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

Posts Tagged ‘Balraj Sahni


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

Blog Day :

4408 Post No. : 15798

apni kahaani chhod jaa
kuchh to nishaani chhod jaa
kaun kahe iss or
tu phir aaye naa aaye

That is how Balraj Sahni left his mark as an outstanding method actor in most of his nearly 100 films in which he acted during the course of his 27 years of filmy career. Balraj Sahni started his filmy career as an actor almost at the same time as Dev Anand, Dilip Kumar and Raj Kapoor, the trinity of the golden period of Hindi film industry. But he had to struggle hard to establish himself as an actor in demand. It took him more than a decade to do so while his compatriot trinity had become the stars in early 1950s.

Balraj Sahni was very bitter about his early experiences in his filmy career. Having associated with IPTA and being a card member of the Communist Party of India, it was difficult to get roles in the films despite the success of ‘Hum Log’ (1951) and ‘Hulchul’ (1951) in which he had important roles. Those days, it was a fashion to brand any one as communist if he had difference of opinion with men of authorities. Since Balraj Sahni was already a member of Communist Party, many producers were wary of offering him roles. In a few films in which he got the roles, he was unceremoniously dropped later from the films either directly or indirectly by offering him smaller roles.

When I completed reading Balraj Sahni’s autobiography in Hindi, I was surprised as to how he got drawn into Hindi films when he had an impressive curriculum vitae before he became an actor in Hindi films. He completed his double M.A. in Hindi and English literature from Government College, Lahore and joined Shanti Niketan along with his wife, Damyanti Sahni to work with Gurudev Rabindranath Tagore. He worked there as a lecturer in Hindi and English. After two years, he and his wife shifted to Sewagram in Wardha to work with Mahatma Gandhi where he also worked as teacher in the institute run in Sewagram. In 1939, with the blessing of Mahatma Gandhi, he and his wife joined BBC London as a Radio Announcer and as a producer, respectively for their Hindi services. In 1944, Balraj Sahni and his wife landed back in Mumbai and got involved in Hindi plays under IPTA. From this point of time, both he and his wife got drawn towards acting in the films, that too not by their own volitions but through Chetan Anand, their close friend.

Balraj Sahni (01/05/1913 – 13/04/1973), was born as Yudhishthir Sahni in Rawalpindi in an Arya Samaji family. His father was a successful businessman – a wholesale cloth merchant who could afford to have a summer villa in Srinagar. In 1930, after completing his matriculation, he joined Government College, Lahore for B.A. His college days coincided with the advent of talkies during which he watched many Hindi and English films. He also participated as an actor in College’s dramatic society. By the time, he had completed M.A. in Hindi and English literature, he had developed an interest in literature rather than in acting in the films.

During four years of his stay in London, Balraj Sahni watched many English plays and Russian films which he felt was ahead of American films. Through Russian films, he got introduced to Marxism and Leninism. By the time, he and his wife returned to Mumbai in 1944, they had embraced Marxism. For some time, both of them stayed at Chetan Anand’s bungalow at Bandra whom he knew from his days in Government College, Lahore. Chetan Anand was also associated with IPTA where Balraj Sahni got acquainted with K A Abbas, Krishan Chandra, Phani Mujumdar, Prem Dhavan, V P Sathe, C P Joshi among others. In IPTA, K A Abbas who was writing a play ‘Zubeida’ selected Balraj Sahni to direct it. The play became a hit. This was the start of his long association with K A Abbas.

During his IPTA days, Chetan Anand offered him and his wife major roles in his maiden film ‘Neecha Nagar’ (1946) which was in the planning stage. However, Chetan Anand was not able to arrange the finances. So, the making of the film got delayed. During the same time, Phani Mujumdar offered him a small role of the hero’s friend in ‘Insaaf’ (1946). At first, Balraj Sahni was not enthusiastic to accept the small role. It was only after Phani Majumdar assured him that in his next film ‘Door Chalen’ (1946), he would give him a major role which he kept his words. Both the films did not click at the box office.

In the meanwhile, IPTA got a licence to produce a full-length feature film which K A Abbas used it for making ‘Dharti Ke Laal’ (1946). It was IPTA’s first and the last film. Both Balraj Sahni and Damyanti Sahni got major roles in the film along with other IPTA actors. This film also failed at the box office as the film’s release coincided with communal violence in Mumbai. However, the film was critically acclaimed both nationally and internationally. Thereafter, both Balraj Sahni and Damyanti Sahni worked in ‘Gudia’ (1947) in lead roles. However, soon after the completion of the film, Damyanti Sahni who also used to work with the slum dwellers in Mumbai as a part of her social work, fell ill. Due to adverse reaction of the medicines, she died in April 1947 at a young age of 26, leaving Balraj Sahni with two kids, Parikshit and Shabnam.

A devasted Balraj Sahni soon left Mumbai and started staying in his father’s summer villa in Srinagar while his kids were sent to Rawalpindi at his parent’s house. But within few months, the communal riots on the eve of the partition made Balraj Sahni and his parents with kids to come back to Mumbai leaving everything behind. While IPTA took care of him on his second coming, he also commenced shooting for ‘Gunjan’ (1948) in which he had got the offer of the lead role opposite Nalini Jaywant when he was in Srinagar.

In 1948-49, Balraj Sahni was mostly associated with IPTA plays and communist party activities. During this period, he got married to Santosh Chandok, his cousin who was a writer and actor in IPTA. During the rehearsal of the play ‘Signalman Dulee’, all IPTA members were called to participate in a procession taken by the communist party which had taken anti-Nehru stance, branding him to be an agent of British Government. Carried away by the party line, Balraj Sahni wrote and acted in an IPTA play ‘Jaadu Ki Kursi’ which was directed by Mohan Sehgal. The play was a satire on Pandit Nehru’s policies. During this time, Communist Party took out a procession in the street of Mumbai with slogan shouting and criticising Nehru’s policies. Balraj Sahni and other IPTA members had also joined the procession. There was lathi charge and police firings. Many prominent activists of IPTA such as Balraj Sahni, Majrooh Sultanpuri, Ali Sardar Jafri, Deena Pathak etc. were arrested and imprisoned in Arthur Road jail for 2 years.

Before his arrest, Balraj Sahni had got a major role in K Asif’s film, ‘Hulchul’ (1951) on the recommendation of Dilip Kumar. Shooting of the film had commenced but Balraj Sahni was in jail. With the good offices of producer, K Asif, Balraj Sahni got permission from the Jailor to join shooting during the day time under the police escorts. Incidentally, Balraj Sahni acted in this film in the role of a Jailor. The arrangements continued until the film’s shooting was completed.

After about 6 months of imprisonment, Balraj Sahni was freed from the jail. It is not known as to how he got released from the jail in 6 months but I feel that there must be some reason for remission in his jail terms and this was not liked by his party. He found to his dismay that the party has branded him as ‘traitor’ and some of his friends and acquaintances avoided meeting him. After some time, Balraj Sahani left IPTA and Communist Party of India due to difference of opinions. Those days, any party member having put forward a different opinion than the party line, used to be branded as ‘reactionary’, ‘traitor’ etc.

Notwithstanding leaving IPTA and Communist Party, Balraj Sahni remained a committed Marxist with ‘Das Kapital’ as his reference point rather than the communist ideaology. Things began to improve in his filmy career as soon as the tag of ‘communist’ against his name was obliterated. Despite film offers coming to him on a regular basis, he could do only few films as he selected mostly socially oriented films – like the role of unemployed and sickly Raj in ‘Hum Log’ (1951), the rickshaw puller, Shambhu Maheto in ‘Do Bigha Zameen’ (1953), the compassionate manager of an orphanage in ‘Seema’ (1955), the idealistic poet, Shrikant in ‘Sone Ki Chidiya’ (1958), a loving elder brother in ‘Chhoti Bahen’ (1959), a committed village doctor in ‘Anuradha’ (1960), a migrant Afghani, Abdul Rehman Khan in ‘Kabuliwala’ (1961) etc. However, as he advanced in age, he started getting the character actor’s roles during which time, he mostly worked in the mainstream Hindi films.

Sometime in 1950, Chetan Anand, the head of Navketan Films, invited Balraj Sahni to write screen-play and dialogues for ‘Baazi’ (1951) which he gladly accepted because it suited to his temperament as a writer. Guru Dutt, the director wanted to start the shooting of the film even before the script was ready. Balraj Sahni made it very clear to him that he would part with screen-play and dialogues only when it is complete in all respect. It was only when he gave the screen-play and dialogues duly bound, the shooting of the film commenced. Though ‘Baazi’ (1951) was a big hit on the box office, Balraj Sahni did not draw any benefit or pleasure from it as his screen-play and dialogues were changed without his consent as was the practice by most of the directors. So, he gave up the idea of taking up the assignment of screen-play writing any more. He also directed ‘Laal Batti’ (1957), the only film as a director during his filmy career. He also worked in some Punjabi films.

By the end of 1950s, Balraj Sahni had adjusted to the unorganized way of working in Bollywood. He was once called for shooting in the morning and he was sitting in the studio throughout the day without being called for a single shot. From then onwards, he decided to carry his typewriter for shooting so that he could use his free time for writing articles and short stories for the magazines. While working in Shanti Niketan in the late 30s, Balraj Sahni was advised by Gurudev Rabindranath Tagore that he should write articles and stories in Punjabi as a writer can effectively express his thoughts in his own mother tongue. Balraj Sahni took his advice seriously and learnt afresh writing in Gurumukhi.

Balraj Sahni major break through as an actor was in a neo-realistic film, ‘Dharti Ke Laal’ (1946). It was just a co-incident that his last film ‘Garam Hawa’ (1973) also happened to be a neo-realistic film. His son, Parikshit Sahni had said in an interview that the film had perfect pathos in almost every scene and dialogues delivered by his father.

And why not? If one sees the events happening in the film in a broader manner, Balraj Sahni had actually experienced them in reality. Towards the end of the film, he lost his young daughter Amina who commits suicide following her bad marriage. This had actually happened to Balraj Sahni about one year before the film’s shooting was completed. His daughter, Shabnam by his first marriage had returned to him after a divorce and died young due to a brain hemorrhage. All the pains in losing his daughter was reflected on his face in the film.

On his 60th birthday, Balraj Sahni was to make an announcement to leave the film industry and settled down in Punjab to devote rest of his life to the literature. For this, he had bought a cottage in Punjab which was being refurbished. But God wished differently. Just before a month of his 60th birthday and a day after completion of his dubbing for ‘Garam Hawa’ (1973), Balraj Sahni died of heart-attack on April 13, 1973. At the Juhu Crematorium, besides close family members, friends and film paternity, there was a large crowd of hotels workers, fishermen and others from the Juhu village whom he had financially helped to improve their living conditions.

Bhisham Sahni, Balraj Sahni’s younger brother and a renown theatre personality (remember his T V Serial, ‘Tamas’, 1988) has talked about his elder brother’s deep and abiding love for his family. He said that the scene from ‘Waqt’ (1965) in which Balraj Sahni sings ae meri zohra-zabeen, showering his love for his wife is the exact reflections of his exuberating nature which many have witnessed in his house. Sometime in mid-1960s, Balraj Sahni constructed his bungalow at Juhu mainly to accommodate his entire family under one roof and for the visiting relatives and friends.

Balraj Sahni had jokingly said in his autobiography that he got more chance to do romance with the heroines of the films when he did character actor’s roles than as a hero. One of the films in which as a hero, he romanced with Geeta Bali was ‘Sapan Suhaane’ (1961). The film was produced under the banner of K R Films which was directed by Kidar Kapoor. The star cast included Balraj Sahni, Geeta Bali, Kamini Kadam, Chandrashekhar, Helen, K N Singh, Leela Mishra, Bhagwan Dada, Praveen Paul, Keshav Rana, Tun Tun, Ram Mohan etc.

Four songs (out of 7) have been covered in the Blog. I am presenting the 5th song, ‘o gori aaja gaddi vich baith jaa’ from ‘Sapan Suhaane’ (1961). The song is rendered by Manna Dey and Lata Mangeshkar for Balraj Sahni and Geeta Bali. The song is written by Shailendra which is set to music by Salil Chaudhuri.

Acknowledgement:

Much of the information for this article has been drawn from:

1. ‘Meri Filmy Aatmkatha’ by Balraj Sahni (1974).

2. Balraj – My Brother by Bhisham Sahni (1981).

3. Two Brothers – Balraj and Bhisham Sahni – Some experience in IPTA by Kalpana Sahni.

Video Clip:

Audio Clip:

Song-O gori aaja gaddi vich baithh jaa (Sapan Suhaane)(1961) Singers-Manna Dey, Lata, Lyrics-Shailendra, MD-Salil Chaudhary

Lyrics

o…o gori aaja gaddi vich baithh jaa
jaao ji koi kya kahega
o….o gori aaja gaddi vich baith jaa
jaao ji koi kya kahega

tu jaise phoolon waali daali..ee
goriye tu to hai naazon ki paali
gora rang jal jaaye na
na to main phoolon waali daali..ee
chhaliye na main hoon naazon ki paali
tu kisi aur ko bana

khadi tarsaaye main ko aaja aa aa
karoon kya jiya kahe na aa aa aaa
o…o gori aaja gaddi vich baith jaa
jaao ji koi kya kahega
o…o gori aaja gaddi vich baith jaa
jaao ji koi kya kahega

ye raahen meri anjaani..ee
nigaahon mein hai bachpan ki naadaani
mera dil kho jaaye na

ye raahen maana hai anjaani…ee
tere sang main jo hoon meri pahchaani
ye saathi chhod jaaye na ae ae
kahenge kya ye duniya waale ae ae
na dekho din mein sapna aa aa aa aaa

o…o gori aaja gaddi vich baith jaa
jaao ji koi kya kahega
o…o gori aaja gaddi vich baith jaa
jaao ji koi kya kahega

kah do doli leke aaun
bana ke dulhan tujhko ghar le jaaun
agar tu dil se kahe haan
agar tum doli leke aao…o
bitha ke palkon mein mujhko le jaao
mera dil kahe chaahe na

bhula mat dena apna waada aa aa
sanam ne kar to diya haan….. aan
o…o gori aaja gaddi vich baith jaa
jaao ji koi kya kahega
o…o gori aaja gaddi vich baith jaa
jaao ji koi kya kahega


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

Blog Day :

4314 Post No. : 15595

‘Sone Ki Chidiya’ (1958) – you must be wondering. . .

All the songs from this movie have been covered on the blog as per details given below,

 

Song  Posted On
 Pyaar par bas to nahin hai  06.06.2009
 Raat ka bhar ka hai mehmaan andheraa  26.09.2010
 Sach bataa tu mujhpe fidaa  16.05.2011
 Sainyya jabse ladin hain tose ankhiyaan  07.12.2011
 Chhuk chhuk chhuk chhuk rail chale  08.12.2011
 Bekas ki tabaahi ke saamaan hazaaron hai  23.04.2012

Since all the songs from this movie have been covered and the movie has achieved ‘Yippeeee’ status on the blog one would genuinely ask the question why this post now? and which song??

As I have mentioned in my earlier post with the ‘couplet song’ “Aap Abhi Ishq Ki Tehzeeb Se Aagaah Nahin” from ‘Dil Hi To Hai’ (1963), that I had prepared an excel sheet for Sahir and his music directors with the number of songs in the movies where Sahir Ludhianvi was lyricist. During the preparation of this list I had to go through the HFGK Vol II to VI and check the movie page for each movie. There I had noted some corrections and other interesting information. Accordingly, we are in the process of correcting some ‘tags’ for lyrics and adding some ‘snippets’, or ‘couplet songs’ wherever they are available and we can bring them here on the blog.

In the movie page for ‘Sone Ki Chidiya’ in HFGK Vol III, there is a footnote which mentions about a ‘nazm’ penned by Kaifi Azmi recited in his own voice in the movie (which on screen is lip synced by none other than Balraj Sahni). When I searched for audio/video of this ‘poem’ it was already available and that is the reason for this post here today.

Today 10th May, is the 18th anniversary of remembrance of Kaif Azmi (14.01.1919 – 10.05.2002). Also, we remember the genius ‘effortless performer’ Balraj Sahni on 1st May (01.05.1913 – 13.04.1973) on his 107th birth anniversary, which was in the previous week.

‘Sone Ki Chidiya’ is produced by Ismat Chugtai under the banner of Film India Corporation, Bombay, and is directed by Shahid Latif. The story and screenplay was also written by Ismat Chugtai herself. Editing of this movie was done by SE Chandiwale.

The star-cast of this movie includes Nutan, Balraj Sahni, Talat Mahmood, Altaf, Amar, Bikram Kapoor, Protima Devi, Chandabai, Sarita Devi, Baij Sharma, Hammad Jafri, Lotan, Bishan Khanna, Jagdish Kamal, Nazeer Kashmiri, Begambai, Zebunissa, Baby Radha, Baby Chagle, Master Patankar, Dhumal and many others.

The movie has eight songs, including two multi version songs. Asha Bhonsle, Talat Mahmood and Mohd Rafi had given their voices to the songs in this movie. Music for this movie was composed by OP Nayyar. I have been familiar with songs like “Pyaar Par Bas To Nahin“, “Raat Bhar Ka Mehmaan Andhera“, “Sach Bataa Tu Mujhpe Fidaa” from this movie since years, and that is the only association with this movie name for me, as I never got to watch this movie. However, since now the movie is available ‘online’, I will watch it sometime in the future.

One more very interesting point about this film. When I checked for title credits for lyricist of this movie it included names of three stalwart poets of Hindi cinema – Sahir, Majrooh and Kaifi. So we can see these three great poets of their time coming together here. I am not aware of any other such instance of coming together of these three great poets. Knowledgeable readers can throw more light on this.

As a tribute to both great film personalities – Kaifi Azmi and Balraj Sahni, whose contributions to the Hindi Cinema will be remembered by the generations to come, let us listen to these poignant yet motivating verses or poetry recitation included in the movie ‘Sone Ki Chidiya’.

 

 

Song – Aaj Ki Raat Bahut Garm Hawa Chalti Hai (Sone Ki Chidiya) (1958) Singer – Kaifi Azmi, Lyrics – Kaifi Azmi, MD – OP Nayyar

Lyrics

aaj ki raat bahut garm hawa chalti hai
aaj ki raat na footpath pe neend aayegi
sab utthho
main bhi utthhoon
tum bhi utthho
tum bhi utthho
koi khidki isi deewaar mein khul jaayegi

ye zameen tab bhi nigal lene pe aamaada thi
paaon jab toot’ti shaakhon se utaare hum ne
in makiinon ko khabar hai
na makaanon ko khabar
un dinon ki jo gufaaon mein guzaare hum ne

sirf khaaqa thha jo sach poochho to khaaqa bhi na thha
jis’se ye qasr ye aiwaan utaare ham ne
haath dhalte gaye saanchon mein to thakte kaise
naqsh ke baad naye naqsh nikhaare hum ne
kee ye deewaar buland aur buland  aur buland
baamon-o-dar aur zaraa aur  sanwaare ham ne
aandhiyaan tod liyaa karti thhi sham’on ki laven
jad diye is liye bijlee ke sitaare hum ne
aandhiyaan tod liyaa karti thhi sham’on ki laven
jad diye is liye bijlee ke sitaare ham ne
ban gayaa qasr to pehre pe koyi baithh gayaa
ban gayaa qasr to pehre pe koyi baithh gayaa
so rahe khaaq pe ham shorish-e-taamiir liye

apni nas nas mein liye mehnat-e-paiham ki thakan
band aankhon mein isi qasr ki tasveer liye
arre, din pighalta hai isi tarah saron par ab tak
raat aankhon mein khatakti hai syaah teer liye
aaj ki raat bahut garm hawaa chalti hai
aaj ki raat na footpath pe neend aayegi
sab utthho
main bhi utthhoon
tum bhi utthho
tum bhi utthho
koi khidki isi deewaar mein khul jaayegi

—————————————————————————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
—————————————————————————————–

आज की रात बहुत गर्म हवा चलती है
आज की  रात न फुटपाथ पे नींद आएगी
सब उठो
मैं भी उठूँ
तुम भी उठो
तुम भी उठो
कोई खिड़की इसी दीवार में खुल जायेगी

ये ज़मीन तब भी निगल लेने पे आमादा थी
पाँव जब टूटती शाखों से उतारे हम ने
इन मकीनों को ख़बर है न मकानों को ख़बर
उन दिनों की जो गुफाओं में गुज़ारें हम ने

सिर्फ ख़ाका था जो सच पूछो तो ख़ाका भी न था
जिससे ये क़स्र ये ऐवान उतारे हम ने
हाथ ढलते गए सांचों में तो थकते कैसे
नक़्श के बाद नए नक़्श निखारे हम ने
की ये दीवार बुलंद और बुलंद और बुलंद
बाम ओ दर और ज़रा और सँवारे हम ने
आंधियां तोड़ लिया करती थी शमओं की लवें
जड़ दिए इस लिए बिजली के सितारे हम ने
आंधियां तोड़ लिया करती थी शमओं की लवें
जड़ दिए इस लिए बिजली के सितारे हम ने
बन गया क़स्र तो पहरे पे कोई बैठ गया
बन गया क़स्र तो पहरे पे कोई बैठ गया
सो रहे ख़ाक पे हम शोरिश ए तामीर लिये

अपनी नस नस में लिये मेहनत ए पैहम की थकन
बन्द आँखों में इसी क़स्र कि तस्वीर लिये
अरे, दिन पिघलता है उसी तरह सरों पर अब तक
रात आँखों में खटकती है सियह तीर लिए

आज की रात बहुत गर्म हवा चलती है
आज की रात न फुटपाथ पे नींद आएगी
सब उठो
मैं भी उठूँ
तुम भी उठो
तुम भी उठो
कोई खिड़की इसी दीवार में खुल जायेगी


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

Blog Day : 4201 Post No. : 15387

Songs Repeated in Hindi Films – 15
– – – – – – – – – – – – – – – – – –

And so, we do get to a song in Saigal Sb’s voice song in this series. Memory serving right, I would have preferred to start the series with this song. But oh well. Actually, we do have a Saigal Sb song earlier in this series. But that song – “Babul Mora, Naihar Chhooto Hi Jaaye”, is rerecorded in Jagjit Singh Chitra Singh voices.

Remembering the memorable singer KL Saigal Sb – it is 73 years today, since this Divine Voice departed from this mortal world. The singer has gone away, his voice, the sound captured in the songs recorded by him, are still alive.

The re-use film is ‘Do Raaste’ (1969) and this song is used as a backdrop in two places in the film. In both scenes, the song is being played from a 78 rpm record on an old styled gramophone. Almost the entire cast of the film gets presented in the two short clips. We see Balraj Sahni, Veena, Kamini Kaushal, Rajesh Khanna, Junior Mehmood and Jayant in the first clip. There is a lady actor sitting with Kamini Kaushal in the first part – is she Kumud Bole? Also, the baby girl with Junior Mehmood – I have seen her in other films also, but I am unable to put a name to her face. Then in the second clip, in addition to the above listed cast, we also have Prem Chopra, Bindu and Mumtaz. And yes, it is Krishnakant who gazes back at us from his perch in the portrait on the wall.

In its time, ‘Do Raaste’ was a popular hit film. Rajesh Khanna was the rising star at that time, plus the music of the film became very popular. Times were when a middle class joint family homes, were presented on screen quite realistically so. The story of the film is a typical loving family scenario, and then we have unhappiness and strife intervene – a new lady joining the household and sows the seeds of step-brotherly misunderstandings. The divide goes to extremes, before things get reformed and patched up. And then it is a joint happy family all over again.

This song appears twice in the film, once at the beginning, when everything is in a relaxed mood, and the household is the blessed ‘nyaara bangla’. And then, this song is presented again close to the end of the film, when all misunderstandings have been removed, and whole family reunites and returns once again to the ‘nyaara bangla‘.

In both the scenes, the song is being played on an old gramophone, which is manually operated. It has a big sound horn attached, as we remember from the old HMV logo. Ah, the pleasures of pure sounds from the 78 rpm records – no electronics, just a very authentic reproduction of the original sound as stored in electric impulses on the shellac. The wonders that were, without the later technologies and advancements. No creation of sound reproduction technology can even come close to the sound of a 78 rpm record playing on an HMV 102 machine – hand cranked, not even electricity to power the turntable. It continues to be a marvel of that age, which is also exemplified by another unique accomplishment – single mike recording with orchestra and multiple singers. The marvels of modern acoustic technology pale in comparison.

The song also brings back the memories of the heady days in the year 2011, going across the months of May through September. The blog was a ‘song-a-day’ platform for Saigal Sb songs. By the time we ended, we had brought on board all the Hindi/Urdu songs of Saigal Sb, which are available in public domain. The mind just cannot believe it is already more than 8 years ago that we went on that exhilarating journey. The joy of getting that done was surely a wondrous taste. But then I also think with some melancholy – that no more Saigal Sb songs are to be posted on our blog. Today’s post in this series is a device that makes us remember and revisit this miracle of nature that was – the voice of Saigal Sb. I take back my words – I would prefer to use ‘is’ instead of ‘was’. I am sure you will agree – for the voice continues to be with us. That peerless, unmatched, incomparable voice, that can only be replayed now.

Our dear Arun ji has mentioned in his previous post – “Door. . . Bahut Door” from yesterday – it was Raj Khosla’s (producer director of ‘Do Raaste’) own childhood memories that probably brought this song into the film. His father loved KL Saigal songs that would often play the records at home on an old gramophone. Those memories were relived by Raj Khosla himself, as he directed ‘Do Raaste’. Wonderful revival, wonderful renewal, wonderful memory stimulant. Thanks Raj Khosla ji, and thanks to Arun ji for bringing in this connect.

The original credits of this song are – lyrics by Kedar Sharma and music by RC Boral. Singing voice of course, is the inimitable Saigal Sb. Listen yet once again to this wondrous original voice – a benefaction of God Himself.

 

Song – Ik Bangala Baney Nyaara  (Do Raaste) (1969) Singers – KL Saigal, Lyrics – Kedar Sharma, MD – RC Boral

Lyrics

ek bangla baney nyaara
ek bangla baney nyaara
rahe kunba jis mein saara
ek bangla baney nyaara
ek bangla baney nyaara

sone ka bangla, chandan ka jangla
sone ka bangla, chandan ka jangla
vishvakarma ke dvaara
vishvakarma ke dvaara
sone ka bangla, chandan ka jangla
vishvakarma ke dvaara
ati sundar pyaara pyaara
ek bangla baney nyaara
ek bangla baney nyaara

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

इक बंगला बने न्यारा
इक बंगला बने न्यारा
रहे कुनबा जिस में सारा
इक बंगला बने न्यारा
इक बंगला बने न्यारा

सोने का बंगला चंदन का जंगला
सोने का बंगला चंदन का जंगला
विश्वकर्मा के द्वारा
विश्वकर्मा के द्वारा
सोने का बंगला चंदन का जंगला
विश्वकर्मा के द्वारा
अति सुंदर प्यारा प्यारा
इक बंगला बने न्यारा
इक बंगला बने न्यारा


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

 

नभ: स्पृशम् दीप्तम्

Touch the Sky with Glory

What an appropriate motto this is, for the flying heroes of our national force that is responsible for the defense of our nation’s skies, and the keepers of our aerial security. The Indian Air Force, the aerial arm of our armed forces, celebrated its 85 anniversary yesterday – 8th October, 2017.
Read more on this topic…


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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.

रोक सकता हमें ज़िन्दान-ए-बला क्या मजरूह
हम तो आवाज़ हैं दीवार से छन जाते हैं

Rok sakta hamen zindaan-e-bala kya ‘Majrooh’
Ham to aawaaz hain deewaar se chhan jaate hain.

[Can prison of calamity stop us?
We are the voice which can infiltrate the wall].

This she’r was written by the young Majrooh Sultanpuri probably sometime in the 1940s. Perhaps he was goaded by the idealistic impulses when he was  associated with the Progressive Writers Association (PWA), a left-oriented ideological group.  Nonetheless, for Majrooh Sultanpuri, it has been a quick transformation – from an idealistic poet of PWA  to a lyricist in the film industry.
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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.

“Mere Hamsafar” (1970) was directed by Dulal Guha for Labela Films, Bombay. This movie had Sharmila Tagore, Jeetendra, Balraj Sahni, Jeevan, Laxmi Chhaya, Suresh, Shammi, Mohan, Sheri Prakash, Thoppa, Keshto Mukherjee, Sunder etc in it.
Read more on this topic…


This article is written by K Satish Shenoy, 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.

‘Phir milenge jaanewaale yaar dasvidaaniyaa…’

Some people contend that to say ‘good bye’ is to die a little. Readers may wonder why a post introducing a song should begin with this statement.
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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.

“Heera Moti”(1959) was based on Munshi Premchand’s story “Do Bailon Ki Katha”. This is a story of two bullocks owned by a poor farmer couple.

The story is told from the point of view of the bullocks.

The movie was produced by Pravin Desai and directed by Krishan Chopra for Rupalaya production. The movie had Balraj Sahni, Nirupa Roy, Baby Naaz,Helen, Cuckoo, Ashim Kumar, Shubha Khote, P.Kailash, Rashid Khan, Baij Sharma, Moolchand, Charubala, Bhola 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’s song is from the film Do Roti-57. It is sung by Shanker Dasgupta and Suman kalyanpur ( I think she was still Suman Hemady then), under the baton of composer Roshan.
Read more on this topic…


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

Seven years, nineteen films, a celebration wedding that was the talk of the tinsel town, and then handing over the torch to the next generation.  That about sums up the career of the once beauty star – Babita.  Greetings to her on the 67 birthday today (20th April).

The short lived career, however, was a scintillating one.  She appeared opposite to practically all the top heroes in the industry at that time, and did a number of musical romantic films, as could have be the draw for the young and beautiful lady.  It is known that GP Sippy first offered the role of Sheetal, the young widow with child, for his upcoming film ‘Andaz’ (1971) to Babita. After some in-family discussions, she turned down the role, possibly considering that it might work to be a negative for her career.  Another youngster, Hema Malini, took on the role.  Hema Malini had made her debut in 1969, three years after Babita’s debut (‘Dus Lakh’, 1966).  Both are of the same age though, having the same year of birth.  The trajectories of their subsequent careers and lives, tell their own stories.
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What is this blog all about

This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where “new” songs are added every day, and that has been the case for over THIRTEEN years. This blog has over 17000 song posts by now.

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

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

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