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

Posts Tagged ‘Anil Biswas


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


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 :

4391 Post No. : 15757

I have carried an impression in my mind for a long time that in the 1940s, Anil Biswas rarely used full-throated playback singers like Shamshad Begum, Zeenat Begum, Zohrabai Ambalewaali, Munawwar Sultana etc. This is based on my listening many songs composed by Anil Biswas during the last about one decade. To check my ‘hypothesis’, I glanced through all the songs composed by Anil Biswas which have been tagged under his name in our Blog. In addition, I went through a couple of websites on Hindi film songs and my excel-sheets of songs for the period 1931-50, partially taken from HFGK. The main conclusions of my ad-hoc research are as under:

  1. Zeenat Begum and Munawwar Sultana did not sing for Anil Biswas though both of them had shifted to Mumbai sometime in 1944.
  2. Although Shamshad Begum had shifted to Mumbai along with the musical team of Ghulam Haider in 1942, Anil Biswas gave her chance to sing under his music direction for the first time in the film ‘Bhook’ (1947).
  3. Anil Biswas took Zohrabai Ambalewaali for the first time in the film ‘Gramophone Singer’ (1938) followed by ‘Hum Tum Aur Woh’ (1938). After a gap of nearly 9 years, she got a chance to sing for him in ‘Naiyya’ (1947) which happened to be her last film with Anil Biswas as a playback singer.
  4. Ameerbai Karnataki and Anil Biswas started their musical career almost simultaneously in Mumbai during 1935-36 and she sang for him in a couple of films as an actor-singer. But as a playback singer, she got a chance to sing under the music direction of Anil Biswas for the first time in ‘Kismet’ (1943). With the popularity of her songs in this film, Ameerbai Karnataki became one of the topmost playback singers of Hindi films.

Based on the discography of Anil Biswas as a music director, I have attempted to get the reasons as to why he did not utilize or sparingly utilized the singers listed above under his music direction. In my view, there are three main reasons for this.

  1. In most of the films for which Anil Biswas was the music director during 1936-1942, there were actor-singers like Sardar Akhtar, Husn Bano, Sitara Devi, Bibbo, Wahidan Bai, Jyoti, Maya Banerjee, Nalini Jaywant etc who sang for themselves. Whenever, Anil Biswas was in need of additional playback singer, he mostly relied on Rajkumari Dubey.
  1. During 1942-48, Anil Biswas mainly relied on his sister, Parul Ghosh, Hamida Bano, Meena Kapoor and Geeta Roy (later Dutt) as playback singers in addition to actor-singer Suraiya. From 1948 onwards, Lata Mangeshkar became his main playback singer.
  1. It is quite likely that Anil Biswas did not find full-throated singers suitable for singing his musical compositions which were mostly soft melodies.

I am presenting today, a fun song, “Ye Haseenon Ke Mele Albele” sung by Geeta Roy (later Dutt) and Shamshad Begum – a mix of husky and high-throated voices. The song is from the film ‘Bhookh’ (1947). The song is written by Dr Safdar Aah Sitapuri which is set to music by Anil Biswas. This is the first film in which Shamshad Begum sang under the music direction of Anil Biswas. Also, this is the first duet song of Geeta Dutt and Shamshad Begum.

‘Bhookh’ (1947) is the maiden film produced and directed by Dr Safdar Aah Sitapuri. The star cast includes Sheikh Mukhtar and Husna in the lead roles supported by Kanhaiyalal, Agha, Laddan, Narmada Shankar, Abu Baker, Ghulam Hussain, Miss Kiran etc. It is a debut film for Husna and Miss Kiran. From the advertisement of the film, it appears that the film is about tackling the hunger – a theme which had come into the focus of Hindi film industry in the backdrop of Bengal famine during World War II. Films like ‘Neecha Nagar’ (1946) and ’Dharti Ke Laal’ (1946) had already covered this theme.

Anil Biswas and Dr Safdar Aah Sitapuri had worked together for 15 years in 15 films with a break during 1943-44 when Anil Biswas shifted to the Bombay Talkies. As a lyricist, Safdar Aah Sitapuri worked with Anil Biswas for the first time in ‘Comrades’ (1939) followed by ‘Alladdin’ (1940) and ‘Aurat’ (1940). They worked together for the last time in ‘Maan’ (1954) which he also directed. Thereafter, he returned to teaching Urdu literature in his university and published books like ‘Amir Khusro Bhaisiyat Hindi Shaayar’, ‘Rubiyaat-e-Zamzama’(1963), ‘Meer Aur Meeryaat’ (1972), ‘Tulsidas Aur Ramcharitmanas’ (1977).

Enjoy this light-hearted fun song.

Song – Ye Haseenon Ke Mele Albele (Bhookh) (1947) Singer – Geeta Roy, Shamshad Begum, Lyrics – Dr Safdar Aah Sitapuri , MD – Anil Biswas
Geeta Dutt + Shamshad Begum

Lyrics

ye haseenon ke mele albele
ye haseenon ke mele albele
ye haseenon ke mele albele
ye haseenon ke mele albele
kaho kaisi kahi
ek dil haaye haaye
ek dil aur laakhon jhamele
ek dil aur laakhon jhamele..ae
ek dil aur laakhon jhamele
kaho kaisi kahi
ye haseenon ke mele albele
ye haseenon ke mele albele
ye haseenon ke mele albele
ye haseenon ke mele albele
 
rasiya jobna pe aankhon se maare
rasiya jobna pe aankh se maare
ye pukaara ki ho ja mere pyaare
ye pukaara
ye pukaara ki ho ja mere pyaare
main angootha dikha ke boli ye le
main angootha dikha ke boli ye le
kaho kaisi kahi
ye haseenon ke mele albele
ye haseenon ke mele albele
ye haseenon ke mele albele
ye haseenon ke mele albele
 
achchi soorat pe marna na aaya aa
achchi soorat pe marna na aaya
tumko to pyaar karna na aaya
tumko to pyaar karna na aaya
saiyaan ban jaao aake mere chele
saiyaan ban jaao aake mere chele
kaho kaisi kahi
ye haseenon ke mele albele
ye haseenon ke mele albele
ye haseenon ke mele albele
ye haseenon ke mele albele
kaho kaisi rahi

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

ये हसीनों के मेले अलबेले
ये हसीनों के मेले अलबेले
ये हसीनों के मेले अलबेले
ये हसीनों के मेले अलबेले
कहो कैसी कही
एक दिल हाय हाय
एक दिल और लाखों झमेले
एक दिल और लाखों झमेले
एक दिल और लाखों झमेले
कहो कैसी कही
ये हसीनों के मेले अलबेले
ये हसीनों के मेले अलबेले
ये हसीनों के मेले अलबेले
ये हसीनों के मेले अलबेले

रसिया जोबना पे आँखों से मारे
रसिया जोबना पे आँख से मारे
ये पुकारे के हो जा मेरे प्यारे
ये पुकारे
ये पुकारे के हो जा मेरे प्यारे
मैं अंगूठा दिखा के बोली ये ले
मैं अंगूठा दिखा के बोली ये ले
कहो कैसी कही
ये हसीनों के मेले अलबेले
ये हसीनों के मेले अलबेले
ये हसीनों के मेले अलबेले
ये हसीनों के मेले अलबेले

अच्छी सूरत पे मरना ना आया
अच्छी सूरत पे मरना ना आया
तुमको तो प्यार करना ना आया
तुमको तो प्यार करना ना आया
सैंया बन जाओ आ के मेरे चेले
सैंया बन जाओ आ के मेरे चेले
कहो कैसी कही
ये हसीनों के मेले अलबेले
ये हसीनों के मेले अलबेले
ये हसीनों के मेले अलबेले
ये हसीनों के मेले अलबेले
कहो कैसी रही


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 :

4372 Post No. : 15709

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

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

Today (7 July 2020) is the 106th birth anniversary of Anil Biswas (7 July 1914 – 31 May 2003).

On this occasion, here is the fourth song from “Jawaani”(1942) to appear in the blog. This song ois sung by Surendra. Aarzoo Lucknowi is the lyricist of this song. Music is composed by Anil Biswas.

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

The audio is not very clear and some of the lyrics noted by me do not make sense to me, so I may have erred at a few places in the lyrics. I request our knowledgeable readers to help point out the errors as applicable.


Song-Roothhe ko hai manaana (Jawaani)(1942) Singer-Surendra, Lyrics-Aarzoo Lucknowi, MD-Anil Biswas

Lyrics

Roothhe ko hai manaana
Roothhe ko hai manaana aa aa
dukh deta hai khatakta kaanta
dukh deta hai khatakta kaanta
sooli se hai banaana
sooli se hai banaana aa aa
Roothhe ko hai manaana
Roothhe ko hai manaana

humko bhi hai chupke chupke
humko bhi hai chupke chupke
prem ka bal dikhlaana aa aa
prem ka bal dikhlaana aa
thhandi saansen ae ae ae
thhandi saansen seekh rahin hain
hawa ka rukh paltaana
Roothhe ko hai manaana
Roothhe ko hai manaana aa
Roothhe ko hai manaana

Ye hai badalti rut ka chakkar
is’se kya ghabraana aa aa
is’se kya ghabraana
Ye hai badalti rut ka chakkar
is’se kya ghabraana aa aa
is’se kya ghabraana
loot’ti jaati barkha tujhko
yahin hai laut ke aana aa
loot’ti jaati barkha tujhko
yahin hai laut ke aana
Roothhe ko hai manaana
Roothhe ko hai manaana aa
Roothhe ko hai manaana aa aa
dukh deta hai khatakta kaantaa
dukh deta hai khatakta kaantaa
sooli se hai banaana
sooli se hai banaana aa aa
Roothhe ko hai manaana
Roothhe ko hai manaana aa
Roothhe ko hai manaana


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

Blog Day :

4344 Post No. : 15650

Today’s song is from the film Jwar Bhata-44. It is an important film of the 40’s, because it was the Debut film of Dilip Kumar.

In Hindi film industry, the “Trimurti”of Raj, Dev and Dilip dominated the decades of late 40s, 50s and the 60s- a period of about 25 years in the Golden Age of Hindi films.These three were the most popular, most talked about and the most ‘ín demand’ actors when they were in full form. Each one had a dedicated fixed audience for their films.There were others equally,if not better, actors in this period like, Ashok Kumar, Motilal,Balraj Saqhni, Sanjeev Kumar etc, but these three were different.

What was so different in them ? One point strikes me most, that they never compromised,in selecting films or roles. In other words, once they got established as Heroes, they did not do any roles which did not suit their temperament, style or capacity. For example, when Ashok Kumar was famous as a Romantic Hero,he acted in a Mythological film, “Savitri’-1937, to do Satyavan’s role. Again in 1945, he did the title role in the film ‘Humayun”. Both these Genres were misfits to his image then. He looked pathetic in those misfitting roles. The big three kept off such venturisms, thoughtfully !

Secondly, they always chose only the big banners and ensured they got the maximum footage, the best songs and the best scenes. Thirdly, they never worked with heroines other than A class and of their choice.

Agewise, Dilip Kumar was the seniormost, having been born in 1922. Dev Anand was next, from 1923 and the youngest was Raj kapoor, born in 1924.However, he was the first to die, in 1988. Careerwise, Rajkapoor had only 41 years’ career, from Hamari Baaten-43 (first adult role) to Kim-84. Next was Dilip Kumar, having a career span of 54 years – from Jwar Bhata-44 to Qila-98. Dev Anand had the longest career span of 65 years, from Hum Ek Hain-46 to Chargesheet-2011. He was also the only one of the three, to continue in the next Century, i.e. 21st Century !

All the three gor Dadasaheb Phalke award. Raj Kapoor got it in 1987 at his 63rd year, Dilip Kumar in 1994,when he was72 years and Dev Anand received it in 2002, when he was 79 year old.

While Dilip Kumar and Dev Anand started as Heroes (rather one of the Heroes) in their careers, Raj Kapoor started as a Child artiste in film Inqilab-35 and did 3 films as adult roles, before he became the hero in film Neel Kamal-1947. The first one to become Hero was Dilip Kumar in Jwar Bhata-44 and next was Dev Anand in Hum Ek hain-46.

During my association with this Blog and in my 870 posts, which I wrote here, I have hardly written about songs of these 3 actors. I don’t remember exactly, but I think I have written about 2 films each of Raj, Dev and Dilip, so far. The first film of Dilip Kumar I wrote about was the film Milan-1946 and today’s film Jwar Bhata-44 is his second film today. This is his Debut film.

One more point about these three actors. It was only Raj kapoor’s First Heroine Madhubala, who also became a famous A grade actress. In case of Dilip Kumar, his first Heroine, Mridula Rani and Dev Anand’s first heroine Kamala Kotnis, never took off in Hindi films, nor did they reach A grade status. In a span of a few years, their careers as heroines ended. The Shortest career was of Kamala Kotnis ( who was actually a Telugu actress, married to a Marathi Cinematographer Pandurang Kotnis, who was the younger brother of Dr. Dwarkanath Kotnis, on whose life, V.Shantaram had made the film “Dr. Kotnis ki amar kahani”-1946). Mridula survived longer with about 60 films, upto 1980 to her credit. The last I had heard about her was, in 2016 when she was alive and stayed in Worli, Mumbai. As far as Madhubala’s career, we all know too well.

Incidentally, the case of actress Ameeta was also similar. She was the heroine of Shammi Kapoor in film “Tumsa Nahin Dekha-1957”. He became a big star, but Ameeta remained as a B and C grade film actress. The opposite is the career of Meena Kumari. In her initial career, she was the Heroine of Mahipal. Later Meena Kumari became a big A class actress, but Mahipal remained where he was- B class films.

The case of Dilip Kumar was opposite to Raj Kapoor and Dev Anand’s cases. Both these actors struggled hard in their initial stages, but Dilip was extraordinarily lucky. He was actually invited to be a Hero directly. Here is his story, how he came into the film line…

Born as Yusuf khan in Peshawar, on 11-12-1922, he was third amongst 12 siblings. His father moved to Bombay in 1930 to set up the family’s Dry Fruit business. Yusuf graduated (B.A.) from Khalsa College and took up his first job as Assistant manager in the Army Canteen at Deolali Camp, near Nashik in Maharashtra. Unlike the other two stars (Raj and Dev), he had absolutely no connection in his family with film line, dramas or any art for that matter. One brother did MBBS and settled in the UK, another did Management course and the youngest Nasir Khan alone joined films – much later than Dilip Kumar.

Devika Rani of Bombay Talkies had gone for shopping, one day. At one fruit shop, she saw Yusuf, who had, by chance, replaced his ill father, in the shop. She found his face sensitive and eyes expressive. She called him, talked to him and gave him her card, asking him to meet her next day at the studios. After the routine Screen tests,interview etc, Yusuf was taken in by Bombay Talkies as an apprentice. Devika Rani started grooming her personally. Bhagvati Charan Sharma, famous Hindi writer, employed by Bombay Talkies then, gave yususf the name Dilip. The suffix Kumar was borrowed from Ashok kumar. Bunny Rueben, Film Historian says, “Devika Rani came up with three names – Dilip Kumar, Vasudev and Jahangir. Yusuf selected Dilip kumar.”

Bombay Talkies was heaven for New talents. It had launched and relaunched to fame, Heros like Ashok Kumar,Jairaj, kavi Pradeep, directors K A Abbas, N R Acharya, Najam Naqvi, Amiya Chakrawarty, Gyan Mukherjee, Bimal Roy and actresses Renuka Devi, Mumtaj Shanti, Ranjana and many more. Dilip Kumar’s first film in Bombay Talkies was Jwar Bhata-44. He was not the main Hero. Agha was the main Hero. Dilip was the second hero. His Heroine-Mridula Rani was also a New Entrant.

In his first film, Dilip Kumar did not impress anybody. He was criticised heavily by Baburao patel, who called him Ánaemic and one who needs a lot of good food to look better. As such, even Bombay Talkies also did not have much expectation from him. They had pinned their hopes on the new Heroine Mridula Rani. With every film, Dilip Kumar improved, beyond belief and India got an A class actor.

The story of Mridula is sad. She fell into marital trouble and sank deep into it. She took a break of about 4 years and when she came back, she had to accept only character roles, which she did.

Mridula was a victim of her contract with Bombay Talkies. It destroyed her career as a Heroine forever. Devika Rani was her Mentor in Bombay Talkies. However, after Himanshu Rai’s death, no one was listening to her in the company due to groupism. Disgusted, Devika rani left Bombay Talkies,having sold all the shares. Mridula got stuck in the company without work, due to her 5 year contract. It was Vijay Bhatt of Prakash Pictures who somehow convinced Bombay Talkies to loan her to him and she got roles in 2 of their films. In the film ‘Bhakta Dhruva”-47, she played mother to 16 year old Shashi kapoor (sr) when she herself was about 23 year old only ! But she had no choice. The film and her role became famous, but she lost her chances of becoming Heroine in any film thereafter for ever.

Mridula ( real name Chandrakanta) was born on 2-11-1924 at Almora, but was educated in Delhi. When she was in college doing her graduation, Amiya Chakravarty of Bombay Talkies came to Delhi on a Talent Hunt. He contacted her and gave her an offer. She signed a 5 year contract with Bombay Talkies and Devika Rani became her Mentor, teaching her everything. She was paid 2500 rupees salary with a furnished house. Her first film was “Jwar Bhata”-44, opposite another Debutant Dilip Kumar (Yousuf Khan). After Himanshu Rai’s death, Bombay Talkies was already in disarray. Many people had left the company due to differences with Devika Rai. A group of them formed Filmistan.

After getting released from Bombay Talkies, she acted in few films – Samaj ko badal dalo-47Bhakt Dhruv-47, Toote taare-48, Nar Narayan-49, Veer Babruvahan-50 and Ram Darshan-50.

She got married to her lover Mr. G C Andley. However the marriage was unsuccessful and she went back to Delhi. She spent a miserable life selling whatever she had, to survive. She got divorce and came back to Bombay to work in films, in 1954. She worked in 53 films after this. Her last released film was Saboot-80, though she had married again and retired some time before that.

The last I heard about her was, she was living in worli, Mumbai all alone, in 2016. Her only daughter stayed nearby and looked after her.
( some information for this post has been taken from the book – “Hero vol.I,” by Ashok Raj, with thanks.)

Today’s song is sung by Parul Ghosh and Amirbai Karnataki. Pt Narendra Sharma is the lyricist. Music is composed by Anil Biswas.


Song-Prabhu charnon mein deep jalaao(Jwaar Bhaata)(1944) Singers-Parul Ghosh, Amirbai Karnataki, Lyrics-Pt Narendra Sharma, MD-Anil Biswas
Chorus

Lyrics

prabhu charanon mein deep jalaao
man mandir ujiyaalaa ho
prabhu charanon mein deep jalaao
man mandir ujiyaalaa ho
prabhu charanon mein deep jalaao
kare kripaa jo krishnachandra to
kare kripaa jo krishnachandra to
kyun dukh kaa andhiyaalaa ho
kyun dukh kaa andhiyaalaa ho
prabhu charanon mein deep jalaao
man mandir ujiyaalaa ho
prabhu charanon mein deep jalaao

hridayakamal kaa sinhaasan
bane kr^ishna kaa vrindaavan
hr^idayakamal kaa sinhaasan
bane kr^ishna kaa vrindaavan
jeevan apanaa use saunp do
jeevan apanaa use saunp do
jo jag kaa rakhvaalaa ho
jivan apnaa use saunp do
jo jag kaa rakhvaalaa ho

prabhu charanon mein deep jalaao
man mandir ujiyaalaa ho
prabhu charanon mein deep jalaao

nainaa prem-chakor sakhi
chandaa nandakishor sakhi
nainaa prem-chakor sakhi
un nainan se dekh jagat ko
un nainan se dekh dekh
un nainan se dekh jagat ko
base yhaan nandalaalaa ho
base yahaan nandalaalaa ho
prabhu charanon mein deep jalaao
man mandir ujiyaalaa ho
prabhu charanon mein deep jalaao

giridhar ke charanon mein aa
giridhar ke charanon mein aa
raadheshyaam naam gun gaa

koras:raadheshyaam raadheshyaam
jai raadheshyaam raadheshyaam

giridhar ke charanon mein aa
giridhar ke
maalik meraa bansiwaalaa
maalik meraa bansiwaalaa
man meraa brijabaalaa ho
maalik meraa bansiwaalaa
man meraa brijabaalaa ho
prabhu charanon mein deep jalaao
man mandir ujiyaalaa ho
prabhu charanon mein deep jalaao


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 :

4343 Post No. : 15646

—————————————————————————
Blog 10-Year Challenge (2010-2020) – Song No. 35
—————————————————————————

This date ten year ago, viz 8 June 2010 was a relatively prolific day by the then prevailing standards of the blog. As many as four songs were covered that day. Here are their details:

Song Movie title-Year Remarks
Nadi kinaare baithke aao Jaageerdaar (1937) 3 songs covered out of 10. The movie made its debut on this date.
Bhar bhar aayen ankhiyaan

Samrat Chandragupta (1958) The movie has been YIPPEED by now
Aapne yoon hi dillagi ki thi

Mehndi Lagi Mere Haath (1962) The movie has been YIPPEED by now
Aao jhoome gaayen

Paraaya Dhan(1971) The movie has been YIPPEED by now

One can see that four songs from four different decades were covered on 8 june 2010. It was my standard practice in the past to cover around six songs in a day, all belonging to different decades. This practice had become difficult to follow during the last months of 2009 and initial months of 2010 because of disruption due to my transfer. By June 2010, I was finally settled in Nagpur and I was trying to regain the glory days of the blog. And this date was the one when I perhaps decided to shift gears and press the accelerator.

It is to be noticed that the first song of the day was from the decade of 1930s. 1930s was the earliest decade of HFM. Songs of that decade were difficult to come by and so very few songs of that decade were covered by that time. Sudhir Jee has the details. According to him:

On 8th june 2010, the fiilm “Jaagirdaar” of 1937 had made its debut. It was the 690th day of the blog. “Jaagirdaar” was only the 11th film from the 1930s to appear on our blog. And the song was only the 19th song from that decade. Almost two years into this endeavor, and the blog had just scratched the surface of the decade of 1930s. Today that count stands at 210 films and 443 songs from the years 1931-1940. Just for additional information, the approximate total availability of the Hindi film songs of 1930s in public domain is in the range of around 1100.

So we have added considerably to the songs tally of 1930s in the blog and by now we have about 40 % of all available songs of 1930s in the blog.

Coming back to “Jaageerdaar”(1937), this movie was directed by Mehboob Khan for Sagar Film Company, Bombay. The movie had Surendra nath(B.A.L.L.B), Motilal, Bibbo, Maya Bannerjee, Ramchandra Marathe, Yaqoob, Pandey, Sankata, Ziya Sarhadi, Pesi Patel, Bhudho Advani, Mani, Jaaver Bhai Qaiser, Soli Kapadia, Miss Gulzar, Rajkumari etc in it.

The movie had ten songs in it. Three songs have been covered in the past. Here are the details of the three songs covered in the blog:-

S N Song Post number in blog Date of posting
1 Nadi kinaare baithke aao 2521 8-June-2010
2 Pujaari morey mandir mein aao 7951 22-April-2013
3 Baanke bihaari bhool na jaana 13656 14-October-2017

The movie made its debut on this date ten years ago. As “Blog ten year challenge”, here is another song from the movie. It is sung by Rajkumari. Zia Sarhadi 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-Auron ke kyun pag padta hai (Jaageerdaar)(1937) Singer-Rajkumari, Lyrics-Zia Sarhadi, MD-Anil Biswas

Lyrics (Provided by Prakashchandra)

auron ke kyun pag padta hai
auron ke kyun pag padta hai
aap lagaa de paa aaa aar
aap lagaa de paa aa aar
auron ke kyun pag padta hai
auron ke kyun pag padta hai
aap lagaa de paa aa aar
aap lagaa de paa aa aar

apni apni naiyyaa ke sab
apni apni naiyyaa ke sab
aap hain kewanhaa aa aar
aap hain kewanhaa aa aar
auron ke kyun pag padta hai
auron ke kyun pag padta hai
aap lagaa de paa aa aar
aap lagaa de paa aa aar

himmat haari sab kuchch haaraa aaa
himmat haari sab kuchch haaraa aaa
paayega jab tu na kinaaraa
paayega jab tu na kinaaraa
doob chukaa qismat ka taaraa
doob chukaa qismat ka taaraa
tujhse hai bezaa aa aar
tujhse hai bezaar
aan aan aan aan
apni apni naiyyaa ke sab
apni apni naiyyaa ke sab
aap hain kewanhaa aa aar
aap hain kewanhaa aa aar
auron ke kyun pag padta hai
auron ke kyun pag padta hai
aap lagaa de paa aa aar
aap lagaa de paa aa aar


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 :

4340 Post No. : 15640

It is 8am, on Friday, the 5th June, 2020. We are onto the 157th day of the year, and running through the 23rd week.

It is also the full moon day today – the Purnima, as per the lunar calendar. It is the last day today of the month of Jyeshtha. From tomorrow, the month of Aashaad with commence.

It is Kabir Jayanti today, the day of the birth of Sant Kabir Das, one of the main architects of the Bhakti Movement in the 15th century India.

The other important associations of today’s date are – it is the World Environment Day today, as the per the calendar of the United Nations. The other lesser known association for today is – International Day for the Fight against Illegal, Unreported and Unregulated Fishing. As I checked the internet there are a few more very interesting associations of today’s date, no doubt being driven by business considerations. 🙂

It is the International Doughnut Day today, and one is encouraged to bring home their favorite variety of this sugar-rich bakery item. Other notable celebrations for today – it is the Hot Air Balloons Day, the Fish and Chips Day, Moonshine Day, Co-working Day, and also the day to acknowledge the Long Term HIV Survivors. Of these listed above, let me clarify that the Moonshine day has nothing to do with moonlight or moon gazing. The ‘moonshine’ referred to here is Scotch whisky, and today is the day to celebrate the history of this distinctly flavored and the most notorious of alcoholic beverages. The word ‘moonshine’ here has a historical association dating back to the times when production and trade of this beverage was not legal. It was smuggled around during the night – hence the phrase ‘moonshining’ as it relates to illicit activities in the dark of night. The persons involved with this unlawful activity were called ‘moonshiners’ or ‘moonrakers’.

Notable Indian cinema associations for today – it the birth date of film producer Mukesh Bhatt.

Yesterday, 4th June, we got the sad news of the passing away of the famous director Basu Chatterji. I am sure all have enjoyed the wholesome entertainment provided by his films,

Basu Chatterji
RIP
10 Jan 1930 — 04 Jun, 2020

1969     Sara Akash
1972     Piya Ka Ghar
1974     Rajnigandha
1974     Uss Paar
1975     Chhoti Si Baat
1976     Chitchor
1977     Khatta Meetha
1977     Priyatama
1977     Safed Jhooth
1977     Swaami
1978     Chakravyuh
1978     Dillagi
1978     Do Ladke Dono Kadke
1978     Tumhaare Liye
1979     Baaton Baaton Mein
Etc.

=======

The influence of the writings of Sant Kabir Das on the religious and spiritual ambiance of this land, can never be understated. His message stands tall and proud in a social milieu where many a divisions based on religion, caste, social status etc. have been hammered into our society. An unlettered son in a family of weavers, rose to become one of the most learned and wise teachers, not just of his own era, but for all times to come.

Life of Kabir Das is mostly known from legends that abound, rather than from any documented history. It is agreed by historians that he was born into a Muslim family of traditional weavers. His thirst for knowledge was intense, and he was determined to be led by a learned Guru. Those times were of the Bhakti movement across the length and breadth of this land. In the holy city of Varanasi, the most learned teacher was acknowledged to be Swami Ramanand, whose list of disciples reads like the Who’s-Who of the Bhakti movement.

Kabir Das’ initial efforts to become a disciple were fraught with difficulties of caste and religion, and Swami Ramanand refused to take him in as a student. Knowing the daily routines of the one whom he had already accepted as his teacher in his mind, one day Kabir Das went early morning while the dawn was still dark, to the bathing ghats on the banks of River Ganga, and lay down on the steps from where his trusted master would be alighting down towards the water. In the darkness, Swami Ramanand’s foot touched Kabir Das, and the learned master instinctively uttered the words ‘Ram Ram’. Kabir Das took this utterance as the Guru Mantra and took the touching by the master’s feet as the initiation. The Guru-Shishya relation was established. Later historical descriptions clarify that Swami Ramanand did accede to bring Kabir Das into his inner circle of students.

Kabir Das’ daily routine was his traditional working as a weaver, and a small gathering in the evening outside his hut abode, of people who would come to listen to his daily sermons. He did not sermonize, as in speaking / lecturing, but he sang – the poems and the couplets he would be composing during the day, as his hands worked on the looms and shuttles, creating fabric out of thread. His poems and his philosophy is so much the richer, as he attempts to explain the mysteries of life and existence using the weaving paradigm.

The film ‘Mahatma Kabir’ was released in 1954. The film was produced by MS Ahluwalia under the banner of New Premier films, and it was directed by Gajanan Jagirdar. The lead role of Kabir Das was played by Surendra. The rest of the cast of the film is Sulochana, Jagirdar, Randhir, Lalita Pawar, Rajkumar, Munshi Khanjar, Maqbool, Aruch Tarapur, Radheshyam, Heera Sawant, Fazal, Chandabai, Shiraz, Ghosh, Babu, Madan Puri, Chaman Puri, Lohana, snd Master Indrajeet.

The film has 12 songs, some of which are the original poems of Kabir, and the rest are songs written by Chandra Shekhar Pandey, Ehsan, Izhar Malihabadi, Pt Narendra Sharma, and Safdar ‘Aah’. The music composition is by Ani Biswas. The song presented today is written by Chandra Shekhar Pandey and is sung by CH Atma.

The words are not original as written by Kabir Das, however the words and composition quite closely match with his traditional verses. The song tells about the blessings of the Lord, as they unendingly descend like rain upon each one of us. And some of us are afraid to get wet, and try to rescue themselves from this shower of munificence. The voice of CH Atma brings out the poignancy of the message in these verses.

An interesting side note here – we are hearing the voice of CH Atma on this blog after a gap of more than 3 years now.

 

Song – Ram Ras Barse Re Manwa Ram Ras Barse  (Mahatma Kabir) (1954) Singer – CH Atma, Lyrics – Chandra Shekhar Pandey, MD – Anil Biswas

Lyrics

ram ras barse re manwa
ram ras barse
re mann chaatak kyon tarse
re mann chaatak kyon tarse..e..e
ram ras barse re manwa
ram ras barse..e..e

boond boond mein daya hari ki
bare ambar se
boond boond mein daya hari ki
bare ambar se
kyon tu chhupa hai ot mein pagle
kyon tu chhupa hai ot mein pagle
bheejan ke darr se..e..e
ram ras barse re manwa
ram ras barse..e..e

kaam krodh mad lobh moh ka
chakra hata sar se
kaam krodh mad lobh moh ka
chakra hata sar se
prem neer mein bheej baawre
prem neer mein bheej baawre
bheetar baahar se..e..e
ram ras barse re manwa
ram ras barse..e..e

virtha dol raha ban ban mein
poochhat dar dar se..e..e
virtha dol raha ban ban mein
mann mandir mein ram basey hain
mann mandir mein ram basey hain. . .
kyon na charan parse..e..e
ram ras barse re manwa
ram ras barse
re mann chaatak kyon tarse
re mann chaatak kyon tarse..e..e
ram ras barse re manwa
ram ras barse..e..e

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

राम रस बरसे रे मनवा
राम रस बरसे
रे मन चातक क्यों तरसे
रे मन चातक क्यों तरसे॰॰ए॰॰ए
राम रस बरसे रे मनवा
राम रस बरसे॰॰ए॰॰ए

बूंद बूंद में दया हरी की
बरसे अंबर से
बूंद बूंद में दया हरी की
बरसे अंबर से
क्यों तू छुपा है ओट में पगले
क्यों तू छुपा है ओट में पगले
भीजन के डर से॰॰ए॰॰ए
राम रस बरसे रे मनवा
राम रस बरसे॰॰ए॰॰ए

काम क्रोध मद लोभ मोह का
चक्र हटा सर से
काम क्रोध मद लोभ मोह का
चक्र हटा सर से
प्रेम नीर में भीज बावरे
प्रेम नीर में भीज बावरे
भीतर बाहर से॰॰ए॰॰ए
राम रस बरसे रे मनवा
राम रस बरसे॰॰ए॰॰ए

विरथा डॉल रहा बन बन में
पूछत दर दर से॰॰ए॰॰ए
विरथा डॉल रहा बन बन में
मन मंदिर में राम बसे हैं
मन मंदिर में राम बसे हैं॰ ॰ ॰
क्यों ना चरण परसे॰॰ए॰॰ए
राम रस बरसे रे मनवा
राम रस बरसे
रे मन चातक क्यों तरसे
रे मन चातक क्यों तरसे॰॰ए॰॰ए
राम रस बरसे रे मनवा
राम रस बरसे॰॰ए॰॰ए


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

Blog Day : 4226 Post No. : 15432

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

Lyrics

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

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

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

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

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

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

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


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

Blog Day : 4207 Post No. : 15401

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

Lyrics

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

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

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

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

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

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

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

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

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

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


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

Blog Day : 4113 Post No. : 15264

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

Lyrics

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

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

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

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


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

Blog Day :

4091 Post No. : 15233 Movie Count :

4186

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

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

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

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

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

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

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

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

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

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

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

So much for the concept of Lucky – Unlucky !

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

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

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

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

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

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

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

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

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

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


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

Lyrics

haay dil
haay dil
haay dil
haay dil

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

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

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

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

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


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 15900 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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