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

Posts Tagged ‘Anil Biswas


This article is 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 : 3623 Post No. : 14439

“Jalti Nishaani” (1957) was directed by Harish for Emsheth production, Bombay. The movie had Kamal Kapoor, Geeta Bali, Kuldeep Kaur, Sundar, Ulhaas, Chaman Puri etc in it.

Four songs from this movie have been discussed in the past.

Here is the fifth song from this movie. This song is sung by Lata and chorus. Qamar Jalalabadi is the lyricist. Music is composed by Anil Biswas.

I am unable to make out the lyrics of the chorus which is either gibberish or words in some other language. I request our knowledgeable readers to tell us what these worlds could be.


Song-Chaand pe baadal chha gaya (Jalti Nishaani)(1957) Singer-Lata, lyrics-Qamar Jalalabadi, MD-Anil Biswas
Chorus

Lyrics

?????
chaand pe baadal chha gaya
?????
chaand pe baadal chha gaya
?????
halka halka ujlaa ujlaa
chaand pe baadal chha gaya
?????

husn kisi ka thhandi aag
?????
aaine(?) mein jala charaag
?????
husn kisi ka thhandi aag
aaine(?) mein jala charaag
haay re nazren bahki bahki
bahki bahki
bahki bahki

hay re najre bahki bahki
maykhaana sharma gaya
chha gaya re chha gaya
chaand pe baadal chha gaya
?????

haay jawaani haay shabaab
?????
mil na saka nazron ko jawaab
?????
haay jawaani haay shabaab
mil na saka nazron ko jawaab
o o o
o o o
o o o
o o o
o o o
o o o
shamm e-mohabbat chhupke chhupke
chhupke chhupke
chhupke chhupke

shame-mohabbat chhupke chhupke
koi jalaakar chala gaya
chala gaya
chala gaya aa

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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 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 : 3604 Post No. : 14384

Today is the fifteenth remembrance day for Anil Biswas, one of the pioneering music directors of film industry in India. He passed away on 31st May in New Delhi, in the year 2003. With his active years in the film industry (from 1935 to 1965) behind him, he had moved to Delhi by mid 1960s. Thereafter, he worked with the All India Radio in New Delhi, and was also associated with JNU (Jawaharlal Nehru University).

As I am checking his filmography and the list of songs, as per the Geet Kosh, I come across a very interesting statistic. As per Geet Kosh, during his active years in the film industry from 1935 to 1965, he composed music for 82 films, of which three are unreleased films with songs available. The total of songs in these films comes to around 715.

Then I counted his body of work in the first six years of his career in films, i.e. from 1935 to 1940. Amazing to find out that in these first six years he has composed music for 25 films, logging in approximately 220 songs. This works out to be a tad over 30%, both in terms of number of films and total no. of songs composed. So in the first six years of his career (which is 20% of his career), he had already accomplished 30% of all the work that he would do for Hindi films. And now to the sad part of these numbers. Of these 220 songs, more than half i.e. 137 were not even released on gramophone records (as per Geet Kosh listings). Of the remaining shortlisted songs, just about 80 to 85 songs are available in public domain. This last number is as per my knowledge of available songs within the known circle of collectors – this number could be more.

A large part of this work from those six earliest years remains unknown and unheard – a sad commentary on the state of affairs of archiving and preservation efforts in the industry.

In remembrance of this doyen of music directors, I present this rare song today, which has an important distinction. As per the Geet Kosh listings, this most likely the earliest song that he has sung, under his own music direction, that is available. The Geet Kosh lists one earlier solo credited to him as a singer, for the film ‘Dharam Ki Devi’ of 1935, which was probably never released on gramophone record. This song from the 1936 film ‘Piya Ki Jogan’ apparently is his earliest recorded song that is available in public domain. It is a duet in which the accompanying voice is of Sardar Akhtar.

The film ‘Piya Ki Jogan’ was produced under the banner of Golden Eagle Movietone, which, very interestingly, is listed as being based in Sindh. The region of Sindh could mean Karachi, but I am not sure about it. The film was directed by Heeren Bose. The cast of actors is listed as Sardar Akhtar, Pramod Chandra, Krishna Kumari, Merwan Irani, D Manik, Ashalata, Vasu HK, Sheila, Agha Jaan, Bannerjee, Niranjan Singh, Mehar Banu, and Anil Biswas himself. Now this throws up interesting question whether Anil Da is singing for himself on screen. The year is 1936, and the playback mechanism is just beginning to get a foothold in the industry. He could be singing for himself, since he is listed as an actor. Or he could be singing for someone else – being the last name in the listing generally implies a role with less importance. Once again, I cannot be sure.

Another interesting tidbit here. The cast of actors also contains the name Ashalata. This could well be the first film that they worked on together. I request other knowledgeable readers and friends to please comment on this observation.

The lyricist credits are listed as Munshi Zahiruddin, Niranjan Singh, and Meerabai (one of the songs in the film is a bhajan credited to her). The uploader of this song on YT, Shri Shalin Bhatt, identifies Munshi Zahiruddin as the writer of this song.

The song itself does not have too many wordy lines. There are passages of laughter and pauses. The song appears to be an exchange between a lady and a gentleman, having some good time together. I request other knowledgeable readers and friends to kindly add more information about this film and this song, if available.

With this rare and uniquely important song, the blog pays its homage to Anil Da, on this anniversary of his passing away.

[Auth Note: Some translations,
“sahn e baag” = open space, compound containing a garden
“abr e bahaar” = clouds of spring; or clouds of good season
“baadaah e khvaar” = one who drinks liquor]

[Ed Note: The song is uploaded on YT by Shalin Bhatt ji.]

Song – Saaqi Ho, Sahn e Baag Ho  (Piya Ki Jogan) (1936) Singer – Anil Biswas, Sardar Akhtar, Lyrics – Munshi Zahiruddin, MD – Anil Biswas

Lyrics

haa haa haa haa
haa haa haa haa
he he he

saaqi ho
sahn e baag ho
abr e bahaar ho
saaqi ho
sahn e baag ho
abr e bahaar ho
oo ho

pehlu mein tum hamaare
ae sanam
baadah e khvaar
saaqi ho
sahn e baag ho
abr e bahaar ho
saaqi ho
sahn e baag ho
abr e bahaar ho
oo ho

haa haa haa
haa haa haa

bas
itna hi
. . .
aur kuchh
. . .
ab suno

saawan ka ho mahina
din ho jalaa hua
saawan ka ho mahina
din ho jalaa hua
nanhi nanhi boondon ki barsi phuaar ho
nanhi nanhi boondon ki barsi phuaar ho

haa haa haa
haa haa haa
haa haa haa
haa haa haa
haa haa haa
haa haa haa

jhoola padaa hua ho
kisi shah e mahal mein

jhoola padaa hua ho
kisi shah e mahal mein

ik din(?) se khush gul koi gaata malhaar ho
ik din(?) se khush gul koi gaata malhaar ho

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

साक़ी हो
सहन ए बाग हो
अब्र ए बहार हो
साक़ी हो
सहन ए बाग हो
अब्र ए बहार हो
ओ हो

पहलू में तुम हमारे
ए सनम
बाद ए खार हो
साक़ी हो
सहन ए बाग हो
अब्र ए बहार हो
साक़ी हो
सहन ए बाग हो
अब्र ए बहार हो
ओ हो

हा हा हा हा
हा हा हा हा

बस
इतना ही
॰ ॰ ॰
और कुछ
॰ ॰ ॰
अब सुनो

सावन का हो महिना
दिन हो जला हुआ
सावन का हो महिना
दिन हो जला हुआ
नन्ही नन्ही बूंदों की बरसी फुहार हो
नन्ही नन्ही बूंदों की बरसी फुहार हो

हा हा हा हा
हा हा हा हा
हा हा हा हा
हा हा हा हा
हा हा हा हा
हा हा हा हा

झूला पड़ा हुआ हो
किसी शाह ए महल में

झूला पड़ा हुआ हो
किसी शाह ए महल में

इक दिन(?) से खुश गुल कोई गाता मल्हार हो
इक दिन(?) से खुश गुल कोई गाता मल्हार हो


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 : 3595 Post No. : 14349

“Do Sitaare” (1951) was directed by D D Kashyap for Famous Pictures. The movie had Dev Anand, Suraiya, Kuldip Kaur, Baij Sharma, Prem Nath, Shakuntala etc in it.

Tmovie had eight songs in it. Five songs from this movie have been discussed in the past.

Here is the sixth song from the movie. This song is sung by Lata. Rajinder Krishan is the lyricist. Music is composed by Anil Biswas.

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


Song-Meri aasmaani ghodi udaaye liye jaaye (Do Sitaare)(1951) Singer-Lata, Lyrics-Rajinder Krishan, MD-Anil Biswas

Lyrics

meri aasmaani ghodi
meri aasmaani ghodi
udaaye liye jaaye
udaaye liye jaaye
udaaye liye jaaye
dekho do dilon ki jodi
meri aasmaani ghodi
meri aasmaani ghodi

o raani ke raaje
o raaje ke raani
gup-chup kaahe baithhe ho ji
gup-chup kahe baithhe ho ji
chhedo koi kahani
aeji chhedo koi kahaani
pyaar ki do do baaten kar lo
pyaar ki do do baaten kar lo
manzil rah gayi thhodi
meri aasmaani ghodi
meri aasmaani ghodi
udaaye liye jaaye
udaaye liye jaaye
udaaye liye jaaye
dekho do dilon ki jodi
meri aasmaani ghodi
meri aasmaani ghodi

do dil waale chale basaane ae
do dil waale chale basaane
ek naya sansaar
dekho beech mein aa na jaaye
duniya ki deewaar
dekho beech mein aa na jaaye
duniya ki deewaar
bana rahe ye pyaar tumhaara aa aa aa
bana rahe ye pyaar tumhaara
kabhi na toote jodi
o meri aasmaani ghodi
meri aasmaani ghodi
udaaye liye jaaye
udaaye liye jaye
udaaye liye jaaye
dekho do dilon ki jodi
meri aasmaani ghodi
meri aasmaani ghodi


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 : 3503 Post No. : 14074

 

Today’s song is from the film ‘Milan’ (1946).

Bengali people, in general, are fond of reading. The literacy percentage of Bengal during last century and before that has been quite noteworthy. The literate population of Bengal is divided in two parts. One is Bhadralok– a term used to indicate upper and middle class – affluent and educated people; and the other is Madhabit (or what we call a middle class in rest of India). Both these classes of society in Bengal were patrons of books. In addition, Bengal also boasts of a large number of very famous authors. Eminent writers like Rabindranath Tagore, Bankim Chandra Chatterji, Sarat Chandra Chatterji, Sunil Gangopadhyaya, Bibhuti Bhushan Bandopadhyay, Satyajit Ray, Mahashweta Devi, Tarashankar Bandopadhyay, Shirshendu Mukhopadhyay, Shardendu Bandopadhyay, Humayun Ahmed, Kazi Nazrul Islam, Michael Madhusudan, Manik Bandopadhyay, Premendra Mitra, Badal Sircar, Sukumar Rai, Jibanand Das, Rajnikant Sen and many others were, and continue to be popular in Bengal.

No wonder, then, that their novels, dramas and short stories became the basis of Bangla films, both in the silent as well as talkie era. In rest of India, almost all major production houses had their own story departments, where many Munshis, Pandits and the likes of them were employed to provide ‘made to order’ story material for films. The Lahore, Bombay and Madras centres depended heavily on mythology, folk tales, history, and stage dramas etc. for their films.

Since Bangla films had their firm stories, their films were closer to the audiences in Bengal and Eastern India in general. This literary sourcing was firmly entrenched in the minds of the film directors of the 1930s to the 1950s, in Bengal. When an exodus of actors, directors and technicians started from Calcutta to Bombay, in the 40s and 50s, most directors from Bengal made Hindi films in the Bombay center, based on Bangla novels, dramas and short stories. Some important examples are, ‘Do Bigha Zameen’ (Salil Choudhari’s short story of 1943), ‘Devdas’, ‘Parineeta’, ‘Parivar’, ‘Biraj Bahu’, ‘Yahudi’, ‘Ratnadeep’ etc.

When Nitin Bose left Calcutta and came to Bombay to join Bombay Talkies, no one was surprised. Bombay Talkies was known to attract Bangla talent and gave them opportunities to showcase their skills. Being owned by a Bengali-Himanshu Rai and managed by a Bengali-Shashadhar Mukherjee, Bangla cine artistes were always welcome. For his first directorial venture in Bombay, Nitin Bose suggested Rabindranath Tagore’s novel Noukadubi, first published in 1906. This story was a favourite of producers. Already a Bangla film on it was made in 1932. Nitin Bose further suggested to make it a bilingual film – in Hindi and Bangla, for Bengal and East India.

The year was 1946. Himanshu Rai had passed away in 1940, S. Mukherjee left in 1942 with his friends. Devika Rani had left in 1945. Bombay Talkies was in dire straits already. The powers that be at the company thought that making a bilingual film will open doors to Bengal and other East Indian states. While the Hindi version ‘Milan’ was made in 1946, the Bangla version ‘Naukadubi’ was made in 1947.

Dilip Kumar was an upcoming new hero in Bombay Talkies. He had just done 2 films. ‘Jwar Bhata’ in 1944 and ‘Pratima’ in 1945. He was chosen for ‘Milan’ as its hero. The film needed two heroines. One, Ranjana was already available and selected. For the second heroine, Bombay Talkies gave advertisements in newspapers. From several applicants, a new Kanpur born Bengali speaking girl Meera Mishra was selected.

Meera Mishra’s joining the films generated a lot of interest and excitement because she was the wife of an IPS officer. She was chosen to play Kamala in both versions. For the role of Hemnalini, Meera Sircar was selected for the Bangla version, and Ranjana did this role in the Hindi versions. The role of Ramesh, the hero, was assigned to Dilip Kumar in the Hindi version, and to Abhi Bhattacharya in the Bengali version. The role of  Akshay Babu was assigned to Pahadi Sanyal in both Hindi and Bangla versions.

In a manner of speaking, Meera Misra made her debut opposite to Dilip Kumar as her first leading man. The film was directed by Nitin Bose and Anil Biswas was the music director. Parul Ghosh lent her voice in both the versions. In ‘Noukadubi’ she had five Tagore songs, her only Bengali songs.

Both ‘Noukadubi’ and ‘Milan’ did well. Initially Meera had planned to retire after this one film. However, her husband, Kripa Sindhu Mishra was killed in action during Delhi riots and Meera decided to carry on with her film career. She had a son Jishnu from the Late KS Mishra. Her other films include ‘Abhijatya’ (1949), ‘Eki Gramer Chhele’ (1950), ‘Abarta’ (1950), ‘Sandhyabelar Rupkatha’ (1950), ‘Sabyasachi’ (Hindi-1948, based on Sarat Chandra Chatterjee’s ‘Pather Dabi’. Meera played the role of Sumitra) and Bishnupriya (1949). Her other Hindi films include ‘Ghar Ki Numaish’ (1949), ‘Kashmir Hamara Hai’ (1950), ‘Azaadi Ke Baad’ (1951), ‘Chamakee’ (1952), and ‘Chhoti Maa’ (1952). She quit films early and settled into married life again. Her second husband was Mr Ranjit Gupta, Chief Secretary to the Government of West Bengal. She passed away in Calcutta in 2008.

‘Milan’ was produced for Bombay Talkies by Hiten Choudhury, who was with New Theatres earlier. He was the earliest member to leave New Theatres and join Bombay Talkies in Bombay. After Nitin Bose left Bombay Talkies, it was Hiten Choudhury who brought in Bimal Roy to make film ‘Maa’ (1952). Bimal Roy, who had come to Bombay for the premiere of his film ‘Pehla Aadmi ‘ (1950), subsequently settled in Bombay. Asit Sen, BN Banerjee, Salil Choudhury, Hrishikesh Mukherjee and few others too left New Theatres to join Bimal Roy in Bombay.

Director Nitin Bose was working with Dilip Kumar for the first time. That time Dilip had not yet developed the nasty habit of interfering in director and composer’s work. He was still learning and he learnt a lot from Nitin Bose. It seems that the famous hair style of Dilip was also suggested by Nitin Bose while shooting a boat scene for Milan. Dilip acknowledges that Nitin Bose had groomed him.

Later Nitin Bose directed Dilip again for ‘Deedar’ (1951) and ‘Ganga Jamuna’ (1961). Nitin Bose once wrote that during the shooting of ‘Ganga Jamuna’ he was sitting aside on a chair, helplessly watching Dilip Kumar do his (the director’s)  job. By that time Dilip had obtained a Doctorate in this “art of interference”.

Dilip had become famous due to his early tragic films, when he used to die frequently in most of them. In 1948 alone, out of his 6 films, he died 4 times. In the year 1955, he died in 3 films. In the entire 50’s decade he died 6 times. In a total of 57 films, Dilip kumar had died in 18 of them. Interestingly his last film ‘Qila’ (1998) also saw him dead! A real tragedy king indeed !!! By the way, in his 57 films 39 directors worked with him. SU Sunny directed him in 4 films. Nitin Bose, Bimal Roy and Subhash Ghai directed him in 3 films each.

‘Milan’ was based on Rabindranath Tagore’s novel ’Noukadubi’, published in 1925. This story was a favourite of producers. It was produced in Bangla in 1932, 1947, 1979 and 2011. Hindi versions came in as ‘Milan’ (1946), ‘Ghoonghat’ (1960) and ‘Kashmakash’ (2011). The cast of the 1946 version incudes Dilip Kumar, Meera Mishra, Ranjana, Pahadi Sanyal, Shyam Laha, S.Nazir, Moni Chatterjee, KP Mukherjee etc. The story is –

The story is set in 1905. Ramesh (Dilip Kumar) is studying law in Calcutta and has just appeared for his final exams. He is a friend and neighbour of Jogen who is also studying law. Jogen (Shyam Laha) lives with his father Annada Babu (Moni Chatterjee) and sister Hemnalini (Ranjana). Ramesh and Hemnalini are fond of each other and Ramesh visits their house most days for tea. Their association is disliked by another friend Akshay (Pahadi Sanyal) who also likes Hemnalini.

Ramesh has been asked to come back to his village for the holidays by his father but is dissuaded from going by Hemnalini. Ramesh’s father Braja Mohan (KP Mukherjee) is from the priestly caste and lives in the village. He receives an anonymous letter stating that his son is involved with the neighbour’s daughter who comes from a tradesman caste and that he spends his entire time there.

Braja Mohan goes to the city and brings Ramesh back with him to the village. He has arranged Ramesh’s wedding with a poor widow’s daughter. Ramesh tries to convince his father about his involvement with Hemnalini. His father after satisfying himself that Ramesh has as yet not committed himself to Hemnalini prevails upon Ramesh to marry Sushila because of the promise he had given to the girl’s mother. There is a storm at night when the wedding party from the groom’s side is returning to their village by boat. During the crossing the boat capsizes. Nearly all on the boat are drowned including Ramesh’s father and Ramesh appears to be the only one to survive. He sees a woman in bridal dress lying unconscious on the bank. He brings her to his village but soon understands that this is a case of mistaken identity. She continuously checks him when he calls her Sushila and tells him her name is Kamala (Meera Mishra). He realizes there was another bridal procession and their boat too had capsized.

After the formalities of his father’s funeral service Ramesh decides to take Kamala to Calcutta. He finds out about her only living relative, an uncle, and writes to him. A letter arrives telling him of the death of Kamala’s uncle but the sender has mentioned Kamala’s husband’s name and profession. His name is Nalin and he’s a doctor. Ramesh now starts searching for Dr. Nalin. He has so far made no mention about his marriage to Hemnalini or her family nor told anyone regarding the mistaken identity of his supposed bride to avoid any embarrassment to the girl.

On arrival in Calcutta, Ramesh suggests that Kamala get an education. After allaying her apprehension regarding her age he admits her in a girl’s boarding school. Akshay’s sister also studies in the same school and through her Akshay gets to know the truth about Ramesh’s marriage. In the evening he questions Ramesh in front of Hemnalini. Ramesh deflects the question and asks Hem to trust him. Preparations are on at Annada’s house for the wedding of Hemnalini and Ramesh. Their wedding is set for the coming Sunday but Ramesh is asked by the principal to take Kamala home for the weekend. Ramesh postpones the wedding and brings Kamala back from school. Akshay brings Jogen to Ramesh’s house where they see Kamala and on being questioned Ramesh keeps silent. Hemnalini goes into a state of shock when she’s told about Ramesh’s wife.

Her father takes her to Kashi to recuperate. Ramesh decides to leave Calcutta and he takes Kamala with him to Ghazipur. Kamala reads the letter Ramesh has written to Hem explaining the entire situation and mentioning Kamala’s husband’s name. She finally recognizes the truth about her and Ramesh’s situation. She decides to kill herself and leaves the house. She is rescued and comes under Nalin’s mother’s care.

She realizes that Nalin is her husband but finds out that Hemnalini and he are to be betrothed. However, Nalin is not happy about the betrothal as he refuses to believe that Kamala is dead and wants to wait a while longer. Finally the truth comes out and she’s accepted by her husband and his mother while Ramesh and Hemnalini get back together.

The film had 8 songs. Today’s song is the 5th song to be posted. All other songs are also available on You Tube. Enjoy the video song.

[Author Note: My acknowledgements and thanks to Dr. JP Guha ji, the book ‘Hero-I’ by Ashok Raj, HFGK, and my own notes.]

 


Song-Gungun gungun boley bhanwra (Milan)(1946) Singer-Parul Ghosh, Lyrics-P L Santoshi, MD-Anil Biswas
Dilip Kumar
Ranjana

Lyrics

gungun gungun boley bhanwrva aa
hamaari bagiya mein aaike
wo gungun gungun bole bhanwrva aa
hamaari bagiya mein aaike
hamaari bagiya mein aaike ho bhanwra
gungun gungun boley
hamaari bagiya mein aaike
wo gungun gungun bole bhanwrva aa
hamaari bagiya mein aaike

madhuvan se laaye sandesha bahaar ka
madhuvan se laaye sandesha bahaar ka aa aa
taar(?) jaaye mere pyaar ka
veena baja ke
baawri bana ke
haumaari bagiya mein aaike ho bhanwra
gungun gungun bole
humaari bagiya mein aaike
wo gungun gungun bole bhanwrva aa
hamaari bagiya mein aaike

Dialogues
———————————
iraada badal bhi sakta hai
lekin uske liye ek munaasib bahaana gadhna padega

bahaana

haan aakhir pitaaji ka hukm
baghair kisi vajah ke thhode hi taala jaa sakta hai
aur aap kya samajh rahin hain
ham apni marzi se jaa rahe hain

oh

lekin ye sab ek shart par

kya shart

jo gaana abhi ham sun rahe thhe wo poora ho

poora hoga

aaiye
————————
gungun gungun boley bhanwrva aa
hamaari bagiya mein aaike
wo gungun gungun boley bhanwrva aa
hamaari bagiya mein aaike
wo jaan gaya re
jaan gaya re
wo jaan gaya re
mere man mein hai kya
jaan gaya re
kahta phire sab kaliyon se jaa
kahta phire sab kaliyon se jaa
mere man mein hai kya
jaan gaya re
jaan gaya re
dekh rahi thhi
main raah kisi ki
dekh rahi thhi
main raah kisi ki
ankhiyaan bichhaai ke
?? lagaay ke ae
ankhiyaan bichhaai ke
?? lagaay ke
hamaari bagiya mein aay ke ho bhanwra
gungun gungun boley
hamaari bagiya mein


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.

Today’s song is from film ‘Sautela Bhai’ (1962). This film was about the divine quality of brotherly love between step-brothers, like Ram-Laxman or Ram-Bharat. The film had its quota of all possible tear jerking emotions and the artful close relatives who would enjoy the sorrow and misery of the otherwise united family. Actually, this was a most suitable story for a south Indian film, like AVM, who specialised in such movies.

This film’s story was based on famous Bangla author Sarat Chandra Chatopadhyaya’s novel ‘Baikunther Will’ (1920). There was another novel containing the word “will”, viz ‘Krishnakanter Will’ which was penned by Bankim Chandra Chattopadhyay in 1878.

These novels became the basis of several films in Bangla, Hindi and Tamil etc. The first silent movie came in 1927. Its Hindi version came in 1932 as ‘Krishnakant Ka Wasiyatnama’. Its latest Bangla version came in 2007 and Tamil film ‘Rohini’ came in 1953. However ‘Baikunther Will’ was not that popular and only one Bangla and one Hindi film was based on this novel. Screenplay and dialogues of Sautela Bhai were by Dev Kishen and film was directed by Mahesh Kaul.

Mahesh Kaul (1911-1972) was born in Lahore and educated in Moni College, Nagpur. After graduation, he worked as a journalist and then as a bank manager. He then started his career in films as a lyricist and dialogue writer. He debuted as an actor in KA Abbas scripted film ‘Naya Sansar’ (1941) and played Dronacharya’s role in film ‘Mahatma Vidur’ (1943). He was also in ‘Apna Ghar’ (1942). His first film as a director was ‘Angoori’ in 1943. Then came ‘Paristan’ (1944). He produced and directed film ‘Gopinath’ (1948), with Raj Kapoor and IPTA actress Tripti Mitra. Some of his major directorial ventures were ‘Naujawan’ (1951), ‘Akhri Dao’ (1958), ‘Talaaq’ (1958), ‘Kagaz Ke Phool’ (1959). As an actor his notable films are ‘Sautela Bhai’, ‘Palki’ (1967), ‘Sapnon Ka Saudagar’ (1968), ‘Tere Mere Sapne’ (1971) etc. His last film ‘Agni Rekha’ came after his death, in 1973.

The cast of film ‘Sautela Bhai’ (1962) is Guru Dutt, Bipin Gupta, Pranoti Ghosh Bhattacharya, Rajkumar, Asit Sen, Bela Bose, Ratna, Kanhaiyalal, SN Bannerji, Honey Irani, Sarosh irani etc. The music was composed by Anil Biswas.

By the time he was working on this film, Anil Biswas had lost interest in Bombay film world. The major reason being that with many new composers around, his demand had significantly diminished. He got only one more film after this – the film by his friend Motilal – ‘Chhoti Chhoti Baaten’ (1965). He was now looking for an alternative avenue in the field of music. He tried business outside music, but did not fare well at all. Due to all this and being unable to produce what the changing taste of the audience wanted, made his music most ordinary. But then, a diamond is a diamond. He gave a gem song “Ja Ja Re Baalma” in this film.

In the cast one finds two interesting names. One is Raaj kumar and the other is Sarosh Irani. For a long time, inspite of having seen the film, I was under the impression that this was an early film of Raajkumar ( Jaani wala). When Sudhir ji discussed a song from this film here, on 5-5-2011, I commented forcefully that this was the same Raaj kumar who was famous for his dialogue-bazi. Dear Sudhir ji tried to bring sense to the discussion, by giving some proof claiming that he was somebody else, but I was not convinced. Afterwards, we had a lot of emal exchange on the identity of this actor, in which even Dr.Surjit singh ji also jumped in with some photographs. Anyway, that time the discussion remained incomplete and indecisive, without any conclusion.

Later, however, I realised that I was wrong in this case and others were right. ‘This’ Rajkumar indeed was someone different. I started searching for details and found that there were actually 5 Rajkumars operating at the same time in Hindi films. Almost in the same period. The Maitri Manthan blog was also trying to solve this mystery and they were successful. ‘This’ Rajkumar was identified as Rajkumar Khatri. I have very recently given all his details in my post on the song “Jaag Re Jogi Jaag Re” from the film ‘Shuk Rambha’ (1953) in August 2017, hence I am not repeating that here.

I wish to draw your attention to the other interesting name – Sarosh Irani, in the cast of the film. From the name I suspected that Sarosh might be related to Daisy/Honey Irani. I remember in 2011, we were debating if Sarosh is a male or female and our Raja ji had confirmed that it was a male name indeed. I once again wish to thank the Maitri Manthan blog which located and intervieed the daughter of Sarosh Irani. I reproduce here a concise adaptation of his biography as it came out from the interview, for our readers,

Sarosh ji was born to Perin and Noshir Irani on 7 August, 1948 in Bombay. He is third among five siblings, namely, MenkaBunnySaroshDaisy and Honey. In 1979 he married Mona ji  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.

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 CafeB Merwan which was started by their grandfather.

Sarosh ji’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 More Le Gaye picturized on her, sung by Ranu Mukherjee.

Sarosh ji 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 MajumdarAlok Bharati‘s Sautela Bhai (1962) directed by Mahesh Kaul was based on Sarat Chandra Chattopadhyay‘s “Baikunther Will” and had Pranoti GhoshBipin GuptaGuru DuttRaj 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 ji played his childhood part. This adjoining scene from the film made us instant admirers of this child star.

Sarosh ji 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 ji 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 ji has left a mark, Masoom (1960) and Sautela Bhai (1962) are among our most loved films.

Around 1967 Sarosh ji 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 ji on about six films including Chalbaaz (1969) and Aisa Bhi Hota Hai(1971). 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 KhanSajid KhanFarhan Akhtar and Zoya Akhtar do well and make a mark in the entertainment  industry.

The story of the film Sautela Bhai is…..

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 Bhattachrya). Contrary to everybody’s fears, Bhawani gives her love to Gokul, the infant. When she gets her own son, Vinod, both brothers love each others, 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, 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. (646)

The film had 8 songs. 3 songs are already discussed. Today’s song is the fourth song. The situation of the song is, folk singers and dancers depict the love of Ram, Laxman and Bharat, when Ram is ordered to 14 years’ exile and Bharat is to be crowned as per Kaikeyi’s wishes. The song and scenes are symbolic of love between ‘Sautela Bhais’ of Ramayana. The young Gokul and Vinod are watching this drama, sitting on one mother’s lap, while the family too watches this. One of the singers is Pankaj Mitra, about whom I do not know anything. As per HFGK, Anil Biswas used 9 playback singers for 8 songs. Pankaj Mitra, Biswas and Arun Dutt are unfamiliar names. Pankaj Mitra seems to have sung songs in some Hindi films like ‘Sagina’ (1974), ‘Ganga Dhaam’ (1980), ‘Phagun’ (1973), ‘Mera Jeevan’ (1976), ‘Kinaara’ (1977), ‘Ab Aayega Mazaa’ (1984), ‘Grih Pravesh’ (1980), ‘Rihaaee’ (1980), ‘Raja Hindustani’ (1996) and ‘Mriggya’ (1976).


Song – Dekho Re Logo Bhai Bhai Ka Naata Dekho (Sautela Bhai) (1962) Singers – Manna Dey, Pankaj Mitra, Anil Biswas, Lyrics – Shailendra, MD – Anil Biswas
Chorus

Lyrics 

dekho..oo..oo
bhai bhai ka naata dekho
dekho dekho
dekho re logo
bhai bhai ka nata dekho dekho
amar agar ye preet na hoti jag me kya rah jata
dekho
dekho re logo bhai bhai ka nata dekho dekho

dekho taj ke aaj sukh dha..aam
chale ban ra..aa..aam
chale ban ra..aa..aa..aam
macha kohraam
ayodhya mein
dekho taj ke aaj sukh dham
chale ban ram
macha kohram ayodhya mein
macha kohram ayodhya mein
kahe log haaye kakaiyi
kumati kyon leyi
bhai tu badnaam ayodhya mein
macha kohram ayodhya me
kahe laage lakhan kar jod
kahe laage lakhan kar jod
hamen tum chhod akele ja na sakoge bhaiya
akele ja na sakoge bhaiya
rahu main sada tumhaare sang
tumhaara ang
akele dukh pa na sakoge bhaiya
akele dukh pa na sakoge bhaiya
akele dukh pa na sakoge bhaiya

aage aage ra..am siya
peechhe lakshman beer
purbasi dewen wida
naynan naynan neer
haaye ram
haaye ram
haaye ram
haaye ram

dekho dekho
dekho re logo..oo. . .
bhai bhai ka naata dekho dekho
dekho re logo
bhai bhai ka nata dekho dekho

sun ram ka van gaman bechaare bharat akula uthe
sun ram ka van gaman bechaare bharat akula uthe
laute ayodhya ko turat nij maat par jhujhla uthe
laute ayodhya ko turat nij maat par jhujhla uthe
is raaj ke badle agar tum mangti mera maran
is raaj ke badle agar tum mangti mera maran
mai dukh na paata chala jaata
chhoo kar tere charan
gaye ram van mein
haaye ram
gaye ram wan mein
aur karoon main raaj to dhikkaar hai
dhikkaar hai
dhikkaar hai
mere janam par dhikkaar hai
lauta na laaun ram ko
tab tak narak jeena mera
hai lahu peena tab talak
jal bhi yahaan peena mera
ram
ram jai jai ram
haaye ram
jai jai ram
jai jai ram
ram jai jai ram
siya ram
jai jai ram
jai jai ram
ram jai jai ram
jai jai ram
jai jai ram

nadi vikal
parbat hiley

kanpe gagan ke chhor
vyaakul wani bharat ki
goonj rahi chahun or
bhaiya chalo
laut chalo
ro ro taat ne pram gawaye
bhaiya chalo
laut chalo
ro ro tat ne pram gawaye
siya ram gawaa ke awadh puri ne
dono nayan gawaaye
bhaiya chalo laut chalo
ye aansoo koi jod sake to
ek sagar ban jaaye
do bol hain mukh pe logon ke
ek ram dooja haaye
ek ram dooja haaye
ek ram dooja haaye
bhaiya chalo laut chalo
ro ro tat ne pram gawaye
bhaiya chalo laut chalo

ram na laute to unke
charno ki nishani le kar
chale bharat
ke raaj karegi
tab tak yahi awadh par
ram jai jai ram
ram jai jai ram
siya ram jai jai ram
ram jai jai ram
bolo ram jai jai ram
ram jai jai ram
siya ram jai jai ram
ram jai jai ram
bolo ram jai jai ram
ram jai jai ram
siya ram jai jai ram
ram jai jai ram
bolo ram jai jai ram
ram jai jai ram
siya ram jai jai ram
ram jai jai ram
bolo ram jai jai ram
ram jai jai ram
siya ram jai jai ram
ram jai jai ram
bolo ram jai jai ram
ram jai jai ram

dekho dekho
dekho re logo
bhai bhai ka naata dekho dekho
amar agar ye preet na hoti
jag me kya rah jaata
dekho
dekho re logo bhai bhai ka naata dekho
dekho
dekho re logo

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

देखो॰॰ओ॰॰ओ
भाई भाई का नाता देखो
देखो
देखो रे लोगो
भाई भाई का नाता देखो देखो
अमर अगर ये प्रीत ना होती जग में क्या रह जाता
देखो
देखो रे लोगो
भाई भाई का नाता देखो
देखो

देखो तज के आज सुख धा॰॰म
चले वन रा॰॰आ॰॰म
चले वन रा॰॰आ॰॰आ ॰॰म
मचा कोहराम
अयोध्या में
देखो तज के आज सुख धाम
चले वन राम
मचा कोहराम अयोध्या में
मचा कोहराम अयोध्या में
कहें लोग हाए कैकई
कुमति क्यों लेई
भई तू बदनाम अयोध्या में
मचा कोहराम अयोध्या में
कहे लागे लखन कर जोड़
कहे लागे लखन कर जोड़
हमें तुम छोड़ अकेले जा ना सकोगे भैया
अकेले जा ना सकोगे भैया
रहूँ मैं सदा तुम्हारे संग
तुम्हारे अंग
अकेले दुख ना पा सकोगे भैया
अकेले दुख ना पा सकोगे भैया
अकेले दुख ना पा सकोगे भैया

आगे आगे राम सिया
पीछे लक्ष्मण बीर
पुरबासी देवें विदा
नैनन नैनन नीर
हाए राम
हाए राम
हाए राम
हाए राम

देखो देखो
देखो रे लोगो॰॰ओ॰ ॰ ॰
भाई भाई का नाता देखो देखो
देखो रे लोगो
भाई भाई का नाता देखो देखो

सुम राम का वन गमन बेचारे भरत अकुला उठे
सुम राम का वन गमन बेचारे भरत अकुला उठे
लौटे अवध को तुरत निज मात पर झुझला उठे
लौटे अवध को तुरत निज मात पर झुझला उठे
इस राज के बदले अगर तुम मांगती मेरा मरण
इस राज के बदले अगर तुम मांगती मेरा मरण
मैं दुख ना पाता चला जाता
छू कर तेरे चरण
गए राम वन में
हाए राम
गए राम वन में
और करूँ मैं राज तो धिक्कार है
धिक्कार है
धिक्कार है
मेरे जनम पर धिक्कार है
लौटा ना लाऊं राम को
तब तक नरक जीना मेरा
है लहू पीना तब तलाक
जल भी यहाँ पीना मेरा
राम
राम जय जय राम
हाए राम
जय जय राम
जय जय राम
राम जय जय राम
सिया राम
जय जय राम
जय जय राम
राम जय जय राम
जय जय राम
जय जय राम

नदी विकल
परबत हिले
कंपे गगन के छोर
व्याकुल वाणी भरत की
गूंज रही चहुं ओर
भैया चलो
लौट चलो
रो रो तात ने प्राण गँवाए
भैया चलो
लौट चलो
रो रो तात ने प्राण गँवाए
सिया राम गंवा के अवध पुरी ने
दोनों नयन गँवाए
भैया चलो लौट चलो
ये आँसू कोई जोड़ सके तो
एक सागर बन जाये
दो बोल हैं मुख पे लोगों के
एक राम दूजा हाए
एक राम दूजा हाए
एक राम दूजा हाए
भैया चलो लौट चलो
रो रो तात ने प्राण गँवाए
भैया चलो लौट चलो

राम ना लौटे तो उनके
चरणों के निशानी ले कर
चले भरत
के राज करेगी
तब तक यही अवध पर
राम जय जय राम
राम जय जय राम
सिया राम जय जय राम
राम जय जय राम
बोलो राम जय जय राम
राम जय जय राम
सिया राम जय जय राम
राम जय जय राम
बोलो राम जय जय राम
राम जय जय राम
सिया राम जय जय राम
राम जय जय राम
बोलो राम जय जय राम
राम जय जय राम
सिया राम जय जय राम
राम जय जय राम
बोलो राम जय जय राम
राम जय जय राम
सिया राम जय जय राम
राम जय जय राम
बोलो राम जय जय राम
राम जय जय राम

देखो देखो
देखो रे लोगो
भाई भाई का नाता देखो देखो
अमर अगर ये प्रीत ना होती
जग में क्या रह जाता
देखो
देखो रे लोगो भाई भाई का नाता देखो देखो 
देखो रे लोगो

 


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 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.

Ah yes, saving the best for the last. What a wonderful lilting song this one is. With this post we bring to completion the list of all songs for the film ‘Maan’ (1954). So, another Yippeee moment for this blog. Congratulations to all readers and all members of this musical bandwagon.
Read more on this topic…


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

“Maan”(1954) was produced by Rajendra Jain and directed by Safdar Aah Sitapuri for Filmkaar Limited, Bombay. This cosume drama had Chitra, Ajit, Jageerdaar, Kumar, Achla Sachdev, Yashodhara Katju, Kamlesh Kumari, Chandabai, Durga Khote etc in it.
Read more on this topic…


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

Today’s song is from the film Jagirdar-1937. The film was made by Sagar Movietone.

In the first decade after the Talkie Era started, Sagar Movietone was one of the major film making companies in Bombay. The Desai family, along with Dr. Ambalal Patel, were originally in Film Distribution business, but decided to enter the actual film production. Sagar Film Company, which had produced 12 silent films, was converted to Sagar Movietone in 1931, after Desai and Patel joined it.
Read more on this topic…


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

“Roti”(1942) was produced and directed by Mehboob Khan for National Studios, Bombay. The movie had Chandramohan, Sheikh Mukhtar, Sitara, Ashraf Khan, Kaayam Ali, Jamshedji, Mishra and in a very rare appearance, Malika-E-Gazal Begum Akhtar, who was known as Akhtari Faizabadi in those days.
Read more on this topic…


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

“Roti”(1942) was produced and directed by Mehboob Khan for National Studios, Bombay. The movie had Chandramohan, Sheikh Mukhtar, Sitara, Ashraf Khan, Kaayam Ali, Jamshedji, Mishra and in a very rare appearance, Malika-E-Gazal Begum Akhtar, who was known as Akhtari Faizabadi in those days.
Read more on this topic…


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What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for more than nine years. This blog has over 14400 song posts by now.

This blog is active and online for over 3600 days since its beginning on 19 july 2008.

Total number of songs posts discussed

14430

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Movies with all their songs covered =1146
Total Number of movies covered =3932

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