Posts Tagged ‘Avinash Vyas’
Jai Bhaarti vande Bhaarti
Posted on: December 18, 2023
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.
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Blog Day : |
5631 | Post No. : | 18120 |
Today’s song is from an inspirational religious film Jagadguru Shankaracharya-1955.
In Mahabharat, there is a dialogue between Lord Shri Krishna and Arjun. The legend says that when Kauravas and Pandavas stood opposite each others for a war on Kurukshetra, Dhritrashtra,the blind father of Kauravas asked Sanjay- who had the divine power of seeing the war at Kurukshetra- to describe him the war happennings. Sanjay starts and in the course of his reporting, the entire Geeta too is narrated.
Without going into the details further, enough to stress that Lord Shrikrishna explains to Arjuna that, whenever there is a decline of Dharma and righteousness, He takes birth from age to age (sambhavami yuge yuge), to protect the virtuous, destroy evil-doers and to reestablish Dharma and righteousness.
This is described in the IV chapter, stanzas 7 and 8 in Bhagvadgeeta thus-
“Yada Yada Hi Dharmasya
Glanirva Bhavathi Bharatha,
Abhyuthanam Adharmaysya
Tadatmanam Srijami Aham”.
Bhagavad Gita (Chapter IV-7)
“Whenever there is decay
of righteousness O! Bharatha
And a rise of unrighteousness
then I manifest Myself!”
“Praritranaya Sadhunam
Vinashaya Cha Dushkritam
Dharamasansthapnaya
Sambhavami Yuge-Yuge.”
Bhagavat Gita (Chapter IV-8)
“For the protection of the good,
for the destruction of the wicked and
for the establishment of righteousness,
I am born in every age.”
In the film Prabhu Ki Maaya-1955, Hemant Kumar has sung a song which is almost a transalation of above shlokas – ” Jab jab hota nash dharam ka aur paap badh jaata hai, tab lete avtar prabhu, yeh Vishva shanti paata hai “.
From time to time, India has faced such situations, when, inspite of being in majority, Hindus suffered from attacks on their country and distruction of their Mandirs etc. Luckily at all those times Saints and Holy men emerged and saved the Hindus.
Similarly the birth of Jagadguru Shankaracharya took place when this need arose to save and reestablish Hindu dharma. It was almost like a case of Renaissance of our religion.
The period of 1300 to 1600 AD, a time frame of 300 years or thereabouts, was when most saints were active in India. This was the period when several outside rulers invaded India and established their rules. This was the time when the culture and religion of India had to be saved from annihilation. The saints of India played an important role in this and maintained Unity and Oneness of Indian culture from getting destroyed. But for them, there was a danger of the whole nation getting converted to Islam or Christianity. India will forever be grateful to the saints for this .
Tha Bhakti Movement was India’s own way to combat foreign attackers, cruel rulers and the sleeping people of India. It started from the South first. The movement from 1300 to 1600 AD produced many religious Saints and social reformers from Kanyakumari to Kashmir and from Assam to Gujarat. The Indian culture is such that that the advise given by a religious saint is more acceptable than that given by a social reformer. Thus, in this hour of need, India’s Saints tried to teach message of reforms such as removal of Untouchability, freedom from Varnashram life styles, importance of education, Women’s emancipation and other such matters, through their poems, dohas, Abhangs and writings as well as keertans. They tried to make the masses wake up against the ill effects of social practices that were being observed those days.
Saints appeared in ALL areas of India, during this period. However, due to language problems, knowledge and information about Saints in other regions trickled down very slowly. States which shared the use of Devanagari script were aware about them in a better way. Thus, Maharashtra, Gujarat, Rajasthan and the Northern Hindi belt states exchanged their knowledge about their saints more frequently than other regions such as Bengal, the Eastern states or the southern states where the scripts were different. Andhra and Karnataka were closer as their scripts are similar, except perhaps the alphabet ‘K’. Tamil and Malayalam scripts have Dravidian origins and were not easily accessible for the rest of India
The period of 1300 to 1600 AD, a time frame of 300 years or thereabouts, was when most saints were active in India. This was the period when several outside rulers invaded India and established their rules. This was the time when the culture and religion of India had to be saved from annihilation. The saints of India played an important role in this and maintained Unity and Oneness of Indian culture from getting destroyed. But for them, there was a danger of the whole nation getting converted to Islam or Christianity. India will forever be grateful to the saints for this .
Some of the saints have done monumental literary works for the masses, bringing what was available only in Sanskrit, to the doorsteps of the common people. Out of the many saints and reformers of Maharashtra, few stand out for their additional contribution towards literary works. For example, Gyaneshwar wrote ‘Gyaneshwari'(translation of Geeta into Marathi), Tukaram wrote Abhangs, Namdeo contributed to Punjabi language, Sikh culture and Guru Granth Sahib, Ramdas wrote ‘Dasbodh’ to teach people how to balance between Bhakti and Bhog(family life), and Tulsidas translated Sanskrit Ramayana into Avadhi language which is called Ramcharitamanas. Then there were Kabir, Rahim and many others too.
Indian spiritual Gurus set themselves as Role models for the masses. Whether it was Ramkrishna Paramhansa or Shankaracharya all of them have guided their followers to achieve peace of mind through spirituality. Religion is a way of life in India and most Gurus taught their followers how to follow the right path even while looking after their families.
In such conditions was born the Greatest of the advocates of Vedic Dharma and Advaitism- Adi Shankaracharya. It was as if God had deputed one of his assistants to set things right in India. The existence of Vedic Dharma in India today is due to Shankara. The forces opposed to Vaidik religion were numerous and powerful in those days than today. Still, single handedly, and within a short life span of just 32 years, Shankara overpowered them all and restored the Vedic Dharma and Advait vedant to its pristine Glory and purity.
The weapons he used was only Knowledge and spirituality. The previous Avatars like Rama and Krishna used physical force as opposition to vedic Dharma in those days was by physical obstruction and molestations by Asuras.
In Kaliyug, the obstacles are more Internal than External, more Mental than Physical. The seeds of Adharma were in minds, so a weapon of Knowledge and self purification was necessary. For this purpose Sankara took birth in Brahmin varna and entered Sanyasashram early in life. Previous Avatars like Rama and Krishna were Kshatriyas, as they had to wield military weapons to restore Dharma.
Shankara was born in Kaladi in present day central Kerala, the ancient Tamil kingdom of the Cheras. According to lore, it was after his parents, who had been childless for many years, prayed at the Vadakkunnathan temple, Thrissur, that Shiva appeared to both husband and wife in their dreams, and offered them a choice: a mediocre son who would live a long life, or an extraordinary son who would not live long. Both the parents chose the latter; thus a son was born to them. He was named Shankara (Sanskrit, “bestower of happiness”), in honour of Shiva (one of whose epithets is Shankara). His father died while Shankara was very young. Shankara’s upanayanam., the initiation into student-life, had to be delayed due to the death of his father, and was then performed by his mother. As a child, Shankara showed remarkable scholarship, mastering the four Vedas by the age of eight.
At the age of 8, Shankara was inclined towards sannyasa, but it was only after much persuasion that his mother finally gave her consent.Shankara then left Kerala and travelled towards North India in search of a guru. On the banks of the Narmada River, he met Govinda Bhagavatpada the disciple of Gaudapada at Omkareshwar. When Govinda Bhagavatpada asked Shankara’s identity, he replied with an extempore verse that brought out the Advaita Vedanta philosophy. Govinda Bhagavatapada was impressed and took Shankara as his disciple.
The guru instructed Shankara to write a commentary on the Brahma Sutras and propagate the Advaita philosophy. Shankara travelled to Kashi, where a young man named Sanandana, hailing from Chola territory in South India, became his first disciple. According to legend, while on his way to the Vishwanath Temple, an untouchable accompanied by four dogs came in the way of Sankara. When asked to move aside by Shankara’s disciples, the untouchable replied: “Do you wish that I could move my everlasting Atman (“the Self”), or this body made of flesh?” Realizing that the untouchable was none other than god Shiva himself, and his dogs the four Vedas, Shankara prostrated himself before him, composing five shlokas known as Manisha Panchakam.
At Badri he wrote his famous Bhashyas (“commentaries”) and Prakarana granthas (“philosophical treatises”). Adi Shankara then travelled with his disciples to Maharashtra and Srisailam. In Srisailam, he composed Shivanandalahari, a devotional hymn in praise of Shiva. The Madhaviya Shankaravijayam says that when Shankara was about to be sacrificed by a Kapalika, the god Narasimha appeared to save Shankara in response to Padmapadacharya’s prayer to him. As a result, Adi Shankara composed the Lakshmi-Narasimha stotra..
He then travelled to Gokarna, the temple of Hari-Shankara and the Mookambika temple at Kollur. At Kollur, he accepted as his disciple a boy believed to be dumb by his parents. He gave him the name, Hastamalakacarya (“one with the amalaka fruit on his palm”, i.e., one who has clearly realised the Self). Next, he visited Sringeri to establish the Sarada Pitham and made Suresvara Karya his disciple.
After this, Adi Shankara began a Dig-vijaya “tour of conquest” for the propagation of the Advaita philosophy by controverting all philosophies opposed to it. He travelled throughout India, from South India to Kashmir and Nepal, preaching to the local populace and debating philosophy with Hindu, Buddhist and other scholars and monks along the way.
With the Malayali King Sudhanva as companion, Shankara passed through Tamil Nadu, Andhra Pradesh and Vidarbha. He then started towardsKarnataka where he encountered a band of armed Kapalikas. King Sudhanva, with his Nairs, resisted and defeated the Kapalikas. They safely reachedGokarna where Shankara defeated in debate the Shaiva scholar, Neelakanta.
Proceeding to Saurashtra (the ancient Kambhoja) and having visited the shrines of Girnar, Somnath and Prabhasa and explaining the superiority of Vedanta in all these places, he arrived at Dwarka. Bhaskara of Ujjayini, the proponent of Bhed-abheda philosophy, was humbled. All the scholars of Ujjayini (also known as Avanti) accepted Adi Shankara’s philosophy.
He then defeated the Jainas in philosophical debates at a place called Bahlika. Thereafter, the Acharya established his victory over several philosophers and ascetics in Kamboja (region of North Kashmir), Darada and many regions situated in the desert and crossing mighty peaks, entered Kashmir. Later, he had an encounter with a tantrik, Navagupta at Kamarupa.
Adi Shankara visited Sarvajñapitha (Sharada Peeth) in Kashmir (now in Pakistan Occupied Kashmir). The Madhaviya Shankaravijayam states this temple had four doors for scholars from the four cardinal directions. The southern door (representing South India) had never been opened, indicating that no scholar from South India had entered the Sarvajna Pitha. Adi Shankara opened the southern door by defeating in debate all the scholars there in all the various scholastic disciplines such as Mimamsa, Vedanta and other branches of Hindu philosophy; he ascended the throne of Transcendent wisdom of that temple.
Towards the end of his life, Adi Shankara travelled to the Himalayan area of Kedarnath- Badrinath and attained videha mukti (“freedom from embodiment”). There is a samadhi mandir dedicated to Adi Shankara behind the Kedarnath temple. However, there are variant traditions on the location of his last days. One tradition, expounded by Keraliya Shankaravijaya, places his place of mahasamadhi (leaving the body) as Vadakkunnathan temple in Thrissur, Kerala. The followers of the Kanchi kamakoti pitha claim that he attained videha mukti in Kanchipuram (Tamil Nadu). (Bio adapted from wiki, goverdhanpeeth.org, sanatandharma.com and my notes with thanks).
Film JAGADGURU SHANKARACHARYA-1955 was a Celestial pictures, Bombay presentation, directed by S.Fatelal (of Prabhat film fame). The music was by Avinash Vyas with assistant Sanmukh babu Upadhyaya. There were 9 melodious songs by Rafi, Manna Dey, Hemant kumar, Geeta Dutt, Asha and Lata. The cast was Abhi Bhattacharya, Sulochana Chatterjee, Ramesh Sinha, Baby Nanda etc. The story was-
Shankara was born in a Brahmin family in the village of Kalti in Malabar. Before he was eight, Shankara completed the study of the Vedas and the Shastras! After leaving the Gurukul, Shankara found that all around him was spread the heresy and hypocrisy in the grab of religion! Shankara vowed to destroy the heresy and hypocrisy and to receive the ancient vedic religion. These revolutionary ideas of Shankara frighten his mother Sati, and to bring him to his senses, she decided to get him married. For the wedding he started to go across the Purna river with her son. What Divine intervention, what miracles forced the mother to give her unwilling permission to her son to become a Sanyasin, you will see on the screen! She wept and she sobbed, but Shankara was firm and the delicate child of eight left his mother for the good of Humanity.
Facing innumerable dangers of the way he reached Narmada followed by an immense flood treating to wash away even the Ashram of the Guru Govindpada. Shankara prays to mother Narmada, and the flood goes down, Guru Govindpada then ordains him a sanyasin, teaches the 8 sidhis and sends him out! Watch the miracle shankara performs in the religious Conference in Benares, and proved Gods existence.
For years he stayed in the Vyas-Gupha at Badri Narayan and wrote those wonderful books which have made him one of the foremost philosophers of the world! An additional 16 years lease of life is given to him for revival and propagation of religion. Follows the historical debate with Mandan misra who is vanquished by Shankara. But his wife Bharti heckles Shankara about Kamashastra, and Shankara has to ask for time in which he enters a king’s dead body, and makes Mandan his Shishya. Going home he meets his dying mother, whose funeral rites are denied to him by the village folk. Again his prayers force the Sun-God to set fire to the funeral pyre, and people realising the divinity of Shankara fall at his feet. The task and triumphal March (Digvijaya) is over, and Shankara desiring to leave the world is lead to the Sinhdwara of the Sharda Mandir in Kashmir! The film ends with Shankara’s samadhi scene.
Adi Shankaracharya has done colossal work for the Hindu Dharma. he established 4 Mathas (Monasteries) at 4 directions of India as following
1.North- Jyortimatha or Joshimatha or Badrikashram in Uttarakhand
2.East- Jagannath Puri,Orissa
3.South- Shringeri Sharada Peeth in Karnataka and
4.West- Dwaraka,in Gujarat.
The heads of these Mathas are called Shankaracharya and are highly revered by Hindus. They are all highly educated persons in modern and Ancient literatures. The South and the West have a continuous lineage from Adi Shankaracharya.
Today’s song is sung by Manna Dey and chorus. Enjoy….
Song-Jay Bhaarati Vande Bhaarati (Jagadguru Shankaracharya)(1955) Singer- Manna Dey, Lyricist- Bharat Vyas, MD- Avinash Vyas
chorus
Lyrics
jai bhaarti ee ee
vande ae bhaaarti ee
sar pe himalay ka chhatr hai
charnon mein nadiyaan ekatr hain
haathon mein vedon ke patr hain aen
desh nahin aisa anyatr hai
jai bhaarti ee ee
vande ae bhaarti ee
dhuyen se paawan ye vyom hai ae
ghar ghar mein hota jahaan hom hai
pulkit humaare rom rom hain
pulkit humaare rom rom hain
ae ae ae
aadi anaadi shabd om hai
(jai bhaarti vande bhaarti )
jai bharati vande bharati
(jai bhaarti vande bhaarti )
vandemaatram
(jai bhaarti vande bhaarti )
vandemaatram
is bhoomi pe janm liya raam ne
geeta sunayi jahaan shyaam ne
ho geeta sunaayi jahaan shyaam ne
paawan banaaya chaaron dhaam ne ae ae ae ae ae ae
paawan banaaya chaaron dhaam ne
swarg bhi lajaaye jiske saamne
vandemaatram
vandemaatram
sar pe himaalay ka chhatr hai
charnon mein nadiyaan ekatr hain
haathon mein vedon ke patr hai ae ae ae
desh nahin aisa anyatr hai
jai bharati vande bharati
jai bharati vande bharati
jai bharati vande bharati
jai bharati vande bharati
(vandematram vandematram vandematram vandematram
vandematram vandematram vandematram vandematram)
Pyaar ka dukh se bhara sansaar
Posted on: May 29, 2023
This article is written by Avinash Scrapwala, 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.
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Blog Day : |
5428 | Post No. : | 17807 |
#the Decade of Sixties – 1961 – 1970 #
———————————————————————
“Surya Devta-1969” was directed by Sharad Desai for ‘Alice Pictures, Bombay’. It had Nirupa Roy, Ashish Kumar, Manimala, Sapru, Jeevan, Shekhar, Amrut Patel, Sarita Khatau, P. Kailash, Sarita Devi, Shukla, Dalpat, Bhoj Kumar, Kapoor and others.
This movie has six songs composed by Avinash Vyas. The movie had two lyricsts viz. Bharat Vyas and Madan.
HFGK Vol-IV (1961-1969) mentions lyricist’s name for four individual songs which are all written by Madan. Singer’s name is also mentioned for these four songs only. Lyricist’s name and singer’s name are not mentioned for the remaining two songs .
Here is the list of songs in this movie:-
| SNo | Song Title | Lyricist | Singer/s | Posted On |
|---|---|---|---|---|
| 01 | O bedardi jaane de | Madan | Suman Kalyanpur | 29.03.2019 |
| 02 | Saj ke singaar sundar dulhaniya | Not known | Not known | |
| 03 | Maiyya meri jyot na bujhne paaye | Madan | Suman Kalyanpur | |
| 04 | O chanda re chhup jaanaa | Not known | Not known | |
| 05 | Pyaar ka dukh se bharaa sansaar | Madan | Mahendra Kapoor | |
| 06 | Dheere bol bairan paayaliyaa | Madan | Suman Kalyanpur |
“Surya Devta-1969” made its debut on the blog on 29.03.2019, wherein its’ song ‘o bedardi jaane de’ was presented by Shri Sudhir ji. I guess that the songs of this movie were not available those days. The song that was covered was also uploaded by Shri Sudhir ji. However, now, I could locate four songs of this movie on internet including the one already posted on the blog. That leaves us with two songs where the lyricist (I guess it should be Bharat Vyas) and singer is not known, that are unavailable even now.
Today I present the second song from this movie which is a ‘male-melancholic’ song sung by Mahendra Kapoor. From the lyrics we can guess that this guy has either been betrayed in love or lost his love to other person’. 🙂
Lyrics are by Madan and music is composed by Avinash Vyas.
Only audio of the song is available.
Let us listen to this song now…
Audio
Song-Pyaar ka dukh se bhara sansaar (Surya Devta)(1969) Singer-Mahendra Kapoor, Lyrics-Madan Mohan (lyricist), MD-Avinash Vyas
Lyrics
pyaar kaa dukh se bharaa sansaar
naa karnaa kabhi kisise pyaar
pyaar ik dhokhaa hai ae ae
pyaar ik dhokhaa hai
pyaar ik dhokhaa hai ae
pyaar kaa dukh se bharaa sansaar
naa karnaa kabhi kisise pyaar
pyaar ik dhokhaa hai ae ae
pyaar ik dhokhaa hai
pyaar ik dhokhaa hai ae
pyaar pe mat karnaa vishwas
pyaar har ghadi rulaataa hai
pyaar pe mat karnaa vishwas
pyaar har ghadi rulaataa hai
phool ki sejon ke badle
pyaar kaanton pe sulaataa hai
pyaar hai aansoo ka uphaar
bajaataa toote dil ke taar
pyaar ik dhokhaa hai ae ae
pyaar ik dhokhaa hai
pyaar ik dhokhaa hai ae
pyaar jab kartaa hai anyaay
samajh mein kuchh nahin aata hai
pyaar jab kartaa hai anyaay
samajh mein kuchh nahin aata hai
satya kaa galaa dabaa ke pyaar
jhoothh ko galey lagaataa hai
pyaar pe mat karnaa aitbaar
dubotaa kitnon ko manjhdhaar
pyaar ik dhokhaa hai ae
pyaar ik dhokhaa hai
pyaar ik dhokhaa hai ae
Sabse badaa vidhhaataa
Posted on: May 23, 2023
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.
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Blog Day : |
5422 | Post No. : | 17783 |
“Bhimsen”(1950) was directed by Jayant Desai for Mohan Pictures, Bombay. The movie had Trilok Kapoor, Nirupa Roy, Ram Singh, Rewa Shankar, Narbada Shanker, B. M. Vyas, Murad, Durga Khote etc in it.
There were nine songs in the movie according to HFGK. Three songs from the movie has been discussed in the past.
Here is the fourth song from “Bhimsen”(1950) to appear in the blog. This song is sung by Geeta Dutt , Badrinath Vyas and chorus. Saraswati Kumar Deepak is the lyricist. Music is composed by Avinash Vyas.
Only the audio of this joie de vivre song is available. I request our knowledgeable readers to throw light on the picturisation of this song.
From the lyrics, it seems clear that the song is lip synced by the character playing Draupadi and the occasion is agyaatwaas phase of Pandavas. Pandavas are carrying out their phase of agyaatwaas.
I have not been able to get a lyrics sung by the chorus. I request our readers with keener ears to help fill in the blanks/ suggest corrections in the lyrics.
Song-Sabse bada vidhaata (Bhimsen)(1950) Singers-Geeta Dutt, Badrinath Vyas, Lyrics-Saraswati Kumar Deepak, MD-Avinash Vyas
Lyrics(Provided by Prakashchandra)
chhanak chhanak pe chhanak chhadak pe chhanak chhanak pe ??aata
sabse bada vidhaata aa aa
sabse bada vidhaata
chhanak chhanak pe chhanak chhadak pe chhanak chhanak pe ??aata
sabse bada vidhaata aa aa
sabse bada vidhaata
teer taante hi dori par
pawan charan ruk jaata
teer taante hi dori par
pawan charan ruk jaata
noopur pahne
noopur pahne nartan karta
wahi ang lachkaata aa aa
sabse bada vidhaata aa aa
sabse bada vidhaata
chhanak chhanak pe chhanak chhadak pe chhanak chhanak pe ??aata
chhanak chhank pe ??aata
ghodon ki rakhwaali karta
teen ved ka gyaata
ghodon ki rakhwaali karta
teen ved ka gyaata
chaand se sunder mukhde waala
baithha gaay charaata aa aa
sabse bada vidhaata aa aa
sabse bada vidhaata
chhanak chhanak pe chhanak chhadak pe chhanak chhanak pe ??aata
chhanak chhank pe ??aata
jin haathon mein gada ghoomti
jaisa shankh bajaata
jin haathon mein gada ghoomti
jaisa shankh bajaata
aaj wahi chamcha kalchhi lekar ke daal chalaata
aaj wahi chamcha kalchhi lekar ke daal chalaata
sabse bada vidhaata aa aa
sabse bada vidhaata
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.
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Blog Day : |
5412 | Post No. : | 17750 |
Today’s song is from a special film – Gunsundari-1948.
I call this film a ‘Special’ film because this is one film in which the simple story was so original, interesting and so much a representative of the changing times in the country that this story inspired films in almost every language in India from the late 1920’s decade till even today (albeit in modern avatar !).
Chandulal Shah (later owner of Ranjit Studios), had first directed this silent movie GUNSUNDARI, in 1927, on his own story, under the banner of Kohinoor film company,Bombay. Even in those days it was a popular film.
After Talkie films started and Chandulal Shah had established his own studio-in partnership with Gauharjan Mamajiwala, a Heroine of several of his films and his consort for the next 40 years, he remade the film GUNSUNDARI once again in 1934. The cast of the 1934 film was the same as the 1927 silent film, namely Gauhar, Raja Sandow, Rampyari, R N Vaidya etc. Somehow Chandulal Shah had been fascinated by the film’s story.
After Ranjit studio and Sardar Chandulal Shah were in financial crisis (having lost 1 cr 25 lakhs in cotton trading, in one single day) and most of their properties were mortgaged, Producer Director Ratibhai Hemchander Punatar-who was Chandulal’s sister’s son and his chela, decided to make film Gunsundari once again. This time the film was made in Gujarati and Hindi simultaneously. The year was 1947. Due to partition etc the film was delayed and was released only in 1948.
Ratibhai had selected Kokila Balsara aka Nirupa Roy as the new heroine. After the shooting started, she was signed by Chandulal Shah for Ranjit’s film ” Lakhon mein Ek”. Since Gunsundari was delayed, “Lakhon mein Ek-1947″ got released first and it became Nirupa Roy’s FIRST Hindi film as a Heroine.
I remember having seen the film GUNSUNDARI-1948 sometime in the early 50s. The story was indeed very interesting for those times. A village simple girl is married to a modern type educated rich boy. He does not like this uneducated ‘gaon ki gori’ and he abandons her. The story is about how the girl gets educated and learns all modern things, yet impresses her in-laws with her traditional ways(unknown to the husband) and how she wins him back successfully. After the interval, the theatre used to vibrate with the clapping of the audience on every success of Gunsundari with her family and the husband.
Later on, as is the practice of Hindi film Industry, this theme was used in umpteen number of Hindi and various regional languages over a time.
This was also the First film of Nirupa Roy and Manhar Desai ( who was originally from a Goan family settled in Ahmedabad and his name was Malcolm Alfredo D’souza-a converted Christian). Later this pair starred in many Hindi and Gujarati films.
The director of this film was Ratibhai Punatar. He directed only 6 Hindi films – Gunsundari-48, Nanad Bhojai-48, Nili-50,Mann ka meet-50, Bahadur-53 and Daughter of Sindbad-58. He also directed 5 Gujarati films-all blockbusters and grossers. The Encyclopedia of Indian Cinema says about him…..Ratilal Hemchand Punatar (b. 1913) Gujarati-Hindi director aka Ratibhai Punatar. Born in Jamnagar, Gujarat. Production manager at Ranjit. Directorial début when, following the spectacular success of Ranakdevi (1946), Ranjit started subsidiary Ajit Pics to exploit the interest in Gujarati films. First major film, Gunsundari, remade Chandulal Shah’s pathbreaking silent film and remains, with Mehndi Rang Lagyo (1960) and Jesal Toral (1971), one of the Gujarati cinema’s biggest hits, the first one to tap a substantial urban audience for a Gujarati cinema until then restricted to semi-urban B film circuits. Third film Mangal Phera was also very successful, and continued the Gunsundari and Nanand Bhojai theme of a crumbling joint-family system faced with the values of a mercantile economy. Also made films based on Prabhulal Dwivedi’s folk theatre (Gadano Bel) and on e.g. D.N. Madhok’s popular novels.
The film was made by Ajit Pictures, Bombay- a subsidiary floated by Ranjit Movietone to exploit Gujarati film business. The cast of the film was Nirupa Roy, Manhar Desai, Dulari, Nazira, Ibrahim and many others. While this was Nirupa Ro’s first Hindi film as a Heroine, for Manhar Desai it was also his just the second film, the first being a C grade stunt film Toofani Sawar-1947, made by his classmate in Wilson College, Bombay N.C.Pandey.
Manhar Desai was a Gujarati Christian-real name Malcolm Alfredo D’souza. He was born on 3-8-1917. He used to stammer when he was a boy. He used to act and sing in dramas and due to his stammering style, he was very popular on stage. After completing High school, he ran away to Bombay to join Films, but could not even enter any studio, Disappointed, he returned to his home and restarted studies. He became normal with treatment. He joined Wilson college in Bombay for graduation. In college he started acting and singing on stage. He had a friend N.C.Pandey, who was also mad after films. He promised Manhar that if he becomes a Director, he will make Manhar a Hero. While in college Manhar married his classmate, who was from U.P.
In 1947, Manhar got a call from his friend N.C.Pandey, who was to direct a Hindi film. He made Manhar the Hero of this film and thus fulfilled his promise. Toofani Sawar-47 was the first film of Manhar Desai, in Hindi. He was invited to work in the film Gunsundari-48 ( Gujarati), opposite Nirupa Roy. The film was Hit and he acted in the next film Mangal Phera-49 with Nirupa Roy. This too became a Hit film in Gujarati and then there was no looking back. His next Hindi film was Madhosh-51 opposite Meena kumari. Following their success in Gujarati, Nirupa Roy and Manhar were paired in several Mythological films in Hindi. Films Naag Panchami-53 and Shivratri-54 made him a popular Hero in Hindi mythological films.
It is a coincidence that the Two film stars well known for Hindi Mythological films, namely Shahu Modak and Manhar Desai, both were Non Hindus and were Jew and Christian respectively.
Manhar Desai was fond of Reading. During breaks in shooting, he would catch up with his reading. He also was a good painter. Manhar worked in 106 Hindi films. His last film was Nal Damyanti-88. In the last phase of his career, he was disillusioned about working in films in this era, so he gave up working and retired. Manhar Desai died on 25-2-1992.
Today’s song is the 7th song from this film to feature here. It is sung by Ameerbai Karnataki and Chorus. Enjoy this melodious song composed by Avinash Vyas..
Song- Jhumak jhum bichhuwa baaje goree ka ghoonghat laaje (Gunsundari)(1948) Singer- Ameerbai Karnataki, Lyricist- Pt. Indra Chandra, MD- Avinash Vyas
chorus
Lyrics
Jhumak jhum
Jhumak jhum
bichhawa baaje
gori ka ghoonghat laaje
jhumak jhum
jhumak jhum
bichhawa baaje
gori ka ghoonghat laaje
dhagi naka takit dhin
dhagi naka takit dhin
taal pe bichhua baaje
dhagi naka takit dhin
dhagi naka takit dhin
taal pe bichhua baaje
baaje
baaje
gori ka ghoonghat laaje
jhumak jhum
jhumak jhum
bichhawa baaje
gori ka ghoonghat laaje
jhumak jhum
jhumak jhum
bichhawa baaje
gori ka ghoonghat laaje
aeri gori gori kori
kin sang kheli hori
aeri gori gori kori
kin sang kheli hori
kin ne tori gagri phori
kin chunree jhakjhoree
kin ne tori gagri phori
kin chunree jhakjhoree
kya mile kahin saanwariyaa
kyun khul khul jaaye paayaliyaa
kya mile kahin saanwariyaa
kyun khul khul jaaye paayaliyaa
kyun ghananan bichhua baaje
baaje
baaje
gori ka ghoonghat laaje
jhumak jhum
jhumak jhum
bichhawa baaje
gori ka ghoonghat laaje
jhumak jhum
jhumak jhum
bichhawa baaje
gori ka ghoonghat laaje
?? kare
panghat per natkhat
lapak jhapak chale bansi bajai
bhari pichkaaree maare
rang daaree saaree
dekhe brij naaree
hanse kunwar kanhaiyya
ang ang rang daare
?? ke baal gaal
ude gulaal laal
raas rachaiyya
haath jod gopee bolee
ara ra ra
chhodo pichkaaree
haaree tose kanhaiyya
jhumak jhum
jhumak jhum
bichhawa baaje
gori ka ghoonghat laaje
jhumak jhum
jhumak jhum
bichhawa baaje
gori ka ghoonghat laaje
Kuchh tum badhhe kuchh hum badhhe
Posted on: April 8, 2023
This article is written by Avinash Scrapwala, 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.
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Blog Day : |
5377 | Post No. : | 17636 | Movie Count : |
4739 |
#the Decade of Seventies – 1971 – 1980 #
————————————————————————
# Bhoole-Bisre Geet # (Missing movies of 1973-19)
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In this post we introduce the movie ‘Mahaasati Savitri-1973’ on the blog. We already have a movie with the same title released in ‘1955’ represented on the blog.
This movie of ‘1955’ was introduced on the blog on 30.04.2017 with a duet song sung by Asha Bhonsle and Mohd Rafi.
Today we introduce the movie of ‘1973’ with a similar song viz a duet song which is an ‘expression of love’ song.
“Mahaasati Savitri-1973” was directed by Chandrakant for ‘Basant Pictures’. It was produced by Homi Wadia.
The movie had Jayshree Gadkar, Upendra Trivedi, Meena T., Ashwini Kumar, Amrit Patel, Balakram, Dalpat, Shri Bhagwan, Dinanath, Bismillah, Jairam Desai, Kagga, John Fernandes, Rani, Fakhruddin, with Sapru, Arvind Rahtod, Ratnamala, Arvind Pandya, Babu Raje, Sujata, Kalpana Deewan, Kumud Tripathi, Radheshyam, Himmatsingh, Prabha Desai, Anjali Devi, Dilip Dutt, Neelam, Ghanshyam Nayak, Neel Kamal, Gulab and others.
Story of this movie was written by Pragji Dosa and dialogues were written by Rameshchandra Pande. Screenplay of this movie was written by Chandrakant who was also the director movie.
Editing of this movie was done by Shaikh Ismail.
This movie was passed by Censor Board on 29.06.1973. (This movie is available online with its re-certified version of 18.08.1983.).
“Mahaasati Savitri-1973” has eight songs written by Kavi Pradeep which were composed by composer Avinash Vyas.
Asha Bhonsle, Suman Kalyanpur, Vani Jairam and Mahendra Kapoor had given their voices to the songs in this movie.
As mentioned above today’s song is an ‘expression of love’ song and it is a duet sung by Asha Bhonsle and Mahendra Kapoor.
On screen it is Jayshree Gadkar and Upendra Trivedi (hope I am correct) lip-syncing this song which is picturised on some beautiful outdoor location I guess, or is it in the studio set-up?
Let us listen to this sweet beautiful love song.
Video
Song-Kuchh tum badhhe kuchh hum badhhe (Mahasati Savitri)(1973) Singers-Asha Bhonsle, Mahendra Kapoor, Lyrics-Kavi Pradeep, MD-Avinash Vyas
Both
Lyrics
chupke chupke ae ae
chupke chupke
chupchaap
chupchaap
chaar aankhon mein
achaanak baatcheet ho gayi
kuchh tum badhhe
kuchh ham badhhe ae
kuchh tum badhhe
kuchh ham badhhe ae
donon mein preet ho gayi
chupke chupke ae
chupke chupke
aaj to ham dharti ki dhoop se ae
ae ae ae
aaj to ham dharti ki dhoop se
pyaar ki chhaaon mein aaye
prem ki paayal
pehan paaon mein ae
ae ae ae
prem ki paayal
pehan paaon mein
piyaa ke gaaon mein aaye
ek mahal ki sundar
mainaa aa
aa aa aa
ek mahal ki sundar
mainaa
dekho jangal ka geet ho gayi
kuchh tum badhhe
kuchh ham badhhe ae
kuchh tum badhhe
kuchh ham badhhe ae
donon mein preet ho gayi
chupke chupke ae
chupke chupke
kitnaa hai madhur
ye milan
ek saath bandhe
do man
kitnaa hai madhur
ye milan
ek saath bandhe
do man
kehne ko to
alag alag ham
par donon ki ik dhadkan
kehne ko to
alag alag ham
par donon ki ek dhadkan
ik chhotisi ee ee ee
pehchaan
ik chhoti si
pehchaan
zindagi bhar ki jeet ho gayi
kuchh tum badhhe
kuchh ham badhhe ae
kuchh tum badhhe
kuchh ham badhhe ae
donon mein preet ho gayi
chupke chupke ae
chupke chupke ae
chupke chupke ae
chupke chupke ae
chupke chupke ae
chupke chupke ae
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.
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Blog Day : |
5360 | Post No. : | 17580 |
“Dashaavtaar”(1951) was produced by Kikubhai Desai and directed by Jayant Desai for J K Films, Bombay. The movie had Nirupa Roy, Trilok Kapoor, Niranja Sharma, Umakant, Vasantrao Pehlwan,Praveen Kumar, Baby Tabassum, Murad, Master Dhulia, chanda Bai etc in it/ Jerewan had made a guest guest appearance in the movie.
“Dashaavtaar”(1951) had 12 songs in it. Four songs have been covered in the blog so far.
Here is the fifth song from “Dashaavtaar”(1951) to appear in the blog. The song is sung by Rafi and chorus. B P Bhargav ki the lyricist. Music is composed by Avinash Vyas.
Only audio of the song is available. From the name of the movie, it appears to be a mythological movie, but it is surprising to see a song discussing Mahatma Gandhi is this movie. That is what the lyrics of this song are about. I request our knowledgeable readers to throw light on the story of the movie and also the picturisation of this song.
Lyrics of the song were sent to me by Prakashchandra.
Song-Kyaa khoobi ki Bhagwaan ne insaan banaa ke (Dashaavtaar)(1951) Singer-Rafi, Lyrics-B P Bhargav, MD-Avinash Vyas
Chorus
Lyrics(Provided by Prakashchandra)
kyaa khoobee kee bhagwaan ne insaan banaa ke ae
kyaa khoobee kee bhagwaan ne insaan banaake ae
insaan ko bhagwaan ki pehchaan karaa ke ae
kya khoobee kee bhagwaan ne ae ae
kyaa khoobee kee bhagwaan ne insaan banaake ae
insaan ko bhagwaan ki pehchaan karaake ae
kya khoobee kee bhagwaan ne ae ae
paidaa kiyaa mohan ne mrithyu lok mein mohan
donon ke chaley chakr charkhaa aur sudarshan
paidaa kiyaa mohan ne mrithyu lok mein mohan
donon ke chaley chakr charkhaa aur sudarshan
mohan ne murlee taanke duniyaa ko lubhaayaa
baapoo ne mantra ahimsaa se jag ko jhukaayaa
mohan ne murlee taanke duniyaa ko lubhaayaa
baapoo ne mantra ahimsaa se jag ko jhukaayaa
aazaad kiyaa hind aazaad kiyaa hind binaa khoon bahaake
kyaa khoobee kee bhagwaan ne insaan banaake
kyaa khoobee kee bhagwaan ne ae
aazaad kiyaa hind aazaad kiyaa hind binaa khoon bahaake ae
kyaa khoobee kee bhagwaan ne insaan banaake
kyaa khoobee kee bhagwaan ne ae
kyaa khoobee kee bhagwaan ne insaan banaake ae
insaan ko bhagwaan ki pehchaan karaake ae
kya khoobee kee bhagwaan ne ae
kyaa khoobee kee bhagwaan ne insaan banaake ae
insaan ko bhagwaan ki pehchaan karaake ae
kya khoobee kee bhagwaan ne ae
gopaal banke gavvon ko ban mein charaayaa aaa
hari se harijan ko mohan ne milaayaa
gopaal banke gavvon ko ban mein charaayaa aaa
hari se harijan ko mohan ne milaayaa
jisne diyaa hai ektaa aur prem ka vardaan
samjho to ye insaan hai samjho to ye bhagwaan
jisne diyaa hai ekthaa aur prem ka vardaan
samjho to ye insaan hai samjho to ye bhagwaan
kyaa khoobee kee bhagwaan ne insaan banaake
insaan ko bhagwaan ki pehchaan karaake ae ae
kya khoobee kee bhagwaan ne ae
kyaa khoobee kee bhagwaan ne insaan banaa ke
insaan ko bhagwaan ki pehchaan karaake ae ae
kya khoobee kee bhagwaan ne ae
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.
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Blog Day : |
5353 | Post No. : | 17555 |
“Kailashpati”(1962) was directed by Dhirubhai Desai for Alice Pictures, Bombay. This mythological movie had Sumitradevi, Mahesh Kumar Desai( brother of Manhar Desai), Jeevan, Niranjan Sharma, Padma rani, Premlata, Paul Sharma, Abhiumanyu Sharma, Bhoj Kumar, Polson, Laxmi Kant Bagla, Champaklala, Darshan Kumar, Dushyant, Nitin Kumar, S.P.Kalla, Deepak Kumar, Prakash Bagla, Indira Bansal etc in it.
The movie had 16 songs in it. Four songs have been covered in the past.
Here is the fifth song from the movie to appear in the blog. This song is sung by Lata Mangeshkar. Madan is the lyricist. Music is composed by Avinash Vyas. This song was originally there in the movie and it was picturised on Sumitra Devi and Jeevan, but the video available online has deleted this video from the movie just as the song starts.
Lyrics of the song and other details were sent to me by Prakashchandra.
audio link:
Song-Mere matwaare nainon mein pee ki jhalak aa hi gayee (Kailashpati)(1962) Singer-Lata, Lyrics-Madan, MD-Avinash Vyas
Lyrics(Provided by Prakashchandra)
mere matwaarey nainon mein
pee ki..ee jhalak aa hee gayi ee ee ee
bin jaaney main unki..ee bhayi…ee ee
aaye na aaye woh hamri nagariyaa aaa aaa
aaye na aaye woh hamri nagariyaa aaa aaa
main…aen to bawariyaa aaa aa huyee…eee…eee..eee
bin jaaney main unki eee bhayi eee eee,/em>
mann to..oo kahey
chal des piyaa ki ee
o birahan matwaari..ee ee eee
nain kahey anjaan dagar hai…ae..ae
boley umang mohey dar laagey
pag boley kaanton se panth bharaa hai
pag boley kaanton se panth bharaa aa hai
kyaa karoon haayye..ae dayyee..ee eee
bin jaaney main unki eee bhayi eee eee
mere matwaarey nainon mein
pee ki..ee jhalak aa hee gayi eee eee
bin jaaney main unki ee bhayi eee ee ee
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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