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

Posts Tagged ‘Ashok Ghosh


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 :

4893 Post No. : 16692

Songs from Artiste Name Films….Second Season….No. 7
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Today’s song is from the film Manmohan-1936. This was a film made by Sagar Movietone in Bombay. The film’s cast consisted of Singer Actor Surendra, Bibbo, Yaqub, Ashalata,Bhudo Advani, Zia Sarhadi and many others. You will be surprised if I tell you that this film would not have been made if K L Saigal was not acting in films of New Theatres in Calcutta ! Strange, but true ! Let us see how….

K L Saigal was discovered by New Theatres and he entered into a contract with them. His first 3 films were most ordinary and non significant, all flops actually – Zinda Laash, Subah ka sitara and Mohabbat ke aansoo, all made in 1932. Next year he made 2 films – Yahoodi ki beti and Pooran Bhagat, made in 1933. In his 5th film-Pooran Bhagat- his 4 songs from this film became famous to some extent. However he had not acted in that film, but only the songs were filmed on him. In the subsequent year, his first famous and popular film-Chandidas-1934 came out with a Hit song ” Prem nagar me basaungi main ghar” along with Uma Shashi. But in this film he was overshadowed with senior actors like Uma Shashi etc.

Saigal caught the nation’s attention in real sense in his 10th film – ” Devdas “-1935 and there was no looking back after this film. He soon became the Trump Card for New Theatres and film after films, his name and fame became known everywhere. The audience and the younger generation at that time had become mad for Saigal’s songs and films. It was a Gold-mine for new Theatres.

This gave jitters to the Bombay film industry and every studio started a ‘Look-Out’ for a new actor-singer to counter Saigal’s and new Theatre’s domination over India.

Surendranath Sharma, B.A., LL.B was discovered by Lala Alopi Prasad, a Delhi distributor of Sagar Movietone films. He had seen and heard Surendra’s singing. He convinced Surendranath to join films and sent him to Sagar movietone in Bombay. Authorities in Sagar were simply ecstatic seeing this young, handsome and highly educated singer from a respectable family. He was soon contracted and handed over to Sagar’s young, enterprising director Mehboob Khan, who not only groomed him, renamed him as only Surendra, but also made him a Hero in film Deccan Queen-1936. In this film he sang a song ” Birha ki aag lagi more man mein “, which was a parody of Saigal’s famous song ” Baalam aay baso mere man mein ” from the film Devdas-1935. All this confirmed the claim of Sagar Movietone that Surendra was Bombay’s answer to Calcutta’s Saigal !

The very next film of Surendra was based on the same story as ‘ Devdas ‘. It was written by Zia Sarhadi. It was titled “Manmohan “, in which the protagonist loses his beloved to another person and takes to drinking and takes his own life. Thus, the film ” Manmohan”-1936 was made because Saigal was popular in Calcutta ! Q.E.D. !!

Film Manmohan also became a Hit film. The handsome Surendra and the beautiful Bibbo enhanced the appeal and very good songs added to its popularity. The most popular song of this film ” Tumhi ne mujh ko prem sikhaya ” is already discussed on this Blog, on 21-3-2014. Today’s song will be the second song from this film,after 7 years. Like that song, today’s song is also sung by Surendra and Bibbo. However, that was a happy song and this is a sad song.

The film revolves around two childhood friends, Vimala (Bibbo), and Ashok (Surendra), who loves her but loses her to another, finally taking to drinking.
Ashok (Surendra) is an artist in love with Vimala (Bibbo). On learning that she is to marry Jagdish (Yakub) he is devastated and paints her portraits which become popular. He starts drinking and finds comfort with another woman. Soon his family wealth starts dwindling. Vimala, who is married by now, tries to help him with her husband’s efforts. However, Ashok misunderstands the overture, leading to tragedy for him.

The music composition was by Ashok Ghosh, with assistance from a then “young arranger”, Anil Biswas. The lyrics were written by a then “small-time” actor Zia Sarhadi. The film’s soundtrack became its “highlight” with “chart-busting” music. Surendra was brought in as a singer actor to counter New Theatres K. L. Saigal. The duet by Surendra and Bibbo “Tumhi Ne Mujhko Prem Sikhaya” is considered a hit song and remains popular. The songs from this film made Surendra a popular singing star.

The star of today’s post is singer actor MANMOHAN KRISHNA – a senior actor who mostly did Character roles. His personality was not exactly suitable to a standard Hero in those times, he would have got lead roles in many films of today, because the definition of a Hero is changed now. He was an excellent actor. Since he could sing well, he sang a few songs in films, which became quite popular. Additionally, some popular songs were filmed on him after he stopped singing himself. He had not acted in the film Manmohan-1936 because he came to films in 1937, though he sang as a playback singer in 1946 itself.

MANMOHAN KRISHNA was born on 11-8-1908, at Lahore in Punjab. He was a very studious person and always stood first in school. He completed his M.Sc. in Physics and started working as a Physics lecturer in a Lahore college. He was very fond of singing and also sang on Lahore Radio.

Once when V. Shantaram visited Lahore, he heard Manmohan’s singing on stage and was impressed. Shantaram offered him the lead role in his forthcoming film, “Matwala Shair Ramjoshi”-1947, In this film Manmohan sang 6 solos and 3 duets with Zohrabai Ambalewali. However, his first song as a playback singer was in Shantaram’s film, ” Jeewan Yatra”-1946, under Vasant Desai’s baton.

In his career of more than 40 years, he acted in 183 films and directed 1 film – Noorie-1979. He also sang 24 songs in 8 films, namely Jeewan Yatra-46, Matwala Shayar Ramjoshi-47, Andhon ki duniya-47, Apna Desh-49, Afsar-50, Aaram-51, Railway Platform-55 and Shehar aur Sapna-1963. During his stay in Bombay, he anchored a Radio show ” Cadbury’s Phulwari” in the 50’s.

Manmohan Krishna was connected with Indian Peoples Theatre i.e. IPTA and acted in few of their dramas. Being an educated person, he was impressed with Nehruvian Secularism. He worked in films like Shehar aur Sapna by K. A.Abbas as well as the first Indo-Soviet film Pardesi-1957. He also got the Film Fare award for playing the role of Abdul Chacha in the film Dhool ka Phool-64. The song in this film ” Tu Hindu banega na Musalman banega ” filmed on him, became very popular.

Being a member of the intelligentia, he could not sell himself nor mix up into the Hindi filmi world fully. He always fought against injustice. He established ‘ Yuvak Biradari ‘ for young Indians, which became a big organisation in due course.

He was a favourite of the Chopra Brothers and acted in most films made by them. Some of his famous films were Deewar, Trishul, Humraaz, Insaaf ka Tarazu, Joshila, Kanoon, Kala Pathar, Dhool ka phool, Waqt, Naya Daur etc. etc. He also worked in 12 Punjabi films. He was prominently spotted in any role due to his thick bushy eyebrows.

In Hindi films, he rarely got a hero’s role, barring few films, because of his ordinary look. He had no looks required for a Hero’s role in a commercial film, in those days. He was of course an excellent Character Artiste. Due to his nature, he kept away from Filmi parties and groupism. He had no real friends in the film industry. Manmohan krishna did not keep good health in his last few years and died at the age of 82 years, in Lokmanya Tilak Hospital, Bombay, on 3-11-1990.
( Based on some information from wiki, ‘Beete kal ke sitare’ by Shriram Tamrakar,muVyz, HFGK, some information from the book “Sagar Movietone” by Biren Kothari ji and my notes. Thanks to all.)


Song- Kisne jahaan mein sukh dekha hai(Manmohan)(1936) Singers-Surendra, Bibbo, Lyricist- Zia Sarhadi, MD- Ashok Ghosh
Both

Lyrics

aa aa aa

aa aa ke chaman ko ujaad denaa
aa aa aa
aa aa aa aa
meri khili huyi kaliyon ko ?? lena hai

kisne jahaan mein sukh dekhaa aa
kisne jahaan mein sukh dekhaa aa

kise jeewan mein gham ne jalaaya nahin
kise jeewan mein gham ne jalaaya nahin
kise jeewan mein gham ne jalaaya nahin

kise ne prem ki bansi ee ee bajaa ke ae
loot liya aa aa
aaa aa aa aa
aa aa aa aa aa
bahaaron ke ?? ki duniya dikhaa ke loot liya

prem bina is des mein saajan
prem bina is des mein saajan
koi dukhiyon ke man ka ujaalaa nahin
koi dukhiyon ke man ka ujaalaa nahin
koi dukhiyon ke man ka ujaalaa nahin
kisne jahaan mein sukh dekha hai
kisne jahaan mein sukh dekha hai
kise jeewan mein gham ne jalaaya nahin
kise jeewan mein gham ne jalaaya nahin


This article is written by Sadanand Kamath, 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 :

4792 Post No. : 16551 Movie Count :

4506

The name of Chimanlal Trivedi, the producer-director may not ring bell in the minds of most of the admirers of old Hindi films. In Mumbai, he was the contemporary of well-known producer-directors like Chandulal Shah, A R Kardar, Mehboob Khan, V Shantaram etc in the 1940s.

After working as a writer in Sagar Movietone, in 1937, he set up a film production company, CIRCO (Cine Industries and Recording Company Ltd.) with the help of some Bombay-based shareholders as a public limited company in association with New Theatres. He became the Managing Director of CIRCO. The arrangement was that films would be produced by New Theatres’ in Kolkata with their artists and the financing/marketing of the films would be done by CIRCO in Mumbai. Both of them would share the profit. In 1939, CIRCO took upon itself the production of films in Mumbai with ‘Laxmi’ (1940).

Sometime in 1940, Chimanlal Trivedi was under cloud as there was a court case against him for mismanagement of funds of CIRCO. He had resiged as Managing Director of CIRCO in April 1941. I felt that perhaps this court case may have something to do with Chimanlal Trivedi leaving CIRCO to set up a new film production company, Laxmi Productions. After intense searches on the internet, I got a reference to CIRCO court case in indiankanoon. It was an 8-page judgement delivered on November 24, 1941 by Bombay High Court. The gist of the court case is as under:

A shareholder of CIRCO filed a petition in Bombay High Court against Chimanlal Trivedi, the managing director for the mismanagement of funds and to wind up CIRCO as insolvent based on its financial statements for the year ended March 1940. The court did not find any evidence against Chimanlal Trivedi of mismanagement of fund of CIRCO. As regards declaring the CIRCO insolvent, the Company put the arguments that there were 3 films under productions – ‘Apna Ghar’ (1942, directed by Debki Bose), ‘Nai Duniya’ (1942, directed by A R Kardar) and ’Mahatma Vidur’ (1943, directed by P Y Altekar). As per the estimates, CIRCO was expected to earn a profit of Rs. 11 lakhs after the release of these three films taking into account the star value of the main actors and the eminent directors. The petitioner argued that these three films can as well run into losses.

The court held the view that it cannot declare a company insolvent merely based on the speculation that there could be losses after the release of the films. None of the creditors of the CIRCO and a majority of the shareholders have supported the petition for winding up. The court dismissed the petition with cost.

One of the interesting example of the mismanagement of funds of CIRCO was that Shanta Apte was paid Rs,90000/- for working as heroine in a single film which, according to the petitioner, was unreasonably high. The film was not even completed when the matter was under discussion in the court. CIRCO responded by revealing that the amount was paid to Shanta Apte as ‘waiting salary’ for the unexpired period of her contract with Prabhat Film Company. If the CIRCO had not done so, several film producers would have grabbed the opportunity to secure her services for their future film productions.

Another bone of contention between the petitioner and the company was the way the profit was measured in the film industry. CIRCO had drawn the profit and loss account with realizable revenue from film distributors and expected revenue from the films under production for which distribution rights had been contracted. The petitioner found this practice not in keeping with the good accounting principles as this accounting system hides the true financial position of the company.

On the other hand, CIRCO maintained that it followed the convention among the film production companies in drawing its profit and loss account. More often, there were long gap between making of a film and releasing it. During the making of the films, a good amount of money was spent while the income from films would accrue only after their releases and that too, over a period of time. During the intervening period, the company will have to show losses in its profit and loss account. Hence an estimate of revenue of the company was made for the films under production based on the commitment by the film distributors and also the likely response from the film audience based on the star value.

If all the film production companies of that time drew their profit and loss account based on the estimated future profit, it amounts to masking their true financial position. Probably, this type of ‘accounting jugglery’ made some of the producers to float multiple film production companies after closing the earlier ones. Chimanlal Trivedi was no exception as after 1951, he had floated film production companies in different names.

Though the court verdict came in favour of Chimanlal Trivedi and the Company, this was short-lived as CIRCO went into liquidation in 1942. So, the apprehension of a shareholder who had filed the petition in the court about the mismanagement of funds turned out to be correct even though the Bombay High Court had dismissed his petition. It is interesting to note that Chimanlal Trivedil had hired A R Kardar to direct ‘Swami’ (1941) and ‘Nai Duniya’ (1942) under CIRCO banner. After the liquidation of CIRCO, it was A R Kardar who bought CIRCO’s studio at Parel for Kardar Productions.

Chimanlal Trivedi seems to have departed from the usual practice of hiring the actors and crew as per the studio system. It is said that he would first plan the film project and then hire the actors and crew as per the requirements of the new film. Often, he would select the most popular lead actors and directors as per their box office success and pay them in lumpsum for the film which would often work out much higher than what actors would have got under the studio system. It was reported in Filmindia magazine that Chimanlal Trivedi’s ‘highjacking’ of star actors and directors from some of the well known film production companies of that time affected their shooting schedules for the films under productions.

For ‘Tamanna’ (1942), the maiden film under Laxmi Productions, Chimanlal Trivedi hired Leela Desai, one of the successful actresses of New Theatres along with Jairaj with 7 crew members from Bengal which included Phani Majumdar as director, K C Dey as actor-music director, Bibhuti Laha as Cinematographer and Robin Chatterjee as Sound Recordist. It was Leela Desai’s maiden film in Mumbai. It is said that his financial offer to Leela Desai was so attractive vis-à-vis her salary in New Theatre that she accepted the offer.

Chimanlal Trivedi produced around 45 films during 1940-1960. Surprisingly, even with high-end star actors and eminent directors, especially in 1940s when he produced 28 films, there was not a single film which can be tagged as an outstadning film under his banners. In the 1950s, most of his films he produced were of ‘B’ Grade.

‘Sharaafat’ (1943) was third film with Leela Desai-Chimanlal Trivedi combination as actor and producer, respectively under the banner of Laxmi Productions. The star cast included Leela Desai, Pahadi Sanyal, Jagdish Sethi, Agha, Moti, Ghulam Rasool, S L Puri etc. The film had 9 songs which were set to music by Ashok Ghosh. Lyricist for all the songs is unknown.

I am presenting the first song, ‘aayi aayi re maalan singapur se’ from the film to appear on the Blog. HFGK is silent on the singers of the song. But it is apparent that the voices in the song are that of Amirbai Karnataki and Pahadi Sanyal with an unknown female voice in between. At the outset, the song appears to be ‘sales pitch’ but after the completion of the song, a long musical orchestration gives an impression of a stage song.

With this song, ‘Sharaafat’ (1943) makes its debut on the Blog.

Audio Clip:

Song-Aayi aayi re maalan Singapur se (Sharaafat)(1943) Singers-Amirbai Karnataki, Pahadi Sanyal, Unknown female voice, MD-Ashok Ghosh
Amirbai Karnataki + Pahadi Sanyal

Lyrics

aayi aayi re
haan aayi aayi re
aayi re maalan Singapur se
haan Singapur se
haan haan Singapur se
oh
aaya aaya re
haan haan aaya aaya re
aaya re maali
haan Rangoon se
haan haan Rangoon se
haan haan Rangoon se

rang birange phool hamaare
rang birange phool hamaare
rang birange gehane
bhaagonwaala le jaayega
bhaagonwaali pehne

gori pehanegi
haan gori pehanegi
dil ke hain naina jaa ke teer se
haan haan jaa ke teer se
haan haan jaa ke teer se

aayi re maalan Singapur se

phoolon se mehka do
more tan ko aaj saja do
phoolon se meha do
more tan ko aaj saja do
bas jaaun aa ke nainon mein
aisa jaal bichhaa do

aao aao ree
haan haan
aao aao ree
raah takoon mein teri der se
haan teri der se
haan haan teri der se

aayi re maalan Singapur se

raat ki raani kaa gajra
champe ki kaliyon kaa jhoomar
kyun deke phoolon ki maala
nargis ke gunchhon ki jhaanjhar
nikhra waah waah roop tihaara
joban dhoom machaaye
nikhra waah waah roop tihaara
joban dhoom macchaaye
nayi jawaani chhaayi raani
jo dekhe lalchaaye

aao aao ri
haan haan aao aao ri
raah takoon mein teri der se
haan teri der se
haan haan teri der se

aayi re maalan Singapur se


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 :

4118 Post No. : 15271 Movie Count :

4198

Today’s song is from film Kasauti-41. This was a film made by National Studios, after Sagar Movietone withdrew from it. The film was directed by a protege of Sagar- Ramchandra Thakur. The music was by Ashok Ghosh and the songs were written by Kanhaiyalal Chaturvedi (brother of actor Sankatha Prasad-a regular fixture of Sagar. Later on Kanhaiyalal himself became a famous character actor and a comic villain.) and Neelkanth Tiwari. The cast of the film was, Miss Rose, Prahlad, Veena, Sunalini Devi, Satish, Marutirao Pehelwan, Baby Meena, Ansari and many others.

In the early phase of the cinema, there were very few artistes hailing from respected families or who were educated, but as the time went by, slowly and steadily, educated people also started joining films.Most Marathi actresses from the beginning, like Durga Khote, Leela Chitnis,Nalini Tarkhad,Shanta Apte, Snehprabha Pradhan, Vanmala were graduates. Among men, Mohan Bhavnani, Nanubhai vakil, Surendra, Motilal, Dev Anand, Ashok kumar etc were graduates. Surendra was B.A;LL.B and in initial his degrees were flaunted prominently in film credits and advertisements. By the turn of the 30’s decade, majority of artistes were educated.

Ramchandra Thakur – the director of this film was one such scholarly person who was a Postgraduate and a prolific writer on films in English, Hindi and Gujarati, before joining films. Ramchandra Thakur was born in Suver of Sabarkantha district in Gujarat, on 17-12-1908. He moved to Bombay when he was just 9 year old. He pursued his higher education in Bombay and emerged as a scholar of Pali language. When he gave his M.A. final exam, he wanted to become a teacher in a college, if he got First class. If not, he would join film industry as a director. During his college years he had written many articles on films. He had translated Sound Recordist Minu Katrak’s English works in Hindi and Gujarati.

When he did not get First class, he joined Sagar Movietone, in its Marketing department. After few months, Baburao Patel took over from him and he became an assistant director to Chimanlal Luhar for film Dynamite-38. Next, along with Virendra Desai ( Nalini Jaywant’s first husband), he became a co-director of film The Gramophone Singer-38. His first film, as an independent Director was the Debut film of Snehprabha Pradhan – Civil marriage-40.

Then he joined Ranjit Movietone. He directed mythological, Social and Comedy films. Art Director Kanu Desai’s film Geet Govind was directed by him. Thakur directed 20 films. He also wrote script for the popular film Baiju Bawra-52. He produced 5 films. He directed 2 Gujarati films and wrote stories and screenplays for several Gujarati films.

He was an accomplished writer. He wrote 4 novels – Amrapali, Budhidhan Birbal, Prem Diwani and Urmila. He wrote several satirical commentaries too. He wrote a detailed article on Sagar Movietone and Chimanlal Desai in Gujarati magazine ” Jee”. His last Hindi film as a director was Nawab Sirajuddaula-67, which he had produced also. He died on 31-10-1992.

In the early era of silent films, many Anglo-Indian, European and Jew girls joined the films. They were free in behaviour and not averse to intimate scenes or kissing on the screen, hence film makers also preferred them. However they did not/could not speak Hindi or Urdu, but for silent films, this was not a hindrance. For Talkie films, this became a problem for these girls and their number went down considerably.

Among these actresses,there were mostly Baghdadi Jewish women and the rest were from the Bene Israel community, not the Cochini community. That community was small, did not speak Hindi or Urdu, and lived far from the film making cities of Bombay and Calcutta. A single Baghdadi family contributed greatly to Indian films, by giving us the actress-producer Pramila (Esther Victoria Abraham), her sister the actress Romila (Sophie Abraham), and her cousin the starlet Rose (Rose Musleah). Pramila’s son Haider Ali is an actor, who is best known as the co-writer of the blockbuster film Jodhaa Akbar.

Miss Rose Musleah was the heroine of film Kasauti-41 Sometime back our Sadanand kamath ji has provided the life story of Rose on this Blog, so I am not repeating it. Instead of that, let us know something about a ” Cloak and Dagger” personality from Hindi films. His name is N A Ansari.

Nisar Ahmed Ansari was the son of the late Dr. Ameer Ahmed Ansari. He was born on 29-8-1917 at Jhansi. His father had been serving in Military for 11 years and he expired in 1938. He was well known in Jhansi as he practiced there for 40 years.

Ansari matriculated from Allahabad University in 1933. In 1935, he passed his Inter from Aligadh. By 1939 he was a graduate of the Bombay University. He was keen to join films and in this, Mehboob khan helped him by recommending him for film Aasra-40, made by National Studios. It was directed by Mehboob’s assistant Chimanlal Gandhi.

By watching him, no one can ever visualise that a suave and respectable man like him can be a scheming villain . Competition for him was tough,initially when he joined the film industry ,as there were many character actors already there ,who were specialist of negative roles . But young and energetic Nisar Ahmad Ansari had faith in his potentials .

He believed that it is not necessary that villain should have thick eye brows with roving eyes and have a permanent frown on his face. A person having negative traits may have a smiling face also ,to conceal his evil designs . Therefore in most of his movies , he was a well dressed person ,always beaming and had friendly smile on his face . In his films , he use to be boss of a criminal syndicate and have an army of foot soldiers who carried out dirty work on his behalf . To keep a distance between master and servant , instead of calling them by their name he use to call his cronies by their allotted numbers like Number Ten Or Number Five .

With a hit movie ‘Mangu’, he became a director and later directed many successful movies like Black Cat ,Tower House ,Mr Lamboo ,Zara Bach Ke, Wanted etc for various producers and after he established his own banner Bundel Khand Films ,he made many memorable movies . Although, he had to look after his own company and permanent staff ,but he did not disappoint other film makers ,who wanted to have him in their movies in the role of villain. It is a fact, that it was his Black Cat which helped G P Sippy to be a part of the league of big producer ,but it is also true ,Mr Sippy forgot him later and never acknowledged Mr Ansari’s contribution .

Mr N A Ansari ,was essentially a dedicated film maker and had no false illusions about his own capabilities . His movies were never lavishly made and had average production value ,but it did not deter his fans and sizable majority of film viewers ,who adored him and his pictures to patronise his movies . Those who love the movies of golden age ,fondly remember his movies which used to have him in the role of villain ,beside good music, suspense, comedy, ,dance with a plausible story and a strong message for society ,that “Crime Never Pays”.

With producer/actor Sheikh Mukhtar, Nisar Ahmad Ansari had earlier worked as an actor in Dada, Dara & Ustad Pedro. Sheikh Mukhtar, aware of Ansari’s capability ,in 1954,offered him Mangu, to direct. The big success of Mangu was a game changer for Ansari & O P Nayyar. They both were immensely benefited with the favourable outcome of the movie & it’s music. Mangu had predictable Jodi of Sheikh Mukhtar & Mukri ,with Nigar Sultana ,Sheila Ramani & Ansari himself, as a suave villain. Mangu had breath taking, thrilling climax, involving the speeding train. Some real shots, few stock shots & rest studio shoot with back projections (Aadhi Haqeeqat ,Aadha Fasaana ),made the climax awe-inspiring. Unfortunately, the movie could not be preserved & the the present generation has been deprived of witnessing Ansari’s first effort as director. Mangu is one of the most searched movie at youtube.

He again directed Mr Lambu, a big success, for Sheikh Mukhtar. This time with the classic beauty Suraiyya with music by O P Nayyar, but similar tragedy happened, again. No print of the movie is available. In almost all his films N.A.Ansari played the role of an urbane & sophisticated Don. He always appeared, well dressed in impeccably tailored suits, fedora, trade mark pipe between his teeth & walking stick, in his hand.

Besides Sheikh Mukhtar, he directed movies, like Black Cat, Tower House, Jara Bach Ke, Wanted for other producers and playing the main villain. He had no qualms working in movies directed by other film makers & in this category, movies like Private Secretary, Fareb ,Do Thug ,Khota Paisa, Gunda,Ustad 420,Gunahon Ke Raaste can be named. Under his own banner Bundel khand Films he made Wahan Ke Log,Mulzim,Zindagi Aur Maut,Mr Murder, Jurm Aur Sazaa and Noor E Ilahi. The last one being his last production in 1976 & then he decided to hang his boots.It was a big journey for Ansari,who was discovered by Mehboob & given a role in Aasra ,released in 1941.

He could not say “No” to film maker Sultan Ahmad ,when he insisted him to appear in Dharam Kanta (1982 ) & later in Jai Vikranta. N.A.Ansari closed his eyes for ever on 11 Jan 1993, in Canada, thousands of kilometres away from his beloved city Jhansi ,much before the release of his last movie Jai Vikranta in 1995.

Film Kasauti-41 had 13 songs – effectively only 12, as one song was deleted from the film later, for reason not known to us. The Music Director Ashok Ghosh is the ” Mystery Man” of Hindi cinema. That is because, there is absolutely no information about his life story, available anywhere on internet or in any of the several music related books I have with me. All that we know about him is that he assisted MD Pransukh Nayak, while serving in Sagar and that he started independentl composing with film Manmohan-36, in which Anil Biswas was his assistant. The very next year Anil Biswas took over from him as MD for film Jagirdar-37 and spent a long association with Sagar and National studios.

Ashok Ghosh did only 12 films as an MD – Manmohan-36, Sanskar-40, Radhika-41, Nirdosh-41, Kasauti-41, Garibi-42, Sharafat-43, Inkaar-43, Miss Devi-44, Angoothi-44, Aarti-45 and last film Gunjan-48. After this , there is a total black out of information on Ashok Ghosh. Strange !

According to the November 41 issue of Film India magazine, film Kasauti-41 was released on 11-10-41 at Pathe Cinema in Bombay. In its review of the film, Baburao Patel had hardly anything good about it. He only appreciated the acting of Sunalini Devi, as the mother of the hero. He says that the film was a tear jerker story. Raju (Prahlad) tries to prevent the suicide of a woman, who anyway dies. This is witnessed by the victim’s sister Meena (Veena), who is a vamp. She starts blackmailing him . She, calling herself now as Manjula announces her love for Raju. Raju is slated to marry Madhuri (Miss Rose). After some time, she tries to force Raju for her marriage with him. Raju’s mother comes to know all this. As a true mother she goes to Manjula’s house, gives her poison and kills her. Thus a dutiful mother saves the life of her son.

Today’s song is sung by Marutirao pehelwan. A Pehelwan and a song ? Matter for laughing or serious thinking ?
Marutirao Pehelwan also acted in this movie. He was originally from Kolhapur. In the early era of talkie films, many wrestlers joined film companies. They worked mostly in action films. Some such actors were Baburao Pehelwan (he was the hero of Master Bhagwan’s stunt films; later on worked as a stuntman with fight master Azim Bhai), Vasantrao Pehelwan (he was the one who brought Indurani from Poona to Bombay; was a popular villain in stunt films), Nandram Pehelwan (very popular in silent films but fell on bad days in the talkie era), Sadiq Pehelwan, Maane Pehelwan, Amir Khan Pehelwan etc

Marutirao Pehelwan was different. He was handsome, tall, well built, could act and sing well. He was selected for the hero’s role in first Gujarati talkie film ‘Narsi Mehata’ (1932), made by Sagar Movietone. He acted as hero and other roles in about 40 films and sang 56 songs in 17 films. His first Hindi film was ‘Lanka Dahan’ (1933) and last his film was ‘Apna Ghar’ (1942)

He married his co-star of many films – Tara (sister of Sitara Devi and Alaknanda). They left films and settled in Dhule, Maharashtra. Marutirao started a dairy business there. Famous dancer Gopi Krishna was their son. After Marutirao’s demise Tara had a terrible time. She stayed in Bombay slums and did any extra role in films.

From 1946, there was another comedian actor named Maruti (Marutirao Parab), active in Hindi films. Initially, he too was billed as Marutirao, creating confusion. He was the father of comedienne Guddi Maruti.

So, here is the philosophical song.

( I thank Biren kothari ji for his book ” Sagar movietone” and shri M N Sardana ji for some information about N A Ansari, used in this post)

With this song, “Kasauti”(1941) makes its debut in the blog.


Song-Kho kar bhi sab kuchh izzat na khona (Kasauti)(1941) Singer-Maruti rao Pehelwan, Lyrics- Kanhaiyalal Chaturvedi, MD-Ashok Ghosh

Lyrics

Kho kar bhi sab kuchh a a
izzat na khona aa
zuroori hai ae ae ae ae
jeewan mein ae ae
izzat ka hona
Kho kar bhi sab kuchh
izzat na khona
Kho kar bhi sab kuchh
izzat na khona
zuroori hai
jeewan mein
izzat ka hona
zuroori hai
jeewan mein
izzat ka hona
Kho kar bhi sab kuchh
izzat na khona
Kho kar bhi sab kuchh
izzat na khona

pareeksha ho jis dam
hansna na rona
pareeksha ho jis dam m m
aa aa aa aa
aa aa aa aa
aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
pareeksha ho jis dam
hansna na rona
kasauti pe utre jo sachcha
wo sona
kasauti pe utre jo sachcha
wo sona
kasauti pe utre jo sachcha
wo sona
kasauti pe utre jo sachcha
wo sona
Kho kar bhi sab kuchh
izzat na khona
Kho kar bhi sab kuchh
izzat na khona aa


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 : 4107 Post No. : 15258

“Gunjan” (1948) was a Nalini Production movie. It was directed by V Desai. The movie had Trilok Kapoor, Nalini Jaiwant, David Abraham, Pande, Balraj Sahni, Veena Kumari, Purnima, Narmada Shanker etc in it.

The movie had nine songs in it. hree of these songs have been covered.

Here is the fourth song from “Gunjan” (1948) to appear in the blog. This song is sung by Nalini Jaiwant. S R Saaz is the lyricist. Music is composed by Ashok Ghosh.

Only the audio of the song is available. It is clear that the song was picturised on Nalini Jaiwant herself who was not only the leading lady of the movie but also the producer of the movie. Nalini Jaiwant is considered an occasional singer but she has sung this song like an accomplished singer. This song is arguably the best of all the Nalini Jaiwant songs that she has sung in HFM.


Song-Jal barsaaye nainwa man mein kaisi aag lagi(Gunjan)(1948) Singer-Nalini Jaiwant, Lyrics-S R Saaz, MD-Ashok Ghosh

Lyrics

aa
jal barsaaye nainwa
man mein kaisi aag lagi
man mein kaisi aag lagi
man mein kaisi aag lagi
kyun aa gayi jawaani mujhpar
liye dukhon ka haar aar
gaya kahaan wo bhola bachpan
kit gayen laado pyaar
uljhan mein hai jaan phansi
phir ye kaisi aag lagi
man mein kaisi aag lagi
man mein kaisi aag lagi

aa aa
main samjhi thhi prem kali se
mahak uthhegi kyaari
jaane ekaaek hua kya
kali bani chigaari
hey
ghar ke deepak se ghar jalta hai
dhuaan nikal na paaye
ae
ghut ghut kar marti abla sa
nikle na munh se haay
uljhan mein hai jaan phansi
phir ye kaisi aag lagi
man mein kaisi aag lagi
man mein kaisi aag lagi ee
man mein kaisi aag lagi


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 : 3737 Post No. : 14685

“Gunjan” (1948) was a Nalini Production movie. It was directed by V Desai. The movie had Trilok Kapoor, Nalini Jaiwant, David Abraham, Pande, Balraj Sahni, Veena Kumari, Purnima, Narmada Shanker etc in it.

The movie had nine songs in it. Two of these songs, both sung by Mukesh, have been covered in the blog long ago, viz on 2012 and 2013.

Here is the third song from “Gunjan” (1948) to appear in the blog. This song is sung by Nalini Jaiwant. Vrajendra Gaud is the lyricist. Music is composed by Ashok Ghosh.

Only the audio of the song is available. It is clear that the song was picturised on Nalini Jaiwant herself who was not only the leading lady of the movie but also the producer of the movie..


Song-Kiska saath nibhaaun nibhaaun (Gunjan)(1948) Singer-Nalini Jaiwant, Lyrics-Vrajendra Gaud, MD-Ashok Ghosh

Lyrics

kiska saath nibhaaun
nibhaaun
ye hai sooraj ye hai chanda
main sandhya si rahi beech mein
kiska saath nibhaaun nibhaaun
kiska saath nibhaaun nibhaaun
ye hai sooraj ye hai chanda

sooraj tan mein aag lagaata
bhole man ko chaand sataata
sooraj tan mein aag lagaata
bhole man ko chaand sataata
main samjhaati khadi akeli
peeda kise sunaaun sunaaaun
kiska saath nibhaaun nibhaaun
ye hai sooraj ye hai chanda

tan hai sooraj ke bandhan mein
tan hai sooraj ke bandhan mein
chaand
chaand chhipa man ke gunjan mein
chaand
chand chhipa man ke gunjan mein
main samjhaati ulajh rahi hoon
kuchh bhi samajh na paaun
nibhaaun
kiska saath nibhaaun nibhaaun
ye hai sooraj ye hai chanda


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

Blog Day : 3552 Post No. : 14252

Today’s song is from an obscure film called Miss Devi-44. The film was made by Laxmi Productions, Bombay-owned by the producer Director Chimanlal Trivedi. The Music was done by Ashok Ghosh. The song is sung by Rajkumari and an unknown male.

Ashok Ghosh started his music career as an assistant to Pransukh Nayak, for Sagar Movietone film Dr. Madhurika-35. He impressed the company with his work and he was given film Manmohan-36 as an independent Music Director. He had a new assistant named Anil Biswas.

Anil Biswas came from Calcutta along with his Mentor Hiren Bose. In Bombay, he first worked as a joint MD for film Bal Hatya-35 and Bharat ki Beti-35. He got his first film Dharam ki Devi-35 as MD. Anil Biswas joined Sagar as an assistant to Ashok Ghosh. The songs of Manmohan became very popular and famous, especially ” tumhi ne mujh ko prem sikhaya” by Surendra and Bibbo. According to Anil Biswas, he made the song, but Ashok Ghosh always maintained that it was his song. To stress his ownership of this song, Ghosh included the same song in film Nirdosh-41, this time sung by Mukesh and Nalini Jaywant.

After Sagar merged into national Studios, Ghosh gave music to Sanskar-40, Kasauti-41, Nirdosh-41 and Gareeb-42 ( Here again Anil Biswas was his co-MD). Then came Angoothi-43, Sharafat-43, Inkaar-43 and Miss Devi-44 and Aarati-45. His last film was Gunjan -48.Ashok Ghosh left Bombay for Calcutta, where he spent his rest of life.

The Director of this film was Chimanlal Trivedi, who was one of the major film makers of the 30s and the 40s decade. He was more as a Producer businessman than a Director. While he directed hardly 7 films, he produced close to 50 films- all having A grade actors, directors and composers !

Born on 19-3-1909 at a village near Anand in Gujarat he was from a Brahmin family. He did his schooling in Ahmedabad and technical graduation from Baroda. Being an expert in weaving, he took up a job as a weaving Master in Calcutta. Fond of writing, he started writing Dramas, which were staged in Bengal and Gujarat. He was attracted towards Cinema and tried some work in New Theatres. Knowing that the real playing field is Bombay he reached there. he wrote story of film Chevrolet-36 and Danger Signal-37 for Mohan pictures.

He established his own production company CIRCO (Cine Industries Recording COmpany) in 1937. By 1943, he had made 12 films. He preferred not to direct his films, but appointed directors like Mohan Sinha for Laxmi-40, Anuradha-40 and Vanmala-41, Balwant Bhatt for Suhag-40 and Madhusudan-41, A R Kardar for Swami-41 and Nai Duniya-42 and Debki Bose for Apna Ghar-42.

He had the art of getting the most popular stars for his films like, Prithviraj kapoor, Chandramohan, Durga Khote,Mazhar khan, Bibbo,Surendra, Jairaj, Sitara, Jeevan, Yaqub, Shobhana Samarth, Prem Adeeb, Vishnupant Pagnis,Leela Desai, Pahadi Sanyal, Shanta Apte and many others. Even big directors like Debki Bose,Nitin Bose, Kardar,Mohan Sinha, Sarvottam Badami, Nandlal Jaswantlal,Profull Roy, Sudhir Sen, R S Caudhari, Phani mujumdar, Balwant Bhatt etc. worked for him. From Prabhat he brought Shanta Apte for Rs.1000 pm, and also Chandramohan, Pagnis and Mazhar khan. His friend Chandulal Shah followed his way and brought K L Saigal from New Theatres !

C L Trivedi was an expert in gathering funds for his films. After CIRCO at Parel, he started Laxmi Productions at Andheri, in 1942. He made mera Gaon,Sharafat,Bhagya Laxmi,Kadambari,Tamanna,Inkaar,Mohabbat,Miss Devi etc. In 1951, it was Supreme pictures, Trivedi Productions was in 1952, Kala Kendra in 1953 and with Chitra Bharati in 1954, he made 13 films upto 1961. Top Composers like Timir Baran,Ashok Ghosh,Rafiq Gaznavi,K C Dey,Saraswati Devi,Husnlal-Bhagatram and naushad gave music to his films.

In the end, he turned to Stage and started Abhinay Bharati. He staged many dramas in Bombay and Gujarat. Chimanlal always went for big names. He had close relations with Nehru, Menon, Morarji Desai, and other National leaders. His wife Kantaben was a Leader herself. Chimanlal Trivedi died on 25-11-1973. His wife, 3 sons and a daughter settled in USA.

It may be a coincidence, but Gujarati businessmen like Chimanlal Trivedi, Chimanlal Desai,Chimanlal Luhar, Chaturbhuj Doshi, Chimankant Desai, Chunibhai Desai and Chandulal Shah made sizable contribution to Hindi cinema in the first 20 years of the Talkie era. All names started with CH ( ? ) !

Film Miss Devi had a cast of Leela Desai, Surendra,Jagdish Sethi, Agha, Moni Chatterji, Nazeer etc etc. Leela Desai was brought by Trivedi by offering her money she could not refuse. After doing 5 films with New Theatres and 1 film with Ideal Film Co. at Calcutta, she came to Bombay and worked here till she left films.

Leela Desai was the daughter of Dr. Umedbhai Desai-a Gujarati and his second wife Satyabala Devi- a Bengali from Bihar, who was a prominent singer of the 1930s. She was born in America, where her parents had gone for a 3 year trip. She grew up in India. She learnt dancing from Amla Devi-who married Uday shanker, Lachhu Maharaj and Sohan lal. She also learnt music in Morris College , Lucknow. Actress kamala Kumari of New Theatres had also learnt from here. In one of her stage performances in Lucknow, NT’s Director Hem Chander saw her and invited her to Calcutta for working in films.

She worked in the film President-37 as sister of Kamlesh Kumari,opposite Saigal. It was followed by Vidyapati-37, Dushman-38, Kapal kundala-39 and Nartaki-40. She also did Adarsh Mahila-37 with Ideal Film company. Chimanlal Trivedi brought her to Bombay to act opposite Jairaj in film Tamanna-42. She acted in 5 films of Chimanlal Trivedi. After tamanna, leela Desai acted in films like Sharafat,Paraya Dhan, Nagad narayan,Inkaar, Mujrim, Miss Devi,Kaliyan, Meghdoot,Maharani Minal Devi,Magadhraj,Kamla, Dev kanya, Soorat and last film Geet Govind-47.

She acted opposite leading actors like K L Saigal, Najmul Hasan, Jairaj, Pahadi Sanyal, Surendra, Chandra Mohan, Khalil, Baburao pendharkar etc etc. She worked under top directors like Debki Bose, Nitin Bose, kidar Sharma, Phani mujumdar and others. her sisters Monica Desai ( who married Phani Mujumdar) and Ramola were also in films. In a span of just 10 years, Leela Desai acted in 21 films and then left films. She settled in Darjeeling with her mother. Baburao Patel said this about Leela Desai….

“What shall be said of Leela Desai, who acted the part of the President’s sister, the mischievous school-girl, and who always took the active part in the love-making between her and Prakash Babu (Saigal)? I cannot find a single fault with her acting. She played up to Saigal splendidly. Even her eyes were most expressive. What naughtiness was in them? As a shameless hussy she could give points to any of your Hollywood actresses–and win. In the love-duet between her and Saigal it was she who always led. She was the personification of Mr. Bernerd Shaw’s pet notion that, in this eternal amorous game, it is the woman who leads the man on and not, as is commonly supposed, the other way about. From the moment she jumped down her school garden-wall and almost fell plump into the arms of Prakash Babu, who was sitting below chewing the end of his reflections anent his dismissal from his job, she never, in a manner of speaking, left him to himself. She would bring down the house with her: “Uske bad kya hua, Prakash Babu?” The poor man had to dance to her measure ever afterwards. When she found herself with him alone she gave us the impression of having fed on honey-dew and on the milk of paradise. Then, in addition to her sparkling dialogue and supremely ‘alive’ acting, she was gorgeous in her dancing performance. Her whole face was a mirror in which her thoughts were reflected. She was an imp of mischief from commencement to conclusion.”

The onset of second world war from 1939 to 1945 imposed several restrictions on the film industry. One of them was to get extra quota of raw film, the producer had to make one Propaganda film as a war effort of the British. Many big film houses suffered ( New Theatres actually broke down) due to this. Raw film was available in Black market at an exorbitant price ( many people made millions in such Black market of essential commodities and they invested in film industry later).

Film Miss Devi-44 was one such film of propaganda. Unfortunately, by the time the film got completed, censored and finally got released the war had almost ended, thereby losing the very purpose of the film. Germany had surrendered on 8-5-1945. USA dropped Atom Bombs on Japan on 6th and 9th August 1945. Japan surrendered on 2-9-1945 and finally war ended totally. Miss Devi-44 was censored in 1944, but was released on 10-8-1945 in Capitol Theatres, Bombay. By that time the relevance of war propaganda had lost its sheen and need. This affected the film’s running. Another film released almost same time on the same theme was Panna, made by Navyug Films of Acharya Atre. Of course, the lead role of film Panna was done by Geeta Nizami, who was no match to leela Desai in any way !

According to Film India, october-45 issue the story of Miss Devi was about Twin sisters Rani and Devi (Leela Desai). Rani becomes a spy for Japan, whereas Devi is sober, homely, beautiful etc. Devi falls in love with Dr. Ramesh (Surendra).Being a story of twins, there were many scenes of misunderstandings, comedy, song and dances. In the end Rani gets punishment and Devi gets Dr.Ramesh.

Here is a song by Rajkumari with an unknown male. Enjoy this rare song.
( My thanks to Beete kal ke sitare by S.Tamrakar, Harish Raghuwanshi ji, Dhunon ki yatra, Vithal Pandya’s books,HFGK, wikipedia and my notes for some information in this article).


Song-Balma bedardi hamaar (Miss Devi)(1944) Singers-Rajkumari, Unknown male voice, MD-Ashok Ghosh

Lyrics

balma bedardi hamaar
haay raam
balma bedardi hamaar
haay raam
balma bedardi hamaar
balma bedardi hamaar
haay raam
balma bedardi hamaar
haay raam
balma bedardi hamaar

aayi jawaani
jiya mora doley
aayi jawaani
jiya mora doley
saas nanand mori boli boley
saas nanand mori boli boley
raah chaloon to taaken marad mohe
hoy
raah chaloon to taaken marad mohe
maare najariyon se maar
haay raam
balma bedardi hamaar
haay raam
balma bedardi hamaar
haay raam
balma bedardi hamaar

din ko nihaaroon main
raah sajan tori
din ko nihaaroon main
raah sajan tori
ratiyaan bitaaun main roye
ratiyaan bitaaun main roye
chhatiyaan dhadak rahi
patiyaa na bheje piya
hoy
chhatiyaan dhadak rahi
patiyaa na bheje piya
dar dar(?) sunat nahin koye
hoy piya
dar dar ?? sunat nahinkoye

din ko nihaare kaahe raah hamaari raani
ratiyaan bitaaye kaahe roye
ratiyaan bitaaye kaahe roye
patiyaan na bheji mohe
patiyaan na bheji mohe
aana thha yahaan gori
aawan ?? ek hai ??
haan gori
aawan ?? ek hai ??

padgi kesariya balam hai tihaari
padgi kesariya balam hai tihaari
choli tori bootedaar
ho gori
choli tori bootedaar

hil mil ke looten bahaar
ho sainyya
hil mil ke looten bahaar
aao gori
hil mil ke looten bahaar

balma bedardi hamaar
haay raam
balma bedardi hamaar
haay raam
balma bedardi hamaar


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.

“Garib”(1942) was directed by Ramchandra Thakur for National Studios, Bombay. This movie had Surendra, Rose, Baby Meena, Veena Kumari, Santaka, N A Ansari, Agha, Pesi Patel etc in it.
Read more on this topic…


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

Today (18 february 2014) is the Birth Anniversary of NALINI JAYAWANT. She was one of my favourite actresses from the 40s and 50s. Her film which I liked the most was “Hum sab chor hain “-1956. Though she was 30 year old by this time, she still looked very charming, naughty and beautiful. The Hero,Shammi Kapoor was only 26 years,but no one ever felt that she looked older than him. There were excellent songs in the film,composed by O.P.Nayyar and the story was quite entertaining.
Read more on this topic…


“Gunjan” (1948), by now an obscure movie, was a Nalini Production movie. It was directed by V Desai. The movie had Trilok Kapoor, Nalini Jaiwant, David Abraham, Pande, Balraj Sahni, Veena Kumari, Purnima, Narmada Shanker etc in it.
Read more on this topic…


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

The relentless dedication of one man, and his companions on this musical bandwagon, is clearly evident from the consistent pace at which this blog is making progress by the day. A hundred songs are being consistently added every two weeks, give or take a couple of days. It is this consistency that is the most remarkable feature of this effort. The unflagging interest and the singular determination that is exhibited by the entire team, speaks volumes about the leadership and dedication of this one man.

And yes, we are celebrating another century of posts on this blog today.
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 16900 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

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Movies with all their songs covered =1313
Total Number of movies covered=4587

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