Posts Tagged ‘Bharat Vyas’
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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5750 | Post No. : | 18274 | Movie Count : |
4948 |
‘Maan Apmaan’ (1979) was produced and directed by N V Deshpande. The cast included Sanjeev Kumar, Kanan Kaushal, Sushma Shiromani, Usha Solanki, Gajanan Jagirdar, Dhumal. Mohan Choti, Ratnamala, Asit Sen, Jayshree T, Shammi, Vishwa Mehra, Neelam etc. As per IMDb, the film was in the making since 1968 with Sanjeev Kumar and Kanan Kaushal (who, at that time, were yet to established as successful actors). The film got delayed and at one time it was almost shelved. It was only when Sanjeev Kumar became a star and Kanan Kaushal came into limelight with her box office hit film, ‘Jai Santoshi Mata’ (1975), the film was revived, reshot and released in August 1979. The film was dubbed in Gujarati also.
The film’s lead actress, Kanan Kaushal (real name: Indumati Sheth) was born on March 21, 1939, in Baroda (now Vadodara). She belongs to Konkani speaking Gomantak Maratha Samaj, mainly concentrated in around Goa. Her interest in acting began during the school days but got a fillip during her college days when she started participating in plays during college’s cultural festivals. After completing MA in Economics and History, Indumati got involved in Marathi, Gujarati and Hindi theatres. In 1964, she got married to Shashikant Paigankar and became known as Indumati Paigankar. So, she started her filmy career after her marriage.
Indumati Paigankar came into limelight when she worked in a Hindi play, ‘Do Jahaan Ke Beech’ with Haribhai Jariwala (Sanjeev Kumar) and Leela Chitnis. Her acting in this play got attention from Hindi filmmakers. In 1964-65, she got roles in ‘Prahar’, ‘Asha Ke Deep’ and ‘Aakhri Din Pehli Raat’. Unfortunately, her first three Hindi films remained incomplete/shelved. During the making of ‘Aakhri Din Pehli Raat’ (shelved), the director, Kamal Amrohi suggested to change her name from Indumati Paigankar to Kanan Kaushal which she accepted. He also suggested the film’s hero, Haribhai Jariwala to change his name. So, he adopted his name to Sanjeev Kumar. Despite the film being shelve, both of them retained their new screen names for all their subsequent Hindi films. (Note: Kanan Kaushal’s profile of her early years is based on a Marathi write-up which appeared on maharashtranayak.in)
Kanan Kaushal’s first released Hindi film was ‘Sati Sulochana’ (1969) in which she was in a subsidiary role with Anita Guha and Premnath. Her first film in a lead role was ‘Maan Apmaan’ (1979) with Sanjeev Kumar, which started sometime in 1968. However, it got delayed for a long time. In ‘Pardesi’ (1970), Kanan Kaushal got a major role along with Mumtaz.
Kanan Kaushal had already worked in about a dozen Hindi films, mostly in supporting roles, but she had not established herself in terms of the the box office success. Then came the film ‘Jai Santoshi Mata’ (1975) in which Kanan Kaushal got a major role along with Anita Guha. This low budget film created an history in 1975 by becoming the second highest grossing film next to ‘Sholay’ (1975). As happens in Hindi films most of the time, Kanan Kaushal also got typed cast for mythological films. She did over a dozen films in this genre over the next 5 years in succession.
It is said that Kanan Kaushal after her successful role in ‘Jai Santoshi Mata’ (1975), got an image of a religious and a pious woman which she wanted to retain it. That made her to reject bold roles in Hindi films. Later on, when she shifted to doing character roles in the 1980s onwards, she was almost type-cast as a suffering wife/mother, more like Nirupa Roy type of roles. ‘Sanam Aap Ke Kaatir’ (1992) was her last Hindi film.
‘Ekati’ (1968) was Kanan Kaushal’s first Marathi film in which she paired with Kashinath Ghanekar. She worked in around 30 Marathi films under her original name, Indumati Paigankar. She also worked in about 16 Gujarati films and 4 Bhojpuri films in addition to about 40 Hindi films.
Kanan Kaushal retired from the films sometime in 1990s. Post retirement from films, she pursued her hobby as a Beautician. She has written and published two books in Marathi – ‘Roopsadhana’ (1994) and ‘Vadhucha Saajshrungar’. Her husband, Shashikant Paigankar passed away in 2001. They have one son and a daughter. The son, Parag Paigankar is an Executive Director in one of the well-known financial services companies in Mumbai. Her daughter is Meelan Samant.
The story of ‘Maan Apmaan’ (1979) is as under:
Thakur (Gajanan Jagirdar), a wealthy landlord, stays with his family consisting of his wife, Laxmi (Ratnamala), his two grown-up daughters – Parvati (Kanan Kaushal), Kamini (Neelam) and a son, Pratap (Mohan Chandola). Shankar (Sanjeev Kumar) is an orphan who has been brought up since his childhood by Thakur and also stays in the house. Thakur’s eldest daughter, Savitri (Usha Solanki) has already got married. Despite belonging to a wealthy family, Parvati is a simple, cultured and self-respected girl. Shankar is a simple man, and he is close to Parvati among other members of the family.
One day, Pratap sees both Shankar and Parvati outside a temple talking in an intimate manner and reports this to his mother, Laxmi. Paravati overhears their conversations and feels bad about Shankar getting a bad name for his closeness to her. She tells her mother that she would marry Shankar to remove any impression about him being in a scandalous relationship. Shankar is hesitant to marry her but Parvati persuades him for the marriage.
Thakur is dead against the marriage as it is not palatable to him as to how his daughter could marry a orphan who has no house to stay and no money to sustain. However, Parvati’s threat to commit suicide if her marriage with Shankar is denied, forces Thakur to agree for the marriage for which he offers financial assistance as well as allowing them to stay in the house. Both of them refuse the offer. After marriage, Shankar and Parvati leave the house to stay with Shankar’s friend, Ramdas (Asit Sen). However, due to unpleasant behaviour of Ramdas’s wife (Shammi), Shankar and Parvati leave the house and shift to his grandparent’s abandoned cottage in a different village. Shankar repairs the house and settles in the village.
Parvati gives birth to a baby boy. Thakur and his wife visit to see the child. However, after seeing them living in an abject poverty, they return home after Thakur insults them. After a few years, Shankar and Parvati receive an invitation to attend the marriage of her younger sister, Kamini. While Parvati’s mother is happy to see them after a long time, other members of the family give them a cold response. On the contrary, Savitri accuses Parvati of stealing her jewellery. A humiliated Shankar and Parvati return home with a vow never to visit them.
Years pass. Shankar and Paro receive an invitation to attend the marriage of her younger brother, Pratap. After humiliation during the marriage of her younger sister, Parvati and Shankar decide not to attend the marriage. Instead, she writes a letter to Pratap sending her best wishes for the marriage. However, her mother’s health deteriorates after the marriage as it was a shock for her that her daughter, Parvati could not attend the marriage. After few days, she passes away. After completion of the religious ceremonies, Thakur and his family members realise their mistakes of ill treatment to Shankar and Parvati. They all visit Shankar and Parvati’s house and reconcile with them.
The film had 3 songs written by Bharat Vyas which were set to music by Laxmikant-Pyarelal. I am presenting the first song, ‘ye geet kaun mere madhuban mein gaa rahaa’ to appear on the Blog. The song is rendered by Mohammed Rafi and Anuradha Paudwal. The song is picturised on Sanjeev Kumar and Kanan Kaushal reflecting their happiness over the news of becoming expectatant parents.
Video Clip:
Audio Clip:
Song-Ye geet kaun mere man madhuban mein gaa rahaa (Maan Apmaan)(1979) Singers-Anuradha Paudwal, Rafi, Lyrics-Bharat Vyas, MD-Laxmikant Pyarelal
Both
Lyrics
hmm hmm
hmm hmm hmm
hmm hmm hmm hmm hmm
hmm
aa aa aa aaa
aa aa aa aaa
aa aaaaa
ye geet kaun
mere mann madhuban mein gaa rahaa
ye geet kaun
mere mann madhuban mein gaa rahaa
mere soye praanon ko
meethhe meethhe sur se jagaa rahaa
ye geet kaun
mere mann madhuban mein gaa rahaa
ye geet kaun
mere soye praanon ko
meethhe meethhe sur se jagaa rahaa
ye geet kaun
raat ki belaa
main thhaa akelaa
chupke se ye kaun aayaa
raat ki belaa
main thhaa akelaa
chupke se ye kaun aayaa
door kabhi kyaa rah sakti hai
kaaya se apni chhaayaa
palkon mein jo basti hai
koi useykyun bulaa rahaa
ye geet kaun
mere mann madhuban mein gaa rahaa
ye geet kaun
bheegaa hai mausam
milte hain hum tum
bheegi hawaayen gaatee hain
bheegaa hai mausam
milte hain hum tum
bheegi hawaayen gaatee hain
pedon se lipti
komal lataayen
dekh hamen sharamaati hain
jaane ye kaisi khusbhoo udi
jo dil pe nashaa saa chhaa rahaa
ye geet kaun
mere mann madhuban mein gaa rahaa
ye geet kaun
deep mein jyoti
seep mein moti
teraa meraa mel yahi
deep mein jyoti
seep mein moti
teraa meraa mel yahi
saagar mein saritaa
lahron mein kavitaa
pyaar kaa paawan khel yahi
bhar ke apni baahon mein
mujhe koi jhoolaa jhulaa rahaa
ye geet kaun
mere mann madhuban mein gaa rahaa
mere soye praanon ko
meethhe meethhe sur se jagaa rahaa
ye geet kaun
ye geet kaun
hmm hmm
hmm hmm hmm
hmm hmm
hmm hmm hmm
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5665 | Post No. : | 18167 |
‘Phoolon Ke Haar’ (1951) was directed by GP Pawar for Shreekant Studio, Bombay. This ‘social’ movie had Nigar Sultana, Geeta Bali, Nasir Khan, Heeralal, Mangla, Sundar, Yashodhara Katju, Kamal, Bhupen Kapoor, Rani Shakuntala, Natyal, Rammurty, Madhav Kale etc in it.
The movie had eleven songs in it that were penned by five lyricists. Five songs from the movie have been covered in the past.
Here is the sixth song from ‘Phoolon Ke Haar’ to appear in the blog. This song is sung by Shamshad Begam and chorus. Bharat Vyas is the lyricist. Music is composed by Hansraj Bahl.
Only the audio of this song is available. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song.
Lyrics of this song were sent to me by Prakashchandra.
audio link:
Song-Phoolon ka haar mere man ka singaar hai (Phoolon Ke Haar)(1951) Singer-Shamshad Begam, Lyrics-Bharat Vyas, MD-Hansraj Bahl
Chorus
Lyrics(Provided by Prakashchandra)
phoolon ka haar mere
mann ka singaar hai ae
mann ka singaar hai ae
phoolon ka haar mere
mann ka singaar hai ae
mann ka singaar hai
ho o ho o o ho
un se mera pyaar hai jee
un se mera pyaar hai
jhanak jhanak chhupp chhupp chhupp
chhupp laa laa laa laaa hhaaa
chhupp laa laa laa laaa hhaaa (ho oooo ooo)
chhupp laa laa laa laaa hhaaa (ho oooo ooo)
chhupp laa laa laa laaa hhaaa (ho oooo ooo)
chhupp laa laa laa laaa hhaaa (ho oooo ooo)
phoolon ka haar mere
mann ka singaar hai ae
mann ka singaar hai
ho o ho o o ho o
un se mera pyaar hai jee
un se mera pyaar hai
jhanak jhanak chhupp chhupp chhupp
chhupp laa laa laa laaa hhaaa
chhupp laa laa laa laaa hhaaa (ho oooo ooo)
chhupp laa laa laa laaa hhaaa (ho oooo ooo)
chhupp laa laa laa laaa hhaaa (ho oooo ooo)
chhupp laa laa laa laaa hhaaa (ho oooo ooo)
mann mein umang hai
naach raha ang hai
dol raha unka jiyaa
jin ka piya sang hai jee
jin ka piya sang hai
jin ka piya sang hai jee
jin ka piya sang hai
jin ka piya sang hai jee
jin ka piya sang hai
mann mein umang hai
naach raha ang hai
dol raha unka jiyaa
jinka piya sang hai jee
jinka piya sang hai
chhaaye rahi aaj dekho
ban ban bahaar hai ae
ban ban bahaar hai
ho o ho o ho o
un se mera pyaar hai jee
un se mera pyaar hai
jhanak jhanak chhupp chhupp chhupp
chhupp laa laa laa laaa hhaaa
chhupp laa laa laa laaa hhaaa (ho oooo ooo)
chhupp laa laa laa laaa hhaaa(ho oooo ooo)
chhupp laa laa laa laaa hhaaa (ho oooo ooo)
chhupp laa laa laa laaa hhaaa (ho oooo ooo)
dukhda gaya
gayeen raatein woh kaali
angna mein naach rahi jagmag deewaali
hoyye jagmag deewaali
jagmag jagmag deewaali hho jagmag jagmag deewaali
jagmag jagmag deewaali hho jagmag jagmag deewaali
dukhda na gaya
gayeen raathein woh kaali
angnaa mein naach rahi jagmag deewaali
hoyye jagmag deewaali
tan mann mein naach raha
jhaan jhan sitaar hai ae
jhaan jhan sitaar hai
ho o ho o ho o ho oooo
un se mera pyaar hai jee
un se mera pyaar hai
jhanak jhanak chhupp chhupp chhupp
chhupp laa laa laa laaa hhaaa
chhupp laa laa laa laaa hhaaa (ho oooo ooo)
chhupp laa laa laa laaa hhaaa (ho oooo ooo)
chhupp laa laa laa laaa hhaaa (ho oooo ooo)
chhupp laa laa laa laaa hhaaa (ho oooo ooo)
chhupp laa laa laa laaa hhaaa (ho oooo ooo)
chhupp laa laa laa laaa hhaaa (ho oooo ooo)
chhupp laa laa laa laaa hhaaa (ho oooo ooo)
chhupp laa laa laa laaa hhaaa (ho oooo ooo)
——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————
फूलों का हार मेरे मन का सिंगार है
मन का सिंगार है
फूलों का हार मेरे मन का सिंगार है
मन का सिंगार है
हो ओ हो ओ ओ हो
उनसे मेरा प्यार है जी
उनसे मेरा प्यार है
झनक झनक छुप छुप छुप
छुप ला ला ला ला हा
छुप ला ला ला ला हा
(हो ओ ओ)
छुप ला ला ला ला हा
(हो ओ ओ)
छुप ला ला ला ला हा
(हो ओ ओ)
छुप ला ला ला ला हा
(हो ओ ओ)
फूलों का हार मेरे मन का सिंगार है
मन का सिंगार है
हो ओ हो ओ ओ हो
उनसे मेरा प्यार है जी
उनसे मेरा प्यार है
झनक झनक छुप छुप छुप
छुप ला ला ला ला हा
छुप ला ला ला ला हा
(हो ओ ओ)
छुप ला ला ला ला हा
(हो ओ ओ)
छुप ला ला ला ला हा
(हो ओ ओ)
छुप ला ला ला ला हा
(हो ओ ओ)
मन में उमंग है
नाच रहा अंग है
डोल रहा उनका जिया
जिनका पिया संग है जी
जिनका पिया संग है
जिनका पिया संग है जी
जिनका पिया संग है
जिनका पिया संग है जी
जिनका पिया संग है
मन में उमंग है
नाच रहा अंग है
डोल रहा उनका जिया
जिनका पिया संग है जी
जिनका पिया संग है
छाए रही आज देखो
बन बन बाहर है
बन बन बाहर है
हो ओ हो ओ हो ओ
उनसे मेरा प्यार है जी
उनसे मेरा प्यार है
झनक झनक छुप छुप छुप
छुप ला ला ला ला हा
छुप ला ला ला ला हा
(हो ओ ओ)
छुप ला ला ला ला हा
(हो ओ ओ)
छुप ला ला ला ला हा
(हो ओ ओ)
छुप ला ला ला ला हा
(हो ओ ओ)
दुखड़ा गया
गईं रातें वो काली
आँगन में नाच रही जगमग दिवाली
होय्ये जगमग दिवाली
जगमग जगमग दिवाली हो जगमग जगमग दिवाली
जगमग जगमग दिवाली हो जगमग जगमग दिवाली
दुखड़ा गया
गईं रातें वो काली
आँगन में नाच रही जगमग दिवाली
होये जगमग दिवाली
तन में नाच रहा झन झन सितार है
झन झन सितार है
हो ओ हो ओ ओ हो
उनसे मेरा प्यार है जी
उनसे मेरा प्यार है
झनक झनक छुप छुप छुप
छुप ला ला ला ला हा
छुप ला ला ला ला हा
(हो ओ ओ)
- In: Asha Bhonsle solo | Asha Bhonsle songs | Dance song | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Happy song | Introduction song | joie de vivre | Lyrics contributed by readers | Post by Arunkumar Deshmukh | Songs of 1950s (1951 to 1960) | Songs of 1958 | Yearwise breakup of songs
- 2 Comments
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5663 | Post No. : | 18165 |
Today’s song is from a costume film ‘Raj Pratigya’ (1958).
This is yet another film, with a story of King and Queen. I have seen this film and have its story with me. Otherwise also, the film’s title and the cast are a clear giveaway enough to declare this film as a Raja-Rani film. The only difference is, this film’s story is based on the background of 2 warring kingdoms, Magadh and Malawa, which existed in olden times in India. After seeing such films, one gets the answer why and how the Mughals or the Europeans could win in India and managed to rule it despite the population being majority Hindus and the rulers in a disciplined minority. The majority was busy fighting among themselves rather than with the invaders jointly !
This costume dominated film was produced by Gauri Shankar Goyal for Dinesh Films, Bombay. It was directed by Jaswant Zaveri, who had directed 14 films in the span of 18 years – from 1946 (‘Hoor e Jungle’) to 1964 (‘Hameer Hath’). The decade of the 1950’s was an unique one. A total of 1125 films were censored from 1951 to 1960 and these included almost every possible film genre. This was probably the only decade which had offered a variety of entertainment to every type of audience. The decade had films from genres like mythology and religion (124 films), costume dramas (93 films), adventure, patriotic, murder and mystery, detective, horror, comedy, tragedy, musicals, family drama, social, crime, folk story, stunt, action, historicals, imaginary, romantic etc.
Directors like Jaswant Zavery and banners specialized in making costume or stunt films falling under B or C grades, slowly disappeared after the 50’s, once these types of films being made diminished due to changing public taste. The music director of this film was a name which is not very famous or well known – Sanmukh Babu Upadhyaya. The story of Sanmukh Babu Upadhya, is not uncommon in the Hindi film industry.
I am sure not many will know about this composer. He was one of those artistes in the film industry who had immense talent but luck did not favor him.
Sanmukh Babu Upadhyaya was born on 13-9-1920 in Surat, Gujarat. His father Manibhai and brother Dinanath were music experts, thus Sanmukh had music as a traditional asset. Soon he acquired expertise in playing jal tarang and violin. Later in his life he became a well known violin player of Gujarat. In 1940, he met Gujarat’s famous singer Master Vasant (also from Surat) and he had a chance to play his instruments in the courts of Porbandar, Jamnagar, Baroda, Udaipur, Bikaner, Bhopal etc.
In 1942 Sanmukh Babu came to Bombay. He happened to meet Dinkar Rao Amembal, an official in All India Radio, by chance. Sanmukh Babu was taken in AIR services and he served for the next 5 years. He also went to Africa for one year to do stage shows.
After coming back, he joined Avinash Vyas as an assistant in the work of a Gujarati film and later in the famous Hindi film ‘Har Har Mahadev’ (1950). He was an expert in jal tarang and violin. His service at AIR had given him exposure to many famous musicians and this helped him a lot. Next few years he participated in many ballets and dance dramas in Gujarati and Hindi, along with Avinash Vyas.
He got his first break as an independent music director of Hindi film ‘Lalkar’ (1956), with the help of Kavi Pradeep. He gave music to 7 Hindi films – ‘Lalkar’ (1956), ‘Amar Singh Rathod’ (1957), ‘Sati Pariksha’ (1957), ‘Naag Padmini’ (1957), ‘Raaj Pratigya’ (1958), ‘Amar Prem’ (1960) and ‘Hamir Hath’ (1964).
When it became clear that he was getting only C grade films – action or historical and that no big banner ever offered him a film, he left the film industry. Next few years he devoted his time in directing ballets and dance dramas in Hindi and Gujarati. He cut several private records of his music. He also gave solo performances of violin all over the country.
It is unfortunate that his melodious music did not get enough opportunities or recognition, in the changing environment of film music of the 60s and the 70s, but he had no regrets. Sanmukh Babu Upadhyaya died on 24-2-1984, simply adding yet another name to the list of talented but less known composers.
The cast of the film was Nirupa Roy, Jairaj, Arun Ahuja (father of actor Govinda), BM Vyas (younger brother of Bharat Vyas, the lyricist of this film), Arvind Pandya (hero and singer of Gujarati stage and films), Sunder (one time hero and singer), Ramesh Sinha, Sabita Chatterjee, Sadiq Ali (once called ‘The Prince of Minerva’), Praveen Pal, Dar Kashmiri (elder brother of actor Jeevan) and many others. The lead pair of Nirupa Roy and Jairaj were famous for acting in historical and costume films like today’s film. They acted in 20 such films together. I have special feelings for Jairaj as he not only hailed from Nizam state, from where I too come, but also we studied in the same college – Nizam College, not together of course.
Born on 28-9-1909 in Karimnagar (Hyderabad state, now Telangana State) in a cultured family, young Jairaj was schooled in Rishi Valley school. Thereafter he joined the Nizam’s college where he participated in Shakespearean plays. He hailed from a very cultured family with lofty connections – his mama was married to Sarojini Naidu. His father, a government official, passed away and his mother followed suit when he was barely 19 and the youngest among three brothers, Jairaj was totally heartbroken and shifted to Mumbai.
“He wanted to join the Navy but he was delayed for the recruitment. He befriended his filmi neighbors, who urged him to join films because of his strapping physique. He was nearly six feet tall,” relates Deepa, his daughter in her interview.
His film career took off as a body-double stuntman in the Sharda Film company. He would be interested in all aspects of film making – from camera work, edit to lab processing. Not before long, he got his first acting break as the hero’s friend and his body-double during stunt scenes in ‘Jagmagati Jawani’ (1929) and graduated to playing the hero. His distinguished looks and physique landed him the lead role. However, his second venture ‘Raseeli Rani’, was his first release. He acted in as many as 11 silent films between 1929-1931. Jairaj in an earlier interview had elaborated on how silent films were made – “All shooting took place in natural sunlight. Our day began and ended early. We reached the sets by 7.30 in the morning and packed up by 5 in the evening… We all learnt the craft by trial and error. We discussed the story together, developed it and then started shooting… It was a challenge, you had to make people laugh, cry or get angry through facial expressions and gestures only. Charles Chaplin is the best example of this art. But then, cinema, unlike the stage, is a visual medium. That was why silent movies had universal appeal.”
After the first talkie film, ‘Alam Ara’, in 1931, Jairaj also switched over to talkies. Being a Hyderabadi, he was fluent in Urdu and that proved to be a big asset for him. ‘Shikari’ (1932), replete with tigers, lions and snakes, was his first talkie.
With sound came songs and Jairaj was handicapped by the fact that he was no singer. Jairaj too was expected to sing songs. He did not like singing, because he was horrible at singing. The music director of the film ‘Patit Paawan’ (1933) was Prof BR Deodhar, who was a classical singer himself. (Later on he established a musical school). He was determined to make Jairaj sing a song. Finally a song was recorded and filmed – “Prem Magan Sakhi”. Jairaj had sung it so badly, that the song was removed from the film from the second show itself. Jairaj is probably the only hero of those days who never sang in films. Even after playback singing became the norm, Jairaj has ip-synced only 28 songs on screen despite acting in nearly 215 movies! But he managed to stay in the reckoning by starring in action films. With the introduction of playback singing, he forged forth with films like ‘Rifle Girl’, ‘Bhabhi’, ‘Panna’ and ‘Mahasagar No Moti’ – which were all hits.
The 1950s and early ’60s was Jairaj’s golden era as an actor as he essayed a variety of roles of hero, villain and even comedian. He was, however, celebrated for his wide range of historical roles, playing Chandrashekhar Azad, Amar Singh Rathore, Prithviraj Chauhan, Rana Pratap, Shaheed Bhagat Singh and Tipu Sultan. “Papa was a natural rider and that helped,” opines Deepa.
Jairaj featured in over 200 films during which he romanced all the top heroines of his times – Devika Rani, Khursheed, Nigar Sultana, Nadira, Shakila, Durga Khote, Nirupa Roy, Nimmi, Suraiya, Madhubala and Meena Kumari. “He was the first kissing star of his times, he was lip-locked with his heroine Madhuri in ‘Jagmagati Jawani’. “He was also the first superman of the Indian screen,” informs Rajan Shahi about the on-screen shenanigans of his nana ji.
“Although Papa was famous for his parties, he was never involved in any scandal. All his heroines regarded him as their close friend. I remember, Nargis had knitted him a sweater monogrammed with his initials!”, Deepa reminisces fondly.
Jairaj started accepting character roles from the mid 60s. His roles in ‘Insaniyat’, ‘Baharon Ke Sapne’, ‘Neel Kamal’, ‘Raaste Aur Manzil’ are memorable. Also his most cameos in ‘Don’, ‘Masoom’ and ‘Khoon Bhari Maang’ are known to viewers today. Jairaj had also acted in three international films, the Russian co-production with KA Abbas ‘Pardesi’, MGM’s ‘Maya’ and 20th Century Fox’s ‘Nine Hours To Rama’. The last film was based on Mahatma Gandhi’s assassination and was banned in India!.
Jairaj produced and directed ‘Saagar’ starring Nargis, Dilip Kumar and Bharat Bhushan in 1951. “It was based on Lord Tennyson’s poem ‘Enoch Arden’. It was a story about two brothers living in a seaside town and the younger brother sacrifices his love as the elder brother is in love with his sweetheart. But papa lost all his money in his maiden production,” Deepa recalls sadly. Jairaj had confessed in an earlier interview, “I did not have the business acumen to produce and promote a film. Unlike others producers, I had invested my own money,” he had admitted regretfully. Jairaj was forced to sell his office and it was the most frustrating period of his career. He went back to acting and recovered.
He also directed films like ‘Mala’ (1941, jointly with Mahendra Thakur), ‘Pratima’ (1945), ‘Saagar’ (1951) and ‘Mohar’ (1959). He also directed two television serials – ‘Taana-Baana’ and ‘Katha Sagar’. In all Jairaj acted in 215 Hindi films and directed 4 films in his career.
Jairaj was hailed as the industry’s friend. He was a keen sportsman and an artiste. He would organize all the charity cricket matches that stars played. He also designed musical shows and award ceremonies. He also took keen interest in the propagation of classical dance and music. “While he managed the entire show by drawing sketches of the stage to star performances, veteran character artiste David would compere the shows,” Deepa recalls.
He was close friends with the Kapoors. “So much so that both our families would go on vacations together,” Deepa recalls happily how Prithviraj and his sons were like their extended family.
Prithviraj Kapoor and Jairaj were the founder members of the Cine Artistes’ Association in 1939. In 1981 Jairaj was honored with the prestigious Dada Saheb Phalke award for his outstanding contribution to Indian cinema, a most deserving honor. Interestingly, Jairaj starred in Gujarati and Marathi films but never in Telugu, which was his mother tongue.
Prithviraj’s father had arranged his marriage to a Punjabi girl from Delhi and the two were blessed with six children. Of his two sons Dileep Raj even starred in KA Abbas’ ‘Sheher Aur Sapna’ (1963) and ‘Aasmaan Mahal (1965) and was then hailed as the ‘next Raj Kapoor’. “But he couldn’t sustain his success. He now writes films and serials, while Jai Tilak, our second brother, became an engineer and he settled in Chicago. All of us four sisters were married out of Mumbai and out of the film industry,” updates Deepa.
Rajan, his grandson, is the sole torchbearer of Jairaj’s showbiz legacy. “Nana ji advised me to build goodwill in the industry. Name and fame will come and go, only your good will see you through, he said. That’s the most valued mantra for me,” admits his grandson gratefully.
Jairaj passed away on August 11, 2000 at the ripe age of 91, leaving behind a rich legacy. (Based on the interview of Deepa Shahi, with thanks, and my notes).
Today’s song is sung by Asha Bhosle. Enjoy….
Song- Mera naam Saanwri main aayee tere gaanv ree (Raaj Pratigyaa)(1958) Singer- Asha Bhosle, Lyricist-Bharat Vyas, MD- Sanmukh Babu
Lyrics
dil ko chain miley
jab miley preet ki chhaanv
sawaa haathh ka ghoonghat kheenchey ae ae
aayee tere dwaar
mera naam saanwri
main aayi tere gaanv ri
mera naam saanwri
main aayi tere gaanv ri
o saanwariyaa aa aa
saanwariya mere dil ko sambhaal rakhna
jaadu daal rakhna
mera khyaal rakhna
mera naam saanwri
main aayi tere gaanv ri
mera naam saanwri
main aayi tere gaanv ri
ho o o
o o o
kaari kaari koyaliya ki
kuhu chura kar laayi
phool kee khushboo udaa kar laayi
pawan ka pankh lagaa kar aayi
ke naina khol de re
umad ghumad saawan ke jaisi
ghata main ban ke aayi
poonam ki chhata main ban kar aayi
roop atpata main ban kar aayi
ke waah waah bol de re
mera naam saanwri
main aayi tere gaanv ri
mera naam saanwri
main aayi tere gaanv ri
ho o o
o o o
jab main nikloon ban thhan ke to
jab main nikloon ban thhan ke to
log dekh chakraayen
phool bagiya ke khil khil jaayen
chandrma badlee mein chhup jaaye
main chamkoon chaandni re
jab main naachoon gher ghaaghre
ka mera lehraaye
ke jisko dekh mor sharmaaye
hiraniyon ki kataar ruk jaaye
main aisi kaamini re
mera naam saanwri
main aayi tere gaanv ri
mera naam saanwri
main aayi tere gaanv ri
o saanwariyaa aa aa
saanwariya mere dil ko sambhaal rakhna
jaadoo daal rakhna
mera khyaal rakhna
mera naam saanwri
main aayee tere gaanv ri
mera naam saanwri
main aayee tere gaanv ri
——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————
दिल को चैन मिले
जब मिले प्रीत की छांव
सवा हाथ का घूँघट खींचे॰॰ए
आई तेरे द्वार
मेरा नाम सांवरी
मैं आई तेरे गाँव री
मेरा नाम सांवरी
मैं आई तेरे गाँव री
ओ साँवरिया॰॰आ॰॰आ
साँवरिया मेरे दिल को संभाल रखना
जादू डाल रखना
मेरा ख्याल रखना
मेरा नाम सांवरी
मैं आई तेरे गाँव री
मेरा नाम सांवरी
मैं आई तेरे गाँव री
हो ओ ओ
ओ ओ ओ
कारी कारी कोयलिया की कुहु चुरा कर लाई
फूल की खुशबू उड़ा कर लाई
पावन के पंख लगा कर आई
के नैना खोल दे रे
उमड़ घुमड़ सावन के जैसी घटा मैं बन कर आई
पूनम की छटा मैं बन कर आई
रूप अटपटा मैं बन कर आई
के वाह वाह बोल दे रे
मेरा नाम सांवरी
मैं आई तेरे गाँव री
मेरा नाम सांवरी
मैं आई तेरे गाँव री
हो ओ ओ
ओ ओ ओ
जब मैं निकलूँ बन ठन के तो
जब मैं निकलूँ बन ठन के तो
लोग देख चकराएँ
फूल बगिया के खिल खिल जाएँ
चंद्रमा बदली में छुप जाये
मैं चमकूँ चाँदनी रे
जब मैं नाचूँ घेर घाघरे का मेरा लहराए
के जिसको देख मोर शरमाये
हिरणीयों की कतार रुक जाये
मैं ऐसी कामिनी रे
मेरा नाम सांवरी
मैं आई तेरे गाँव री
मेरा नाम सांवरी
मैं आई तेरे गाँव री
ओ साँवरिया॰॰आ॰॰आ
साँवरिया मेरे दिल को संभाल रखना
जादू डाल रखना
मेरा ख्याल रखना
मेरा नाम सांवरी
मैं आई तेरे गाँव री
मेरा नाम सांवरी
मैं आई तेरे गाँव री
Kaase karoon main pukaar re
Posted on: January 17, 2024
- In: Arvind Pandya Songs | Asha Bhonsle songs | Asha Bhosle - Arvind Pandya Duet | Devnagri script lyrics by Sudhir | Duet | Feelings of heart | Guest posts | Lover's Complaint | Lyrics contributed by readers | Missing the beloved | Post by Arunkumar Deshmukh | Separation song | Songs of 1950s (1951 to 1960) | Songs of 1953 | Yearwise breakup of songs
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This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5661 | Post No. : | 18162 |
Today’s song is from a folk tale based film ‘Naulakha Haar’ (1953).
The film was inspired by the famous folk tale of Rajasthan about the love story of Alha-Udal, with the background of 2 warring kingdoms. A lot of cinematic liberty is taken while writing the film story, in order to make the film appealing to more types of audience. Films on famous folk tales are not uncommon in the Hindi film industry. In fact they are a great source of imagination to form hundreds of stories, with desirable changes in the script. Hindi film makers have been making films on such traditional folk stories from all over India. When they exhausted such stories they turned to stories from Arabia and Europe too, besides our own Mythology and Puranas. Some of the love stories I remember offhand , which were made into Hindi films are….
Dhola- Maru, Heer Ranjha, Laila Majnu, Roopmati and Baaz Bahadur, Mirza Sahibaan, Shahajehan Mumtaz, Salim Anarkali, Sassi Punnu, Sohni Mahiwal, Momal Rano, Jodha Akbar, Bajirao Mastani, Usha Aniruddha, Arjun Subhadra, Radha Krishna, Umar Marvi, Wamiq Azra, Uttara Abhimanyu, Prithviraj Sanyogita, Amrapali Bimbisara etc. Films have been made on all these stories and more. This list is only indicative and not exhaustive.
Film ‘Naulakha Haar’ was made by Ratnadeep Pictures, Bombay. The film was directed by the pair of Bhalchandra Shukla and Harsukh Bhatt. This Harsukh Bhatt was the younger brother of Vijay Bhatt of Prakash pictures – makers of well known films like ‘Panghat’ (1943),’Baiju Bawra’ (1952), ‘Ram Rajya’ (1943, 1967) etc. This pair of directors had also directed one more film – ‘Tulsidas’ in 1954. Harsukh, independently, directed 13 more films (total 15 films). He was born on 24-11-1924 and died on 31-10-1999. He started his career as a director with the film ‘Bal Yogi'(1952) and his last film was ‘Gayatri Mahima’ (1977).
The music director of this film was the talented Bhola Shreshtha. His name was Bholanath Shreshtha. His grandparents hailed from Nepal, but later settled in Calcutta. Bhola was born on 17-6-1924. He was an expert in playing tabla and had received a Silver Tray as a reward from Gurudev Rabindranath Tagore himself. In Calcutta his initial foray into film music was through KC Dey and Manna Dey. Along with them, Bhola too came to Bombay and worked as asst. to Khemchand Prakash in ‘Mahal’ (1949) and worked with Bulo C Rani for ‘Daroga ji’ (1949). Then he shared the music with Khemchand Prakash and Jimmy for ‘Muqaddar’ (1948). From here only he became a good friend of Kishore Kumar for a very long time, till his death.
As an independent composer his first film was ‘Nazariya’ (1952). In this film and next film, ‘Naulakha Haar’ (1953), he used Kishore Kumar. Then came ‘Aabshaar’ (1953), ‘Lakhon Mein Ek’ (1955), ‘Keemat’ (1956) and ‘Tankhaa’ (1956). His last film ‘Ye Basti Ye Log’ (1961) remained unreleased, but its recorded songs became popular.
He got married in 1953. He had 2 daughters, Minal and Sushma, and 1 son- Sailesh. Later, Sushma changed her name to Poornima. She was a known singer from childhood in Hindi and Nepali films.
Bhola was not only unlucky in his career, but also his death cheated him. Raj Kapoor, Pran and some others of the Punjab Association of Bombay had planned a career launching program for his daughter Sushma Shreshtha, on 12-4-1971. Bhola Shreshtha got a heart attack on 11-4-1971 and died instantly -just one day prior to his daughter’s first public program. Sushama, however, very bravely, attended the program the very next day, sang songs and got a thunderous applause from the audience with a standing ovation !
Minal Shreshtha, his eldest daughter, gave an interview online a few years ago. Here is its short version…
Date of Birth: 17-06-1924
Date of Death: 11-04-1971Bhola Shreshtha belonged to a Nepali family. His schooling and music lessons were done in Kolkata. His grandfather was very fond of music and hence he developed an interest in the field.
Minal: “My grandfather and grandmother were originally from Nepal. They later came to stay in Calcutta. His reading habit was surprising. He was interested in books on Philosophy, Music and works of fiction. His favorite authors were Freud and Dostoevsky. However he studied till matriculation only. He used to play with tabla in his childhood. KC Dey used to stay in the neighborhood. He started taking Bhola Shreshtha to fairs. When KC Dey came to Mumbai in 1942 he brought Bhola Shreshtha along with him. In his film ‘Tamanna’ (1942) he handed over the job of assistant music director to Bhola Shreshtha.
Among the artists he had high regard for were KC Dey, Manna Dey and Ashok Kumar. They all came along to Mumbai to try their luck in the Film Industry. Khemchand Prakash was a friend of Bhola Shreshtha’s father; he knew Bhola. He got him a job at Ranjit Movietone as an assistant music director and he started using Bhola as an Assistant Music Director till ‘Mahal’. In 1949 he became an assistant to Bulo C Rani for the film ‘Daroga ji’. In the film ‘Muqaddar’ (1950) which was composed by Khemchand Prakash there were three songs for which orchestration was done by Bhola Shreshtha.
Bhola Shreshta called Khemchand Prakash ‘Guruji’ as he was his mentor. In 1952 he was an assistant to Husnlal-Bhagatram in the film ‘Kaafila’ (1952). ‘Nazariya’ (1952) was his first independent film. He later gave music in ‘Naulakha haar’, ‘Lakhon Mein Ek’. In the film ‘Lakhon Mein Ek’ (1955) he used Talat’s voice very beautifully. When Ghulam Haider passed away Bhola Shreshtha completed the compositions for the film ‘Aabshaar’ (1953). The song “Chale Aao Tumhe Aansu Hamaare Yaad Karte Hain“, which was sung by Lata was very popular. Bhola Shreshtha got married in 1953. In 1959 Sushma Shreshta (Later Poornima) was born, who later became a famous singer.
Eldest among the three children is Minal, followed by Shailesh and finally Sushma. But Bhola Shreshtha did not live to see the success of his daughter. He died of a heart attack in Mumbai.
His last film was ‘Yeh Basthi Yeh Log’. There were some unreleased films also. He later worked as an assistant music director for Kishore Kumar. One of Kishore’s earliest songs “Jagmag Jagmag Kartha Nikla Chaand Poonam Ka Pyara” (film ‘Rimjhim’, 1949) was recorded by Bhola Shreshtha. In all, he gave music in 9 films.”
The song mentioned in the Subject although composed by Khemchand had orchestration by Bhola Shreshtha.
In this film a new hero made his debut – Arvind Pandya. He had already made a debut as a singer with 3 songs in the film ‘Maansarovar’ (1946), as a playback singer. Though he acted in about 25 Hindi films, he could not make an impressive career in Hindi and returned to Gujarati films. This film was his first as an actor and Meena kumari was his heroine. Her first hit film ‘Baiju Bawra’ (1952) had just been released and had helped film ‘Naulakha Haar’ to be a moderately successful film. Pandya sang 3 songs in this film for himself.
Arvind Pandya (21 March 1923 – 22 July 1980) was an actor and a singer. In his career spanning 35 years, he acted in more than one hundred films including 75 Gujarati and 25 Hindi films. He also worked in Hindi and Gujarati theaters.
Pandya was born on 21 March 1923 in Bhadran. He spent his childhood in Khambhat and Baroda (now Vadodara). His father Ganpatrao was an executive manager in the Mandvi branch of Bank of Baroda. His mother’s name was Anandiben. He participated in the Indian independence movement and in 1942 Quit India movement.
Pandya went to Bombay (now Mumbai) in 1937 and joined St. Xavier’s College where he studied BA in Sanskrit. He studied music at Devdhar Classes and later under Pandharinath Kolhapure. After listening to him at an event at St. Xavier’s College, he was selected as a playback singer in ‘Maansarovar’ (1946) by SN Tripathi in which he sang a solo as well as a duet with Shamshad Begum.
To enter the Hindi film industry, he visited Fatehlal Damle’s studio several times in a period of six months but was denied. He continued to work in the theater. He came to the attention of Prakash Picture’s director Shantikumar Dave who saw him in his role of Kach in the play ‘Kach-Devyani’.
Shantikumar cast him in the lead role in Gujarati film ‘Bhakta Surdas’ (1947) in which he also sang several songs. After some Gujarati films, he worked with Meena Kumari in Hindi film ‘Naulakha Haar’ (1953). His last film in Hindi was ‘Maa Baap’ (1978). He continued to play supporting roles as well as lead roles in Hindi and Gujarati films. He portrayed mostly historical, social and rural characters in these films. In the 1960s, he portrayed negative characters. He had played saints as well as bandits in his films. In his career spanning 35 years, he acted in more than one hundred films including 73 Gujarati films. He was known as ‘Ashok Kumar’ of Gujarati cinema. Due to his efforts, Laxmi Studio was established in Baroda in 1975.
He continued acting in the Gujarati theater. His successful plays included ‘Sapnana Sathi’, ‘Jesal Toral’, ‘Unda Andhare Thi’, ‘Gadh Juno Girnar’, ‘Mari Venima Char Char Phool’, ‘Swayamsiddha’, ‘Major Chandrakant’, ‘Pachhale Barane’ and ‘Sambharna’. He received a prize from the Government of Maharashtra for his play ‘Sapnana Sathi’.
He was awarded several times for acting by the Government of Gujarat including in 1961 for ‘Kadu Makrani’, in 1962 for ‘Nandanvan,’ in 1963-64 for ‘Jivno Jugari’, in 1970 for ‘Majiyara Haiya’ and in 1975 for ‘Tanariri’.
He died on 22 July 1980 following brain hemorrhage. (based on an interview by Rajnikumar Pandya ji, wiki, muVyz and my notes. Thanks to all).
The cast of the film was Meena Kumari, Arvind Pandya, Jeevan, Ishwarlal, Sundar, Durga Khote, Nirupa Roy, Praveen Paul, Shakuntala, Umakant and many others.
The story of this film was,
Devla (Durga Khote) is married in a prominent Rajput family located in Mandavgarh. Her sister (Praveen Paul) is also married in this family. Their brother, Mahil Rai Podiyal (Jeevan), is bitter about this and plots with Kiriya Rai (Ishwarlal), which results in Kiriya’s vain attempt to steal a valuable necklace, losing his reputation and his sword. Thus humiliated he returns, plots his vengeance, returns back, kills Devla’s and her sister’s husbands, steals the necklace, sets fire to Mandavgarh, takes an elephant and a magical flying horse with him, and hangs the scalps of his victims on the doorway to his palace. Devla swears to avenge this humiliation. Now 19 years later, Devla’s son, Udal (Arvind Pandya), has grown up and is told about his past. He decides to kill Kiriya, but finds out that he is the brother of Bijma, the woman he loves. Kiriya finds out about this and forbids Bijma from seeing him again. Nevertheless, Udal sneaks into Bijma’s room, who is learning magic. When Kiriya knocks on the door, Bijma magically transforms Udal into a parrot, but Kiriya wrings its neck and tosses it from the balcony.
The half dead parrot is picked up by a maid, who nurses it and it becomes alright. When Bijma sees the parrot, she turns it into a human again and Udal comes back to his original self. Udal collects his army and attacks Kiriya. Kiriya gets killed and thus Udal takes his revenge. All is well. Bijma and Udal get married.
Today’s song is a duet of Asha Bhosle and Arvind Pandya. Enjoy….
Song- Kaase karoon main pukaar re (Naulakha Haar)(1953) Singers- Asha Bhosle, Arvind Pandya (Debut on Blog), Lyricist- Bharat Vyas, MD- Bhola Shreshtha
Lyrics
kaase karoon main pukaar re
mora dard na jaane koye
sajan tose milna kis vidh hoye
o o o o
o o o
tarsat naina hamaar re
tarsat naina hamaar re
mora manwa dheeraj khoye
gori tose milna kis vidh hoye
kisko sunaaun main apni kahaani
beet rahi haaye rut ye suhaani
rut ye suhaani
aaj milan tyohaar re
aaj milan tyohaar re
maine preet ke deep sajoy
sajan tose milna kis vidh hoye
pooree na hogee kya aas adhooree
o o o o
barbas
haaye
barbas tan pe sajan majboori
sajan majboori
jaag raha sansaar re
jaag raha sansaar re
aur bhaag hamaara soye
balam tose milna kis vidh hoye
——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————
कासे करूँ मैं पुकार रे
मोरा दरद ना जाने कोए
सजन तोसे मिलना किस विध होए
ओ ओ ओ ओ
ओ ओ ओ
तरसत नयना हमार रे
तरसत नयना हमार रे
मोरा मनवा धीरज खोये
गोरी तोसे मिलना किस विध होए
किसको सुनाऊँ मैं अपनी कहानी
बीत रही हाय रुत ये सुहानी
रुत ये सुहानी
आज मिलन त्योहार रे
आज मिलन त्योहार रे
मैंने प्रीत के दीप सजोये
सजन तोसे मिलना किस विध होए
पूरी ना होगी क्या आस अधूरी
ओ ओ ओ ओ
बरबस
हाय
बरबस तन पे सजन मजबूरी
सजन मजबूरी
जाग रहा संसार रे
जाग रहा संसार रे
और भाग हमारा सोये
बलम तो से मिलना किस विध होए
Jai Bhaarti vande Bhaarti
Posted on: December 18, 2023
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5631 | Post No. : | 18120 |
Today’s song is from an inspirational religious film Jagadguru Shankaracharya-1955.
In Mahabharat, there is a dialogue between Lord Shri Krishna and Arjun. The legend says that when Kauravas and Pandavas stood opposite each others for a war on Kurukshetra, Dhritrashtra,the blind father of Kauravas asked Sanjay- who had the divine power of seeing the war at Kurukshetra- to describe him the war happennings. Sanjay starts and in the course of his reporting, the entire Geeta too is narrated.
Without going into the details further, enough to stress that Lord Shrikrishna explains to Arjuna that, whenever there is a decline of Dharma and righteousness, He takes birth from age to age (sambhavami yuge yuge), to protect the virtuous, destroy evil-doers and to reestablish Dharma and righteousness.
This is described in the IV chapter, stanzas 7 and 8 in Bhagvadgeeta thus-
“Yada Yada Hi Dharmasya
Glanirva Bhavathi Bharatha,
Abhyuthanam Adharmaysya
Tadatmanam Srijami Aham”.
Bhagavad Gita (Chapter IV-7)
“Whenever there is decay
of righteousness O! Bharatha
And a rise of unrighteousness
then I manifest Myself!”
“Praritranaya Sadhunam
Vinashaya Cha Dushkritam
Dharamasansthapnaya
Sambhavami Yuge-Yuge.”
Bhagavat Gita (Chapter IV-8)
“For the protection of the good,
for the destruction of the wicked and
for the establishment of righteousness,
I am born in every age.”
In the film Prabhu Ki Maaya-1955, Hemant Kumar has sung a song which is almost a transalation of above shlokas – ” Jab jab hota nash dharam ka aur paap badh jaata hai, tab lete avtar prabhu, yeh Vishva shanti paata hai “.
From time to time, India has faced such situations, when, inspite of being in majority, Hindus suffered from attacks on their country and distruction of their Mandirs etc. Luckily at all those times Saints and Holy men emerged and saved the Hindus.
Similarly the birth of Jagadguru Shankaracharya took place when this need arose to save and reestablish Hindu dharma. It was almost like a case of Renaissance of our religion.
The period of 1300 to 1600 AD, a time frame of 300 years or thereabouts, was when most saints were active in India. This was the period when several outside rulers invaded India and established their rules. This was the time when the culture and religion of India had to be saved from annihilation. The saints of India played an important role in this and maintained Unity and Oneness of Indian culture from getting destroyed. But for them, there was a danger of the whole nation getting converted to Islam or Christianity. India will forever be grateful to the saints for this .
Tha Bhakti Movement was India’s own way to combat foreign attackers, cruel rulers and the sleeping people of India. It started from the South first. The movement from 1300 to 1600 AD produced many religious Saints and social reformers from Kanyakumari to Kashmir and from Assam to Gujarat. The Indian culture is such that that the advise given by a religious saint is more acceptable than that given by a social reformer. Thus, in this hour of need, India’s Saints tried to teach message of reforms such as removal of Untouchability, freedom from Varnashram life styles, importance of education, Women’s emancipation and other such matters, through their poems, dohas, Abhangs and writings as well as keertans. They tried to make the masses wake up against the ill effects of social practices that were being observed those days.
Saints appeared in ALL areas of India, during this period. However, due to language problems, knowledge and information about Saints in other regions trickled down very slowly. States which shared the use of Devanagari script were aware about them in a better way. Thus, Maharashtra, Gujarat, Rajasthan and the Northern Hindi belt states exchanged their knowledge about their saints more frequently than other regions such as Bengal, the Eastern states or the southern states where the scripts were different. Andhra and Karnataka were closer as their scripts are similar, except perhaps the alphabet ‘K’. Tamil and Malayalam scripts have Dravidian origins and were not easily accessible for the rest of India
The period of 1300 to 1600 AD, a time frame of 300 years or thereabouts, was when most saints were active in India. This was the period when several outside rulers invaded India and established their rules. This was the time when the culture and religion of India had to be saved from annihilation. The saints of India played an important role in this and maintained Unity and Oneness of Indian culture from getting destroyed. But for them, there was a danger of the whole nation getting converted to Islam or Christianity. India will forever be grateful to the saints for this .
Some of the saints have done monumental literary works for the masses, bringing what was available only in Sanskrit, to the doorsteps of the common people. Out of the many saints and reformers of Maharashtra, few stand out for their additional contribution towards literary works. For example, Gyaneshwar wrote ‘Gyaneshwari'(translation of Geeta into Marathi), Tukaram wrote Abhangs, Namdeo contributed to Punjabi language, Sikh culture and Guru Granth Sahib, Ramdas wrote ‘Dasbodh’ to teach people how to balance between Bhakti and Bhog(family life), and Tulsidas translated Sanskrit Ramayana into Avadhi language which is called Ramcharitamanas. Then there were Kabir, Rahim and many others too.
Indian spiritual Gurus set themselves as Role models for the masses. Whether it was Ramkrishna Paramhansa or Shankaracharya all of them have guided their followers to achieve peace of mind through spirituality. Religion is a way of life in India and most Gurus taught their followers how to follow the right path even while looking after their families.
In such conditions was born the Greatest of the advocates of Vedic Dharma and Advaitism- Adi Shankaracharya. It was as if God had deputed one of his assistants to set things right in India. The existence of Vedic Dharma in India today is due to Shankara. The forces opposed to Vaidik religion were numerous and powerful in those days than today. Still, single handedly, and within a short life span of just 32 years, Shankara overpowered them all and restored the Vedic Dharma and Advait vedant to its pristine Glory and purity.
The weapons he used was only Knowledge and spirituality. The previous Avatars like Rama and Krishna used physical force as opposition to vedic Dharma in those days was by physical obstruction and molestations by Asuras.
In Kaliyug, the obstacles are more Internal than External, more Mental than Physical. The seeds of Adharma were in minds, so a weapon of Knowledge and self purification was necessary. For this purpose Sankara took birth in Brahmin varna and entered Sanyasashram early in life. Previous Avatars like Rama and Krishna were Kshatriyas, as they had to wield military weapons to restore Dharma.
Shankara was born in Kaladi in present day central Kerala, the ancient Tamil kingdom of the Cheras. According to lore, it was after his parents, who had been childless for many years, prayed at the Vadakkunnathan temple, Thrissur, that Shiva appeared to both husband and wife in their dreams, and offered them a choice: a mediocre son who would live a long life, or an extraordinary son who would not live long. Both the parents chose the latter; thus a son was born to them. He was named Shankara (Sanskrit, “bestower of happiness”), in honour of Shiva (one of whose epithets is Shankara). His father died while Shankara was very young. Shankara’s upanayanam., the initiation into student-life, had to be delayed due to the death of his father, and was then performed by his mother. As a child, Shankara showed remarkable scholarship, mastering the four Vedas by the age of eight.
At the age of 8, Shankara was inclined towards sannyasa, but it was only after much persuasion that his mother finally gave her consent.Shankara then left Kerala and travelled towards North India in search of a guru. On the banks of the Narmada River, he met Govinda Bhagavatpada the disciple of Gaudapada at Omkareshwar. When Govinda Bhagavatpada asked Shankara’s identity, he replied with an extempore verse that brought out the Advaita Vedanta philosophy. Govinda Bhagavatapada was impressed and took Shankara as his disciple.
The guru instructed Shankara to write a commentary on the Brahma Sutras and propagate the Advaita philosophy. Shankara travelled to Kashi, where a young man named Sanandana, hailing from Chola territory in South India, became his first disciple. According to legend, while on his way to the Vishwanath Temple, an untouchable accompanied by four dogs came in the way of Sankara. When asked to move aside by Shankara’s disciples, the untouchable replied: “Do you wish that I could move my everlasting Atman (“the Self”), or this body made of flesh?” Realizing that the untouchable was none other than god Shiva himself, and his dogs the four Vedas, Shankara prostrated himself before him, composing five shlokas known as Manisha Panchakam.
At Badri he wrote his famous Bhashyas (“commentaries”) and Prakarana granthas (“philosophical treatises”). Adi Shankara then travelled with his disciples to Maharashtra and Srisailam. In Srisailam, he composed Shivanandalahari, a devotional hymn in praise of Shiva. The Madhaviya Shankaravijayam says that when Shankara was about to be sacrificed by a Kapalika, the god Narasimha appeared to save Shankara in response to Padmapadacharya’s prayer to him. As a result, Adi Shankara composed the Lakshmi-Narasimha stotra..
He then travelled to Gokarna, the temple of Hari-Shankara and the Mookambika temple at Kollur. At Kollur, he accepted as his disciple a boy believed to be dumb by his parents. He gave him the name, Hastamalakacarya (“one with the amalaka fruit on his palm”, i.e., one who has clearly realised the Self). Next, he visited Sringeri to establish the Sarada Pitham and made Suresvara Karya his disciple.
After this, Adi Shankara began a Dig-vijaya “tour of conquest” for the propagation of the Advaita philosophy by controverting all philosophies opposed to it. He travelled throughout India, from South India to Kashmir and Nepal, preaching to the local populace and debating philosophy with Hindu, Buddhist and other scholars and monks along the way.
With the Malayali King Sudhanva as companion, Shankara passed through Tamil Nadu, Andhra Pradesh and Vidarbha. He then started towardsKarnataka where he encountered a band of armed Kapalikas. King Sudhanva, with his Nairs, resisted and defeated the Kapalikas. They safely reachedGokarna where Shankara defeated in debate the Shaiva scholar, Neelakanta.
Proceeding to Saurashtra (the ancient Kambhoja) and having visited the shrines of Girnar, Somnath and Prabhasa and explaining the superiority of Vedanta in all these places, he arrived at Dwarka. Bhaskara of Ujjayini, the proponent of Bhed-abheda philosophy, was humbled. All the scholars of Ujjayini (also known as Avanti) accepted Adi Shankara’s philosophy.
He then defeated the Jainas in philosophical debates at a place called Bahlika. Thereafter, the Acharya established his victory over several philosophers and ascetics in Kamboja (region of North Kashmir), Darada and many regions situated in the desert and crossing mighty peaks, entered Kashmir. Later, he had an encounter with a tantrik, Navagupta at Kamarupa.
Adi Shankara visited Sarvajñapitha (Sharada Peeth) in Kashmir (now in Pakistan Occupied Kashmir). The Madhaviya Shankaravijayam states this temple had four doors for scholars from the four cardinal directions. The southern door (representing South India) had never been opened, indicating that no scholar from South India had entered the Sarvajna Pitha. Adi Shankara opened the southern door by defeating in debate all the scholars there in all the various scholastic disciplines such as Mimamsa, Vedanta and other branches of Hindu philosophy; he ascended the throne of Transcendent wisdom of that temple.
Towards the end of his life, Adi Shankara travelled to the Himalayan area of Kedarnath- Badrinath and attained videha mukti (“freedom from embodiment”). There is a samadhi mandir dedicated to Adi Shankara behind the Kedarnath temple. However, there are variant traditions on the location of his last days. One tradition, expounded by Keraliya Shankaravijaya, places his place of mahasamadhi (leaving the body) as Vadakkunnathan temple in Thrissur, Kerala. The followers of the Kanchi kamakoti pitha claim that he attained videha mukti in Kanchipuram (Tamil Nadu). (Bio adapted from wiki, goverdhanpeeth.org, sanatandharma.com and my notes with thanks).
Film JAGADGURU SHANKARACHARYA-1955 was a Celestial pictures, Bombay presentation, directed by S.Fatelal (of Prabhat film fame). The music was by Avinash Vyas with assistant Sanmukh babu Upadhyaya. There were 9 melodious songs by Rafi, Manna Dey, Hemant kumar, Geeta Dutt, Asha and Lata. The cast was Abhi Bhattacharya, Sulochana Chatterjee, Ramesh Sinha, Baby Nanda etc. The story was-
Shankara was born in a Brahmin family in the village of Kalti in Malabar. Before he was eight, Shankara completed the study of the Vedas and the Shastras! After leaving the Gurukul, Shankara found that all around him was spread the heresy and hypocrisy in the grab of religion! Shankara vowed to destroy the heresy and hypocrisy and to receive the ancient vedic religion. These revolutionary ideas of Shankara frighten his mother Sati, and to bring him to his senses, she decided to get him married. For the wedding he started to go across the Purna river with her son. What Divine intervention, what miracles forced the mother to give her unwilling permission to her son to become a Sanyasin, you will see on the screen! She wept and she sobbed, but Shankara was firm and the delicate child of eight left his mother for the good of Humanity.
Facing innumerable dangers of the way he reached Narmada followed by an immense flood treating to wash away even the Ashram of the Guru Govindpada. Shankara prays to mother Narmada, and the flood goes down, Guru Govindpada then ordains him a sanyasin, teaches the 8 sidhis and sends him out! Watch the miracle shankara performs in the religious Conference in Benares, and proved Gods existence.
For years he stayed in the Vyas-Gupha at Badri Narayan and wrote those wonderful books which have made him one of the foremost philosophers of the world! An additional 16 years lease of life is given to him for revival and propagation of religion. Follows the historical debate with Mandan misra who is vanquished by Shankara. But his wife Bharti heckles Shankara about Kamashastra, and Shankara has to ask for time in which he enters a king’s dead body, and makes Mandan his Shishya. Going home he meets his dying mother, whose funeral rites are denied to him by the village folk. Again his prayers force the Sun-God to set fire to the funeral pyre, and people realising the divinity of Shankara fall at his feet. The task and triumphal March (Digvijaya) is over, and Shankara desiring to leave the world is lead to the Sinhdwara of the Sharda Mandir in Kashmir! The film ends with Shankara’s samadhi scene.
Adi Shankaracharya has done colossal work for the Hindu Dharma. he established 4 Mathas (Monasteries) at 4 directions of India as following
1.North- Jyortimatha or Joshimatha or Badrikashram in Uttarakhand
2.East- Jagannath Puri,Orissa
3.South- Shringeri Sharada Peeth in Karnataka and
4.West- Dwaraka,in Gujarat.
The heads of these Mathas are called Shankaracharya and are highly revered by Hindus. They are all highly educated persons in modern and Ancient literatures. The South and the West have a continuous lineage from Adi Shankaracharya.
Today’s song is sung by Manna Dey and chorus. Enjoy….
Song-Jay Bhaarati Vande Bhaarati (Jagadguru Shankaracharya)(1955) Singer- Manna Dey, Lyricist- Bharat Vyas, MD- Avinash Vyas
chorus
Lyrics
jai bhaarti ee ee
vande ae bhaaarti ee
sar pe himalay ka chhatr hai
charnon mein nadiyaan ekatr hain
haathon mein vedon ke patr hain aen
desh nahin aisa anyatr hai
jai bhaarti ee ee
vande ae bhaarti ee
dhuyen se paawan ye vyom hai ae
ghar ghar mein hota jahaan hom hai
pulkit humaare rom rom hain
pulkit humaare rom rom hain
ae ae ae
aadi anaadi shabd om hai
(jai bhaarti vande bhaarti )
jai bharati vande bharati
(jai bhaarti vande bhaarti )
vandemaatram
(jai bhaarti vande bhaarti )
vandemaatram
is bhoomi pe janm liya raam ne
geeta sunayi jahaan shyaam ne
ho geeta sunaayi jahaan shyaam ne
paawan banaaya chaaron dhaam ne ae ae ae ae ae ae
paawan banaaya chaaron dhaam ne
swarg bhi lajaaye jiske saamne
vandemaatram
vandemaatram
sar pe himaalay ka chhatr hai
charnon mein nadiyaan ekatr hain
haathon mein vedon ke patr hai ae ae ae
desh nahin aisa anyatr hai
jai bharati vande bharati
jai bharati vande bharati
jai bharati vande bharati
jai bharati vande bharati
(vandematram vandematram vandematram vandematram
vandematram vandematram vandematram vandematram)
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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5526 | Post No. : | 17976 |
Today’s song – it is a Bhajan – is from the film Patit Paawan-(1955).
The “Same Name Confusion” is applicable not only to artistes and others working in films, but it fully applies to Film Titles as well. In fact, film titles are more of a culprit than the people working in films, because the incidence of repetitions is several times more in film titles. A field where the Same Name film is made in 7 different years is more dangerous than the same names of artistes, which may not be more than 3 or 4 operating in the same period to cause confusion. That is the reason a film should not be mentioned without its year in which it is censored/ released to avoid confusion.
Like many other films of SNC, today’s film Patit Paawan was also made twice. The first such film was made in 1933. When you hear the word ‘Patit Paawan’, you automatically complete the phrase with ” Sitaram”. The word Patit Paawan is associated with Shri Ram. This is based on a story that Ahilya, who was the wife of Rishi Gautam,was very beautiful and was cheated by Indra Dev. Smitten by her beauty, he comes disguised as Rishi Gautam, her husband and has a good time with her. When the real Rishi Gautam comes to know about it, he is so furious that he curses Ahilya and turns her into a stone and she would have to remain in that state till Sri Ram’s feet touched her when she would regain her human form. After a few years, Lord Shri Ram comes that way and his foot touches the stone and thereby frees Ahilya from the curse and she regains her human form. Thus, a Patit (the fallen one) is made Paawan (is purified), hence the name Patit Paawan for Shri Ram.
However, today’s film story is not about Ahilya, but it is about a devotee called Nama. More about it later. The story of Ahilya was made into a film “Patit Paawan ” aka Ahilya Uddhar”,in 1933. In this film Durga Khote was Ahilya, P.Jairaj was Indra and Krishnarao Gorey was Rishi Gautam. There is a very funny episode about this film.
Paidi Jairaj or P. Jairaj ( 28-9-1909 to 11-8-2000 ) was a very handsome and well built young man, when he joined films. After doing 11 silent films, he did his first Talkie, “Shikari” in 1932. It was produced by a Hyderabad based company-Eastern Films, acted in 170 films and went on to receive the Phalke award and Padma Bhushan in 1980.
In the early phase of Talkie films, there used to be, on average 15 to 20 songs in every film. It was compulsory for every Hero and Heroine to sing their own songs live( playback came in 1935 and became common in 38-39 only). To help the non-singer actors, studios used to keep trained classical experts. Otherwise also most Music Directors in those days were classical singers themselves.
Thus, Jairaj too was expected to sing songs. He did not like singing, because he was horrible at singing. The Music Director of the film Patit paawan-33 was Prof.B.R.Deodhar, who was a classical singer himself. (Later on he established a musical school). He was determined to make Jairaj sing a song. Finally a song was recorded and filmed-“prem magan sakhi”. Jairaj had sung it so badly that the song was removed from the film from the second show itself. Jairaj is probably the only Hero of those days who never sang in films. Even as a lip syncer of songs (after playback singing became the norm),Jairaj has sung less than 20 songs on screen despite acting in nearly 170 movies!
Film Patit Paawan (1955) was made by D.K.Films, owned by actor Sapru and his actress wife Hemavati. It had music by Jamaal Sen and the cast was Sapru, Sulochana, lalita Pawar, Sulochana Chaterjee, Hemavati, Ulhas, Vinod kumar, Jeevan, Dar Kashmiri and many others. The film was directed by Vasant Painter. Some readers may remember the early cinema producer and director Baburao Painter, but Vasant painter was not at all a famous name.
Vasant Anandrao Painter was born in a village near Kolhapur on 13-8- 1913. His father Anandrao, along with cousin Baburao Painter wanted to make films. Anandrao had bought a second hand Projector, which he turned into a Camera and shot a short film also. Unfortunately, Anandrao Mistry or Anandrao Painter died suddenly on 22-10-1915.Vasant Painter was only a 2 year old baby at that time. Baburao Painter went on to become the famous founder of Marathi films in the Silent Era.
By the time Vasant became 16 year old,the Silent film era was in full swing and many films were made in Kolhapur, Poona and Bombay. He had a liking for painting,so he picked up poster painting work,first in Maharashtra Film company and later in Prabhat film company when it was started in Kolhapur. Actually Damle and Fatelal were keen on helping him as he was the son of Anandrao, from whom they had learnt so many things. They called him to work in Prabhat. He did all jobs,including assisting in cinematography and direction.
His first break came when he was 33 year old. He got an opportunity to direct Prabhat’s film ” Gokul”-46 and later on ” Seedha Raasta”-47. After V.Shantaram had left Prabhat to start his own Rajkamal,Vasnt painter remained in Prabhat loyally, so he got the reward. Prabhat decided to make the film “Namdev” and Vasant was selected as a director. The cast was fixed and other arrangements done, but due to financial reasons the film was cancelled. Anyway, he got another opportunity. Actress Kamala Kotnis had floated a production company,Kamala Chitra Ltd..She invited Painter to direct her film,’Sati Ahilya’-49. Snehal Bhatkar was the MD.
Painter directed ‘ Bhishma Pratidnya ‘-1950. This was,probably, the only Mythological film Nargis had acted in, with Shahu Modak. His other films were, Murliwala-51, Devyani-52, Sajni-56, Patit paawan-55, Gokul ka chor-59, Pyar ki jeet-62 . Meanwhile he was producing and directing several Marathi films too. He won 9 awards,including the prestigious ” V.Shantaram Award”.
Vasant Painter died on 31-5-2006,leaving behind him 6 daughters and 1 son.
The cast of this film was very interesting. There was Sulochana (Latkar) and Sulochana (Chaterjee), Baby Uma and Uma Devi, a couple – Sapru and Hemavati and a sibling pair of Jeevan and Dar Kashmiri. There was also an old time Silent film hero Ganpat rao Bakre and an old time singer actor Parshuram. Baby Naaz (later a heroine in few B and C grade films and a Dubbing artiste for actress Sridevi’s initial films) as well as Master Vinod Kumar (later Hero Vinod Mehra). The producer of this film was Hemavati.
Hemavati. Hardly anyone knows who this actress was. She had done an important role of Mohini-the Club Dancer,a time pass love of Ashok kumar in the film-Sangram-50. Normal sources will not give any information on Hemavati,but for our readers,here is some information on her. Hemavati was a Marathi actress and an active worker of I.P.T.A. in Bombay.She was also a regular actress of Prithvi Theatres and had acted as the Heroine of Raj kapoor in the drama ‘Deevar’.
At IPTA, she met actor aspirant D K Sapru and they fell in love with each other. They got married in 1948. By that time she had acted in ‘Ghar ghar ki kahani’-47 with Nayampally,Jail Yatra-47,with Raj Kapoor,Mohan-47,with Dev Anand and a few other films.
After marriage, she completed Sangram-50, with Ashok Kumar and stopped working in films to raise a family. She had 3 children. Preeti Saproo became a Punjabi film actress. Tej Sapru acted in Hindi films and TV. Reema married Rakeshnath and became a successful screenplay writer of popular films.
Hemavati’s last film,however, was “Patit Pawan”-55,which she also produced for her husband. She died on 10-4-2005.
Now let us have a look at the film’s story……
The story of the film was built around Dama Shetty,who lived happily in a village with his wife Guniya,son Nama and daughter in law Raji. His son was married in his childhood only. Dama shetty was a very pious and good person who helped the needy. He was respected in nearby villages too. However Nama was opposite to him. He only played all day and never believed in God. Dama used to scold him so that he would improve. Instead,one day Nama ran away to the jungle to avoid father’s admonishments every day. He was found by a dacoit’s gang. Many years passed and now Nama was a famous and dreaded Dacoit. His wife was hoping that someday Nama would come back.
One day Raji came across Nama the dacoit. By now Dama Shetty had died. She told her about father’s death and gave him a lot of advice to give up bad life and worship God. Nama’s mind changed and he decided to reform himself. He felt that he was the cause of father’s death. Nama gave up everything and started worshipping God.However the village purohit Parshuram Bhagwat did not believe him and banned his entry into the temple. Nama stayed outside and prayed. That year there was a terrible famine in the area. Nama decided to ask God’s help by fasting and he started his jaap and fasted till he almost became a dying person.
Seeing his devotion God was pleased and it started raining heavily. Soon the villages prospered again and Nama the Patit (the fallen one) became Paawan (purified).
Today’s song is sung by Mohd. Rafi and Lata Mangeshkar.
Song-Jiski laagi lagan Bhagwaan mein (Patit Paawan)(1955) Singers- Mohd. Rafi, Lata Mangeshkar,Lyricist- Bharat Vyas, MD- Jamaal Sen
Both
Chorus
Lyrics
jiski laagi lagan Bhagwaan mein
jo dooba hari ke dhyaan mein
chaahe baadal ghire chaahe bijli gire
uska diya jalega toofaan mein ae
jiski laagi lagan Bhagwaan mein
tu kahaan chhupaa gopaala
tere bhakton ke ghar mein jwaala
tere bhakton se ghar mein jwaala
unpar sankat kyun daalaa
jo jape tumhaari maala
jo jape tumhaari maala
kan kan mein chhupa rakhwaala
wo swaami hazaar haath waala
vo swaami hazaar haath waala
wo chaahe agar ye jwaala
ban jaaye re phoolon ki maala
ban jaaye re phoolon ki maala
usey kiska hai dar
usey kiski fikar
jo jhoome hari ke gungaan mein
jiski laagi lagan Bhagwaan mein
jo dooba hari ke dhyaan mein
chaahe baadal ghire chaahe bijli gire
uska diya jalega toofaan mein
jiski laagi lagan Bhagwaan mein
ye sooraj ye chaand sitaare sab chalte usi ke ishaare
sab chalte usi ke ishaare
wo chaahe to ye angaare ban jaayen gagan ke taare
ban jaayen gagan ke taare
ghadi sankat ki aaj wahi rakhega laaj
jiski mahima likhi hai puraan mein
jiski laagi lagan Bhagwaan mein
jo dooba hari ke dhyaan mein
chaahe baadal ghire chaahe bijli gire
uska diya jalega toofaan mein
jiski laagi lagan bhagwaan mein
nand ke laala hey gopala deen dayaala re
krishn muraari giridhar dhaari kunj bihaari re
krishn muraari
krishn muraari giridhar dhaari kunj bihaari re
nand ke laala hey gopala deen dayaala re
raadhe shyaam raadhe shyaam
raadhe shyaam raadhe shyaam
raadhe shyaam raadhe shyaam
raadhe shyaam raadhe shyaam
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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