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

Posts Tagged ‘Badri Prasad


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 :

4825 Post No. : 16603

The human mind is constantly attracted by imaginary things.He would like to have supernatural powers and do things which he only dreams about. He knows he can not do so, so looks out for those who can do them. A normal person likes to see a man do super-human activity like fighting with hungry lions or teaching a lesson to Roadside Romeos or punishing wrong-doers etc. If possible he would like to do these things himself, but it is not possible for an ordinary man. If someone is thrashing a thief or stopping someone from troubling hapless women, the public gathers and cheers him. We have seen it many times.

Secrecy, Puzzles, riddles, Mystery and fantasy are the initiators of curiosity in Human Mind. The mind dreams of the things it wishes, but can not do and knows that it can not do. That is where the seeds of Action films and stunts are sown.

The film makers took advantage of this human nature and made films about supernatural heroes who rode Horses, fought 10 goons at a time, jumped into and out of fire with ease and generally staked their lives to save the poor and the weak in the society. The audience simply loved it and action films established themselves. There is nothing childish about it. These movies help the majority of moviegoers enjoy such superhuman acts vicariously.

When film making started in India, it was but natural, because of our heritage, that most initial films were mythological. With the beginning of silent films from Raja Harishchandra in 1913 to 1921 almost all films were Mythologicals.

The First off-beat film was ”England Returned or Bilet ferat” a Comedy film made by Indo British films, Calcutta, released on 2-2-1921.

The First fantasy film was ‘Princess Badar or The tale of Kamar-al-Zamin’ made in 1922 by Madan Theatres, Calcutta.

The First Costume film was ‘The song of the slave‘-1922,made by Photoplay Syndicate,Calcutta.

The First Crime film was ‘The Kala Naag or Triumph of Justice‘-1924, made by Kohinoor films,Bombay. The First detective film was ‘ Justice or Nyaya’-1925, made by Premier Photoplay, Poona.

And finally the First Action film was ”The choice of a Bride“-1929, made by Surya Film Company, Bangalore.

After this there were many Action films made in Silent movies till the last silent film in India-” Niyoti”-1934, made by Aurora Film Corporation, Calcutta, released on 15-9-1934.

( Thanks to Dr.R K Verma and his book “Silent Cinema”).

When the Talkie films started , here too Mythologicals led the list. However the First Action Film in Talkie was ” Dagabaz Aashiq”-1932, closely followed by another action film “Do Badmash” made by Imperial and Ranjit respectively.

After this there was no looking back. There was enough material available for Mythological, Historical, religious, social, fantasy and Costume films in India,with its rich Heritage, but for Action and Stunt film stories, movie makers looked to the west.

The legendary King Arthur, Robin Hood, William Tell, Zorro and Tarzan etc all became sources of inspiration for action and stunt films in India. Skillful adaptation and Indianization of western Heroes coupled with the fertile imagination of story writers in our studios provided enough fodder. It is through this that emerged the ideas of ‘Masked men’,’Hunterwali’ and various Baghis.

Out of these the Tarzan stories were more popular as they combined Mystery, jungles, superhuman powers and great strengths which tamed the wild animals. Countless films were made with Tarzan as the central character.

The original Tarzan story was written by Sir Edgar Rice Burrows and it was first published in 1912, followed by its 23 sequels. The story proved to be immensely popular. No wonder, then, that it attracted the Hollywood producers.

The First Silent film ” Tarzan of the Apes” was released in 1918 in which Tarzan’s role was done by Elmo Lincoln and Jane Porter was Enid Markey. From 1918 to 2008, Hollywood made 89 Tarzan Films.

The First Talkie film on Tarzan was ” Tarzan-The Ape Man ” in 1932. Johnny Weissmuller was doing Tarzan’s role and Maureen O’Sulivan was Jane in it.

Johnny was a German bred Romanian settled in America. He was an Olympic Swimming Champion with 5 Gold medals. The pair of Johnny and Maurine was very popular. Johnny Weissmuller did 12 films of Tarzan from 1932 to 1948. 6 films with Maureen, 2 without Jane and 4 with Brenda Joyce. After Johnny 5 Tarzan films were done by Lex Barker and 6 were done by Gordon Scot. After 1960, there were different Tarzan actors in every film.

The Chimpanzee “Cheetah” was there in films from 1932 to 1960, when he died.

In most films, the scripts were loyal to the novels. However, in the novel, Tarzan and Jane get married and they have a son too. But in films, they never got married and their son ” BOY ” was found and adopted by Jane.

Tarzan films attracted Indian film makers too.As far back as the first decade of Talkie films in India , an attempt was made to make films like Tarzan. The name was too obvious to be copied, so a new name was invented- ZAMBO. The adventurous producer Mohan Bhavnani always liked to do experiments and he made a film Zambo- The Ape man in 1937 (aka Sher E Jungle). It had almost a similar story like that of Tarzan but it was fully indianised. Obviously, this film became very successful, because Bhavnani made a sequel ” Zambo ka Beta ” in 1939.

In both the films the Hero was the same-Navin Yagnik. Navin was a well known stunt film actor who did social films also with the same ease. Navin was born in Calcutta on 3-10- 1912. His father was from U.P. and mother from Bengal. During school days, he was more interested in sports,dramas and oratory. He did not complete his Matriculation, but ran away to Bombay, to become an actor-against the wishes of his family.

He joined Sagar Films in 1930, as an Extra, without salary. After a few months he got Rs.35 pm, but no credited roles. After an year or so, he left Sagar and joined Mohan Bhavnani’s Ajanta Film company. He first worked in the film ‘ The Mill ‘-34. Unfortunately, this film was banned for 2 years. The film was based on a story by Munshi Premchand and depicted the poor conditions of mill workers in Bombay. The Mill Owners’ Association brought pressure on the Government and got the film banned. After 2 years, the film was released as ” Ghareeb Parivar”-36 aka ‘Daya ki Devi’. Two more films and Navin became Hero in the film ” Pyar ki maar”-35.

In her autobiography, actress Hansa Wadkar says,” My Hero in this film was one Navin Yagnik, a handsome boy from U.P. He was very shy and after the shootings, he would quietly sit in one corner reading something. He never joined our drink parties,nor did he participate in any other group activity. I was attracted towards him but he gave no response. He sent me an invitation card for his marriage, when it was fixed.”

He also worked in Minerva Movietone, Prakash pictures, Filmistan and other good banners. Some of his well known films were, Zambo-The ape Man-37, Meri Bhool-37, Divorce-38, Vaasanti-38, Son of Zambo-39, Main Haari-40, Jhoothi Sharm-40, Vasantsena-42, Raja Rani-42, School Master-43, Prithvi Vallabh-43, Chal chal re Naujawan-44 etc. His last recorded film was Bhagwat Mahima-55. In all, he worked in 30 films.

Navin Yagnik died on 28-10-1977.

Many films were made on Tarzan in India. Though there was a film ‘ Tarzan ki beti’ made by a Calcutta company in 1938, it was not actually a jungle film, belying its title. It took about 25-30 years to see a Hindi film of Tarzan. In the 60s there was a spate of Tarzan films. About 20+ films were made. Tarzan stories were more popular as they combined Mystery, jungles, superhuman powers and great strengths which tamed the wild animals. Countless films were made with Tarzan as the central character.

When the normal titles finished, the imaginative writers combined Tarzan with Aladdin, Delialah, Rocket, Gorilla, Mermaid, King Kong, Hercules, Cobra, Circus and even Fairyland. When this too was exhausted, they joined him with places like Delhi, spies like 303 etc. They gave Tarzan a Daughter also. When the Indianisation of Tarzan was complete, in came ZIMBO !

Whatever the title, the script ideas were more or less the same. It ensured that the Hero’s supernatural powers and strength was used and wild animals were shown in abundance.

There were also Toofani Tarzan (1937), Toofani Tarzan (1962), Tarzan Aur Gorilla (1963), Rocket Tarzan (1963),Tarzan Aur Jalpari (1964), Tarzan Captain Kishore (1964), Tarzan Comes To Delhi (1965),Tarzan And Circus (1965), Tarzan And King Kong (1965); Tarzan Aur Hercules (1966), Tarzan Ki Mehbooba (1966), Tarzan In Fairyland (1968), Tarzan 303 (1970),Tarzan Mera Saathi (1974), Tarzan (1985), Taarzan – The Wonder Car (2004).

Anyway we are talking about the film Zambo-The Ape man-1937 presently. The music was given by an extraordinarily talented artiste- Badri prasad. He was an actor, singer, Music Director, Producer, Director, Lyricist and a Choreographer in his last lap. I have yet to come across another artiste with so much talent. Additionally he was a Sanskrit pandit and wrote dramas for All India Radio also. We don’t find such people these days !

Film actor and a famous compere DAVID ABRAHAM CHEULKAR, popularly known only as David, made his Debut with this film. David Abraham Cheulkar (21-6-1909 to 2-1- 1981), popularly known as David, was a Jewish-Indian Hindi film actor and a member of Mumbai’s Marathi-speaking Bene Israel Jew community. In a career spanning four decades, he played mostly character roles, starting with the 1941 film Naya Sansar, and went on to act in over 110 films, including memorable films such as Gol Maal (1979), Baton Baton Mein (1979) and Boot Polish (1954), for which he was awarded the 1955 Filmfare Best Supporting Actor Award.

He never married. He died on 2-1- 1981 in Toronto, Ontario, Canada of a heart attack at the age of 73.
Today’s song is sung by Sarla devi. It is the second song from this film here.


Song- Hamri sudh budh kyon bisraayee (Zambo The Ape man)(1937) Singer- Sarla Devi, Lyricist- Pt. Badri Prasad, MD- Pt. Badri Prasad

Lyrics

Hamri sudh budh kyon bisraayee
Hamri sudh budh kyon bisraayee
hamre nainan mein nit aas lagi hai
nainan mein nit aas lagi hai
surat kyon hai chhupaayi
Hamri sudh budh kyon bisraayee
hamre kaate katat naahin
birha ki ratiyaan
kaate katat naahin
birha ki ratiyaan
tum bin saajan dhadkat chhatiya
neha lagaa ke
tumne saajan
neha lagaa ke
tumne saajan
birha ki aag lagaayi
hamri sudh budh kyon bisraayee
hamri sudh budh kyon bisraayee

raat andheri
baadal garje ae ae ae
megh chaaye rahe
bijli chamke

aawo ban mein chhupne waale
aawo ban mein chhupne waale
ab pad jaawo dikhaayee
hamri sudh budh kyon bisraayee
hamri sudh budh kyon bisraayee


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 :

4820 Post No. : 16592 Movie Count :

4522

Today’s song is from an obscure old film Jhoothi Sharma-1940. The film was made by Bhavnani Productions, Bombay and was directed by its owner Mohan Bhavnanni himself Music was given by the veteran, multi-talented Badri Prashad and the songs were written by D.N.Madhok.

Though the film was obscure which remained unknown in later years, it was a special film because a German had written its story and screenplay, while another German had provided the background music and the orchestration for the film. Now, where did the Germans come from in this film ?

Very few people know that Indian Cinema had a little known connection with the rise of Hitler in Germany in 1932-33. A group of men , engaged in Cinema in Germany, flocked to India in the 30’s and played a vital role in Indian Cinema and the arts of that time. After Hitler took over Germany in 1933, the German Cine Studio’s glory days were over and they were turned into Nazi Propaganda Machines !

It was at this time that several of its men left the studio and arrived in India, and contributed during the Indian cinema’s formative years.

The foremost among them is Frantz Osten, a German whom Himanshu Rai and Devika Rani met at the UFA when they went to train there (they worked with Lang and Marlene Dietrich). Osten had already been directing films for the couple since 1925, when he made Light of Asia for them from Germany.

In 1934, he came to India and the next year, after Rai founded ‘ Bombay Talkies ‘ the legendary film studio in Malad that now lies in ruins, Osten directed its first film.

He went on to direct the famous Devika Rani-Ashok Kumar starrer, Achhyut Kanya, without much knowledge of Hindi. The film, which featured the song “Main ban ke chiriya”, was shot by Joseph Wirsching; the sets were designed by Karl von Spreti and the laboratory was headed by Zolle, Osten’s team of UFA ex-members who worked for Rai’s state-of-the-art studio.

Osten and his fellow Germans directed 16 films for Rai. It was a remarkable feat for people who knew little Hindi ‘ mistaking the word “bulbul” once for a pair of bulls. While in Bombay, he became a member of the Nazi Party (1936). He was interned by the British at the outbreak of WW2 while shooting his last film there, Kangan. Released and allowed to return to Germany (1940).

“It’s not clear if they had anything to do with the Nazi ideology, either way,” said film historian Amrit Gangar.

“If they did, it did not show in their films. But there were two other people who almost certainly migrated to India because of the persecution of Jews.”

They were Walter Kauffman, a scholar and composer interested in Oriental music, and Wilhelm Haas, a writer and a friend of Franz Kafka.

“Both were Jews, and Haas came to India because of Kauffman, who went on to found the Bombay Chamber Music Society,” Gangar added.

Kauffman arrived in 1934 after meeting director-producer Mohan Bhavnani at the UFA (where V. Shantaram also did a stint).

“Haas was in Czechoslovakia, but left the country for India just after Hitler’s invasion,” Gangar said.

Kauffman, Haas and Bhavnani worked together in Premnagar (1940), Naushad’s first film as music director. Kauffman composed the background score; Haas wrote the screenplay.

“It is debatable, but Kauffman is probably also the person behind the All India Radio signature tune. Haas was a member of the Indian chapter of PEN,” Gangar said. Haas also wrote the script for Bhavnani’s Jhooti Sharam (1939) and Kauffmann provided Orchestration and background music.

The story of Paul Zils ( 1-6-1915 to 30-3-1979 ) stands out, though. Zils, believed to be a Nazi sympathizer, turned up in India under strange circumstances: he was bound for Indonesia in a steamer that got torpedoed by an Indian naval ship during World War II and he was taken prisoner.

After his release, because of his film experiences, the leadership of the sales department in Ezra Mir led government documentary production company, called him to join Information films of India. End of October 1945, he came to Bombay and started his work. In March 1959 he returned to Germany.

Josph Virsching-the Cinematographer, however, stayed back in India till his death in 1967. He did few Hindi films too.

Paul Zils directed 3 Dev Anand films, according to the documents. Hindustan Hamara-50 and Zalzala-52 are found in HFGK, but the third film called ‘ Shabash”, though listed in 1949, gives no details, except the film name. ( Information adapted from the book ” Walter Koffman” by Amit Gangar, with thanks and my notes.)

The cast of the film Jhoothi Sharm-40 was Trilok Kapoor,Bimla Kumari, Shareefa, Navin Yagnik, Nayampally, Girish, Iqbal, Rajkumari and others. The film was directed by Mohan Bhavnani. Most of the new generation readers may not know anything about this pioneer film maker.

Mohan Dayaram Bhavnani was born on 2-10-1903 at Hyderabad-Sindh. He studied at the College of Technology, Manchester (1921-24). After graduation, he went to Germany to study film making at the UFA (Universum Film ArtikenGessel schaft), a German motion picture production company in 1924. He came back to India and joined Kohinoor Film Co. in Bombay. He made several Silent films with actress Sulochana, like Cinema ni rani, Maitri prem, Veer Bala, Bhamto Bhoot, Wild Cat of Bombay ( she played 8 different roles in it) etc. Then he joined Imperial film co. in 1927. In 1931 he became an independent producer with Indian Art Production.

He returned to Germany to study sound film technique, when the advent of the Talkie happened in India. he came back and made his first Talkie Farebi jaal aka The Trapped-1931, a part Talkie film. It flopped but actress Durga Khote debuted with this film and sang 2 songs too. Even his future wife Enakshi Rama Rau also acted in this film in a small role.

He started his Ajanta Cinetone(1933-34) and his own Bhavnani Productions (1935-1948). He hired famous author Premchand to write a story for the film ‘ Mazdoor’ (The Mill)-1934. The film was banned for 2 years. It was followed by the film Jagran-1936- both films on Labourer’s problems. He also produced a film Ajeet-48, the first full length colour film on 16 mm and blown up on 35 mm.

He left filmmaking and joined the Government Films Division as its first Chief producer (48-55). Then he went to China, on the invitation of Chow En Lai to make documentaries for China. He took his cameraman Kishore Rege and S.K.Kulkarni with him.

His wife Enakshi became a famous Dancer and also wrote books on Dances of india. Mohan Bhavnani died on 30-12-1962 at Bombay The 72nd Annual Cannes film Festival was organised from 14th to 25th May 2019 and it was dedicated to short films made by Mohan Bbhavnani of india. What an honour for him to get such a tribute!

Filmography- 1925: Cinema Ni Rani, Matri Prem, Seth Sagalsha, Veer Bala, 1926: Bhamto Bhoot, Diwan Bhamasha, Mena Kumari, Pagal Premi, Ra Kawat, Samrat Shiladitya, 1927: Daya Ni Devi, Gamdeni Gori, Naseeb Ni Lili, Trust Your Wife, Wildcat of Bombay, 1929: Hawai Swar, Khedda, Khwab-e-Hasti, Mysore: Gem City of India, 1930: Vasantsena, 1931: Farebi Jaal, Lafanga Langoor, Shakuntala, 1932: Veer Kunal, 1933: Afzal, Rangila Rajput, 1934: Dard-e-Dil, Mazdoor (Director, Writer), Sair-e-Paristan, 1935: Jung Bahadur, Navjeevan, Shadi Ki Raat, 1936: Dilawar, Garib Parwar, Jagran (Director, Producer), Wrestling, 1937: Zambo the Ape Man, 1938: Double Cross (Director, Producer, Writer), Himalay Ki Beti, Yangrilla, 1939: Zambo Ka Beta, 1940: Jhoothi Sharm, Prem Nagar (Director, Producer), 1945: Biswi Sadi, 1946: Rang Bhoomi, 1948: Ajit (Director, Producer), 1949: Vale of Kashmir, 1950: The Private Life of a Silk Worm, Search For Shelter (Producer), 1951: Lest We Forget, 1952: Kumaon Hills, 1953: Feminine Fashions (Producer), Folk Dances of India, Republic Day Record, Six Years of Freedom (Producer), 1954: Good Manners (Producer), Modest Homes (Producer), 1955: Republic Day 1955, 1956:Operation Khedda, 1957: The Himalayan Tapestry ( Thanks to Encyclopedia of indian Cinema.)

Today’s song is sung by Iqbal Bibi. I do not have any information about this singer/actress.


Song- Phoolon ki main laayee hoon maala (Jhoothhi Sharm)(1940) Singer-Iqbal Bibi, Lyricist- D N Madhok, MD- Badri Prasad

Lyrics

Phoolon ki main laayee hoon maala
Phoolon ki main layee hoon maala
chun chun kali kali
Phoolon ki main laayee hoon maala
chun chun kali kali
koi mohe kahe kahaan
koi mohe kahe kahaan
preet ki hai kaun gali
koi mohe kahe kahaan
preet ki hai kaun gali
Phoolon ki main laayee hoon maala
chun chun kali kali
ab Ghanshyam milo
ho ab Ghanshyam milo
bhayi birha ki gali
ab Ghanshyam milo
ab Ghanshyam milo
bhayi birha ki gali
Phoolon ki main laayee hoon maala
chun chun kali kali
Phoolon ki main layee hoon maala

torey bin chain nahin
torey bin chain nahin
kal bin rain nahin
torey bin chain nahin
kal bin rain nahin
ab Ghanshyam milo
ab Ghanshyam milo
jag hai chalaa chali
ab Ghanshyam milo
ab Ghanshyam milo
jag hai chalaa chali
Phoolon ki main laayee hoon maala
chun chun kali kali
Phoolon ki main laayee hoon maala


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 : 3671 Post No. : 14550

Today’s song is from Anuradha (1940). There were two more films made with the same title- one in 1960 and the other in 2014. Film Anuradha-1960 was the most well known film of these 3 films. The song of today is ” Chahun oar chaandni chitki hai.” It is written by Lajpat Rai and tuned by the veteran composer Badri Prasad. The song is sung by Vatsala Kumthekar.

Vatsala Kumthekar was one of those many aspirants, who dreamt of a bright career, plenty of money,name and fame and a happy retired life. To fulfil this dream, it was customary to go to Bombay and join films.

This is a Maya Nagari. Those who thought that all that glittered was Gold, suffered the bitter fruits of reality. In reality, Hindi film industry is a great leveller. This industry has taken some people from Rags to Riches and some others from Riches to Rags !

There are many cases where an artist reached a particular height of his career in professional life but when the end came, he died unsung, unknown and unatteneded. There are instances like Parveen Babi and Nalini Jayawant, whose death went unnoticed for days together and when news spread their bodies were beyond recognition. For many, the end was violent, like Sayeeda Khan, Director Brij and Shankar Dasgupta.

But the worst is when Death does not come fast and the last days are spent in penury, begging and in bedridden condition unattended.
Master Nissar, who once boasted of owning the only car in Bombay, other than the Bombay Governor, died in Kamathipura slums in Bombay penniless. His last rites were done by the Cine Artists Association.

The beautiful bubbly Meena Shorey died in Lahore in utter poverty and her last rites were done by charity. One time popular hero WASTI was found begging near Liberty Cinema in Bombay. Rattanbai, the famous singer was seen begging at Haji Ali Darga in Bombay. The wife of Khemchand Prakash also was found begging there by Naushad. Mohd.Rafi found Khan Mastana begging near a Dargah. Rajkumari, Vimmi, Bharat Bhushan, Master Bhagwan, Khan Mastana spent their last days very humiliated, in poverty and obscurity. We all know, by now, the sad story of Mubarak Begum living off the meagre earnings of her Auto-driver son, in a Bombay Zopadpatti, till her recent death.

The story of PARSHURAM, once a popular actor/singer of 1930s and 40s is very pathetic. Tabassum,who ran the record breaking TV program ‘Phool khile hain gaulshan Gulshan’, once stopped at a traffic signal. From her car,she saw a familiar face begging at every car. She immediately recognised Parshuram. She got down quickly,took him in her car to the TV studio. He was the same Parshuram who sang the famous song of Duniya na maane-1937 ‘Man saaf tera….’. He was cleaned, fed and robed in fresh clothes. Then she did his live interview on the TV and paid him Rs.1000/- on the spot. Later he got 1 or 2 film offers, but then he disappeared forever. He was a habitual drunkard. He was seen begging again. One day he died on footpath and was cremated by Municipality as an unclaimed body, before his relatives reached to claim the body.

Chandra Mohan, Shaikh Mukhtar, Cuckoo…………so many stories of sorrow and sad ends…….This is Bombay Film Industry-the Maya nagari.

Inspite of all this,still millions of people come to Mumbai with dreams in their eyes…..

Today we see the case of one such singer who scaled heights of popularity and then went to the Nadir from the Zenith….

VATSALA KUMTHEKAR was born in Bombay in 1909.Her family was a noted singers family from Goa. After schooling she got regular music training fro Ustad Barkat Ali,the elder brother of Bade Ghulam Ali Khan.She specialised in Thumaris.

Her beauty and sweet voice attracted many and she started holding Mehfils and Jalsas from 16-17 years onwards.her fame spread far and wide and she did programmes all over India. No wonder film companies ran after her.She started the career with Prabhat’s “WAHAN”-1937.
Then came Baanke Saanwariya, Madhu Bansari, Hurricane special, Jumbo ka beta, Aaj ki Duniya, Anuradha, Jai Swadesh, Aurat, Holiday in Bombay, Prabhat,Sangam,Lalaji,Aabroo, Jabaan, Aashirwad, Ishara and Rahat.

She was quite popular and many film personalities were keen to marry her. She got married in 1940, but her married life was bad. Her husband, Ibrahim Sheth, left her for another woman. After 3 years he returned to her. She readily accepted him and looked after him till he died. By now she had stopped getting films. After husband’s death, she almost became penniless and lost her mind. She shaved her head. She was seen roaming in Bombay like a mad woman and begging.

One day her dead body was found on Tardeo Bridge, Bombay. She was identified by some onlooker, but before the news reached the film industry, she was cremated by the Municipality as an unclaimed body.

Film Anuradha (1940) had a cast consisting of Maya Banerji, Trilok Kapoor, Jeevan, K N Singh, Vatsala, Shyamsundar, Anant Marathe , Agha etc.etc. Anant Marathe aka Anant kumar was the brother of actor and famous singer Ram Marathe. I was searching for his information for quite some time. My search ended when I found an article written by his son about his father.

Anant Marathe was born in 1936. In a career that spanned over 50 years, he was a witness to many changes and upheavals in the Hindi film industry. Born in Pune, in a family that was doing well for itself, he had three brothers and two sisters. Losing his father at the tender age of four, he was forced to give up education and begin work, to fend his family. In the process the family left Pune and came to Mumbai, the city that fed every soul.

The world of films, those days, was not an industry. It was just like a 9 to 5 job in an office. Anant Marathe, with his innocent looks, expressive eyes and inborn confidence, was chosen by Master Vinayak, to play a role as a child artiste in a hindi film, Chhayaa. In this film he played the role of a son, who for his own selfish means is used by his father, ( played by Late Shri Chandra Mohan).

The real breakthrough came when he was called for an audition at Prabhat Studios, the most distinguished film company of those days. This 1943-44 film was ‘ Ramshastri’, in which he was to play the part of Chhota (small) Ramshastri. Ramshastri Prabhune was the Supreme Judge of the Peshwa dynasty and known for his supreme judgement. Once he was selected for the role, his grooming as an actor really began. In the storyline, Chhota ramshastri was depicted as a boy who hates to study and loves to play whole day long. He would swim, roam about with his pet dog and enjoy life. For this role Anant marathe was made to learn swimming even though he was scared of water! He could not get along with the puppy dog, even though it was supposed be his pet. And to top it all, after shooting, the swimming and the sequences with the dog were edited from the film! The song, ‘Don ghadicha daav, yala jeevan aise naav” sung by him was very popular at that time. He received an award for his performance as Ramshastri from Bengal Film Journalists Association as the best supporting actor of the year. This film was screened in a number of National and International film festivals.

Film industry in South India was very active in early 50’s. Anant Marathe acted in a number of films produced by the South Indian film studios, namely AVM, Gemini studios etc. Shri Chettiar of AVM was planning a socio-mythological film on the life of a famous saint. The lead role was played Shahu Modak. The film in general was devotional and to bring in an interesting element, a comic character was created, in the form of the saint’s shishya ( pupil ). This role was offered to Anant Marathe and he displayed histrionics that astonished everybody on the sets.

The Director who groomed the great showman Raj Kapoor was Kidar Sharma and Anant Marathe had the privilege to work in one of his films, this time as a villain! The film was Hamaari Yaad Aayegi. This film also launched Tanuja, who would be known as a talented actress in the coming years. Anant Marathe played the role of a character called Pyarelaal, a very deceiving name for a villain! He is a suave character, moving about in the company of elite people but behind the cute face there is a monster of sorts, a wolf in sheep’s clothes. Anant Marathe, with his charming smile was very stunning, not only in his looks but in every move. Kidar Sharma was known to reward any actor who performed a great scene with a 4 anna coin, known as chavanni in those days. A chavvanni earned for a great shot was like an achievement. And Anant Marathe earned many, which he cherished till end.

His journey as an actor continued with great flourish. Since he could speak Marathi and Hindi fluently, he received offers from both Marathi and Hindi films. He was truly a bi-lingual actor.

Manoj Kumar was inspired by the life of Bhagat Singh, the great sikh patriot from Punjab and was planning a film on his life. Manoj Kumar and Prem Chopra were to play the roles of Bhagat Singh and Sukhdev respectively but casting for Raajguru, the third freedom fighter was still to be done, as Manoj Kumar wasn’t happy with the short-listed few, to play the role. Manoj Kumar heard about Anant Marathe, who had acted in many hindi and marathi films. Anant Marathe was asked to come over and meet Mnoj Kumar. One look at him and he had found his Raajguru! The experience of working in a truly patriotic film, that too with a thespian like Pran who played a cameo in Shaheed, was a very inspiring experience for him. Incidently Pran did not charge a single rupee for this role! Shaheed brought a wave of patriotism in the audience, they cheered and loved their heroes. The real mother of Bhagat Singh was felicitated at the premiere of this film at Delhi. She was moved by the performances of every actor in the film. What’s more, a special screening was arranged for the then Prime Minister of India, Late Shri Lal Bahadur Shastri, who praised the film and awarded certificates of honour to all the actors.

Anant Marathe acted in over 250 Hindi and Marathi films, out of which 71 films are Hindi. he also sang 5 songs in 5 Hindi films.When he made his foray in Hindi films, he was not very fluent in Hindi so he took lessons from a tutor who taught him the nuances of Hindi, thus improving the pronunciations so he could speak the language flawlessly. He also learnt English to give his persona the required sparkle, so important for a lead hero. He had to give up formal schooling due to circumstances that prevailed and may be he made up for it in this manner.

Some of the films he acted in are, Bhakta Bilwamangal (Durga Khote), Bhakta Gopalbhaiya (Amir Kanataki), Geeta (Chandra Mohan, Durga Khote), Gokul ( Kamla Kotnis, Sapru), Jivacha Sakha (Durga Khote, Sulochana), Malti Madhav (Durga khote, Baby Shakuntala), Nanda Kumar ((Durga Khote), Sant Janabai (Hirabai Badodekar), Seeta Swayamvar (Durga khote, Baby Shakuntala), Jawaee Majha Bhala, Choravar Mor, Bhintila Kaan Astaat, Shri Krishna Darshan ( (Durga khote, Usha Kiran), Sampoona Ramayan, Bharat Milaap and many more.

In “ Barkhaa”, he played the role of a doctor opposite Nanda. The song, “ Ek raat mein do-do chaand khile…” became an instant hit. “Bada bhai”, a film starring late Ajit, had him playing Ajit’s younger brother with Amita as the female lead. In “Sanskaar” also he played the lead role opposite Amita. He acted in some Gujrati films also.

In the early stages acting was like a job for him but soon it became a passion. All these years, while he worked in front of the camera as an actor, he learnt the finer details of film making, by observing, making mental notes. He had a flair for writing. In fact, he was a habitual diary writer. He wrote poems for small children and later they were published in the form of a book.
He had a good voice and was planning to be a singer but destiny had something else in store for him, a career in acting.

He wielded the megaphone in year 1974, for a marathi film named “Sonarana Tochala Kaan”, starring comedian and an intense actor Nilu Phule in lead role with Usha Chavan as the female lead. It was inspired by a Hollywood caper with famous comedian, Bob Hope in lead. The film was a huge success all over Maharashtra.

Soon he was set to direct a film in Hindi. After a detailed script was worked out by him, the producer backed out. Losing hope but not the spirit, he turned a new leaf and began work on his next project, once again in Marathi. The name of the film was “ Bijlee”, meaning lightning.

Rangat-Sangat Pratishthan, founded by the wife of late Shri Shahu Modak conferred the Manus puraskaar, an award on him for life-time achievement. The name for this award, for obvious reason is Manus (meaning human), a film by this name had Shahu Modak in a memorable role as a Havildaar.

Anant Marathe lived a content life. Having worked in films from the age of 8 took its toll on him and he passed away in 2002.

Film Anuradha-40 had 12 songs in it- all written by Lyricist Lajpat Rai. He seems to have written songs for only one more film, Deepak-40. The music was composed by Badri Prasad.This is the first song from this film here.I was pleasantly surprised when I listened to few songs from this film, because, contrary to Badri prasad’s earlier music and songs, these songs were sounding fresh. Looks like he was trying to be with the changing tastes of the audience. Sadly, he stopped giving music to films after just 3 more films-Vanmala-41, Madhusudan-41 and Zevar-42. He was, however, active as an actor and later as a choreographer for many years, till late 70s.

( Credits- HFGK, MuVyz, http://www.writewrong.wordpress.com, Isaq Mujavar’s books, Sun jaa dil ki dastaan by J V Kulkarni and my notes)


Song-Chahun oar chaandni chitki hai(Anuradha)(1940) Singer-Vatsala Kumthekar, Lyricist- Lajpat Rai, MD- Badri Prasad

Lyrics

chahun oar
chahun oar chaandni chitki hai
taaron ki basti basti hai
chahun oar chaandni chitki hai
taaron ki basti basti hai
main haay akeli
aa jaao
birha ki aag sulagti hai
chahun oar
chahun oar

ye mand mand vaayu ki lahren
sukh ke geet sunaati hain
ye mand mand vaayu ki lahren
sukh ke geet sunaati hain
chhed chhed man ke taaron ko
aise saaz bajaati hain
rom rom thhar thhar kaanpe ae ae ae
rom rom thhar thhar kaanpe
nanhi si jaan machalti hai
nanhi si jaan machalti hai
main haay akeli
aa jaao
birha ki aag nikalti hai
chahun oar
chahun oar

door door saagar ka paani
prem ka naad sunaata hai
door door saagar ka paani
prem ka naad sunaata hai
mast bana paagal sa doley
mast bana paagal sa doley
parvat se takraata hai
dol rahi hirday ki naiyya aa aa naiyya
dol rahi hirday ki naiyya
kaise paar utarte hain
kaise paar utarte hain
main haay akeli
aa jaao
birha ki aag sulagti hai
chahun oar


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.

Badri Prasad was recently discussed in an article by Mr Arunkumar Deshmukh, our beloved inhouse encyclopaedia.
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.

Greetings to all as we celebrate today the 66th anniversary of independence of this nation. Over the years, we have enjoyed many songs, published on this blog and many not yet showcased here. Songs that celebrate the spirit of patriotism and nationalism, songs that celebrate the event of freedom for this nation on this day. The flavors and the moods of these songs vary a lot. From serious songs of nationalism, from songs that talk of struggles and martyrdom, from songs that exhort their audience to rise and protect, to the songs that celebrate the honor of this land and its people, to the songs that express joy of freedom, and songs that inspire hard work and nation building. So many poets have written such a variety of verses. Every Independene Day and Republic Day we post 6 to 8 songs, and yet there seems to be a treasure of such songs that is out there, still to be discovered.
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.

———————————————
Unknown composers Composer 5-Badri Prasad
———————————————

Hindi films have seen many beautiful actresses. Some beauties were legendary, not only in their times, but also for ever, e.g. Leela Naidu. There were some handsome actors also like Nandrekar, Chandramohan, Nazmul Hussain, Prithviraj Kapoor etc.
Read more on this topic…


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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 FOURTEEN years. This blog has over 17400 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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