounding name, Viratna Vidyabanich was as one of the production controllers. The star cast consisted of Bharat Bhushan, Nimmi, Anita Guha, Manmohan Krishan, Achala Sachdev, Chandrasekhar, Prem Adib, Ulhas, Kesri, Ram Mohan, Helen, Bimla, Sheila Kashmiri and Master Vinod Kumar (Vinod Mehra). The dialogues were written by a well-known Hindi writer and poet, Bhavani Prasad Mishra, the only film for which he wrote dialogues. Earlier, Bhavani Prasad Mishra had written lyrics for ‘Swayam Siddha’ (1949).

The story of the film is adapted from one of the Buddhist scriptures – ‘Angulimaal Sutta’. The story was said to have been in existence since 5th-4th Century BC which have been passed on to the next generations in the oral traditions until it was recorded in writing in the later centuries. As such, the original story of Angulimaal may have gone through some additions as it passed on to next generation in oral format. It is said that the family background of Angulimaal was not mentioned in the original story. Later on, it got incorporated in the story.

The story depicted in the film is as under:

On a stormy night, a son is born to the Royal Priest (Manmohan Krishan) of a kingdom. The Royal astrologer predicts that the boy would become a dreaded killer in his later years. The royal priest takes his new born son to the King (Prem Adib) for his blessings. The royal astrologer, however, suggests to the King that the boy should be killed to prevent him from becoming a dreaded killer. The King overrules him by saying that it is not right to kill a child when he has not committed a crime. Instead, King names him as ‘Ahinsak’ (Non-Violent) and orders that Ahinsak should be given proper education and the cultural upbringing so that he is prevented from becoming a killer.

During the 8th birthday celebration of King’s daughter, Princess Maya (Nimmi), King finds Ahinsak (Vinod Kumar) the most intelligent among the boys present at the occasion. He orders the Acharya (Ulhas) to take Ahinsak to his Gurukul for further studies. In the Gurukul, Ahinsak is introduced to Maruti, Dhanpal and Krishna among others. In the Gurukul, because of his all-round excellence in studies, sports, horse-riding and behaviour, Ahinsak becomes the darling of Acharya and his wife Gurumata (Anita Guha).

The boys have now grown up. Maruti (Chandrasekhar), Krishna (Kesri) and Dhanpal have become jealous of Ahinsak (Bharat Bhushan) as they cannot compete with him in any field. Another reason for jealousy for Maruti is that Princess Maya likes Ahinsak and Maruti is eyeing on marrying her. So, all three of them conspire to poison the mind of Acharya against Ahinsak by making some false allegations. One of the false allegations made by Dhanpal is that Ahinsak is having illicit relations with Gurumata. In the spur of the moment, Ahinsak kills Dhanpal for making a wild allegation. With this incidence, Acharya thinks that the prediction of the astrologer about Ahinsak becoming a killer may come out to be true. He expels Ahinsak from the Gurukul. His parent and his friends also shun him for life. The king announces a booty on his head. In the circumstances, he had no alternative but to run away in the forest where he makes friendship with animals but hates human beings. He starts the ruthlessly killings of human being whenever he sees them. In this process, he starts collecting a finger each of his killer. He takes a pledge to kill a thousand persons and to make a garland of fingers (Angulimaal) of those killed by him.

Angulimaal is now one short of his target of 1000 killings. He is about to kill a person in the darkness without knowing as to who the person was. The person happens to be his mother who had stepped out in search of her son and has been wandering in the forest for many days. When Angulimaal was about to kill her, he finds his hand holding a sword getting locked. He tries many times but his handis not able to raise the sword to kill the person. Then he sees a divine person appearing in front of him who is none other than Lord Buddha. Angulimaal tries to kill him but he is not able to catch-up with him. In desperation, Angulimaal asks him as to who he is.

After a series of arguments and questions, Angulimaal finds that this divine person still loves him after his horrible killings. He throws his sword and follows the advice of Lord Buddha to become a monk. He goes back to the people in the street of his royal palace, asking for forgiveness. But instead he is attacked by people throwing stones at him. He gets injured but continues to plead for forgiveness. At the right time, Princess Maya, who has become a monk, comes and rescues him from the mad crowd. She takes him to the monastery. The film ends with Angulimaal dressed as a monk, walking through the street for alms. Instead of stones, people now shower him with flowers and seeking his blessing.

There are 7 songs in ‘Angulimaal’ (1960) of which 5 songs have been covered on the Blog. All the songs were written by Bharat Vyas which was set to music by Anil Biswas. I was surprised to note that of the remaining two songs, the theme song and that too the most popular song of the film, ‘Buddham sharanam gachchaami’ is yet to be covered on the Blog. So, here is the theme song of about 10 minutes of duration which I am presenting with this article. The song is majorly rendered by Manna Dey except four lines which is rendered by Asha Bhosle lip syncing for Nimmi.

The song was not a cake walk for presentation as I found that there were many parts of the songs on the video sharing platform – some incomplete also. Fortunately, I found an audio clip of the song containing all the 6 parts of the song. Each stanza of the song has been rendered separately as background song. But video clips of a couple of parts of the song were not available. Also, it was necessary to know the sequence of each part of the song as it appears in the film. Instead of presenting the video clips in driblets, that too incomplete, I have made a new video clip by ripping off all the available parts of the song from the DVD of the film and uploaded the same. Unfortunately, Part-2 of the song is not available on the DVD of the film.

I give below the part-wise sequence of the song as appearing in the filmand the context thereof.

Part-1: As background song while credit titles of the film is displayed on the screen

Part-2: Missing in the DVD of the film. Probably this part was the continuation of Part-1. This part can be heard from the audio clip.

Part-3: The song is played in the background when Gurumata (Anita Guha) was about to commit suicide by jumping from a hill top into the river for tarnishing her name linking with Ahinsak (Bharat Bhushan). A monk’s sermons in the background stops her from committing suicide. She joins a monastery.

Part-4: Princess Maya (Nimmi) after failing to persuade Angulimaal to give up killings and join her, she is distressed that Angulimaal would continue to indulge in his killings. She decides to join monastery.

Part-5: Angulimaal (Bharat Bhushan) is about to kill his mother (Achala Sachdev). But the background song prevents him from using his sword as his hand muscle gets locked.

Part-6: Background song as Angulimaal, as a reformed man and now a monk, walks through the streets.

The lyrics in every line of the song has deep philosophical and inspirational thoughts. This song has as much of relevance today as was 60 years back when it was written by Bharat Vyas.

This is a devotional cum inspirational song which has a soothing effect on the mind.

Video Clip:(All Parts except Part-2)

Audio Clip: (All – Parts 1 to 6)

Song-Buddham sharnam gachhaami (Angulimaal)(1960) Singers-Manna Dey, Asha Bhonsle, Lyrics-Bharat Vyas, MD-Anil Biswas
Chorus
Manna Dey + Chorus

Lyrics(Based on Audio Clip)

—————————–
Part-1
—————————–

buddham sharanam gachchhaami
dhammam sharanam gachchhaami
sangham sharanam gachchhaami

ghabaraaye ae ae jab mann anmol
aa aa aa aa aa aa
hriday ho uthhe daanvaadol
aa aa aa aa aa aa

ghabaraaye jab mann anmol
aur hriday ho daanvaadol
tab maanav tu mukh se bol
buddham sharanam gachchhaami ee
tab maanav tu mukh se bol
buddham sharanam gachchhaami ee
buddham sharanam gachchhaami
dhammam sharanam gachchhaami
sangham sharanam gachchhaami

—————————–
Part-2
—————————-
jab ashaanti ka raag uthhe
laal lahu ka phaag uthe
hinsa ki wo aag uthhe
maanav mein pashu jaag uthe…ae ae
upar se muskaate ??
bheetar zahar rahe wo ghol
tab maanav tu mukh se bol
buddham sharanam gachchhaami ee
tab maanav tu mukh se bol
buddham sharanam gachchhaami ee
buddham sharanam gachchhaami
dhammam sharanam gachchhaami
sangham sharanam gachchhaami

—————————
Part-3
—————————-
aa aa aa aaa
aa aa aaa
aa aa aaa
aa aa aa aa aaa
jab dukh ki ghadiyaan aayen
aa aa aa aa
sachh par jhooth vijay paaye
aa aa aa aa
iss nirmal paavan mann par
jab kalank ke ghan chhaayen..en en
anyaayon ki aandhi se
praan uthhe jab tere dol
tab maanav tu mukh se bol
buddham sharanam gachchhaami ee
tab maanav tu mukh se bol
buddham sharanam gachchhaami ee
buddham sharanam gachchhaami
dhammam sharanam gachchhaami
sangham sharanam gachchhaami

——————————–
Part-4
——————————–
roothh gaya jab sun’ne waala
kis’se karoon pukaa…aa aar
pyaar kahaan pahchaan saka ye
ye nirdayi sansaa…r

nirdayata jab lewe jaan
daya huyi ho antardhyaan
jab ye chhota sa insaan
bhool raha apna bhagwaan aan
satya tera jab ghabaraaye
shraddha ho jab daanvaadol
tab maanav tu mukh se bol
buddham sharanam gachchhaami ee
tab maanav tu mukh se bol
buddham sharanam gachchhaami ee
buddham sharanam gachchhaami
dhammam sharanam gachchhaami
sangham sharanam gachchhaami

—————————————-
Part-5
—————————————-
buddham saranam gachchhaami
jab duniya se pyaar uthhe ae ae ae ae ae
jab duniya se pyaar uthhe
nafrat ki deewaar uthhe
maa ki mamta par jis din
bete ki talwaar uthhe….ae ae ae
aaa aaa aaa aaa
dharti ki kaaya kaanpe
ambar dagmag uthhe dol
tab maanav tu mukh se bol
buddham sharanam gachchhaami
tab maanav tu mukh se bol
buddham sharanam gachchhaami
buddham sharanam gachchhaami
dhammam sharanam gachchhaami
sangham sharanam gachchhaami
buddham sharanam gachchhaami
dhammam sharanam gachchhaami
sangham sharanam gachchhaami
buddham sharanam gachchhaami

——————————–
Part-6
———————————
door kiya jis ne jan-jan ke
vyaakul mann kaa aa andhiyaara aa aa
jiski ek kiran ko chhoo kar
chamak uthha ye jag saara

deep satya kaa sada jale
daya ahinsa sada phale
sukh shaanti ki chhaaya mein
jan-gan-man kaa prem pale ae ae
Bhaarat ke bhagawan Buddha ka
goonje ghar ghar mantra amol
hey maanav nit mukh se bol
buddham sharanam gachchhaami
hey maanav nit mukh se bol
buddham sharanam gachchhaami
buddham sharanam gachchhaami
dhammam sharanam gachchhaami
sangham sharanam gachchhaami
buddham sharanam gachchhaami
dhammam sharanam gachchhaami
sangham sharanam gachchhaami
buddham sharanam gachchhaami
dhammam sharanam gachchhaami
sangham sharanam gachchhaami


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 :

4396 Post No. : 15772

Songs Repeated in Hindi Films – 22
– – – – – – – – – – – – – – – – – –

I present here a repeat song that is quite different from the string of songs in this series so far. I shall begin by introducing the original song.

The original song is from the 1953 film – ‘Hamdard’. The song has been written by Majrooh Sultanpuri, and the music composition is by Anil Biswas. The original song is in the voice of Manna Dey, and it is already posted on the blog a good eight years ago. That post can be viewed at “Tera Haath Haath Mein Aa Gaya”.

The repeat song, this time appearing in the film ‘Tu Nahin Aur Sahi’ from 1960. The song is the same, but for the latter film, it has been re-recorded. The music director of the latter film is Ravi. The second recording is different, both with regards to the composition, as well as the singing voice. The latter song has been recorded in the voice of Rafi Sb, in a tune that is quite different from the original.

In the latter film, only the mukhda of the song is present. The full song is not presented. It would be interesting to know whether the latter version of the song was recorded as a complete song, or only the lines that are actually present in the film.

So the repeat song has been re-recorded, using a different tune, and in a different voice. And it is only used partially. There surely are other instances in Hindi films, where snippets of songs from earlier films have been used partially. This case is interesting, in that it has been formally re-recorded, different voice, different tune. As far as I can check, it appears that this is the only instance of its kind, in the category of repeat songs.

Here is another very interesting anecdote about this song. There is actually another instance in Hindi films, where these lines appear, albeit equally briefly. The film is ‘Teesri Manzil’ from 1966. The scenario is played out as follows.

The location is again the restaurant of the hotel. Shammi Kapoor, or Rocky, (also Anil) has just finished singing the song – “Tumne Mujhe Dekha Ho Kar Meharbaan”. He is on the seventh heaven, considering that Asha Parekh, or Sunita has come to his performance of this song. Little does he know that the letter that was supposed to reach her the previous evening has just been delivered to her in the restaurant. Of course, knowing the truth, Sunita is livid at the deception played by Anil. And Anil, on the seventh heaven, has completed the song and launches into a monologue, telling the audience, how lucky he is having found love. He reaches the table where Sunita is sitting, and she is in tears. Continuing the monologue, Anil reaches out for her hand, and starts to speak these lines –

Tera Haath Haath Mein Aa Gaya
Ke Chirag Raah Mein Jal Gaye. . .

The unexpected next instant is a shock, as Sunita pulls back her hand and lands a resounding slap on Anil’s cheek.

So a very interesting set of appearances these lines make – from 1953 to 1960 to 1966.

Remembering Rafi Sb today, on his 40th remembrance day.

This snippet also brings back memories of another great performer – Kumkum, who passed away on 28th July, three days ago. In the closing minutes of this film, she makes a decision and leaves her home, to follow the person she loves, no matter that person is a dishonest conman.

Song – Tera Haath Haath Mein Aa Gaya  (Tu Nahin Aur Sahi) (1960) Singer – Mohammed Rafi, Lyrics – Majrooh Sultanpuri, MD – Ravi
[Note: The music director for the original tune in ‘Hamdard’ is Anil Biswas.]

Lyrics

tera haath haath mein aa gaya
ke chiraag raah mein jal gaye
mujhe sehal ho gayin manzilen
wo hawa ke rulh bhi badal gaye

tera haath haath mein aa gaya

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

तेरा हाथ हाथ में आ गया
के चिराग़ राह में जल गए
मुझे सेहल हो गईं मंज़िलें
वो हवा के रुख भी बादल गए

तेरा हाथ हाथ में आ गया


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over TWELVE years. This blog has over 16300 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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(© 2008 - 2021) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

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Movies with all their songs covered =1257
Total Number of movies covered =4426

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