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

Posts Tagged ‘Anupam Ghatak


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 :

5049 Post No. : 16962

Today’s song is from an obscure film called Aisa Kyun-1947.

The film was made by Shri Raj Pictures, Calcutta. It was directed by A K Chatterjee and the music was by Anupam Ghatak. The cast of the film was Iftikhar, Radharani, Urmila, Pinky, Faiz, Tandon etc. Most people are not aware of the fact that besides New Theatres studio in Calcutta, there were many other film making studios in Calcutta. Hindi films were also made in Burma at that time by the indo-Burma productions.

Some of the studios based in Calcutta were East india film co., Madon Theatres, Aurora film corporation, Shree Bharat films, Laxmi pictures, Chitramandir, RBS Productions, Dev Datta films, Indra movietone, Kali films, Kamla Movietone, Moti mahal Theatres, Murli Pictures, New Popular Pictures, Quality Pictures, Radha film co., Sonoray Pictures, Star film co., Sunrise film co.and Tollywood studios. (source-Indian Cinematographers’ yearbook-1938) This is an old list of when many Hindi films were made in Calcutta. Of late, there must be a lot of changes now.

In olden days, there were 3 major film centres-Bombvay, Lahore and Calcutta. After 1947, all the Hindi film activity at Lahore shifted to Bombay. By mid 50’s even Calcutta almost stopped making Hindi films. Many Hindi speaking artistes in various disciplines of film making shifted to Bombay and finally Bombay became the only and the main Hindi film making Centre.

The year 1947 is a reminder not only for the Independence of India, but also for the upheaval that took place in the film industry that time. More than in any other industry in India, Muslims were plentiful, working in different sections and departments of the Hindi film industry. majority of them migrated to the newly formed Muslim Nation of Pakistan. This did create a lot of disturbance in the film industry. Right from the beginning of 1947, there were signs that soon the British would leave India – after dividing it into two Nations, India and Pakistan. When the month and date became known for the Partition, there was a great hurry among the filmmakers to complete their projects on hand and in process, compromising many factors like quality of the film, number of songs and such other things.

This resulted in the record number of films made in 1947 alone – 181 Hindi films and about 100 films in other languages in India. This was a record which remained unbroken till 1985, when 187 Hindi films were made. Thus from 1931 to 1985, this record remained unbroken for more than 50 years ! Obviously, this resulted in a big compromise on quality to achieve quantity with many films produced half heartedly. Most or rather many films made in 1947 remained obscure, unheard of and many flopped due to poor quality. Actually only few films were released in 1947, because many films were released in 1948 and 1949, with some films being released in Pakistan too.

Did you ever hear about films Amar Asha, Angoorbala, Attention, Barrister, But Tarash, Chalte Chalte, Chandrahas, Dagabaz Dost, Dehati,Ek kadam,Gaurav,Giribala, Heera, Intezar ke baad, Jhalak,Jurmana, Khaufnak aankhen, Lalaat, Mangalsutra, Moti, Sewa gram, Stage girl, Tohfa or Utho jago ? Of course not all films were below standards. Some of the landmark films were also made in 1947, like Shehnai, Mirza Sahiban, Jugnu, saajan, Naatak, Meera, Elan,Aap ki sewa mein, Dard, Do Bhai, Neel Kamal or Parwana etc. However by and large the picture was like this only.

I have not seen this film, so I have no idea about its story etc. For the film’s Heroine-RadhaRani Calcuttewali, this was her last Hindi film that she acted or sang in. She continued her work in Bangla films, I suppose. This Radha Rani was one of the “Same Name Confusion ” pair, as there was another Radha Rani-Bombaywali. The music director Anupam Ghatak also died in 1947 only.

The music Director Anupam Ghatak – the second-generation Bengali-Hindi composer (after Rai Chand Boral and Pankaj Mullick) was born on 4-12-1911 at Mymensingh(now in Bangladesh). He took music lessons from father Atul Ghatak and Keshav ganesh Dhekan. He became an excellent Flautist. After a short stint in AIR,as a singer in 1930, he joined as asst. to Bishen Chand Boral (brother of Raichand Boral) and later to R C Boral himself for Vidyapati-1937

First independent film score: Payer Dhulo. Later worked at Sagar Film in Bombay, composing Zia Sarhadi’s Bhole Bhale and a series of films for Badami, Luhar et al. (1939). Returned to Calcutta, notably for Barua’s Shapmukti; thereafter had assignments in both Calcutta and Lahore. Known for his wide range, from the sentimental Ekti paisa dao go babu in Shape Mukti to the experimental Gane mor kon indradhanu in Agni Pareeksha.

His Hindi film career started with ‘Tarzan ki Beti-38 and Bhole Bhale-39. He gave music to only 17 Hindi films, composing 153 songs.These included Ladies Only,Service Ltd.,Sadhana,Uski tamanna (all 1939), Civil marriage (1940), Sri Ramanuj-43 etc. In Lahore he did Champa -45,Badnami-46 and Shalimar -46 before Partition. His other films as MD were, Khush Naseeb-46, Aai bahar-46, faisla-47, Aisa Kyun-47 and Banjare-48 and Shamsheer-1953. He had also sung 4 songs in his first film Tarzan ki beti-1938. His last Hindi film was Shamsheer-53, which was released only in 1953,after he died on 5-2-1947 itself.

Today’s song is sung by Jaganmoy Mitra aka Jagmohan Sursagar. So much is already written about him on our Blog by me and others, therefore I will not repeat his Bio-data. However I reproduce here an article published in Bangla Paper ” Anandabazar Patrika,Calcutta ” after his death.
Jaganmoy Mitra passes away

(Translated from Anadabazar Patrika, September 5, 2003)

Jaganmoy Mitra, the legendary singer of “chithi” is very far from us now. (PDG: The opening lines of the song “chithi”(1952), MD: Sailesh Dattagupta, are “tumi aaj koto doore” which means “you are so far today”). He expired yesterday night after suffering a cardiac arrest in his house at Juhu, Mumbai. He was 85. He is survived by three sons and two daughters. Although he stayed away from Bengal for the greater part of his life, he admired Bengali music and culture till his last day.

“aami duranto baishaakhi jhad” (PDG: which means ‘I am a restless summer tempest, you are a fiery flame’, MD: Kamal Dasgupta, 1947) and “shaaon raate yadi” – romantic numbers like these have entertained numerous music lovers over more than five decades.

Besides Bengali, his popularity in Hindi music was also unsurpassable at one time. He was known to the rest of India as ‘Jagmohan’. Gandhiji was an admirer of his music. He has recorded over 400 songs in a career spanning over five decades. Besides Bengali romantic numbers he has also sung Rabindrasangeet,
Nazrulgeeti, and simultaneously in Hindi, Gujrati and Marathi.

His first record for HMV was the Nazrulgeeti “shaaon raate yadi” in 1938. This song propelled him to immediate popularity. He has recorded 100 plus Hindi songs. He scored music for the Hindi film “Sarhad”. (PDG: That should be Sardar(1955)).

He has received numerous awards and felicitations including Padmashri and Sursagar. But he always valued the admiration of his listeners above any awards. His music had taken him to the United States, Great Britain and East Africa. His autobiography is titled “shaaon raate yadi smarane aase more” ( which means ‘If you remember me on a rainy night’).

The song,which follows, is sung so beautifully that one is lost with the soft and melodious voice of Jagmohan. This was his speciality and for this style I simply adore him.


Song-Thhukra de jo nazron se (Aisa Kyun)(1947) Singer-Jagmohan Sursagar, Lyrics-Unknown, MD-Anupam Ghatak

Lyrics

Thhukra de jo nazron se
dil ka mere nazraana
apna na samajh usko
begaana hai begaana
Thhukra de jo nazron se

guzri huyi baaton ko o
o o o o o o o
dohraane se
kya aa aa haasil il
guzri huyi baaten to
afsaana hai afsaana
guzri huyi baaten to
afsaana hai afsaana
Thhukra de jo nazron se

main aen ae ae
thhak gaya samjha kar
apne dil e naadaan ko o o
deewaane ko kya kahiye
deewaana hai deewaana
deewaane ko kya kahiye
deewaana hai deewaana
Thhukra de jo nazron se


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 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 :

4883 Post No. : 16679

Songs from Artiste Name Films….Second Season….No. 4
———————————————————————
Today’s song is from the film Saadhana-1939, made by Sagar Movietone. The name Sadhana today, immediately brings to mind the face of the famous actress Sadhana, who debuted as a Heroine in the film “Love in Simla”-1960. Her lovely face and unique haircut- which was fashioned in the style of Hollywood star Audrey Hepburn, was carved in the minds of the audience in her heydays. Sadhana was a craze during the 60’s and early 70’s. In this period, according to one source, she was the highest paid Heroine in Hindi cinema.

However, we are not going to talk about that Sadhana, who was named after the famous dancer actress of the 40’s, from Bengal. We will talk about the original Sadhana…( the Bangla pronunciation Sadhona ), who made her Debut in Hindi films with the film ” Kumkum-The Dancer ” in 1940.

Sadhana Bose did not act in the film Sadhana-1939 made by Sagar. Her debut Hindi film was made by Sagar only, just one year later….. the film Kumkum-The Dancer-40. This was the only film she did for Sagar Movietone. Anyway, Sagar movietone itself got merged with National Studios in 1940. In those days Bangla artistes were reluctant to act in Hindi films because of their weakness in talking in Hindi language. Of course, there were some actors like Pankaj Mullik, Ashit Baran, K C Dey and a few others who did act in Hindi films. But their Bangla accent in speaking Hindi was unmistakable. ” Kumkum-The Dancer” was a Bi-lingual film in Hindi and Bangla. It had a Bengali cast and its director as well as Music Director were Bengalee.

Granddaughter of Brahmakesari Keshab Chandra Sen, Sadhona was born on 20-4-1914, in a prosperous Brahmo family and received education as was common with Brahmo girls of those days. Her father was Saral Chandra Sen and she was the second of his three daughters. Her elder sister Binita was married into a royal family of Chittagong (now Bangladesh)and settled into household life, while the youngest Nilina pursued a career in Indian Classical music and earned herself a position of eminence and was known in record circles as Naina Devi.

Sadhona married Madhu Bose, film maker working in Bengal, British India, at a young age, and joined the Calcutta Art Players, a theatrical company owned by husband Modhu Bose and took part as heroine in the plays produced by the unit. Later on Sadhona joined films and played Marjina in Alibaba (1937), made in Bengali under the banner of Bharata Lakshmi Pictures. This film was a runaway hit and is remembered well by film enthusiasts. Modhu Bose had earlier directed a number of films but he tasted real success with Alibaba. For Sadhona this film meant a permanent place in the history of Bengali films. This was followed by Abhinoy (Bengali-1938), another major success for the couple.

They migrated to Bombay and again created history with the immensely popular Kumkum (1940), made in two languages, Hindi and Bengali and thereafter went on to create the first triple version (English, Bengali, Hindi) film of India, Rajnartaki (1941). Sadhona did come back to Calcutta for a double version Bengali movie Meenakshi (1942)with the handsome Jyoti Prakash as the hero. Going back to Bombay soon after the completion of this film where she starred in major films like Shankar Parvati, Vishkanya, Paigham, For Ladies Only, Bhola Shankar and Shin shinaki Boobla Boo.She also sang 7 songs in 2 films, namely Paigham and Shankar Parvati- both in 1943. She firmly established herself as a heroine in her own right without the backing of husband Modhu Bose.

In fact they had fallen quite apart by the mid forties and most unfortunately Sadhona started living much too abandoned a life heavily engaged in drinks,parties and men and slowly lost her carefully earned position. She came back to calcutta after a reconciliation with Modhu Bose but had by this time lost her magic hold over the audiences and acted in films again directed by her husband like Shesher Kabita and Maa O Chhele, without remarkable success.

Sadhona was a dancer in the first place and all her film successes were in dancing roles, although she was also a very fine actress and sang her own songs in some of her films including her first Alibaba.With film offers becoming too infrequent, she formed a dance troupe of her own and made all India tours with plays like Wither now, Hunger and others and met with success again as she was bound to be as a personality trained in dancing. She passed into oblivion slowly.

Even in retired life she could not part with the bottle and without any income worth the name she found herself in the most difficult conditions financially. Modhu bose was ill and it was difficult to get treatment for him. She lost her husband in 1969 and had no money to sustain herself and thereafter came the greatest tragic period of her life when she had to resort to begging in the streets, in and around Park Street of calcutta. It was during this phase of her life that passers by and street walkers came across an old lady, looking distinguished, dressed in clothes that were expensive at one time but now showing the wear and tear asking for help. Some recognised her and gave her enough to go on for some days while some others gave her a rude rebuff. She took all that with a smile.

Sadhana Bose was responsible for the names of at least 2 actresses in Bombay.

Actress Sadhana Shivdasani’s mother was very much impressed with the dancing skills of Sadhana Bose. She was her fan and saw her films repeatedly. When she was carrying for Sadhana, she had decided that if she gets a girl, her name would be Sadhana only. Thus Bombay Sadhana got the Calcutta Sadhana’s name.
Secondly, actress/Dancer Kumkum’s real name was Zebunnisa. When she was selected by Director Shahid Lateef, for his film Sheesha-1952, first time for Debut, there was already an actress Zebunnisa existing. What’s more, this Zebunnisa was also in the film Sheesha-52, so Shaheed was thinking of a new name for the newcomer. He remembered that his favourite Sadhana Bose had acted in a film by the name ‘Kumkum-the Dancer”-1940, so he selected the name Kumkum for this new Dancer and Kumkum got her name.

After Sadhona stopped her dance films as a Heroine, she resumed her work as a Choreographer. In the early 50s, she choreographed in films like Bhola shankar-51, Nandkishore-51, Shinshinaki Boobla Boo-52. She used to do bit roles too in these films to earn money.

Just before her death she got appointed as dance trainer in Calcutta’s prestigious Star Theatre, courtesy her one time boy friend Timir Baran. She trained junior artistes for the play Janapad Badhu and once again her name featured in the newspapers in the advertisements of the play. However, the end had come very near and she passed away on 3-10-1973. A very tragic and unfortunate way indeed for an all India star who at a time had captured the heart and imagination of millions. It is very sad that she died in penury and neglect, but artistes in the 40s and 50s-many of them- had similar stories. (Based on an article by Dr.J.P.Guha, ‘Nayika’ by Babu Moshai, muVyz, HFGK with thanks and my notes).

Film Sadhana-1939 was quite a successful film and its songs also were popular. The MD was Anupam Ghatak, whose name may not be even heard by the new generation readers, because he died in 1947 itself. The music Director Anupam Ghatak – the second-generation Bengali-Hindi composer (after Rai Chand Boral and Pankaj Mullick) was born on 4-12-1911 at Mymensingh(now in Bangladesh). He took music lessons from father Atul Ghatak and Keshav ganesh Dhekan. He became an excellent Flautist. After a short stint in AIR,as a singer in 1930, he joined as asst. to Bishen Chand Boral (brother of Raichand Boral) and later to R C Boral himself for Vidyapati-1937

First independent film score: Payer Dhulo. Later worked at Sagar Film in Bombay, composing Zia Sarhadi’s Bhole Bhale and a series of films for Badami, Luhar et al. (1939). Returned to Calcutta, notably for Barua’s Shapmukti; thereafter had assignments in both Calcutta and Lahore. Known for his wide range, from the sentimental Ekti paisa dao go babu in Shape Mukti to the experimental Gane mor kon indradhanu in Agni Pareeksha.

His Hindi film career started with ‘Tarzan ki Beti’-38 and Bhole Bhale-39. He gave music to only 17 Hindi films,which included Ladies Only, Service Ltd., Sadhana, Uski tamanna, Civil marriage, Sri ramanuj etc. In Lahore he did Champa, Badnami and Shalimar, before Partition. His other films as MD were, Khush Naseeb-46, Aai bahar-46, faisla-47, Aisa Kyun-47 and Banjare-48. He had also sung 4 songs in his first film Tarzan ki beti-1938. His last Hindi film was Shamsheer, which was released only in 1953,after he died on 5-2-1947 itself.

The story of film Sadhana-1939 was ……

Ganesh kaka was a renowned judge .people from his and surrounding villages used to come to solve their disputes. His widowed sister’s son Yogesh studied in a Bombay college.He loved his village but he loved more Sadhana, the moneylender’s daughter.Ramesh the Mukhiya’s son also loved her.The moneylender is pressurised by the Mukhiya to declare the marriage of Sadhana and Ramesh.Sadhan’s mother does not like it as she too favours Yogesh.Ganesh kaka is also helpless.

Few days prior to the marriage, an unwed mother Prema comes to Ganesh kaka, with a complaint that Ramesh is the father of her child. On enquiries, it is proved that the culprit is Ramesh only. Ganesh kaka pronounces his verdict-Prema and Ramesh and Sadhana and Yogesh should get married in the same Mandap.

Today’s song is sung by Prem Adeeb. This was his second film with Shobhana Samarth. The first was Industrial India-1938, They worked in total 13 films together as lead pair. They had become famous all over India, after they had done the roles of Shri Ram and Seeta in films like Bharat Milap-42 and Ram Rajya-43.


Song- Prem yog ab karna yogi (Saadhna)(1939) Singer- Prem Adib, Lyricist- Kanhaiyalal Chaturvedi, MD- Anupam Ghatak

Lyrics

Prem yog ab karna yogi
Prem yog ab karna
sab kuchh sahna
kuchh mat kehna
sab kuchh sahna
kuchh mat kehna
ankhiyan tum na chhalakna yogi
ankhiyan tum na chhalakna yogi
Prem yog ab karna yogi
Prem yog ab karna

sab kuchh sahna
kuchh mat kehna
sab kuchh sahna
kuchh mat kehna
ankhiyan tum na chhalakna yogi
ankhiyan tum na chhalakna yogi
Prem yog ab karna yogi
Prem yog ab karna

yaad kiyaa thha ab tak jisko
ab se yaad na karna yogi
ab se yaad na karna
yaad kiyaa thha ab tak jisko
ab se yaad na karna yogi
ab se yaad na karna

yogi
jo kuchh bhi ?? bhool mujhse
yogi
yogi
?? kisi ki bhool ??
sab kuch khatm samajhna yogi
sab kuch khatm samajhna yogi
Prem yog ab karna yogi
Prem yog ab karna


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 :

4814 Post No. : 16584

“Champa”(1945) was directed by Barkat Mehra for Shorie pictures, Punjab. This movie had Manorama, Asha Posle, Hari Shivdasani, Majnu, Salma, Zahoor Shah wtc in it.

The movie had nine songs in it. One song has been covered in the past.

Here is the second song from “Champa”(1945) to appear in the blog. HFGK mentions Anupam Ghatak as the music director of the song. No other details are mentioned in HFGK. According to the uploader, this song is sung by Zeenat Begam and Gulrej. Lyricist is not known.

I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Man achcha ke nain saajna (Champa)(1945) Singers-Zeenat Begam, Gulrej, Lyrics-, MD-Anupam Ghatak

Lyrics

hayee ho o
haiyya ho o
Itni baat bata do sainyya
man achcha ki nain saajna
man achcha ki nain
man achcha ke nain
haan
man achcha ke nain saajna
man achcha ke nain
man
nainon se pal mein aake
apne sukh mein aag lagaa ke
man
nainon se pal mein aake
apne sukh mein aag lagaa ke
dheemi dheemi aag mein tapna aa
dheemi dheemi aag mein tapna
jalta hai ?? saajna
man achcha ki nain saajna
man achcha ki nain

sainyya
sainyya ho
nain baawre jab mil jaayen ae
nain baawre jab mil jaayen ae
dukhi banaayen man chhalkaayen aen
ho o
dukhi banaayen man chhalkaayen
ik baar ?? aur khojo
ik baar ?? aur khojo
jeewan bhar ka chain saajna
man achcha ke nain saajna
man achcha ke nain


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 :

4642 Post No. : 16304 Movie Count :

4429

Today’s song is a duet from film Uski Tamanna aka Her last desire-39. Have you ever heard about this film ? I have also never known this film. But then, barring a few well known, successful film names, one really does not know any other film names in a specific year. Majority of films are like this only.

The year was 1939 and the British Government had declared war against Germany and japan, as soon as the WW II began. All countries ruled by Britain were – willingly or unwillingly, drawn into the war efforts and its effects. The war began in the month of September and soon various restrictions came into operation – like rationing, blackouts, shortages etc. The film industry which was still under its development stage suffered. It also realised the importance of remaining united as one industry. However, all that came after 1 or 2 years. In 1939 there was not much effect seen on the film industry.

The industry had its own problems. In spite of the playback system in operation, their problem was that because there was no technique of recording from the film negative yet, the singers had to sing twice. Once for the actual film shooting of the song, and later, with the same set of orchestra, for commercial records. Sometimes, the original singer was not available due to any reason, some other singer had to sing for commercial records. Thus we have many such examples, where the singer in the film song and the record is different. However, this problem continued only till mid 50’s when the Tape and the required technique became available. With just one time recording, the film and commercial recording were taken care of.

Khemchand Prakash. K.Datta (Datta Koregaonkar), Rafiq Ghaznavi and Anupam Ghatak made their Debut as Music Directors. Kavi Pradeep wrote his first film song for film Kangan. In 1939, 2 most Unusual songs were presented, for the first time ( and this record is not yet broken even after more than 80 years.). One was a Multi-Lingual song from film Aadmi-39, a film by Prabhat….Kis liye kal ki baat. This song was in Hindi, Urdu, Punjabi, Gujarati, Bangla, Tamil and Telugu. ( In its Marathi film version-” माणूस “, this song was only in one language-Marathi.) Different Lyricists and MDs were used for each language. The song became very popular.

Second unusual song was from film ‘ Ghareeb ka Laal’-1939. The song lyrics had the names of 32 artistes, operating in Hindi films that time. Top Heroes and Heroines were mentioned in this song. The beginning of the song was ” Tuze Bibbo kahoon ya Sulochana, Uma shashi kahoon ki Jamuna “. This song was sung by the comedian Mirza Musharraf. In later years many songs with film artistes’ names came but none had so many names. Thus this record is still unbroken, in case of both songs.

Besides these songs, let us quickly take a look at some films of 1939….

Aadmi – Prabhat’s hit film, a remake of the Marathi film ” माणूस “. It had some good songs by Shanta Hublikar, Sundarabai Jadhav and Ram Marathe.

Adhuri Kahani – a trend of Tragedy films set by the effect of film ‘Devdas’. All the 3 main characters of this film commit suicide in the end.

Badi Didi – A New Theatres film.

Brandy ki Botal – Master Vinayak’s comedy remake of Marathi film ‘ ब्रॅंडीची बाटली ‘.

Dil hi to hai – Debut of Kidar Sharma as a Director and Ramola as a Heroine in a Hindi film.

Dushman – New Theatres’ film of Saigal, with only his 4 songs.

Ek hi Raasta – Sagar presents first film with 3 Heroes in one film.

Ghazi Salauddin – Debut of Khemchand Prakash as M.D.

Hukum ka Ikka – First film with a Triple role by Umakant Desai ( who later specialised as Lakshman in 7 films, including Ramrajya-43).

Imaandaar – Debut of actress Shamim Akhtar.

India in Africa – This was the First Hindi film to be shot abroad (in Africa). The Hero B. Nandrekar had also gone to Africa for its shooting. Naaz-54 was not the first such film, though HFGK mentions it so.( Ref – pp 69, Maharashtra-The Birthplace of Indian cinema by Isak Mujawar)

Kangan – First of the 4 Hit films of Ashok kumar and Leela Chitnis, made by Bombay Talkies. Kavi Pradeep’s Debut as a Lyricist in this film.

Kapal kundala – New Theatres. Pankaj mullick’s hit song ‘ Piya milan ko jaana ‘.

Leather Face – Debut of Meena kumari as a child artiste.

Navjeevan – Debut of Hansa Wadkar as a Heroine- Bombay Talkies film.

Pukar – Hit film from Minerva Movietone. Naseem Bano sings ” Zindagi ka saaz bhi kya saaz hai….”

Film Uski Tamanna aka Her last desire-1939 was directed by Yakub and the music was by Anupam Ghatak. he was employed by Sagar movietone and gave music to its 6 films.he was one artiste who died quite young.

The music Director Anupam Ghatak – the second-generation Bengali-Hindi composer (after Rai Chand Boral and Pankaj Mullick) was born in 1911 at Mymensingh(now in Bangladesh). He took music lessons from father Atul Ghatak and Keshav Ganesh Dhekan. He became an excellent Flautist. After a short stint in AIR,as a singer in 1930, he joined as assistant to Bishen Chand Boral (brother of Raichand Boral) and later to R C Boral himself for Vidyapati-1937
First independent film score: Payer Dhulo. Later worked at Sagar Film in Bombay, composing Zia Sarhadi’s Bhole Bhale and a series of films for Badami, Luhar et al. (1939). Returned to Calcutta, notably for Barua’s Shapmukti; thereafter had assignments in both Calcutta and Lahore. Known for his wide range, from the sentimental Ekti paisa dao go babu in Shapmukti to the experimental Gane more kon indradhanu in Agni Pareeksha.

His Hindi film career started with ‘Tarzan ki Beti-38 and Bhole Bhale-39. He gave music to only 17 Hindi films, which included Ladies Only, Service Ltd.,Sadhana, Uski tamanna, Civil marriage, Sri Ramanuj etc. In Lahore he did Champa, Badnami and Shalimar, before Partition. His last Hindi film was Shamsheer, which was released only in 1953,after he died in 1947 itself.

The cast of the film was Yakub, Maya Banerjee, Jyoti, Bhudo Advani, Putlibai etc etc. The name Putlibai may be unknown to many. There was a famous dacoit in Chambal Ghati, by this name in the decade of the 50’s, but actress Putlibai has no connection with that. Mothers and daughters acted as leading ladies in the same era….Miss Putli or Putlibai and Miss Gohar Mamajiwala (the term Miss was used not merely to state the marital status of the leading ladies of those days)….

Like Miss Sharifa and Husna Banu , Putli and Gohar were mother and daughter. Putli was an accomplished actress of the silent screen who championed in the Talkies because of her extraordinary singing talents. Gohar was born in 1910 and entered the screen in 1926, where her mother Miss Putli too entered more or less the same time. Information about Miss Putli is very limited however, Gohar became India’s popular iconic star and is still remembered today.

Miss Putli acted in 33 Talkie films. Her first Talkie was Ratan Manjiri-35 and her last film was Dhoke baaz-46. She sang one song each in the film Lehri Badmash-44 and Dhokebaaz-46.

Today’s song is a duet sung by Harish and Maya Banerjee. With this song, film Uski Tamanna makes its Debut on our Blog. Including this film, my last 5 posts were from films which made Debut on the Blog. Today’s rare song was given to me by shri Abhay Jain ji (USA) and was uploaded kindly by our Sadanand Kamath ji. Thanks to both.


Song- O mast nazar diljaani teri taaza rahe jawaani (Uski Tamanna)(1939) Singers- Harish, Maya Banerjee, Lyricist- Pt. Indra, MD- Anupam Ghatak

Lyrics

O mast nazar diljaani ee ee
mast nazar diljaani
o mast nazar diljaani
mast nazar diljaani
teri taaza rahe jawaani ee
teri taaza rahe jawaani ee
mast nazar diljaani
o mast nazar diljaani
hai hamko pyaas bujhaani ee
hamko pyaas bujhaani ee
hai hamko pyaas bujhaani ee
piye aankhon ka paani ee
piye aankhon ka paani ee

mast nazar diljaani
o mast nazar diljaani
mast nazar diljaani

chaar nazar hai hone waali
aaa ha haha
ha ha ha ha ha
kuchh paa ke
kuchh khone waale

aaa ha haha
ha ha ha ha ha
chaar nazar hai hone waali
aaa ha haha
ha ha ha ha ha
kuchh paa ke
kuchh khone waale

aaa ha haha
ha ha ha ha ha

jeevan ki ee ee
jeevan ki ee phulvaari mein
jeevan ki ee ee
jeevan ki ee phulvaari mein
seenche aasha ka paani
seenche aasha ka paani
madhur prem veena ki dhun se
gaaye prem kahaani
gaaye
gaaye prem kahaani
madhur prem veena ki dhun se
gaaye prem kahaani
gaaye
gaaye prem kahaani


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 : 3598 Post No. : 14359

“Aai Bahaar”(1946) was directed by Shankar Mehta for Ganga productions, Bombay. This obscure movie had Irshad, Ajmal, Om, Asha, Romesh, Bhaag Singh, Anant Bahri, Charlie, Roofi, shrimati Atta etc in it.

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

Here is the second song from “Aai Bahaar”(1946) to appear in the blog. HFGK is silent about the singers of the songs of this movie. The uploader of the song mentions Zeenat Begam as the singer.

D N Madhok is the lyricist.

There were two music directors in this movie, viz Pt Amarnath and Anupam Ghatak, but the distribution of songs between th two is not known. So we will never know which of the two composed this nice gem of a song. I have assumed Anupam Ghatak to be the music director for this song.


Song-Aa mil baithhen zara (Aayi Bahaar)(1946) Singer-Zeenat Begam, Lyrics-D N Madhok, MD-Anupam Ghatak

Lyrics

aa mil baithhen zara
aa mil baithhen zara
aa mil baithhen zara
aa mil baithhen zara
ghadiyaan judaai ki ab aayin een
aa mil baithhen zara
aa mil baithhen zara

o jaane waale
itna kya jaana
ho more rote dil ka
ab kaun thhikaana
o jaane waale
itna kya jaana
ho more rote dil ka
ab kaun thhikaana
toh bin humen kal na aaye
humaare dil se nikle haaye
ghataayen chhaayin een
toh bin humenkal na aaye
humaare dil se nikle haaye
ghataayen chhaayin een
aa mil baithhen zara
aa mil baithhen zara
ghadiyaan judaai ki ab aayin een
aa mil baithhen zara
aa mil baithhen zara

pardes chale ho
kuchh humen bataao
o kya keh doon dil se
jab yaad tum aao
pardes chale ho
kuchh humen bataao
o kya keh doon dil se
jab yaad tum aao
toh bin humen kal na aaye
humaare dil se nikle haaye
ghataayen chhaayin een
toh bin humen kal na aaye
humaare dil se nikle haaye
ghataayen chhaayin een
aa mil baithhen zara
aa mil baithhen zara
ghadiyaan judaai ki ab aayin een
aa mil baithhen zara
aa mil baithhen zara


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 : 3565 Post No. : 14291

kuchh yaad rahe to sun kar jaa. . .

The nectar tinged fragrance of this voice suffuses through the strings of the heart through so many wonderful renderings. The mind is left amazed by the effortless expressions of the emotions covering the full spectrum of human experience. “Loot Liyo Mann Dheer. . .” is probably the only exclamation that the mind responds with, as it passed through the shower of her musical portrayals.

Kanan Devi – the doyen, the first lady of cinema in Bengal. We remember and honour her today (22nd April), on the anniversary of her birth. During her heydays in the 1930s and 40s, her popularity was so celebrated, that in those years, security had to be arranged when she moved about in public.

She was born this day in 1916, at Howrah. As per her own account, it was a very un-remarkable beginning to a tiny life, in the hands of a couple whom she knew only as her adoptive parents. Her foster father passed away quite early. She and her mother went through some difficult years, and the young Kanan Bala was not able to complete any form of formal school education.

In 1926, a family well wisher, introduced her to the management at Madon Theatres, Calcutta. Kanan was a child of 10 years. She worked in silent films and even did the male lead roles in ‘Vishnu Maya’ and ‘Prahlad’ (both in 1932). Transition from silent films to talkie films was very smooth for her. She had a good command over the spoken word and a remarkable singing talent – it only needed guidance and direction from teachers like Allah Rakha, Anaadi Dastidar, Bhishmdev Chatterjee, and yes, RC Boral.

From Madon, she moved to Radha Films in 1933. She was growing up into a beautiful and sophisticated young woman. In 1937 she transitioned to New Theatres. A regret she carried always – in 1934-35 she was offered a role in New Theatre’s ‘Devdas’ (1935), but could not accept as she was bound by her contract with Radha Films. She worked with New Theatres till 1941, and then moved to MP Productions in 1942.

After her formative years at Madon and Radha Films, her years at New Theatres and MP Productions are the most dazzling years of her career. In both organizations, her films became hugely popular hits, film after film, year after year. The music and the songs of these films made her the first lady singing superstar of Indian cinema. Her last Hindi film was ‘Chandrashekhar’ in 1948, opposite to Ashok Kumar. After this, she turned a producer in 1949, and set up her own company – Shrimati Pictures.

The song being presented today is a such lovely gem from the 1947 film ‘Faisla’. It is a duet sung in accompaniment with Aparesh Lahiri. Music is by Anupam Ghatak; the lyricist’s name is not available. Listening to this wonderful melody, brings to mind another similar song from a decade and a half later. I refer to the Talat-Lata duet from ‘Chhaaya’ (1961) – “Itna Na Mujh Se Tu Pyaar Badha, Ke Main Ik Baadal Awaara”. Although quite different songs, the mind is taken by the similarity in the theme of the song, as the gentleman professes a spirit of freedom, unencumbered by the matters of the heart, and whereas the lady expresses her desire to be together.

As the song begins, the voice of Kanan Devi flows in, giving an expression to the free spirit of the heart – a spirit like a bird that is unaware of the amorous emotions of love. Such a pleasure to listen to this voice.

Song – Khuli Hawa Mein Udne Waala Panchhi Preet Na Jaane  (Faisla) (1947) Singer – Kanan Devi, Aparesh Lahiri, Lyrics – Pran, MD – Anupam Ghatak
Both

Lyrics

khuli hawa mein udne waala
panchhi preet na jaane
haan haan
panchhi preet na jaane
khuli hawa mein udne waala
panchhi preet na jaane
haan haan
panchhi preet na jaane

kyun
wo bhanwara..aa..aa
wo bhanwara..aa ye bhi na jaane
kaliyan
kaliyan kyun muskaati
dard bhare
harne ko ye jhoom
daalon par hai gaati
koyal
daalon par hai gaati

aaa aaa aaa aaa aaa
duniya
is duniya se nyaari
khud hi chala basaane
duniya
is duniya se nyaari
khud hi chala basaane
apni dhun ka raahi kaise ho
prem dagar pehchaane
ho oo oo oo
prem dagar pehchaane
khuli hawa mein udne waala
panchhi preet na jaane
haan haan
panchhi preet na jaane

kyun udne ki aadat koi
panchhi se chhudwaaye
kyun udne ki aadat koi
panchhi se chhudwaaye
baithi hai duniya
unke raste mein jaal bichhaaye
bhola panchhi
ye na jaane
bhola panchhi
ye na jaane
aaj mujhe bandhan mein apne
kyun deti ghutaane
aaj mujhe bandhan mein apne
kyun deti ghutaane
bhola panchhi
ye na jaane
bhola panchhi
ye na jaane

khuli hawa mein udne waala
panchhi preet na jaane
haan haan
panchhi preet na jaane

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

खुली हवा में उड़ने वाला
पंछी प्रीत ना जाने
हाँ हाँ
पंछी प्रीत ना जाने
खुली हवा में उड़ने वाला
पंछी प्रीत ना जाने
हाँ हाँ
पंछी प्रीत ना जाने

क्यों
वो भँवरा॰॰आ॰॰आ
वो भँवरा॰॰आ ये भी ना जाने
कलियाँ
कलियाँ क्यों मुसकाती
दर्द भरे
हरने को ये झूम
डालों पर है गाती
कोयल
डालों पर है गाती

आ आ आ आ आ
दुनिया
इस दुनिया से न्यारी
खुद ही चला बसाने
दुनिया
इस दुनिया से न्यारी
खुद ही चला बसाने
अपनी धुन का राही कैसे हो
प्रेम डगर पहचाने
हो ओ ओ ओ
प्रेम डगर पहचाने
खुली हवा में उड़ने वाला
पंछी प्रीत ना जाने
हाँ हाँ
पंछी प्रीत ना जाने

क्यों उड़ने की आदत कोई
पंछी से छुड़वाये
क्यों उड़ने की आदत कोई
पंछी से छुड़वाये
बैठी है दुनिया
उनके रस्ते में जाल बिछाए
भोला पंछी
ये ना जाने
भोला पंछी
ये ना जाने
आज मुझे बंधन में अपने
क्यों देती घुटाने
आज मुझे बंधन में अपने
क्यों देती घुटाने
भोला पंछी
ये ना जाने
भोला पंछी
ये ना जाने

खुली हवा में उड़ने वाला
पंछी प्रीत ना जाने
हाँ हाँ
पंछी प्रीत ना जाने


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.

“Shri Ramanuja”(1943) was directed by Debki Kumar Bose for Shree Films, Calcutta. This movie had Biman Bannerji, Master Kumud, Dhiraj Bhattacharya, Bipin Gupta, B R Tandon, Vitthaldas Panchotia, Natwar, Hiralal, Vikram Kapoor, Vibhuti Ganguly, Prafull Mukherji, Tulsi Chakraborty, Nawaazish, Puttan, Meera Dutt, Radharani, Renuka, Chhaaya Devi etc in it.
Read more on this topic…


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

“Banjaare” (1948), by now an obscure movie, was directed by Hiren Bose for Hiren Bose Productions, Calcutta. This movie had Baby Deepanjan, Banshree, Malwika, Pramod Chandra, Jeewanlal, Kamal Mishra, A Malik etc in it.
Read more on this topic…


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

“Aisa Kyun”(1947) was directed by A K Chatterji for Shreeraj Pictures, Calcutta. This “Social” movie had Radharani, Urmila, Faiz, Tandon, Ifthhikar, Pinky etc in it.
Read more on this topic…


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

“Faisla”(1947) was a “social” movie directed by Apoorv Mitra for Geetanjali Movietone, Calcutta. Then movie had Kanan Devi, Paresh Bannerji, Hiralal, Nigam, Azurie, Flora, Gokul Mukherji, Devkumari, Puttan etc in it.
Read more on this topic…


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 THIRTEEN years. This blog has over 17000 song posts by now.

This blog is active and online for over 5000 days since its beginning on 19 july 2008.

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(© 2008 - 2022) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

17035

Number of movies covered in the blog

Movies with all their songs covered =1329
Total Number of movies covered=4609

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