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

Posts Tagged ‘Bharat Vyas


This article is meant to be posted in atulsongaday.me.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 : 4205 Post No. : 15394

“Amat Jyoti”(1965) was directed by Raman B Desai for Bombay Films, Bombay. The movie had L. Vijayalaxmi, Ulhas, Kamal Mehra, Sapru, Mahipal etc in it.

The movie had nine songs in it. Three songs have been covered in the past.

Here is the fourth song from “Amat Jyoti”(1965) to appear in the blog. This song is sung by Asha Bhonsle and Mahendra Kapoor. Bharat Vyas is the lyricist. music is composed by Vasant Desai.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this song.

Lyrics of this song are provided by Nitin Shah.


Song-Jeewan bhar ham tum saath rahe (Amar Jyoti)(1965) Singers-Asha Bhonsle, Mahendra Kapoor, Lyrics-Bharat Vyas, MD-Vasant Desai

Lyrics (Provided by Nitin Shah)

Aji o o o
o sajan
aa aa aa aa
aa aa aa aa
jeewan bhar ham tum saath rahe
jeewan bhar ham tum mil na sakey

tum ko hum phoolon se poojen
par phoolon se hum khil na sakey
jeewan bhar hum
aji o o o
o sajan

ik mukhde ke do nain thhe hum
aapas meinn phir bhi door rahe
ik nadi ke hum thhe kinaare do
jo milne se mazboor rahe

milne se sapne choor huye
dil ke chaahat bekaar rahe ae ae
donon aapas rote kewal
ik sheeshe ki deewaar rahi ee ee ee
hum soch khade thhe do bande
hum paanch khade thhe do bande
tatke to rahe par mil na sakey
jeewan bhar ham tum saath rahe
jeewan bhar ham tum mil na sakey
jeewan bhar hum
aji o o o
o sajan
aji o o o
o sajan


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

Blog Day : 4187 Post No. : 15367

Hullo Atuldom

Let me wish everyone a Happy 2020. Hope everyone has a bright, healthy and musically joyful year.

Tina tin ke teena kisi ne dil hai chheenaa this post of Shri Encyclopedia of the blog has inspired my post.

That post has mentioned the variety of roles today’s birthday girl has donned in the movies from the time she debuted in 1950 with “Har Har Mahadev” (please correct me, I may be wrong). I am not trying to write her biodata as I became aware of her only as the hero’s mother, bhabhi, daadi, etc.

I got further inspiration for this post from Tabassum’s video on youtube. In this video, Tabassum mentions about the interview with Nirupa Roy (our today’s birthday girl for those who haven’t yet guessed) for Doordarshan’s ‘Phool Khile Hain Gulshan Gulshan’. Therein is a mention of the genres she has acted in and that in the 40 mythologicals that she acted in, she played Seetha in three films and Parvathy in four.

I remember seeing some of her black and white songs “Chahe paas ho chahe door ho”; “dhalti jaaye raat keh le dil ki baat”; “aa laut ke aaja mere meet” in the days of doordarshan and jolting into “what she has been a heroine before becoming Amitabh, Dharmendra, Jeetendra etceteras mother in the 70s”.

Today’s song is from a time when she used to be a heroine. it is from the 1957 release “Janam Janam Ke Phere”. I have no knowledge about this film other than the few songs I have heard from the album. the playback for the song is by lady- kokila Lata Mangeshkar (by the way I heard in the above-mentioned video that Nirupaji’s birth name was Kokila) with S N Tripathi as composer and Bharat Vyas being the lyricist.

the song is a prayer by the heroine to Shri Naag devta and we see the Naag going out of its capabilities to help her.

P.S: Thank god, those times PETA was not so prevalent else the makers would have had to face the music for cruelty towards reptiles.

Editor’s note- With this song, the blog now has 3500 songs sung by Lata Mangeshkar.


Song-Aaja naag tohe mann mein basa loon (Janam Janam Ke Phere)(1957) Singer-Lata, Lyrics-Bharat Vyas, Md-S N Tripathi

Lyrics

bhadak uthhi hai aaj vaasna ki
iss jag mein aag
naari ko fufkaar rahe hain
chhupe huye nar naag

aaja naag tohe
mann mein basa loon
aaja naag tohe mann mein basa loon
tujh se iss tan mann ko dasa loon
tu toh aaj bana mera mehmaan hai
tujh se zyaada zehreela iss duniya ka insaan hai
aaja aaja re naag
tohe mann mein basa loon ho
aaja aaja re naag
tan mann ko dasa loon ho

hey vishdhaari ee
hey vishdhaari
hey vishdhaari
tu apna vish sab jag ko dikhlaata re
insaanon ke muskaanon ka zeher nazar na aata re
aaja naag tohe sheesh chadha loon
aaja naag tohe sheesh chadha loon
apne bhaag ke deep jala loon
tu toh aaj bana mera bhagwaan hai
tujh se zyaada zehreela iss duniya ka insaan hai
aaja aaja re naag
tohe mann mein basa loon ho
aaja aaja re naag
tan mann ko dasa loon ho

jo zulmi ho
anyaayi ho
jo zulmi jo anyaayi
jo paapi atyaachari re
uske paap ko dank maar de
maniwaale phandhaari re
mani waale phandhaari
mani waale phandhaari
mani waale phandhaari
mani waale phandhaari

abla ko bandhan se chhuda de
abla ko bandhan se chhuda de
ek phoonk se jaal uda de
tu toh aaj bana mera mehmaan hai
tu toh aaj bana mera bhagwaan hai
aaj tihaare haath sati ki aan hai
aaj tihaare haath sati ki aan hai
sati ki aan hai
sati ki aan hai


This article is written by Avinash Scrapwala, 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 : 4185 Post No. : 15365

“Happy New Year 2020” to all associated with this blog!!!

Welcome all to this post of mine which again is appearing after a gap of almost one month. I would like to describe it as ‘after long gap’ because some of the posts that I already sent missed the ‘bus’ and some which I had already planned to send got delayed because of my journey ‘back to India’ and ‘health issues’ which deprived me from “use of Gadgets’ for few days.
May be this ‘No-mobile, TV, Laptop, two-wheeler treatment’ will continue for some more days but I think that will be under some ‘relaxation’.

Today I am presenting herewith a song from the movie ‘Pyaar Ki Pyaas-1961’. It is a ‘birthday song’ and the reason for this ‘special song’ is the celebration of birthday of our beloved ‘Atulites’ – Peevesie’s Mom ji and Pradeep Raghunathan ji.

I take this opportunity to wish both* of them ‘a very very Happy Birthday’ today and a ‘healthy, peaceful and full-musical life’ ahead. 😊 (*and our supporters who also have their birthday today)

Also, I thought this was the right occasion to resume the pending posts and start my ‘new year’ on the blog.

For this post initially I started looking for a ‘party’ song or ‘get together song’ which was also having ‘dosti, yaari, saalgirah, jashn’ etc in it. I had almost finalized two songs from 1985 and one from 1980 and was still listening to one of them when I came across this ‘simple-cute-lovely’ song which I like very much and I think this is the perfect song for today’s occasion. It is a birthday song where children (I guess from the Orphanage) are celebrating birthday of Honey Irani who has been adopted by Nishi and Shrikant.

The song is a ‘children song’, and I think, it doesn’t matter how much we grow by age in our life we never forget our ‘childhood years’ and the ‘celebration of our birthdays’ in those years.

The growing age, in fact, gives us an opportunity to enrich our life with ‘knowledge, experience, and wisdom’ each year and learning and exploring many new things and celebrate life.
And that does not prevent us of a ‘child-like’ celebration and enjoyment on our birthday.

So, let us enjoy the today’s song …

‘Pyaar Ki Pyaas-1961’ was directed by Mahesh Kaul for ‘Anupam Chitra, Bombay’. It was produced by Pt. Mukhram Sharma and Mahesh Kaul.

N.C. Sippy was the Executive Producer of this movie.

The star cast of this movie includes Honey Irani, Nishi, Shrikant, Manmohan Krishna, David, Manorama, Yashodhara Kathju, Lal Bahadur, Gopi Krishna, Kamal Mehra, Indira Bansal, Kathana, Hayat, Taneja and Dulari.

Story of this movie was written by Pt. Mukhram Sharma Editing was done by R.V. Shrikhande.

HFGK Vol-IV (1961-1970) listed Nine songs from this movie which includes one song in two parts. (Few lines from the today’s song is also repeated at the end of the movie which has not been counted as separate part).

The lyrics of all the songs for this movie were written by Bharat Vyas and music was composed by Vasant Desai.

So far, four songs from this movie have been posted on the blog. Today’s song is the fifth song from this movie to appear on the blog.

It is sung by Children and HFGK mentioned this song as ‘in children’s voice’ and the names of the artists have not been mentioned thereof.

Lyrics are by Bharat Vyas and music is composed by Vasant Desai.

(I have not watched this movie so can’t say much about it and its’ songs. I would request knowledgeable readers to throw more light on the movie and its songs.).

Once again ‘wishing Peevesie’s Mom ji and Pradeep Raghunathan ji a very Happy Birthday and I hope they too will enjoy this song as I did. 😊

Editor note 1– Today also happens to be the birthday of Mrs Sheela, better half of the author of this article. So we extend a happy birthday greetings to her as well.

Editor’s note 2: The song has a main child voice that sounds like Ranu Mukherjee. I request our knowledgeable readers to help identify this voice.

Video
(video)
Video (Part II)

Song-Aaya aaya janamdin aaya (Pyaar Ki Pyaas)(1961) Singer-Child singer, Lyrics-Bharat Vyas, MD-Vasant Desai
Chorus

Lyrics

aaya aaya janamdin aaya
aaya aaya janamdin aaya
tum aage badho
oonche din din chadho
tum aage badho
oonche din din chadho

par ye din na jaata bhulaaya
aaya
aaya aaya janamdin aaya
aaya aaya janamdin aaya

cham cham karte jitney taare
cham cham karte jitney taare
utne hi hon baras tumhaare
utne hi hon baras tumhaare
pal pal khilo
jaise chandaa khile
pal pal khilo
jaise chandaa khile

aaj tan man mein aanand chhaaya
aaya
aaya aaya janamdin aaya
aaya aaya janamdin aaya

aaya aaya janamdin aaya
aaya aaya janamdin aaya
tum aage badho
oonche din din chadho
tum aage badho
oonche din din chadho

par ye din na jaata bhulaaya
aaya
aaya aaya janamdin aaya
aaya aaya janamdin aaya

———————————————
Devnagri Script lyrics (Provided by Avinash Scrapwala)
———————————————-
आया आया जन्मदिन आया
आया आया जन्मदिन आया
तुम आगे बढ़ो
ऊंचे दिन दिन चढो
तुम आगे बढ़ो
ऊंचे दिन दिन चढो

पर ये दिन ना जाता भुलाया
आया
आया आया जन्मदिन आया
आया आया जन्मदिन आया

चम चम करते जितने तारे
चम चम करते जितने तारे
उतने ही हो बरस तुम्हारे
उतने ही हो बरस तुम्हारे
पल पल खिलो
जैसे चन्दा खिले
पल पल खिलो
जैसे चन्दा खिले

आज तन मन में आनंद छाया
आया
आया आया जन्मदिन आया
आया आया जन्मदिन आया

आया आया जन्मदिन आया
आया आया जन्मदिन आया
तुम आगे बढ़ो
ऊंचे दिन दिन चढो
तुम आगे बढ़ो
ऊंचे दिन दिन चढो

पर ये दिन ना जाता भुलाया
आया
आया आया जन्मदिन आया
आया आया जन्मदिन आया


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 : 4172 Post No. : 15346

Today’s song is from an obscure film-Dhola Maru-1956. The film was produced by and under the banner of Cine Workers’ Society, Bombay. It was directed by N R Acharya and the music was provided by S K Pal – for whom this film was his swan song. This was his last film as MD. All the 11 songs of the film were written by Bharat Vyas. The cast was Usha Kiran, Pradeep Kumar, Achala Sachdev, Rehana, Sapru, S Nazir, Kumkum and many others including 5 actresses named as Miss Pammi, Miss Usha, Miss Hemlata, Miss Hansa and Miss Sarita as well as a guest artiste- Ulhas.

” Unity in Diversity” was a favourite slogan of Nehru. Truly, there is no other country in the world having such a diverse population and area. The biggest surviving Democracy in the world has 28 states and 9 Union Territories. Our constitution mentions 22 official languages, including Urdu and Sanskrit. In this vast country about 30 languages are spoken, each by more than 3 million people, 120 languages are spoken by more than 10000 people and about 1600 spoken languages and with script- both mixed. In addition, 7 major and several other religions too.

With so much of diversity of languages, religions and cultures, it is a wonder that India has survived for thousands of years. The main factor is the binding of Indian Culture and Tolerance. It is interesting to recall that, just prior to getting Independence, Winston Churchill and many other world leaders had predicted that within a short period, India will disintegrate into pieces. Contrary to their wishful thinking, Indian people have come out stronger in last 75 years.

Due to the diversity, there are separate Folk lores in almost every state. Love stories are the major contributors. Like the famous Laila-Majnu and Romeo-Juliet, every state has its own Love story. Even our Mythology has thrilling love stories, Like Uttara- Abhimanyu, Dushant-Shakuntala, Arjun-Subhadra etc.

For love stories, Punjab and Sindh lead all the way. You have several such stories as – Sohni Mahiwal, Heer-Ranja, Sassi-Punnu, Monal-Rano, Umar-Marvi, Lila-Chanesar, Noori-Tamchi, Dhaj-Rorkumar and Mirza-Sahiban are some of the most popular love stories of Punjab and Sindh.

Like I said, in other regions too, there are Love stories like Jodha -Akbar, Salim-Anarkali, Bajirao-Mastani, Prithviraj-Sanyogita, Amrapali-Bimbisar, Mumal-Mahendra, Amaravathy-Ambikapathy (south-Tamil) etc.

There was yet another popular Folk-Lore of Lovers in the states of Rajasthan, M.P., Chhattisgarh and Gujarat and that is the story of Prince Dhola and Princess Maru. Unlike the Punjab Folk-Lores of Lovers, Dhola Maru has several versions, especially Rajasthani and Chhattisgarhi versions. Several Books and stories as well as Folk songs were written on Dhola-Maru. There was a Gujarati Hit film Dhola-Maru-1983.

( When I had first heard the name of Dhola-Maru, I was reminded of the Japanese steamship Kamagota Maru, which had carried about 300 Sikh and other Indians, who tried to enter Canada. They were refused and sent back to India. On reaching Calcutta, they were refused entry as they were from Hongkong. There was a fight and in the ensuing firing, hundreds were killed. This was known throughout the world.)

Dhola – Maru story took place somewhere in the 15th century. However this is a Happy ending Love story, unlike most Punjabi tragedies.

The Rajasthani version of the story is-

The Legend of Dhola and Maru is the Indian version of Romeo-Juliet saga. The princess Maru was from a place called Pugal near Bikaner while Dhola was the young and handsome prince of Gwalior. A terrible drought in Pugal made Maru’s(then 2 years old) father shift to Gwalior, which was ruled by his friend, the father of Dhola. He stayed there for three years and before leaving for his hometown, the two kings each promised to get their children married to each other. However, after a span of 20 years all promises were forgotten and Maru was betrothed to a man called Umra. But destiny prevailed, and bard from Pugal who had travelled to Gwalior sang at the royal court about the childhood betrothal of Dhola and Maru. After listening to the song Dhola fell hook, line and sinker for the virtuous princess Maru. With love in his eyes Dhola began wooing Maru who also fell in love with the handsome Dhola. Where two hearts collide there has to be an outcome, and so they decided to run away.

Umra came to know about their plans and went after them with his brother sumra. The eloping lovers on their Camel with their bows arrows were no match for the Umra-Sumra brothers who had guns. However, they were able to evade the evil brothers and took refuge in a forest. Unfortunately Dhola was bitten by a snake and died on the spot, Maru, thus cheated by her lover, proceeded to weep the death. Luck favoured Maru and her cries were heard by Lord Shiva and consort Parvati. Parvati requested her husband to revive Dhola and thus by divine intervention the lovers were united to live happily ever after.

There are some differences in the Chhattisgarhi versions, where in prince Dhola gets married to Rewa for 12 years, after which,he goes for Maru etc.

(all information culled from sanskriti.com, unitedindia.com and wiki)

In Indian films, there were some actresses who were earmarked to do the roles of Mothers and Grandmothers. Some of them were Leela Chitnis, Durga Khote, Leela Mishra, Deena Pathak, Nirupa Roy, Achala Sachdev and few others. While Leela Mishra and Deena Pathak seemed to be born to do such roles, most others were Heroines in their Hey-days. Achala Sachdev was a prominent actress, who was highly respected in the industry – only till she was in circulation. Once she retired from films, no one bothered about her and she died absolutely a lonely death.

Achala Sachdev ( 3-5-1920 to 30-4-2012) (original name Rajinder)’s name is permanently conjoined with a mother’s role. She did a mother’s role when she was very young and since then-more than a heroine- she has been seen either as a sister or Mother in films. In her earliest film ‘Dilruba’-50 she was Dev Anand’s sister and later in many films she was a fixed mother of Dev Anand.

She worked in All India Radio, Lahore,she came to Delhi after the Partition and continued her job in All India Radio, till her first film. She acted in 181 Hindi films, 3 Punjabi films and 1 Gujarati film, in addition to 1 uncompleted Bangla film. She acted in few television serials and FD documentaries too.

In her early years she had got married to Gyan Sachdeva. She begot one son and one daughter from him. Her son Jyotin, a business consultant, settled in US and Daughter was married in Bombay. When she could not pull on, she divorced her husband. After 12 years of loneliness she fell in love and married an American Clifford Douglas Peters, who was an Engineer and ran an Electronics factory in Poona. She stopped accepting new films after 1976 and then shifted to Poona.

After her second husband died, she shifted from her Bungalow in Bhosari, near Poona to a specious flat in Hadapsar area of Poona. She had completed all films on hand ,but due to insistence of family friend Yash Chopra, she acted in some of his films- notably ‘Dilwale dulhaniya le jaayenge’-95. Though her last film was ‘ Dahak ‘-98, her last released film was Suno sasur ji-2003.

During her heydays, she was very friendly with Sunil Dutt and Nargis, Mona Dev Anand ( kalpana kartik), Meena kumari, Saira Bano and her mother Naseem Bano. She was very punctual during her shootings. Once while working in a Rajesh Khanna film, she had to wait for him for 4 hours, with all make up done. When this continued to happen for next 10 days, she left the film and went back to Poona. Rajesh Khanna wrote an apology letter to her and then only she came back to complete the film.

Once she was in Poona, she was all alone. No one from film industry ever contacted her in her last 40 years. She was very generous. She had donated 25 lakhs to an NGO, Janseva Foundation to start ‘Achala Sachdev Institute of Education”. She also gave 15 Lakhs to Dr. H.V.Desai Eye Hospital for a ward construction. In her last days,she even donated her flat also to the NGO Janseva Foundation.

She was sick for last 6 months and was looked after by the NGO. Admitted to Poona General Hospital ICU, she got Paralysis, lost her vision and then lost her life on 30-4-2012. A highly successful film star with lots of money, but she was neglected by her own son and daughter. Above all, in last 40 years in Poona, not one soul from the film world met her. What was pathetic was, when she was admitted in I.C.U., her attending doctor, Dr. Mehta sent messages to Yash Chopra and others in Film industry, but none came or even inquired and she died a lonely death.
( ( Based on Cine Blitz, Madhuri,Times of India, Indian Express, Wikipedia and info kindly given by shri Harish Raghuwanshi ji ).

Here is a duet by Manna Dey and Asha Bhosle from film Dhola Maru-1956.


Song-Ek samay Dushyant thhe Bharat ke samraat(Dhola Maru)(1956) Singers- Manna Dey, Asha Bhonsle, Lyricist- Bharat Vyas, MD- S K Pal
Both

Lyrics

Ek samay Dushyant thhe
Bharat ke samraaat
jinka danka goonjtaa desh videsh viraat

Kaamdev ka aa aa
Kaamdev ka roop thha
dhoop bada balwaan
dhoop bada balwaan

ek samay ban mein chale
le kar teer kamaaaan
le kar teer kamaan
ban mein ek albeli mili
bandevi si naar
?? se nrup se sant ki
ho gayin aankhen chaar chaar
ho gayin aankhen chaar

mohit ho Dushyant ne
ek nikaali raah
Shakuntala ke sang kiya
jhat gandarv vivaah

din beete aur jug beete ae ae ae ae
din beete aur jug beete
bhookh bhaye behaal

roye dukhi Shakuntala
roye dukhi Shakuntala
khabar na li
khabar na li
khabar na li pratipaal

bhooh bhaye behaal

band karo ye geet
?? ke raajveer
bane aaj Dushyant

main
haan tum
apni marwan bhool kar
rewa sang raman
rewa sang raman ??
maruwan bisraai
maruwan ho maruwan ??
bharman hoi


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 : 4170 Post No. : 15344

“Gau Gauri”(1958) was directed by Raj Thakur for Prabhat Films, Bombay. This was the last movie by Prabhat Films after which this legendary movie making house downed its shutters. The prints of this movie are lost. The movie had Sulochana Latkar, Ratna Mala, Shahu Modak, Anant Kumar, Nana Plasikar, Tara Dixit, Vijay Limaye, Vijay Duggal, Neelam, Vishwas Kunthey, Kelkar, Gramopaadhye, Hemraj, Kishore Paranjape, Narendra Bhandari, Vijay Dixit and an elephant named ‘Ram Prasad’ in it.

The film had eight songs. One song has been covered in the past.

Here is the second song from “Gau Gauri”(1958) to appear in the blog. The song is sung by Manna Dey and chorus. The song is written by Bharat Vyas and its music is composed by Sudhir Phadke.

The movie is lost but one of our regulars, viz Mr Nayan Yagnik had watched it during its first run. Here is what he recalls about the climax of the movie:

Gaj Gauri was a good movie, which I had liked when I saw it at Mumbai’s Central Cinema in 1958. The climax, when Pandavas are making steps for an elephant with arrows, to climb down from Heaven was very good!
I think a famous song ‘ Manushya tu bada Mahaan Hain’ was filmed as back-ground song at that situation!

So here is this background song, eulogising the capabilities of “manushy”.


Song-Dharti ki shaan tu hai manu ki santaan(Gaj Gauri)(1958) Singer-Manna Dey, Lyrics-Bharat Vyas, MD-Sudhir Phadke
Chorus

Lyrics

Dharti ki shaan tu hai
manu ki santaan
Dharti ki shaan tu hai
manu ki santaan
teri muthhiyon mein band toofaan hai re
tere manushy doot tu bada mahaan hai ae ae
bhool mat
manushy tu bada mahaan hai
manushy tu bada mahaan hai ae ae
bhool mat
manushy tu bada mahaan hai

tu jo chaahe parwat pahaadon ko phod de
tu jo chaahe nadiyon ke rukh ko bhi mod de
tu jo chaahe maati se amrit nichod de
tu jo chaahe dharti ko ambar se jod de
amar tere pran aan
aa aa aa aa
amar tere pran
mila tujhko vardaan
teri aatmaa mein swaym Bhagwaan hain re
manushy tu bada mahaan hai ae ae
bhool mat
manushy tu bada mahaan hai

nainon mein jwaal teri
gati mein bhauchaal teri
chhaati mein chhupa mahaakaal hai
prithhvi ke laal tera
himgiri sa bhaal teri
bhrakuti mein taandav ka kaal hai
dil ko tu jaan
aa aa aa aa
dil ko tu jaan
zara shakti pahchaan
teri vaani mein yug ka aahwaan hai re
manushy tu bada mahaan hai ae ae
bhool mat
manushy tu bada mahaan hai

dharti ka veer tu hai
agni ka veer tu jo
chaahe to kaal ko bhi thhaam le
paapon ka pralay ruke
pashuta ka sheesh jhuke
tu jo agar himmat se kaam le
?? mati maan
aa aa aa aa
?? mati maan
pawan sa tu gatimaan
teri chhab se bhi oonchi udaan hai re
manushy tu bada mahaan hai ae ae
bhool mat
manushy tu bada mahaan hai
manushy tu bada mahaan hai ae ae
bhool mat
manushy tu bada mahaan hai


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 : 4100 Post No. : 15247

“Raaj Mukut”(1950) was directed by Nanubhai Vakil for Mohan Pictures, Bombay. This Costume drama movie had Nimmi, Veena, Jairaj, Ram Singh, Sapru, Mishra, Gulab, Ramesh sinha, Ramesh Thakur, Jankidas, Baby Tabassum etc in it.

This movie had eleven songs in it. Five songs have been covered in the past.

The story of the movie, as goven by our beloved inhouse encyclopaedia Mr Arunkumar Deshmukh is as follows:

Film Raaj Mukut-50 story was about a Prince who is more interested in doing social service for the poor and down trodden ( and a love affair with the Village Mukhiya’s daughter) than getting crowned legitimately. So he disappears and goes to a village, to do what he always wanted to do, but could not do so far.

He learns that his younger brother, crowned after the deliberate false rumour of the prince- was perpetrating tyranny on kingdom’s people and also arrested his own parents and jailed them. His blood boils and he enters the capital incognito, along with his girlfriend and others. There is a fighting and the younger brother is killed. The King and Queen are released. The prince becomes the King and his girlfriend becomes his Queen. Clap, Clap !

On this occasion, here is a rare song from “Raaj Mukut”(1950). HFGK mentions this song as sung by Shamshad Begam. On listning to the song, we can detect an uncredited male voice as well. I request our knowledgeable readers to help identify this voice.

Bharat Vyas is the lyricist of this light hearted song. Pt Govindram is the music director.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this fun song. The song appears to be a dance song or a roadside tamasha kind of a song to me.

Today 9 october 2019 happens to be the 4100th day for the blog. A century of a different kind for the blog.

This rare song was uploaded by our own Gajendra Khanna. What a delightful song it is ! Fit to be covered on the special occasion viz 4100th day of the blog.


Song-O paltan waale jamaadaar jee (Raaj Mukut)(1950) Singers-Shamshad Begam, Unknown male voice, Lyrics-Bharat Vyas, MD-Pt Govindram

Lyrics

o o
o paltan waale jamaadaar jee ee
oy hamen bhi bharti kar le apne topekhaane mein
oy hamen bhi bharti kar le apne topekhaane mein

o o
o vardiwaale jamaadaar jee ee
oy jamaadaar jee
jamaadaar jee
hoye
oy hamen bhi bharti kar le apne topekhaane mein
oy hamen bhi bharti kar le apne topekhaane mein

chham chham chham chham chham chham baaje
paayal ki jhankaar
aaha paayal ki jhankaar
chham chham chham chham chham chham baaje
paayal ki jhankaar
mere roop ke aage uthhe na
dushman ki talwaar
mere roop ke aage uthhe na
dushman ki talwaar
badon badon ko bech aaun main
jaake beech baazaar sipahiya
jaake beech baazaar
ham sa milega kaun sipaahi tujhe zamaane mein
oy ham sa milega kaun sipaahi tujhe zamaane mein
hoy jamaadaar jee
hoy hamen bhi bharti kar le apne topekhaane mein
hoy hamen bhi bharti kar le apne topekhaane mein

mohe sipahiya de de naukri
o tohe joru mil jaaye gori gori
oy gori gori
mohe sipahiya de de naukri
o tohe joru mil jaaye gori gori
tu jaana us’se milne
raaton ko chori chori
tu jaana us’se milne
raaton ko chori chori
main doongi tera pahra
main doongi tera pahra
kamariya mein baandh ke talwaar
kamariya mein baandh ke talwaar
le baandh le talwaar
le baandh le talwaar
o gori baandh le talwaar

baandh ke talwaar main jaaun shahar ke thaane mein
baandh ke talwaar main jaaun shahar ke thaane mein
oy shahar ke thaane mein
hamen bhi bharti kar le apne topekhaane mein
hamen bhi bharti kar le apne topekhaane mein

o o
o paltan waale jamaadaar jee ee
oy hamen bhi bharti kar le apne topekhaane mein
oy hamen bhi bharti kar le apne topekhaane mein


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

Blog Day : 4051 Post No. : 15180

Today’s song is from film Raj Mukut-50.

From the title itself one would know what type of film this could be. In our childhood we were fond of, first listening and then reading stories of Raja-Rani. As we grow older, this liking seems to have ended,but it is not so, in reality. Every adult has a child in him and the love for the Raja Rani stories is hiding behind the facade of other serious life matters of the adult age.

Precisely, this liking was identified by B and C grade action and costume filmmakers and films on Kings, Queens, the evil Vazier or the Army Chief, plus or minus the evil Magician were made. From the point of business, it was wise to make such films, because its Producers never suffered loss, where as failure of an A grade film invariably ruined the producer.

The simple reason was, the production cost, distribution cost, actors’ payments etc were very low and the income was very good. May be that was the reason, that even the big banners also sometimes or the other had made costume films about Kings and Queens etc.

Going by the film title list made by Hamraz ji, I found at least 43 films starting with Raaj – like Raaj Mukut, Raaj Tarang, Raaj Ratan, Raaj Nandini etc etc. There were 32 films having titles starting with Raja, like Raja Gopichand, Raja Harishchandra, Raja Vikram etc etc. Movie titles with Rani prefix were just 11 (Gender Bias ?).

Coming to the story of Raaj Mukut-50, it is no different than hundreds of its ilk. I wonder why are there story shortages in films ? Why do films have similar stories ? In the 40’s decade ,Master Bhagwan used just one story to make 11 action films. In later times, it was Nasir Hussain, who – starting with Tumsa Nahin Dekha-57 – used only one skeleton story for most of his films and what’s more surprising is that his most film were Hits.

While thinking about it, I found that, in 2004, a book called “Why we tell stories”, written by Christopher Booker was published. It is a book having 728 pages to be exact. The book says “There are only 7 (Seven) basic plots in the whole world. They are recycled again and again in Novels, movies, Plays and Operas. These are
1.Overcoming the Monster
2.Rags to riches
3.The quest
4.Voyage and return
5.Rebirth
6.Comedy and
7.Tragedy “.

After this book was published, there was a chaos and criticism started. ‘New York Times’ also jumped in. The author coolly replied to all points and stuck to his statements. If we look at Hindi films, I personally feel that what the author has said is true in our case. Only thing is that our film stories are always a clever mixture of all or some of the above points.

If we take a look at the cast of the film Raaj Mukut-50, we find some heavyweights like Veena, Jairaj, Nimmi, Sapru, Gulab, Janakidas, Baby Tabassum etc. The decade of the 50s started with the decline of old stalwarts of 30s and 40s, because of the rise of new generation of actors, actresses, directors, MDs and almost all departments of film making. Nimmi was a ‘ Black Sheep’ in this cast because she was from the newer generation rising star.May be she did this film to get well entrenched in the film industry. Moreover the banner was good and the other actors were well known too. Director Nanubhai Vakil was an expert veteran in costume and action film direction. The music was given by Gobindram, a respected name in the musical circles.

Baby Tabassum had debuted with film Nargis-46 ( released in 47). Tabassum – real name Kiran Bala Sachdev was born in 1944 in Mumbai to Ayodhyanath Sachdev, an Indian freedom fighter, and Asghari Begum, freedom fighter, journalist and an author. Her father named her Tabassum, keeping her mother’s religious sentiments in mind, while her mother kept her name Kiran Bala, keeping her father’s religious sentiments in mind. Her official name as per pre-marriage documents was Kiran Bala Sachdev.

Tabassum made her film debut as a child actor with Nargis (1947) followed by Mera Suhaag (1947), Manjhdhar (1947) and Bari Behen (1949). Later in Deedar (1951), directed by Nitin Bose, she played the childhood role of Nargis; the hit song Bachpan Ke Din Bhula Na Dena sung by Lata Mangeshkar and Shamshad Begum was picturised on her. Also, in the next year, she appeared in another important film Baiju Bawra (1952) directed by Vijay Bhatt, where she appeared in the childhood role of Meena Kumari. After a gap, she reentered films in adult roles, working as a character actress.

She hosted the first talk show of Indian television, Phool Khile Hain Gulshan Gulshan, which ran for 21 years from 1972 to 1993. Produced by Doordarshan Kendra Mumbai, it was based on interviews of film celebrities and became immensely popular. This also led to a career as stage compere. She was also the editor of Grihalaxmi, a Hindi women’s magazine for 15 years and wrote many joke books.

In 1985, she directed, produced and wrote her first film, Tum Par Hum Qurban. In 2006, she returned to television, as an actress in Pyaar Ke Do Naam: Ek Raadha, Ek Shyaam, produced by Rajshri Productions. She became a judge in a reality stand-up comedy show Ladies Special (2009) on Zee TV.

She continued to work as an interviewer for television and is currently doing a TV show on TV Asia USA and Canada titled Abhi Toh Main Jawaan Hoon based on the Golden Era of Hindi Cinema. Currently, she has launched her own channel on YouTube, titled “Tabassum Talkies” which consists of nostalgic talks, interviews of celebrities, shayaris, jokes and more.

She is married to Vijay Govil, elder brother of TV actor Arun Govil. Their son Hoshang Govil had brief career as a lead in three films Tum Par Hum Qurbaan (1985), which was produced and directed by Tabassum in which she introduced Johnny Lever for the first time on screen as a comedian. Kartoot (1987) and Ajeeb Dastaan Hai Yeah (1996) produced by Zee TV and directed by J Om Prakash (grandfather of Hritik Roshan). In 2009, her granddaughter Khushi (daughter of Hoshang) made her film debut with Hum Phir Mile Na Mile. ( courtesy- Wikipedia).

Tabassum is an actress of a kind who was an All rounder-not in body shape-(that she is in now!), who is the only one having succeeded in 5 different mediums of entertainment. Films,TV,Radio,Print Media and Stage. Here is a small note about her,as it appears on her Facebook page-

“Tabassum ,during her years as child star ,was dubbed by her fans ,the movie -industry and the media as “THE SHIRLY TEMPLE OF INDIA”.

FILMS

She made her debut at the age of two and half years, in 1946, in her first film –Famous Pictures “Nargis’.This film was produced by Baburao Pai ,directed by D.D.Kashyap ….“Nargis” starred the legendary Nargisji herself with Rehman ,Shahnawaz ,Alka ,Achrekar and BABY TABASSUM.

In a short span of about six years Tabassum chalked up a record of child artist roles in more than thirty films ,and she’s working in films even today with a total of more than 100 films to her credit.

TELEVISION

Tabassum was the first to start the movie- oriented T.V. series on Doordarshan (India’s Government owned Television channel) which started on October 2nd, 1972. On October 8th 1972 , she launched her famous series of film-personality interviews. The first person to be interviewed in these series , titled “PHOOL KHILE HAIN GULSHAN GULSHAN” was a veteran music director Naushad.

This programme ran continuously on Doordarshan for 21 years ..

Various cultural organizations ,audiences ,and the media in general even the then INFORMATION AND BROADCASTING MINISTER Mr. V.P.Sathe have dubbed Tabassum as THE T.V. QUEEN OF INDIA .

RADIO

Tabassum started on radio in 1946 with children programmes and did many other programmes regularly on All India Radio.
For 15 years from 1970 to 1985 Tabassum ran a regular radio programme of jokes on the commercial services of Radio Ceylon.The same programme was later switched also to Vividh Bharti where continued for many years. She is still doing programmes regularly on Vividh Bharti.

She was conferred the award of “JOKES QUEEN OF INDIA”.

AUTHORSHIP AND JOURNALISM

Tabassum has been writing Urdu poetry , jokes ,short stories since her childhood which were being regularly published in Urdu and Hindi magazines ,newspapers ,etc.

During her more than sixty four years long career in show business ,Tabassum has also written seven books of Jokes ,Poetry ,and Urdu shayris ,the first of which was published at the age of 17 years when she had just passed her matriculation examination. She did her B.A. in Urdu from Aligarh University.

For the past many years Tabassum has fitted also journalism into her over crowded schedule when she took over as editor of the large circulation of a Woman’s magazine GRIHA LAKSHMI which is published monthly from New Delhi since last 17 years.

STAGE

As Baby Tabassum , Filmland’s original child-star the Shirley Temple of India ,began to appear on stage shows since the tender age of three to four years.Over three decades ago she launched her own stage show unit named “TABASSUM HIT PARADE’.This stage entertainment unit has over the past three decades performed variety entertainment shows all over India and in almost every country of the world from U.S.A.and Canada to the United Kingdom and Europe ,the Middle east and Gulf countries to South-east Asia ,Singapore and the far east in Hong Kong ,China ,Taiwan and Japan.

Now she is busy in promoting a stage programme titled “Tabassum Bhajan Sandhya” in India and abroad as spiritual entertainment.

On May 8th 1995 various well known cultural organizations of India celebrated TABASSUM’S HALF CENTURY IN FILM INDUSTRY AND SHOW BUSINESS AND WAS LARGELY ATTENDED BY FILM AND OWN MEDIA PERSONALITIES INCLUDING THE PRESS. ”

Film Raaj Mukut-50 story was about a Prince who is more interested in doing social service for the poor and down trodden ( and a love affair with the Village Mukhiya’s daughter) than getting crowned legitimately. So he disappears and goes to a village, to do what he always wanted to do, but could not do so far.

He learns that his younger brother, crowned after the deliberate false rumour of the prince- was perpetrating tyranny on kingdom’s people and also arrested his own parents and jailed them. His blood boils and he enters the capital incognito, along with his girlfriend and others. There is a fighting and the younger brother is killed. The King and Queen are released. The prince becomes the King and his girlfriend becomes his Queen. Clap, Clap !

The film had 11 songs. 4 songs are already discussed. Today’s song is the 5th song. It is sung by Shamshad Begum, Amirbai, Rafi and another unknown male voice. Incidentally, Gobind Ram had a special affinity for Shamshad Begum. He gave music to 32 films and composed 302 songs. Out of these, he composed as many as 86 songs in 19 films for Shamshad Begum. I believe, he may be the music director who has most songs for Shamshad Begum- atleast percentage wise (28.4 %).


Song- Dil hai lagane ke liye (Raj Mukut)(1950) Singers- Amirbai Karnataki, Shamshad Begam, Rafi, Lyrics-Bharat Vyas, MD- Pt Gobind Ram
Amirbai Karnataki + Shamshad Begam
Rafi + Unknown male voice

Lyrics

dil hai lagaane ke liye
ise laga lo yahin kahin
aji ise laga lo yahin kahin

nahin nahin jee nahin nahin
nahin nahin jee nahin nahin

dil hai lagane ke liye
ise laga lo yahin kahin
aji ise laga lo yahin kahin

nahin nahin jee nahin nahin
nahin nahin jee nahin nahin

chaar dinon ki hai ye jawaani
chaar dinon ka khel
aji chaar dinon ka khel
chaar dinon ki hai ye jawaani
chaar dinon ka khel
khatkhat karti chali jaa rahi
jeewan ki ye rail
suno jee
jeewan ki ye rail
mauj manaa lo phir nahin kehna
haan
mauj manaa lo phir nahin kehna
dil ki baaten dil mein rahin
is dil ko laga lo yahin kahin

nahin nahin jee nahin nahin
nahin nahin jee nahin nahin

dil hai lagaane ke liye
ise laga lo yahin kahin
aji ise laga lo yahin kahin

jaante hain haal hum
majnu dil e barbaad ka
haan aan aan aan
haan aan
jaante hain haal hum
majnu dil e barbaad ka
aur ishq mein anjaam dekho
kya hua farhaad ka

aur ye barbaadi ka rasta hai
is par chalna nahin nahin
hoy ye barbaadi ka rasta hai
is par chalna nahin nahin

is dil ko lagaa lo yahin kahin
nahin nahin jee nahin nahin
nahin nahin jee nahin nahin

dil hai lagaane ke liye
ise laga lo yahin kahin
aji ise laga lo yahin kahin

honthon par hai naam tumhaara
soorat dil mein basi huyi
aeji soorat dil mein basi huyi
honthon par hai naam tumhaara
soorat dil mein basi huyi
tum chaaho na chaaho
ham hain prem jaal mein phansi huyi
ham prem jaal mein phansi huyi
duniya mein badnaam huyi hain
haay
duniya mein badnaam huyi hain
kya kya baaten hamne sahin
is dil ko laga lo yahin kahin

nahin nahin jee nahin nahin
nahin nahin jee nahin nahin

dil hai lagaane ke liye
ise laga lo yahin kahin
aji ise laga lo yahin kahin


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

Blog Day : 4040 Post No. : 15165

Today’s song is from film Gulami-45. It was a film made by Shalimar Pictures, Poona. Directed by M.Wadhwani, its music was by S.K.Pal. Songs were written by Bharat Vyas, Josh Malihabadi, Akhtar-ul-iman and Majaj. Film Gulami aka Rape of Burma-45 was not a great film. The cast of the film was Renuka Devi, Masood Pervez, David, Tiwari, Bharat Vyas, H. Prakash, Kathana, Balraj Mehta, Neelam etc etc.

The Heroine Renuka Devi was an extraordinary woman, considering the times in which she was living. Renuka Devi ( Begum Khursheed Mirza) was perhaps one of the most educated, upper class, sophisticated and highly cultured Muslim lady, who ever joined the film industry then. One more striking feature of Renuka Devi was that she was one of the very few actresses, who joined films after their marriage. The other such examples I remember off hand are those of Meenakshi Shirodkar (Bramhachari-38 fame), Shobhana Samarth and actress Neena ( real name Shahida-wife of Mohsin Abdulla, brother of Renuka Devi).

Renuka Devi (4-3-1918 to 8-2-1989) had studied up to Masters degree in English Literature, from Aligarh Muslim University. The only other nearest example I remember off hand is that of actress Vanmala (real name Susheela Devi Pawar), who had done B.A., B.T. and was a Teacher in the college before joining films,at the behest of writer, journalist and Director P.K.Atre.

Back in the Thirties, acting in films was not considered an honourable profession for anybody. And for a married woman from a well-educated and respectable upper-middle class Muslim family, it was forbidden to even think about it. But Khurshid Mirza, the daughter of the founders of the Aligarh Women’s College, the wife of a police officer and already a mother of two, was too free-spirited to be tied down by any social norm. She took the plunge and soon a star named Renuka Devi was born.

In those days,popular actresses used to earn quite a lot. For example, Shobhana Samarth earned 36000 ( about 18 lakhs at today’s rate) rupees every year. Other actresses like Shanta Apte, Naseem Bano, Sardar Akhtar, Madhuri etc got about 30000 or so. This was a time when a Chiffon Saree was for Rs.9 and a brand New Studbaker car was for Rs. 5000 only. Renuka Devi also was interested in earning money. However Renuka Devi did only few films in her career. She worked with Bombay Talkies, New Theatres, Shalimar and such big banners. Her films are Jeevan Prabhat-37, Bhabhi-38, Badi didi-39, Naya Sansar-41, Shri Ramanuja-43, Sahara-43, Samrat Chandragupta-45, and Gulami-45 .

After partition, her family migrated to Pakistan. In Pakistan, though in demand, she refused to do any films. Instead, she decided to devote her time for women’s uplift, education, welfare and social work. She also did some work on Pakistan Radio,and Pakistan TV.

She published 9 instalments of her autobiography in the popular magazine ” Herald ” from August 1982 to April 1983, under the title ” The uprooted sapling”. This was,later on edited and published by her daughter Lubna as a Book, in 2004, titled- ” A woman of substance- the memoirs of Begum Khursheed Mirza “.

In her book she included a chapter of 24 pages ” Renuka Devi-my celluloid identity”, in which she has described many interesting anecdotes. Her detailed description of the times of the 30s and 40s is a lovely chronicle of the history of Bombay film industry.

Renuka Devi died on 8-2-1989 at Lahore after a prolonged illness. ( As her bio has already been given earlier in this Blog by me and Sadanand Kamath ji, I am not repeating it here).

Film Gulami-45 was a film without the regular Heroine of Shalimar pictures-Neena- real name Shahida. She was Mohsin Abdulla’s wife before W.Z.Ahmed lured her in his net. Abdulla was Renuka Devi’s younger brother. it is said that during the shooting of the film in the studio, Neena never ever visited the studio, as she was too embarrassed to face her sister-in-law.

Bharat Vyas (18-12-1918 to 5-7-82) -who wrote the story,songs and even acted in it, was spotted by W. Z.Ahmed and he offered Vyas a lucrative salary which was hard to refuse, to join Shalimar. Vyas was happy to join because, in Shalimar, he had the company of Josh Malihabaqdi,Akhtar-ul-iman, Kishen Chander, Ramanand Sagar and Sagar Nizami-all employed by Shalimar.He started by writing all 12 songs for film Prem Sangeet-43.Then came Mann ki jeet-44 and Prithwiraj Sanyogita-46. His last film here, Meerabai-47, was also the last film of Shalimar. His job was to adapt Meera bhajans in song form.

After Partition,Neena and Ahmed migrated to Pakistan, taking along with them all the prints of their films and Shalimar became an orphan. Vyas went to Madras to work for S S Vasan for his film ‘ Chandralekha’-48. When he came back, he was approached by some ex-workers of Shalimar. They wanted to revive Shalimar by completing the incomplete film ‘ Rangila Rajasthan. Actually, in 1946 itself, Ahmed had entrusted this film’s direction to Bharat Vyas and some shooting was also done. However due to several reasons, this film was stopped and Meerabai was completed.

They wanted like minded ex-employees to work free to produce the film.Bharat Vyas agreed.He not only wrote songs,but also composed few songs, along with MDs S K Pal and B S Kalla. Further he directed film ‘Rangeela Rajasthan’-49.However, despite all efforts, the film flopped and Shalimar closed down for ever.

In film Gulami, Vyas wrote some songs and aslo sang a duet and a solo song, besides acting in it.Bharat Vyas wrote 1247 songs in a85 films. He acted in 3 films- Gulami-45, Prithviraj Sanyogita-46 and Maa-52. He sang 8 songs in 6 films- Prem sangeet-43, Mann ki jeet-44, Gulami-45, Chandralekhs-48, Navrang-59 and Bharat ki santan-80.

A very odd name in the cast can be seen- Balraj Mehta. I am sure,hardly anyone has ever heard his name, but he was a very active person in his life. Born on 22-4-1918 at Lahore, he was the son of Sukh Dayal Mehta – Superintendent in the Commissioner’s office at Lahore. He completed Matriculation from Central Model High School and B.A. from Dayal Singh College of Lahore in 1939.

He was active in Students’ union and held General Secretary’s post of Punjab University Students’ Union, in 35-37. He organised All India Student Federation conference in 36/37. He was a born Leader. He was interested in acting on stage. In 1944, he founded Indian National Theatre (I.N.T.), which is a very famous institution in India now also. He wrote, directed and produced its first stage drama ” Aawaaz’ in 1945.

By now he was married and needed to earn money. He joined film line. He acted first in ‘ Dulla Batti’ in 1939-40. Then came Sajjan-41,Panna-44, Parakh-44, Patharon ka Saudagar-44, Gulami-45 and lastly Pul-47.In the period 1944-45, he also became Secretary of Film Artistes’ Association and served it for a long time. In 1947, he entered Politics. After Independence, he became a journalist. There is no information about him after this.

Though, film Gulami-45 was completed and certified by Censors in 45, it was released somewhere in the mid 46, as per news item found in Film India magazine. Though the magazine did not publish its full review, a short note, as usual, criticised the lead pair’s acting and praised the direction. It had no good words about the music also. Some readers’ comments also criticised the film.

It was pointed out by one reader that the film was a copy of Hollywood film ” Dragon Seed “-1944. The film ,in its advertisement, described it to be a ‘ Thrilling Patriotic story’. The parallel title of the film was ” Rape of Burma”, indicating a love story in Burma with the war background. However,when the film was released in or around May 1946, the War had ended long back and the film had lost its advantage of Topicality. Baburao Patel also ridiculed showing the married and a mother of 2 kids (Renuka Devi) as an 18 year old girl in the movie.

Renuka Devi was not a singer, nor is there any evidence that she received training is Music. Same case was with Bharat Vyas. Still,they sang this duet in a well balanced way. Though the songs of this film ( I have 4 songs of this film with me) are not that well tuned to remain in memory, but they were of average standard. Even otherwise the MD-S.K.Pal ( nephew of Ramchandra Pal,MD with Bombay Talkies), was not famous to have created any memorable song in his career.

So, here is the duet of Bharat Vyas and Renuka Devi.

(Some information in this article is used, with thanks, from the book ” A woman of substance” by Renuka Devi, webly.com, Who’s who in Film Industry-46, issues of Film India for 1945 and 1946 and my own notes.)


Song-Aajaa aajaa aajaa re O Geeta ke Bhagwaan (Ghulaami)(1945) Singers-Bharat Vyas, Renuka Devi, Lyrics-Bharat Vyas, MD-S K Pal
Both

Lyrics

aaja aaja aaja re
aaja aaja aaja re
aaja aaja aaja re
aaja aaja aaja re
o geeta ke bhagwaan
wo apna vachan nibha ja re
o krishn shiv aajaa aajaa re
aaja aaja aaja re

kab se naina pyaase hain
pal bhar to pyaas bujha jaa
kab se naina pyaase hain
pal bhar to pyaas bujha jaa

ham laakh baar aayen mohan
tu ek baar to aa jaa
ham laakh baar aayen mohan
tu ek baar to aa jaa
aaja aaja aaja re
aaja aaja aaja re

ek baar phir braj mein raas racha ja
bansiwaale
ek baar phir braj mein raas racha ja
bansiwaale

sang tumhaare naachen ham
ban kar gokul ke gwaale
sang tumhaare naachen ham
ban kar gokul ke gwaale

bas ek baar phir braj ki wo
bas ek baar phir braj ki wo
jhaanki dikhla jaa re
?? dikhlaa jaa re
phir usi baansuri ki sundar wo
taan suna jaa re ae ae
seeta ke bhagwaan wo apna
vachan nibha jaa re
o krishn phir aaja aajaa re
aaja aajaa aajaa re

brij baalaayen roti hain
rote hain gokul waale
brij baalaayen roti hain
rote hain gokul waale

jamuna ki lahren roti hain
kyun roothhe bansi waale
bansi waale ham roton ko
kuchh dheer bandhaa jaa re ae
bansi waale ham roton ko
kuchh dheer bandhaa jaa re

hamen ye to samjha jaa re
kya bhool huyi jo bhool gaya
kya bhool huyi jo bhool gaya
ye bhed bataa jaa re
geeta ke bhagwaan ho apna vachan nibha jaa re
o krishn phir aajaa aajaa re
aajaa aajaa aajaa re


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 : 4028 Post No. : 15142

“Murliwaala”(1951) was directed by Vasant Painter for Madhuvani Chitra, Bombay. This movie had Vijaylaxmi, Shashi Kapoor (sr), Durga Khote, Gulaab, Mahipal, Parshuram, Krishna Kumari, Niranjan Sharma, Vasant rao Pahalwan, Ramesh Sinha etc in it.

There were eight songs in this movie. One song has been covered in the past.

Today (29 july 2019) is the 17th remembrance anniversary of Sudhir Phadke (25 July 1919-29 july 2002). as a tribute to him, here is the second song from “Murliwaala”(1951) to appear in the blog. This song is sung by Lata. Bharat Vyas is the lyricist of this song. Sudhir Phadke is the music director.

The mukhda of this song is similar to that of <a href="“>another Lata song from “Bahut Din Huye”(1959).

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


Song-Chanda chamka neel gagan mein (Murliwaala)(1951) singer-Lata, Lyrics-Bharat Vyas, MD-Sudhir Phadke

Lyrics

chanda chamka neel gagan mein
chanda chamka neel gagan mein
neel gagan mein
neel gagan mein
chanda chamka neel gagan mein

dekhoon jab ye jhilmil taare
yaad aate jamuna ke kinaare
dekhoon jab ye jhilmil taare
yaad aate jamuna ke kinaare
kaisi bhulaaun khel jo khele
kaisi bhulaaun khel jo khele
tum sang sang madhuban mein aen
chanda chamka neel gagan mein

jaana chaahoon
aa na sakoon main aen
jaana chaahoon
aa na sakoon main
ho jaaye na bhor re
aaah piya mere aaj kisi ne
pankh diye hai marod re
vyaakul man hai
aakul tan hai
vyaakul man hai
aakul tan hai
neer bahe nainan mein aen
chanda chamka neel gagan mein
chanda chamka neel gagan mein


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

Blog Day : 4022 Post No. : 15134

Today’s song is from film Nakhre-51. It is sung by Devendra Mohan, Shamshad Begum and chorus. This is a foot tapping song, reminding of a Vinod or O P Nayyar song.The tune of this song resembles a more well known song of later period,but I am unable to identify it. This is a second successive song I am discussing, after song from “Hawai Khatola”-46 which also had a similar tune to some other song.

I have come across umpteen number of songs from Hindi films which have similar tunes-in part or the whole song. I am not talking of Parody songs, because Parody songs obviously use a popular tune to make fun of it,with different but funny lyrics. Here the intention is to make a comedy song.

I am talking of those ‘inspired ‘ songs, which are composed intentionally and can be called a copy song. I remember I had written an article ” Ek dil do jaane- Ek tune do gaane “, in March 2013 on a friend’s Blog called Harveypam’s blog. In that article,I had given 20 songs as examples in which tunes were copied from other Hindi songs. Our Raja ji, Ava Suri ji and our regular commentator Partha Chanda ji were regular readers and had put their comments on my article that time. Other readers had put examples of another 50-60 songs which had similar tunes.

This phenomenon of copying can be found in Hindi films since Talkie films started.Initially,the whole song used to be repeated in another film,by other composers. Later on they settled on copying only the tunes,perhaps !

After 1950 onwards, copying a tune became a frequent practice. SD Burman’s song from film ‘ Naujawan’-51 ( Thandi hawaen,lahara ke aayen) was copied 6 more times in different songs in different films. ( the original song itself was ‘inspired’ by ” C’est La Vie” by Charles Boyer from film “Algiers”-1938 ). A well known case is of Madan Mohan copying the tune of Sajjad Husain’s Sangdil-51 song” Ye hawa ye raat ye chaandni”, for his song from ” Aakhri Daon”-58-” tuze kya sunaun main dilruba”. Famous Music Critic Girija Rajendran had openly proved how all songs of film ” Mera naam Joker”-70 were copies from earlier film songs. For example, the Title song “Kehta hai Joker, saara zamana” was copied from ” apni nazar se unki nazar tak” a song from film Hum Log-51.( See, I can write on Poetry side also !!!)

This is a vast subject and a whole book can be written on it. So far only Hindi songs inspired by other Hindi songs has been discussed. If you see songs from Bangla and other languages, then you may have to write 3 books ! Does it mean that there is no originality in Hindi film songs ? No, there ARE original tunes and songs in Hindi films. To conclude this topic,I quote a few lines from the interview of Music Director Nashad, published in Film Fare of 5th August 1955, where he has spoken about inspired songs……

” Although no one says it to my face, I know that there is a section in the film industry who decry my music as “a re-hash of familiar tunes.”
This amounts to a charge of plagiarism.

I have no defense, no apology, to offer, except to say that, if am a plagiarist, I am one unconsciously.
With only seven main notes, six ragas, thirty-six raginis and seventy-two sub-raginis, every “new” musical composition is bound to sound familiar in places.
Try to hum any popular film composition of today and then cast back your mind. Make a careful search for a parallel and you will easily find one in some celebrated songs of yesterday….”

This sounds like an excuse to me. What is to Nashad is same to other MDs too, then how come others are not blamed for plagiarism? Let us leave it at that only.

Film Nakhre-51 was directed by Surya Kumar. Yes, he is the same famous Dance Master/ Choreographer of many hit films of 50s and 60s. Suryakumar and Krishna kumar were brothers. Both were Choreographers. The story of Dance Director brothers Krishna kumar and Surya kumar is very interesting.

Anthony (Tony) Lazarus was born in 1918 and his younger brother Robert Lazarus was born on 14-12-1924. They lost the parents and were raised in an orphanage, from where , the famous film dancer Azurie picked them and trained till they became good dancers. Tony became Krishnakumar and Robert took the name Suryakumar. Krishna Kumar started acting and doing choreography in films of late 40s and early 50s. In every film of Mehboob and Kardar, he was present. Soon he became famous. However, he also developed some enemies. Krishnakumar was murdered by his enemies on 7-7-1951. The culprits were never captured.

It is believed that it was Krishna Kumar, who taught Master Bhagwan his famous Dance steps (later copied by Amitabh Bachhan also), making his film ‘Albela’ a block buster. In one of the famous songs in Albela, you can see Krishnakumar’s photo kept on a table, as a tribute to him.

Robert aka Suryakumar started his film career as asstt. in a sound department in Saigal’s last film,’Parwana’-1947. During this period,yesteryear actress/Dancer Azurie trained him and krishnakumar in Dancing. In those days the term ‘Choreographer was not used. They were simply called ‘Dance masters’ or ‘Dance Directors’.

Actress Azurie had a German father and an Indian mother. She is considered as the pioneer in Film dancing in India. She was so famous in films,that Cuckoo modelled herself on her dancing skills and succeeded. Azurie(1907-1998) trained Suryakumar in dancing.

Suryakumar then assisted madame Simka(a disciple of Uday Shankar),in film “Awaara”-1951,when he first directed Helen who was in the chorus of Dancing girls that time. Suryakumar later directed Helen in 31 films.Their last film together was Bombay 405 Miles-1980. Suryakumar was also very friendly with dancer Edwina. He visited her London home many times, after she settled after marriage in London.

Surya Kumar himself also trained Suryanarayana, Oscar and many others. After 1970, Heroines themselves became dancing girls and the roles of Dance masters reduced considerably. Posh Choreographers came on the scene.

Surya Kumar had a penchant for acting. He would himself appear in most of his dances in films. During our college days, it was our pastime to search for him in Helen dances. Surya kumar acted in 7 films, in small roles – Singar-49, Naya Raasta-53, Shesh Naag-57, Bus Conductor-59, Aankh Michauli-62, Har Har Mahadev-74 and Shravankumar-88. Surya Kumar also directed 4 films – Kamal-49, Nakhre-51, Laadla-54 and Saazish-59.

He then worked as a Production assistant and as an editor too,before retiring. His last days were spent in poverty and he died on 19-8-1987 in Bombay.

Normally, choreographers, cinematographers, editors,arrangers,dress designers,art directors etc (artists behind the curtains) are the most neglected people and no one writes about them,so not is much known also about them. It was very difficult to gather information on Surya kumar.

Let us now listen to today’s song. If any reader can identify similar tune song from other films,kindly inform us in the comments column.

(Information for this post was collated, culled and edited from books- ‘Edwina’ by Surjit Singh ji, Flash back by Isak Mujawar, several Facebook group pages and especially ‘Dances on the footpath’ by Richard S, Minai’s cinema nritya gharana and my notes)


Song- Chal meri chhallo chhamaak chham chham(Nakhre)(1951) Singers- Shamshad Begam, Devendra Mohan, Lyrics-Bharat Vyas, MD-Hansraj Bahl
Chorus

Lyrics

titi taam titi taam titi taam tam tam
chal meri chhalo chhamaak chham chham
titi taam titi taam tam tam tam
chal meri chhalo chhamak chham
titi taam titi taam titi taam tam tam
chal meri chhalo chhamaak chham chham
manzil apni door hai
kahin nikal na jaaye dum

ek taraf hai saari duniya
ek taraf meri chhalo chhalo chhalo
ek taraf hai saari duniya
ek taraf meri chhalo
moch na aa jaaye kamar mein
dheere dheere challo
chhallo
dheere dheere chhallo

kero maama haaye raama kero mama haaye raama
hatto sainya chhado bainya
tum ko hai meri kasam
titi taam titi taam titi taam tam tam
chal meri chhalo chhamak chham chham
titi taam titi taam tam tam tam
chal meri chhalo chhamak chham

tu hai meri kaakdi aur main tero tarbooz
main tero tarbooz
tu hai mhaari jaatni aur main thaaro rangroot
pahan ke aaya dheela suit
paavon mein lambe lambe boot

abe tu aadmi hai ya bhoot
duniya tumko
duniya tumko
teer kahe talwaar kahe bandook kahe
main kehta hoon atom bomb
bomb bomb bomb

titi taam titi taam titi taam tam tam
chal meri chhalo chhamak chham chham
titi tam titi tam tam tam tam
chal meri chhalo chhamak chham

aankhen teri gol button si
humko laage pyaari
haaye hum ko laage pyaari
naak tumhaari tote jaisi
mudi hui matwaari
aye haaye mudi hui matwaari
duniya tumko
duniya tumko
veer kahe
balwaan kahe pahalwaan kahe
main kahti hoon choohe ki doomm
dum dum dum
titi tam titi tam titi tam tam tam
chal meri chhalo chhamak chham chham
titi tam titi tam tam tam tam
chal meri chhalo chhamak chham
titi tam titi tam titi tam tam tam
chal meri chhalo chhamak chham chham
manzil apni door hai
kahin nikal na jaaye dum
dum dum dum dum


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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 ELEVEN years. This blog has more than 15300 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

Total number of songs posts discussed

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Movies with all their songs covered =1180
Total Number of movies covered =4243

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