Posts Tagged ‘Bharat Vyas’
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 : | 3958 | Post No. : | 15035 |
“Jai Ambe”(1957) was produced by Shanti Kumar and D N Shukla and directed by Shanti Kumar for Mahesh Chitra Bombay. This “pauraanik” movie had Sulochana, Manhar desai, Sapru, Ramesh Sinha, Sheela Kashmiri, Niranjan Sharma, Kesri, Indira Bansal, Mridula, Shree Bhagwan, Kanchanmala, Dubey, Shalini, Heera Sawant etc in it with Guest appearances by Jeewan and Rajkumar( of pauraanik movies fame, different from Jaani fame Rajkumar)
The movie had nine songs in it. One song from the movie has been covered in the past.
Here is the second song from “Jai Ambe”(1957) to appear in the blog. This song is sung by Lata and Manna Dey, alongwith male and female chorus. Bharat Vyas is the lyricist. Music is composed by Pt Shivtam.
Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this song.
Song-Kaali ghataayen aakaash mein jee ghir ghir aayen (Jai Ambe)(1957) Singers-Lata, Manna Dey, Lyrics-Bharat Vyas, MD-Shivram
Female chorus
Male chorus
Lata + Manna Dey
All chorus
Manna Dey + Male chorus
Lata + Female chorus
Lyrics
dig dig dig dig naiyya chale
purwaiyya chale
chhak chhaiyya chhaiyya ho
haiyya
dig dig dig dig naiyya chale
purwaiyya chale
chhak chhaiyya chhaiyya ho
haiyya
dig dig dig dig naiyya chale
purwaiyya chale
chhak chhaiyya chhaiyya ho
haiyya
ho o o
Kaali ghataayen aakaash mein jee
ghir ghir aayin
ghir ghir aayin
naiyya mori dagmag ho ke dole jee
ho naiyya mori dagmag ho ke dole jee
gori main tere paas hoon to
darr kaahe ka
darr kaahe ka
jhoolo jhoolo
lahron ke
hindole jee
ho
jhoolo jhoolo
lahron ke
hindole jee
dig dig dig dig
naiyya chale re
purwaiyya chale
chhak haiyya haiyya ho
haiyya
gahri nadiya door kinaara
chhod hamen mat jaiyyo re maanjhi
chhod hamen mat jaiyyo re
din bhar lahron sang khel ke
saanjh pade ghar aiyo re maanjhi
saanjh pade ghar aiyo jee
ho o o o
naao puraani gahra paani
peechhe na rah jaiyyo machhariya
peechhe na rah jaiyo jee
aanchal ki patwaar banaa ke
naiyya paar lagaiyyo machhariya
naiyya paar lagaiyyo jee
batiyaan tihaari gori
preet ka ras ghole jee
ras ghole jee
meethhi meethhi baansuriya
si bole jee
ho naiyya mori dagmag ho ke dole jee
dig dig dig dig
naiyya chale re
purwaiyya chale
chhak chhaiya chhaiyya ho
haiyya
ankhiyaan phadke jiyara dhadke
bijli kadke ambar mein
haay
bijli kadke ambar mein
le chal maanjhi haath pakad ke
aag lagi hai samandar mein
hoy aag lagi hai samandar mein
ho o o o o
baahar baahar dekh rahi kya
tanik to jhaanko andar mein
hoy tanik to jhaanko andar mein
devi banke bathhi tu gori
mere man ke mandar mein
hoy mere man ke mandar mein
bachpan ki ye preet hai jee
kabhi toote na
sang chhoote na
nit nit pyaar chadhhe jhakole jee
ho naiyya mori dagmag ho ke dole jee
dig dig dig dig naiyya chale
purwaiyya chale
Kaun Tere Sapnon Mein Aata
Posted on: April 5, 2019
- In: "teasing" song | Baag/Bagiya song | Century songs for the blog | Dance song | Devnagri script lyrics by Sudhir | Feelings of heart | Group Dance | Guest poster century song | Guest posts | Lyrics contributed by readers | One singer singing for several actors | Post by Sudhir | Sahelis teasing a lady | Songs of 1960s (1961 to 1970) | Songs of 1969 | Yearwise breakup of songs
- 9 Comments
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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.
This is the 1300th Post by Sudhir ji.
|
Blog Day : |
3913 | Post No. : | 14972 | Movie Count : |
4092 |
Missing Films of 1960s – 103
– – – – – – – – – – – – – – –
The film that we bring on board today is ‘Sati Sulochana’ from 1969. One more film that is rarely heard about, although the video of this film is available. And once again, lovely songs that have not been explored. The sound of this song seems like it was heard on the radio, but that was a long time back.
The music is by SN Tripathi, who incidentally has also directed this film. The film is produced under the banner of SA Films, Bombay. The star cast includes Prithviraj, Anita Dutt, Prem Nath, Raj Kumar, Bipin Gupta, Kanan Kaushal, Sundar, Ram Singh, and Ram Mohan etc.
The story of Sati Sulochana is part of the history of Ramayan. Sulochana is the daughter of Sheshnaag, the king of serpents. She is married to Meghnaad, the son of Raavan. Meghnaad is also known as Indrajit, for he had once vanquished Lord Indra and captured many sophisticated weapons from him. In the narrative of Ramayan, Sulochana is described as a brave lady who is very supportive of her husband. Eventually, when her husband is killed in the battle with Lakshman, she makes a decision to immolate herself on his pyre.
This story has been made into films on many occasions. The first one on record is the silent film ‘Sati Sulochana’ in 1921. Then this film was produced in Kannada, in 1934, as the first talkie film in Kannada language. In 1935, a Hindi film was also released by this name, under the production banner of Godavari Cinetone. In 1961, this tale was also told in a Telegu film starring NT Ramarao. And then in 1969, we have this Hindi production again.
Geet Kosh lists 9 songs of this film. Music is from the mind of SN Tripathi. The songs have been written by Bharat Vyas and BD Mishra. This song is from the pen of Bharat Vyas. The singing voice is that of Suman Kalyanpur. On screen, it appears as if the leading lady and one of two of her friends are lip syncing the same playback singing.
The song is picturized as a group dance song, in which the leading lady is being teased by her friends, asking her who is the one who comes into your dreams. The song is a lively exchange between the lady and her sahelis. On screen, I am not able to identify with certainty, the lady who leads the song. Is she Kanan Kaushal? I request our more knowledgeable readers and friends to please help identify her.
Enjoy this lovely lilting melody, one of those songs that should have been more popular.
Song – Kaun Tere Sapnon Mein Aata (Sati Sulochana) (1969) Singer – Suman Kalyanpur, Lyrics – Bharat Vyas, MD – SN Tripathi
Chorus
Lyrics
aaa aaaaaaa
aaaa aaaa aaaaa
aaa aaaaaaa
aaaa aaaa aaaaa
kaun tere sapnon mein aata
kaun tere sapnon mein aata
aa ke nainon mein muskaata
bataao na bataao
hum ko ye bataao
jud gaya kis se ye naata
kaun tere sapnon mein aata
hato ri sapne ki na boloon
bhed yeh mann ka na kholoon
jaao ri sakhi jaao
mujhe na yun sataao
khel ye mann ko na bhaata
kaun tere sapnon mein aata
main to soi thi
neend mein khoi thi
chup ke se koi aa gaya
main to soi thi
neend mein khoi thi
chup ke se koi aa gaya
megh varan tha
kanak rang tha
mere jeevan mein samaa gaya
chhup ke kaanon mein kuchh bola
haule se ghunghat pat khola
akhiaan ghabraai
main to sharmaai
aage ab kuchh na kaha jaata
koi tere sapnon mein aata
veer purush tha
kandhe dhanush tha
mukh pe tej samaaya
veer purush tha
kandhe dhanush tha
mukh pe tej samaaya
jaan nahin
pehchaan nahin koi
phir bhi wo mann ko bhaaya
preet meri muskaai hai
pooja meri rang laai hai
chhudaaye se na chhoote
tode to nahin toote
janm janmaantar ka naata
kaun tere sapnon mein aata
kaun tere sapnon mein aata
aa ke nainon mein muskaata
bataao na bataao
hum ko ye bataao
jud gaya kis se ye naata
kaun tere sapnon mein aata
———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-
आss आssssss
आsss आsss आssss
आss आssssss
आsss आsss आssss
कौन तेरे सपनों में आता
कौन तेरे सपनों में आता
आ के नैनों में मुस्काता
बताओ ना बताओ
हम को ये बताओ
जुड़ गया किस से ये नाता
कौन तेरे सपनों में आता
हटो री सपने की ना बोलूँ
भेद ये मन का ना खोलूँ
जाओ री सखी जाओ
मुझे ना यूं सताओ
खेल ये मन को ना भाता’
कौन तेरे सपनों में आता
मैं तो सोई थी
नींद में खोई थी
चुपके से कोई आ गया
मैं तो सोई थी
नींद में खोई थी
चुपके से कोई आ गया
मेघ वरण था
कनक रंग था
मेरे जीवन में समा गया
छुप के कानों में कुछ बोला
हौले से घूँघट पट खोला
अखियाँ घबराईं
मैं तो शरमाई
आगे अब कुछ ना कहा जाता
कोई तेरे सपनों में आता
वीर पुरुष था
कांधे धनुष था
मुख पे तेज समाया
वीर पुरुष था
कांधे धनुष था
मुख पे तेज समाया
जान नहीं
पहचान नहीं कोई
फिर भी वो मन को भाया
प्रीत मेरी मुसकाई है
पूजा मेरी रंग लाई है
छुड़ाए से ना छूटे
तोड़े तो नहीं टूटे
जन्म जन्मांतर का नाता
कौन तेरे सपनों में आता
कौन तेरे सपनों में आता
आ के नैनों में मुस्काता
बताओ ना बताओ
हम को ये बताओ
जुड़ गया किस से ये नाता
कौन तेरे सपनों में आता
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 : | 3858 | Post No. : | 14871 |
Today’s song is from the musical blockbuster of the 1950s, Suvarna Sundari-58.
There was a love affair going on between the South films and Bombay Film industry during the 50’s decade. Right from film Chandralekha-48, South started pushing into Hindi domain with Remakes and Dubbed southern films. Some films were even made only in Hindi. As the years went by and the southern film market expanded greater than even Bombay, south had no time or need or interest in tapping the Hindi belt anymore.
With the films being made by the South for the Hindi audience, came many southern composers too. Chandralekha-48- had S.Rajeshwar Rao as MD, then came Parthasarthy and kalla (Nishan-49, Mangala-50 and Sansar-51), Sankar Sastry (Mangala, Sansar), C S Ram (Lavangi-50), C R Subbaraman (Ek the Raja-51, Chandi Rani-53), Vishwanathan and R Sudarshana (Ladki-53), S V Venkatraman and T R Ramanathan(Manohar-54), Ram Murthy(Naya Aadmi-56) etc etc.
First Hindi Music Director in a south film Hindi was Bulo C Rani, with C S Ram in film Lavangi-50. The first south Hindi film whose entire music was done by a single Music Director from the Hindi belt was Bahar-51- S D Burman. After this C.Ramchandra, Chitragupta, Madan Mohan, Shankar-jaikishen, N Dutta and others started crowding in south for Hindi films and due to this the influx of south composers for Hindi films almost came to a naught.
Many Hindi composers are known to invade South and make songs in their languages. The first one to do so was C Ramchandra, but then few others like Naushad( for Tamil version of Aan and Mughal E Azam), Salil Chaudhari ( for many Tamil and Malyalam films), Ravi- who became famous in Kerala as Bombay Ravi, for many Malyalam films and few more. However, there was only one south composer who gave music to a Hindi film and made it a Hit Jubilee Musical Blockbuster. He was Adi Narayana Rao and his first Hindi film was Suvarna Sundari-1958. I said First film, because Rao gave music to some more Hindi films later, like Phoolon ki sej-64, Jadoo nagari-72, Gun Fighter Johnny-72, Sati anusuya-74 and Inqilab Zindabad-75. he also gave music to a Dubbed Marathi film ‘ Mahabhakta Tukaram’-60.
His first film was Suvarna Sundari-58 and what Grand music he gave ! The film had 14 songs and from Ghantasala’s ” Laxmi kshir Samudra Raj’ to Sudha Malhotra’s ” Hat jaa re natkhat”, he displayed his originality, creativity and knowledge of Hindustani Raagdari too ! He composed songs in various Raagas like, malkauns, Sohni, Bahar, Jaunpuri, Hameer etc . Songs like ” Mujhe na bula” and ” Kuhu kuhu bole koyaliya” are popular even today and surely can be counted amongst the most memorable of Hindi songs ever.
Born in 1915 in Andhra Pradesh, Rao learnt music from Pt. Sitaram Sastry. He was active on stage for many years. He was an excellent Harmonium player. Surprisingly, he entered film world as a writer and not a musician. Later, he became an assistant to composer Chittur Nagiah from film vande Mataram-1939. His first film as a MD was Vardhini-1946. Along with Folk tunes, Rao used Spanish tunes in his songs. He married actress Anjali Devi,after film Suvarn Sundari in Telugu was released. They started Anjali pictures, a film production company. While he could not get success in Hindi films, after Suvarn Sundari-58, his wife Anjali Devi continued doing roles in Hindi films for many more years. Adi Narayana Rao died on 25-1-1990.
The original Telugu film Suvarn Sundari was made with A.Nageshwar Rao and Anjali Devi in 1957. Tamil version was also made Simultaneously, with Gemini Ganesan and Anjali devi in the lead. Tamil film title was Manaalane Mangaiyi Bakkiyam. The Tamil version was released first. When both Tamil and Telugu films became Hit and Blockbusters, it was planned to dub the Tamil film in Hindi. Lata Mangeshkar was called to Madras to record the songs. When Lata saw the film, she suggested them that instead of dubbing the film, the film may be remade in Hindi. The distributors too opined the same. Therefore the Hindi version was remade with A. Nageshwar Rao and Anjali Devi in the lead. This was the First and the only Hindi film A.Nageshwar Rao made ever in his entire career. The film was shot in Venus Studio, Madras and near Shimsha falls, Mysore. The Hindi film was very successful and celebrated Silver Jubilee in 18 cities.
All the three language versions were directed by Vedantam Raghaviah. He was born to V.Ramiah and Annapoornamma at Kuchipudi village in Krishna District of Andhra Pradesh, on 8-6-1919. from 5th year onwards, he started learning Kuchipudi dance and became a surprise item in many shows and stage dramas. At the age of 9 years he was married to his Maternal cousin. He entered films as an actor and Choreographer in 1937. But from 1949 he changed over to production and Direction. In next 20 years, he directed 30 Telugu and Tamil films plus 2 Hindi films- Suvarna Sundari-58 and Jadoo Nagari-72. His film Devdas-53 was considered as his Best film. He died at the age of only 52 years on 18-11-1971. He received several awards and honours as a Kuchipudi Dancer.
Out of the 14 songs of Suvarn Sundari-58, only 3 songs are discussed on the Blog. Today’s song is the 4th song. The video shows a song coupled with the naughty activities of comedians, small time Thugs in the film, Agha, Mukri and Radha Kishen. Radha Kishen was a comedian with a peculiar style of talking and speaking in a voice that distinguished him from others. I still remember his funny role in film ‘ New Delhi’-1956.
Radha Kishen (Mehra) was born on 13-6-1915 in Delhi. He was a good writer and wanted a job as a writer in films. V.Shantaram, however, offered him a job as an actor in Prabhat. His first role was that of a villain in film ‘ Padosi ‘-41. It was here that he became very friendly with writer Pt. Mukhram Sharma, who helped him by creating special roles for him in the scripts that he wrote. Radhakishen played the roles of a miser to perfection. He became a regular with P.L.Santoshi in films like Shehnai, Sargam, Apni Chhaya etc.
His biggest role as a comedian which brought him to limelight was in film New Delhi-56. He played important roles in Begunah and Naya Daur also. Changing over to comic villain’s role in Parvarish-58, he was equally effective. In Sadhana-58 he was a crafty neighbour and in Chhoti Behan-59, he was a greedy trader. Being a writer himself, he would get effective and ironic dialogues.
At the height of his career, he became a Producer with Amar Rahen ye pyar-61. Because of kavi Pradeep’s left wing songs, the film was held up by Censors for a long time and when finally it was released, it flopped miserably. Before that itself, due to heavy losses, mounting debts and a failed Love affair, Radhakishen committed suicide by jumping to death from the fourth floor terrace of his building, on 18th March 1960. He died after his film Ek ke baad ek-60 was completed. Its Producer Raj Rishi, who was his close friend,put an obituary message in the film’s credits as ” This picture is respectfully dedicated to the fond memories of my friend and great artiste Radhakishen, who is no more with us “.
Same year in May 1960, the well known Distributor Tarachand Barjatya announced a Trophy in the name of Radhakishen, to be given to the Best Comedian of the Year. This is probably the only Trophy of its type in the film industry.
Here is a comedy song video from the film Suvarna Sundari-58. Enjoy….
Song-Raam naam japna paraaya maal apna (Suvarna Sundari)(1958) Singer- Rafi, Lyrics- Bharat Vyas, MD- Adi Narayan Rao
Chorus
Lyrics
arre ajgar kare na chaakri
bhai panchhi kare na kaam
o o o
hum kaahe khat-pat karen
o o
o o o
jab sab ke daata raam
arre raam naam
raam naam
raam naam japna
paraaya maal apna
paraaya maal apna
ho o o
raam naam japna re
raam naam japna
paraaya maal apna ho
hoy
raam naam japna re
raam naam japna
paraaya maal apna
ho ho ho
raam naam japna re
raam naam japna
paraaya maal apna ho o
ho o o
o o o
seedhi ungli ghee na nikle
sun re o anjaane
oye
sun re o anjaane
arre seedhi ungli ghee na nikle
sun re o anjaane
oye jiski laathhi bhains usi ki
keh gaye log sayaane
hoy keh gaye log sayaane
ye bol bade anmol
bhai sach kaha
ye bol bade anmol baawre
man ki ghundi khol khol
bhai raam naam
raam naam
raam naam japna
paraaya maal apna
paraaya maal apna ho
o o
raam naam japna re
raam naam japna
paraaya maal apna ho
arre ho
o o o
ikdam tikdam
tikadtikadbam
ikdam tikdam laga ke saari
duniya bas mein kar le
o duniya bas mein kar le
aha
o ikdam tikdam laga ke
saari duniya bas mein kar le
oye jhoothh bol chaahe loot maar kar
apna khazaana bhar le
phataaphat
apna khazaana bhar le
jag dhokhe ki deewaar
beta sach kaha
o jag dhokhe ki deewaar
yaar tu apna mauka maar maar
bhai raam naam
ho raam raam
raam naam japna
paraaya maal apna
paraaya maal apna ho
o o
raam naam japna re
raam nam japna
paraaya maal apna ho
oye
raam naam japna re
raam naam japna
paraaya maal apna ho
o o
raam naam japna re
raam naam japna
paraaya maal apna ho o
Koi ek aana koi do aana
Posted on: January 22, 2019
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3840 | Post No. : | 14852 |
“Dhun”(1953) was directed by M Kumar for Silver Productions, Bombay. The movie had Raj Kapoor and Nargis in lead roles with Motilal, Pramila, Kamal Mehra, M Kumar, Cuckoo etc also there in the movie.
The movie had eleven songs in it. Seven songs have been discussed in the past.
Here is the eighth song from “Dhun”(1953). This song is in fact a two part song. Part I is sung by Rafi, Batra, Baabul and chorus. Part II, which is an extension of the same song, is sung by Rafi, Madan Mohan, Baabul and chorus.
Bharat Vyas is the lyricist of this llong light hearted song. Music is composed by Madan Moahn.
Only the audio of this song is available. I request our knowledgeable readers to throw light on the picturisation of this song.
Since this is a two part song, so with this song, now nine songs from the movie have been covered. HFGK mentions two more songs- “hansa hai mukpe zamaana” and “is duniya mein ham aa nikle”. Thouh the lyricist for these two songs is mentioned in HFGK 9Kaif irfani), no other fdetails are known for these songs. Record numbers are not mentioned so may be records of these songs were not mentioned.
I request our knowledgeable readers to throw light on these remaining two songs that do not seem to be available as of now.
PS-This writeup replaces another song from the movie, namely “nindiya na aaye tum bin” which was already covered in the blog in the past.
Another special fact about this song is that this is the fourth song in the blog that has the voice on Madan Mohan as a singer. Madan Mohan had lent his voce in four songs in Hindi movies. with this song, now all these songs have been covered in the blog.
Audio (Both Parts)
Koi ek aana koi do aana (Dhun)(1953) Singers-Rafi, Satish Batra, Baabul, Madan Mohan, Lyrics-Bharat Vyas, MD-Madan Mohan
Lyrics
Part I
———————
koi ek aana
koi do aana
koi teen aana
koi chaar aana
is duniya mein sab paagal hain
haan
koi ek aana koi do aana
koi teen aana koi chaar aana
koi ek aana koi do aana
koi teen aana koi chaar aana
is duniya mein sab pagal hain
hum paagal hain solha aana
hey
koi ek aana koi do aana
koi teen aana koi char aana
koi ek aana koi do aana
koi teen aana
koi char aana
hahaha
paise waalon ko dekho jinke hain mote pet
dhandhe karte hain khote
aur kahlaate hain seth
haan
din ke ujiyaale mein karte hain kaala bazaar
ho phir bhi paagal duniya unko kahti saahukaar
o mere bhaiya kehti sahukar
o bhaijaan kehti saahukaar
main hoon saahukaar bhaiya main hoon saahukaar
maine hi ye kaam kiya hai
baap ka ooncha naam kiya hai
chauraahe par dhol bajaa kar
chauraahe par dhol bajaa kar
tera ghar neelam kiya hai
mujhko maaro
arre bhai mujhko maaro
sab mil kar maaro aao aao sab mil kar maaro
jhaadu maaro joote maaro
patthar maaro kankar maaro
maaro maaro maaro
sab mil kar maaro
are bhai baithe kyun ho
o bhaiya uthkar maaro na
koi ek aana koi do aana
koi teen aana koi char aana
koi ek aana koi do aana
koi teen aana koi char aana
koi mera sher suno
khuda ke liye
koi mera sher suno
haaye
koi nahin sunta
kaun karta doston
duniya mein shaayar ki kadar
ghoomte firte hain ye shaayar ke bacche dar badar
———————-
Part II
———————
kaun karta doston duniya mein shayar ki kadar
mori kadar nahin jaane raam rahen
mori kadar nahin jaane ram rahen
sapt suran teen graam
aam ke aam
guthli ke daam
saa re ga ma
haaye raam
aa ha ha
waah ustaad
saa re ga ma
haaye raam
dhum t na n n n n na na na na
mori kadar nahin ja ja o ja ja
mori kadar nahin ja ja ja ja
ja mori kadar nahin
ja mori kadar nahin
ja mori kadar nahin
johny o ho o johny
j j johny o johny duniya faani faani faani
o ho o jolly hey hey johny
o johny johny johny johny
haaye johny
koi ek aana koi do aana
koi teen aana koi chaar aana
koi ek aana koi do aana
koi teen aana koi char aana
aasha aasha pukaaroon main van mein
o meri aasha
bandhi astabal mein haan
o o o
mujhe baap ne ghar se nikaala
ae haaye kar diya munh mera kaala
o aasha aashaa aashaa
kar diya munh mera kaala
o tere liye kar diya munh mera kaala
haay aasha ji kar diya munh mera kala
aasha ji aasha ji aasha aasha ji haaye haaye
aasha ji aasha ji aasha aasha ji
fukut vukut de dheel dheel
fukut vukut de dheel dheel
o mera neela patang kare
dushman se jung
iske baap ke rang dhang dekh lo
mera neela patang kare dushman se jung
dekho dekho dekho
are dekho dekho dekho
dekh liya duniya ke mela
log hain rang rangeele ae ae ae ae
koi kam hai koi jyaada aa
par sabke purje dheele
koi ek aana koi do aana
koi teen aana koi char aana
koi ek aana koi do aana
koi teen aana koi chaar aana
is duniya me sab pagal hain
hum pagal hai solha aana
koi ek aana koi do aana
koi teen aana koi chaar aana
koi ek aana koi do aana
koi teen aana koi chaar aana
hey bacho
Sambhaal ke qadam rakhna
Posted on: December 25, 2018
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 : | 3812 | Post No. : | 14809 |
“Amar Jyoti”(1965) was directed by Raman Desai for Bombay Movietone, Bombay. This fantasy movie had L Vijaylaxmi, Mahipal, Ulhas, Kamal Mehra, Sapru, Sarla devi, Gopi Krishn etc in it.
The movie had nine songs in it. Two songs have been covered in the past.
Here is the third song from “Amar Jyoti”(1965) to appear in the blog. The song is sung by Lata and chorus. 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.
Song-Sambhal ke qadam rakhna (Amar Jyoti)(1965) Singer-Lata, Lyrics-Bharat Vyas, MD-Vasant Desai
Chorus
Lyrics
hurr
sambhaal ke kadam rakhna
sambhaal ke kadam rakhna
jhoomne ke din aaye
kali se bhanwra boley
choomne ke din aaye
to angiya lajaaye kadam ladkhdaaye
man haathon se uda uda jaaye
bahaar ka o o o o o
bahaar ka hai kya kahna
ho o
lootne ke din aaye
o laaj ke sabhi pahre
haaye tootne ke din aaye
jhoome chanchal pawan
choome chhup chhup ke tan
jiya machal machal rahe jaaye
sambhaal ke
o
sambhaal ke
o o
sambhaal ke kadam rakhna
jhoomne ke din aaye
sambhaal ke kadam rakhna
na main koi mere apne koi
mujhe nadiya kinaare bula rahe
aisa kamaal dekho
is dil ka haal dekho
din mein bhi sapne hain aa rahe
ladkhdaaya jo chaal
ise kahte hai chaal
bhai ye to kataari ki dhaar
sambhaal ke
o
sambhaal ke
o o
sambhaal ke kadam rakhna
jhoomne ke din aaye
sambhaal ke kadam rakhna
re ma re ma
sa ri ni re sa
ma pa ma pa
re ma re ni sa
dha ni pa ma re
re ma ni sa re
dhan ni sa re
o o o o o
ye jaane kaun mera praanon ka meet
aaj kaanon mein geet gunguna raha
anjaana koi bin pahchaana koi
dekho chhup chhup ke man mein sama raha
ye chhupaane ki baat
bina baadal barsaat
is tan mein lagi hai ye aag
sambhal ke
o
sambhaal ke
o o
sambhaal ke kadam rakhna
jhoomne ke din aaye
sambhaal ke kadam rakhna
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3754 | Post No. : | 14719 |
Today’s song is the 3rd song from film Oonchi Haveli-55 to be discussed in the Blog. For the last 6-7 months, I have been discussing songs mostly from the decades of the 1930s and the 1940s. The last song from the 1950s that I discussed was on 3-3-2018, which for me was the 5th song from the decade of 1950s in this year. Looking back, I find that I had discussed a song from 1994 also in this year. Good songs, to whatever year they belong to, are my favourites. The only regret is that such songs have become few and far between. Good and meaningful Lyrics is another thing which has become scarce.
Today’s song is sung by Rafi. I strongly believe that God had given at least 10 different voices to this divine singer ! His special voice and style changed to suit the lip syncer on the screen and the song situation. His voice for Dilip Kumar was never the same as one he used for Johnny Walker.
Rafi came from a poor and humble background and had to struggle very hard to enter, sustain and reach the heights in Hindi Film Music. We all know that he came from a poor family but how his early life was spent is not known to many.
Punjab must be proud that two of its sons ruled Hindi cinema music for the first 50 years of its existence, which also happened to be its golden era. initially it was Saigal from 1933 to 1947 and then Mohd. Rafi-as if the baton was handed over by one statemate to another. Both started with humble beginnings and struggled hard to win their places in the History. Saigal, however, had less competition, but then the industry was also smaller. In case of Rafi, the competition was greater, but then the industry had also grown manifolds.
Born into a lower middle class Muslim family belonging to a non descript village in Punjab in 1924, Rafi did not have much education. It was confined to reading and writing in Urdu in Persian script. A little bit of multiplication, and his education was over. In leisure time, Rafi would take his and friends’ cattles for grazing- singing songs all the day.
Rafi did not have exposure to Radio until the beginning of Lahore Radio station in 1937. Of course wealthy people had their gramophones and he would listen to Indubala and Kamla Jharia songs coming from the Havelis and in the Bazaar area. Rafi sang many folk songs.
His father decided to shift to Lahore- 50 miles away, for better earning. Like most Amritsaris, he too was an expert in cooking. He opened a Dhaba and soon did well. Later on he called Rafi to Lahore in 1941 Rafi got a job in a Hair cutting saloon. Whole day he would do people’s shaving, while singing songs. His customers were happy. One day, Programme Director of Lahore A.I.R. Mr. Jeewan lal Mattoo was passing by and he heard Rafi’s singing. Impressed with his enchanting voice, sweetness,range and tonal quality, he shocked Rafi with his offer. Rafi gave his audition next day and passed with flying colours. From March 1943, Mohd.Rafi became a Radio singer, at 35 rupees per song. ( six months later Surinder kaur also joined Lahore Radio).
After hearing his voice on Radio, Music Director Shyam sunder called him to sing in his Punjabi film ” Gul Baloch”. Before coming to Lahore, Rafi was married to his cousin, but his Father in law had told him that his wife will join him only after he starts earning decently. Even after that single song in a film, Rafi continued his shaving job in the saloon. Meanwhile Mr. Mattoo helped him to learn classical music. Also Master Inayat Hussain gave him training. Another teacher was Budh Singh Taan. Noorjehan, Umrao Zia and Zeenat begum were seniors to Rafi in Lahore, but they knew each others. He took training from Bhai Samund Singh and Bhai Santa Singh of local Gurudwaras. Rafi was a saintly person and a true Namazi, doing 5 times Namaz daily.
Rafi’s wife came to him after he became a Radio artiste. He had a large friends circle, who used to gather in his house. There were many Hindi and Punjabi films made in Lahore, but none of the composers thought of Rafi as a singer. Pt. Amarnath and Ghulam Hyder liked his voice and knew his talent. While shifting to Bombay, Ghulam Hyder invited Rafi to join him. Even from Bombay he sent him 2 calls. Finally on his second call, Rafi decided to shift to Bombay, lock stock and barrel, in 1945. In Bombay, till Jugnu-47 happened, Rafi sang few songs in films, but he made his living by singing in private Mehfils of wealthy Punjabis of Bombay.
Story of Rafi after Jugnu-47 is known widely. I just wanted to highlight his less known early days, before coming to Bombay. Some of this information is used from an article by H.S.Aujla in Apnaorg.
May be, because of his humble background and a struggle before he succeeded, he always had a soft corner for struggling composers. Unlike some other famous singers, he was always ready to help such composers, even if the money offered was below par. During his peak period also, poor B and C grade composers could approach Rafi with a request to sing their songs and Rafi rarely disappointed them.
Nissar Baazmi later went to Pakistan and became a big composer. Even Noorjehan and Mehdi Hassan considered it an honour to sing for him in Pakistan. As long as Nissar Baazmi was in India, he somehow remained a C-grade composer. And at the time he did Khoj, he was a nobody.
It was as a nobody in HFM that Baazmi approached Rafi to sing for the rendition of a composition for “Khoj”. He could only afford to pay Rs 50 to Rafi. Rafi charged Baazmi just the token Re 1. The result- Chanda ka dil toot gaya roney lage hain sitaare Just the shot in the arm that a struggling music director, as well as the lyricist (Raja Mehdi ali Khan) could have dreamed of !
Pandit Shivram was a small time composer as well. He too had only Rs 50 to offer Rafi for singing a song. In return, Rafi offered him as well as the music lovers this priceless song Daulat ke jhoothhe nashe mein ho choor (Oonchi Haweli)(1955) .
Rafi left his mark even in movies where Talat Mehmood was the main singer and Rafi got to sing sung one song. Take for instance Ghulam Mohammad composition Hai bas ki har ek unke ishare mein nishaan aur (Mirza Ghalib), S D Burman’s Manzil ki chaah mein (Devdas).
How Rafi could hold his own for a composer where other singers had given their best for him is tellingly illustrated in case of songs composed by Baabul. Manna Dey had sung two superb duets in in Reshmi Roomal, viz. Zulfon ki ghataa lekar saawan ki pari aayi (with Asha Bhonsle) and Aankh mein shokhi lab pe tabassum (with Suman Kalyanpur) . This movie also boasted the Talat Mehmood timeless classic Jab chaaye kabhi saawan ki ghata(Reshmi Roomaal)(1961). Mukesh too added his mite Reshmi Roomal through Gardish mein hon taare na ghabraanaa pyaare (Reshmi Roomaal) .
Next movie that Baabul got was “Naqli Nawaab” where the same hero Majoj Kumar was to lip sync the songs. Despite recording such awesome male playback songs in his previous movie, Babul switched to Rafi in “Naqli Nawaab”. Rafi was paid Rs 200 for this movie. The timeless classics that Rafi came up with were- Tum poochhte ho ishq balaa hai ke nahin hai (Naqli Nawaab) and Chheda jo dil ka fasaanaa( Naqli Nawaab) .
If Rafi’s created gems for Babul did the same for Babul’s erstwhile partner Bipin as well ! For Bipin Datta, Rafi sang Ye Bombay shahar ka badaa naam hai (Kya ye Bombay hai ?)
If music director Dulaal Sen is remembered today, then it is thanks to one “Black Prince”(1960) Rafi solo song viz. Nigaahein na phero chaley jaayenge ham (Black prince) .
C Arjun much later, told that he felt very proud that he had at least created a ghazal that could come somewhere near a Madan Mohan composition. I wanted special attention to this my coveted ghazal from my singer but all good singers available were bigger than the film for which I had composed it! revealed Arjun. It was with great hesitation, therefore, that I approached Rafi Saab to render my ghazal, so feelingly written by Indivar. And Rafi Saab, without bothering about the small payment we were in a position to make, said it was one of the best ghazals that had fallen to his lot and he would give it everything that he had.not ready to sing for a small time music director in a B grade movie. Rafi had no such qualms. He obliged C Arjun and came up with a rendition that ensured that this ghazal even till date in bracketed among the best ghazals of Hindi movies. This ghazal with Madan Mohanesque quality was Paas baitho tabeeyat bahal jaayegi (Punar Milan) .
Lala-Asad-Sattar three instrumentalists turned struggling music directors could get Rafi to sing for them and Rafi did what he always did- provided A grade song in a B grade movie-Main to tere haseen khayaalon mein kho gayaa (Sangram) .
Sapan Jagmohan made their debut as a music director duo with “Begaana”(1962). A good blueprint that the music director duo had created was converted into a memorable masterpiece by Rafi-Phir wo bhooli si yaad aayi hai(Begaana)(1963).
We have had many A grade compositions in B and C grade movies. A good number of such compositions are in Rafi’s voice and they came about because Rafi would put art before commerce and would sing for pittance no matter how “small” a movie or its music directors were. That is how we got Iqbal Quraishi’s composition Subah na aayi shaam na aayi(Cha Cha Cha) and Sonik-Omi offering Dono ne kiya tha pyaar magar(Mahua)(1969).
The Rafi touch could turn any disc into gold! The above information is based partly on an article written by Raju Bharatan for The Illustrated Weekly of India, Aug 93.
The music Director for film Oonchi Haveli-55 was Shivram or Pt. Shivram Krishna. He was one of those composers who could not get very famous, though he composed very well. Pt. Shivram Krishna was born at Jodhpur on March 22, 1927. He started learning music at the age of 8 under the tutelage of his father Master Tulsidas, who worked with Marwar Record Company, Jodhpur from 1934 onwards. He was later employed in the court of the Maharaja of Jodhpur, Umed Singh as a singer/musician. It was the name and fame of Khemchand Prakash that inspired him to try his luck in films. At the age of 16, he went to Lahore where he worked under Pandit Amarnath and Master Ghulam Haider for around three years, only to return to Jodhpur at the time of partition. From the year 1948 till 1950 he worked as a music director with His Masters Voice in Lucknow, and then made his way to Mumbai in 1951.
At Mumbai, Pt. Shivram was given his first break by V. Shantaram, who signed him for two of his films – Teen Batti Chaar Raasta (1953) and Surang (1953). The music of both the films was appreciated and the films became silver jubilee hits. Besides these, V. Shantaram gave him two more films in 1960 – ‘Phool Aur Kaliyan’ and ‘Kaale Gore’, the first winning the National Award for Best Children film, while the second remained unreleased. He used the voices of V. Shantaram’s daughters Charusheela and Madhura in children’s films.
Following the success of his initial films, Pt. Shivram caught the attention of Dhirubhai Desai and Nakhshab Jarchavi, who signed him for their next films, Oonchi Haveli (1955) and Raftaar (1955) respectively. The songs of these two films were also quite successful. Then came Sati Ansuya (1956), another film by Dhirubhai Desai that started the trend and literally sealed his fate as a composer of mythological films. Barring Naya Kadam (1958), a social drama, and Rangeela Raja (1960), a stunt film, and the two children films by V. Shantaram, all the films he got after Sati Ansuya were religious/ mythological films. In all, out of the 23 films he composed for, as many as 14 were religious/ mythological films.
Despite composing some good songs for these films, the success he got with his initial films could not be repeated given the limited popularity of such films and similarity in the genre of songs. Barring a few songs from Shravan Kuman (1960), Kan Kan Mein Bhagwan (1963) and Sati Naari (1965), most of the songs are all but forgotten. ‘Tum Naacho Ras Barse’ by Mahendra Kapoor in Sati Naari fetched Pt. Shivram the Swami Haridas Award in 1966.
The last two Hindi films of Pt. Shivram were Sampoorna Teerth Yatra (1970) and Mahapavan Teerth Yatra (1975), both of which have the unique distinction of featuring what could be the longest Hindi film songs, running 45 and 70 minutes respectively. Both these songs were about the various places of pilgrimage in India and were almost similar in tune and structure. Interestingly, he had also composed two more songs on similar lines in Durga Pooja (1962) and Kan Kan Mein Bhagwan (1963).
Pandit Shivram gave music for various regional languages such as Rajasthani, Bhojpuri, Punjabi, Haryanvi, etc. He was the default composer for Rajasthani films all through the 1960s, starting with the first Rajasthani film Babasa Ri Ladli (1961). He also composed for several Marwari and classical music non-film albums. As a proficient Harmonium player, he teamed with table-nawaaz Ustaad Nizamuddin Khan to produce a classical album. Pandit Shivram was as good a vocal artist as he was a harmonium player. He sang in films like Oonchi Haveli, Rangeela Raja, Sati Ansuya, Badrinath Yatra, etc.
The lyricists Pt. Shivram worked with, were more or less decided by the films he worked in. While he worked with the likes of Asad Bhopali, Shevan Rizvi, Pyare Lal Santoshi, Nakhshab Jarchavi, etc. in his non-mythological films, predominantly ‘Hindi’ writers like Bharat Vyas, Kavi Pradeep, Neeraj, Madan Bharti and Pt. Indra wrote for his mythological films. Pt. Indra and Bharat Vyas were his prime contributors for Rajasthani films.
Pandit Shivram died in February 1980 leaving behind a family of musicians. His daughter Jayshree Shivram is a singer. Two of his sons, Jugal Kishore and Tilak Raj jointly composed for a few Hindi films, debuting with Bheegi Palkein (1983). His third son, Naveen Shivram had started his musical career with giving music for the serial Apnapan in 1999 and went to compose for a few small time Hindi films and some Rajasthani film and non-film albums as well. Another son, Mukesh, was also a composer and is no more. ( Information on Shivram, based on urgetofly.com and my notes.)
Now, here is a fun song from this film, sung by Rafi and chorus. Though Asha Bhosle’s name is also credited, I did not find any female voice in the song.
PS-Now Sadanand Kamath Jee has pointed out that this song is a two part song and Asha Bhonsle’s voice does appear in the second part of the song. So this song is a Rafi-Asha Bhonsle duet, after all.
Song- Baap gaaye Thumri aur Garba gaaye Maiyya (Oonchi Haweli)(1955)Singer- Rafi, Asha Bhonsle, Lyrics- Bharat Vyas, MD- Pt Shivram
chorus
Lyrics
baap gaaye thumri aur garba gaaye maiyya
jab aangna mein raas rachaenge ye rupaiya
ye chaandi ka kanhaiya ho chhan chhan chhan rupaiya
bhabhi gaaye bhim palaasi drupad gaaye bhaiya
jab aangana mein raas rachaenge rupaiya
ye chaandi ka kanhaiya ho chhan chhan chhan rupaiya
gol gol ye nagad narayan hove jiske paas
wo saare aalam ka baalam sab jan uske saath
ki duniya naak ragadti
ke duniya kaan pakadti
ki duniya jhuk jhuk kare salaam
baabuji parnaam
saahab ji salaam
seth ji raam raam raam raam raam
dekh ke saari duniya naache ta ta ta ta thhaiya
jab aangana mein raas rachaenge ye rupaiya
ye chaandi ka kanhiya ho chhan chhan chhan rupaiya
naram naram duniya laage jab garam garam ho jeb
rupaiye ki jhankaar mein bhaiya chhup jaate sab aeb
achcha
haha
zara dekh lo
ek hai saabat ek hai gaayab
ek khuli hai ek hoon hoon hoon
jaane saara gaam inko jaane saara gaam
par laxmi ki kirpa se inka kamalnayan hai naam
arre inka kamalnaian hai naam
ghuti hui hai khopadi
ghuti hui hai khopadi
par paas hai inke rokadi
safaachat sab baal uden
ye ganju ji ganjan hain
paisa inki aankh ka anjan
daanton ka manjan hai
par jeb kare jham jham to
inka naam keshranjan hai
ae bhaiyya inka naam keshranjan hai
ye kaaghji jawaan seena taan ke khade hue
ye laxmi ki duniya mein heere moti se jade huye
aa aa aa aa aa
dehradun ke cartoon
ye mahlon mein rahte
unchi haweli mein rahte
isiliye sab basti waale hastimal kahte
arre inko hastimal kahte
ke moorakh kahlaaye gyaani
ke phoohad kahlaaye raani
ki cheeku kahlaaye daani
ki ye sab rupye ki maaya
arey bhai waah waah waah waah waah
hoy besuri lugaayi bhi kahlaati hai suraiya
jab aangna mein raas rachaenge ye rupaiya
ye chaandi ka kanhaiya ho chhan chhan chhan rupaiya
o jee o jee
aji aao jee
main teri nayi naweli naar
tu mera albela bhataar
kiya sab tere liye singaar
aji aa jee
ho ho ho ho
kaho meri kaisi ankhadiyaan
ke jaise gulaab ki pankhadiyaan
daant ki kaisi jyoti hai
seep mein jaise moti hain
seep mein jaise moti hain
aur mere sar ke kaise baal
aji in ne to kiya kamaal
ke jaise saawan ke baadal
ke jaise bhanwron ka ho dal
ke jaise nainon ka kaajal
haay re wai wai wai wai wai
meethe meethhe lagte hon jo panchhi se baraiyya
kab
jab aangna mein raas rachaaye re rupaiyya
ye chaandi ka kanhiya ho chhan chhan chhan rupaiya
baap gaaye thumri aur garba gaaye maiyya
jab aangna mein raas rachaenge ye rupaiya
ye chaandi ka kanhaiya ho chhan chhan chhan rupaiya
aa aa aa aa aa
aa aa aa
maine laakhon ke bol sahe
chaandi ke chanda
haay re baandi ke banda
haaye re phaansi ke phanda
tere liye ae
maine laakhon ke bol sahe
saajan aaya hey sakhi
ee ee ee ee ee
waah waah waah
haan
kai manuhaar karo
thhal bhara gaz motiyaan aan
aur ooper nain dhara aa aa aa aa aa aa
ho chaandi ke chanda
haaye re baandi ke banda
haaye re phaansi ka phanda
tere liye ae
maine laakhon ke bol sahe
ikanni duwanni
chawanni athhanni
ikanni duwanni
chawanni athhanni
chhote mote maap hain
ki chhote mote maap hainhe
ye hain baal bachche iske
rupaiyya inka baap hai
rupaiyya inka baap hai
is kaljug ki duniya mein paar laage tab hi naiyya
jab aangna mein raas rachaenge ye rupaiya
ye chaandi ka kanhaiya ho chhan chhan chhan rupaiya
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3753 | Post No. : | 14718 |
“Angulimaal”(1960) was produced by M/s Prakash Veramal and directed by Prakash Bhatt for P V Films, Bombay. This “historical” movie had Nimmi, Bharat Bhushan, Anita Guha, Ulhas, Chandrashekhar, Achla Sachdev, Manmohan Krishn, Prem Adib, Kesri, Rammohan, Vinod Kumar, Sheela Kashmiri, Bimla, Helen etc in it.
The movie had seven songs in it. Four of these songs have been covered in the past.
Here is the fifth song from “Angulimaal”(1960) to appear in the blog. According to HFGK (and dutifuly copied by others), this song is sung by Meena Kapoor and chorus, but one can clearly notie the voice of Asha Bhonsle too in the last stanza.
Bharat Vyas is the lyricist. Music is composed by Anil Biswas.
Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this song.
Song-Mere chanchal naina madhur ras ke bhare(Angulimaal)(1960) Singers-Meena Kapoor, Asha Bhonsle, Lyrics-Bharat Vyas, MD-Anil Biswas
Chorus
Lyrics
mere chanchal naina
madhu ras ke bhare
mere chanchal naina
karo preet karo preet
koyi apna lo meet
boley man kee maina
o o o
chanchal naina
madhu ras ke bhare
mere chanchal naina
wo dhhalka wo chhalka re palkon mein pyaar
kare rah rah ke vaar
kaajal kaa singaar
kare rah rah ke vaar
kaajal kaa singaar
wo dhalka wo chhalka re palkon mein pyaar
kare rah rah ke vaar
kaajal kaa singaar
kare rah rah ke vaar
kaajal kaa singaar
kaale baalon mein simti
saawan kee ghata
leke kaali raina
kaale baalon mein simti
saawan kee ghata
leke kaali raina
o o o chanchal naina
madhu ras ke bhare
mere chanchal naina
baaje runjhun madhur madhur kangna
aaye aane waale aaj hamaare angna
baaje runjhun madhur madhur kangna
aaye aanewaale aaj hamaare angna
madhu chhand anand mein hoke magan
naache chapal charan
madhu chhand anand mein hoke magan
naache chapal charan
geeton mein machalkar goonj uthe ae ae ae
man ke baina
geeton mein machalkar goonj uthe ae ae man ke baina
o o o chanchal naina
madhu ras ke bhare
mere chanchal naina
o o o chanchal naina
madhu ras ke bhare
mere chanchal naina
- In: Bharat Vyas - Shanta Thakkar Songs | Bharat Vyas Songs as a Singer | Devnagri script lyrics by Sudhir | Duet | Guest posts | Lyrics by Sudhir | Lyrics contributed by readers | Parody song | Post by Arunkumar Deshmukh | Shanta Thakkar Songs | Songs of 1940s (1941 to 1950) | Songs of 1943 | Yearwise breakup of songs
- 10 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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3744 | Post No. : | 14701 |
Today’s song is from a comparatively less known film, ‘Prem Sangeet’ (1943). It was produced and directed by WZ Ahmed, under his own banner, Shalimar Pictures, Poona. The music was by its resident MD SK Pal aka Suryakant Pal (nephew of MD Ramchandra Pal, who was with Bombay Talkies). The lyricist was Bharat Vyas. The cast of the film was Neena, Jairaj, H Prakash, Shanta Thakkar, Rajkumari Shukla, Tiwari, Anwar, Gulab, Randhir and many more. The song is sung by Bharat Vyas and Shanta Thakkar.
Bharat Vyas (18-12-1918 to 4-7-1982) wrote 1247 songs in 189 films. In addition, he acted in 3 films, ‘Ghulami’ (1945), ‘Prithviraj Sanyogita’ (1946) and ‘Maa’ (1952). He directed a film also – ‘Rangila Rajasthan’ (1949). He sang 8 songs in 6 films – ‘Prem sangeet’ (1943), ‘Mann Ki Jeet’ (1944), ‘Ghulami’ (1945), ‘Chandralekha’ (1948), ‘Navrang’ (1959) and ‘Santaan’ (1980). He was one of the MDs for film ‘Rangila Rajasthan’ and had composed 3 songs. Shanta Thakkar, who sang with him was also not a regular singer. She had sung just one song in ‘Nirdosh’ (1941), and after today’s song, she sang one more song in ‘Mann Ki Jeet’ (1944) – only 3 songs in career.
There are many books on Hindi film related subjects in almost all languages. Most books give factual or biographical information. There was one author – Saadat Hasan Manto – whose books combined facts, myths, opinions, humour and lascivious stories about the film people he came in contact with, while he was in India before partition. I have some of his books like Meena Bazaar, Stars from Another Sky, and Dastavej Vol 5. One gets to know about the conditions prevailing in the film world in those times, through the eyes of one amongst them. Manto was close to many heroes like Shyam, Ashok kumar and others like Nazir Ahmed, Rafiq Ghaznavi etc. In one of his books, he has revealed the inside story how a shy housewife – Shahida – became a popular film heroine Neena and what magic her mentor (husband later on) WZ Ahmed played to convert her.
About two years back Sadanand Kamath ji had also written about her in one of his articles on song from film ‘Ek Raat’ (1942). I have used some part of his story along with additional information gathered from the All India Film Directory and Who’s Who – 1946, some Pakistani sites and my notes to make her story a wider one.
Neena (real name Shahida) was born on 18th July 1919 in Aligarh in a cultured Muslim family. She was the eldest of six siblings. Her father was Prime Minister of a small state. Later he was appointed as a magistrate in Lucknow. Subsequently, he became a member of Federal Public commission. She studied in Aligarh and completed her graduation. During her college days, Moshin Abdullah fell in love with her. They got married and she settled for her domestic duty. Her husband got a job in Bombay Talkies laboratory where Shashdhar Mukherjee was his colleague. Shahida accompanied her husband and stayed in Malad.
When WZ Ahmed set up his film production company, Shalimar Pictures, Moshin Abdullah joined him in the same capacity which he was holding in Bombay Talkies and shifted to Poona (Pune) with his wife Shahida. Probably it was during this period that WZ Ahmed came to know about Shahida and offered her the lead role in his first film ‘Ek Raat’ (1942). Even though her husband was connected with Hindi films and her sister-in-law (husband’s sister), Renuka Devi (Begum Mirza) was an established actress in Bombay Talkies, Shahida was not interested in pursuing a career in films. It was her husband who persuaded her to take the lead role in ‘Ek Raat’ (1942) offered by WZ Ahmed. Saadat Hasan Manto, in his book ‘Stars From Another Sky’ has pointed out that for Moshin Abdullah, Shahida taking up the role in the film was a necessity as he was always short of money due to his gambling habit.
Before the film went on floor, a massive publicity of the film with Shahida getting her screen name ‘Neena’ as a mystery woman was launched, with giant billboards on the roads of Karachi – without showing her face. This created a suspense and she started getting fan mail too, before her film was released. The film was first released in Karachi on 18th July 1942 where it ran for 9 weeks. With the positive feedback from the cine goers, the film was next released in Hyderabad (Deccan) followed by an all-India release. The film was a box office success.
WZ Ahmed announced his next film ‘Mann Ki Jeet’ (1944) with Neena and Shyam in the lead roles. However, in the meantime, he released a quickie , his second film ‘Prem Sangeet’ (1943) with Neena and Jairaj in lead roles without much publicity as there was no more mystery about Neena. His concentration was now on ‘Mnan Ki Jeet’ (1944). She was quite good looking. In 1945, she was voted “The best dressed beauty of the Indian film world” award from I.F.J.A. She worked in only 5 films, ‘Ek Raat’ (1942), ‘Prem Sangeet’ (1943), ‘Mann Ki Jeet’ (1944), ‘Prithviraj Sanyogita’ (1946) and ‘Meerabai’ (1947). One more ambitious film was planned and announced – ‘Shri Krishna Bhagwan’, in which she was to play Radha. However due to partition and their migration to Pakistan, this was cancelled.
WZ Ahmed in his capacity as a producer-director was virtually in full control of Neena. Her husband Moshin Abdullah being removed from Shalimar Pictures for not doing his allotted work, had lost his grip over his wife. On the other hand, Neena found wide differences in attitudes towards her of WZ Ahmed who was courteous and her husband who was not only swindling her money in gambling but he was also a womaniser. Slowly, she became close to WZ Ahmed. In 1946, Neena divorced her husband and married WZ Ahmed.
After the partition, both WZ Ahmed and Neena migrated to Pakistan lock stock barrel, leaving the staff of Shalimar Pictures in a lurch as many of the staff had not received their salary for months. In August 1948, Bombay High Court adjudged WZ Ahmed, the sole proprietor of Shalimar Pictures as insolvent. Thus the saga of a ‘mystery woman’ of Hindi films ended in mysterious circumstances.
Although, Ahmed was declared as insolvent, the workers of Shalimar made an attempt to revive the Shalimar Pictures company. They pooled their resources and Bharat Vyas produced a movie, ‘Rangeela Rajasthan’ in 1949, under the banner of Shalimar Pictures. Many ex employees like Bharat Vyas , SK Pal and Shyama Dulari etc. worked for free. However this last attempt was also not enough to save the company and it was sold out, to pay the dues of suppliers etc.
In Pakistan, Neena worked for her husband’s 2 films – ‘Roohi’ (1954) and ‘Vaada’ (1957). The third film remained unfinished, and she retired to remain a housewife – a second time. She died sometime in April 1990, in Karachi.
Waheeduddin Ziauddin Ahmed, the smart brain behind showing tempting dreams to a housewife and making her an actress in 5 films, died in a hospital in Lahore, after a prolonged illness, on 15-4-2007. It was/is believed by some even now that Neena sang her own songs initially. However, during one of his visits to India , Ahmed made it very clear that ALL songs including those attributed to Neena were sung by Sitara Kanpuri only. This is recorded in Listener’s Bulletin no. 134 of July 2007. So, there should be no doubt whatsoever about this. After his death in Lahore, the leading Newspaper of Pakistan, ‘The Dawn’ wrote a short obituary on him, on 17th April 2007. It throws light on his work. Here it is..
W.Z. Ahmed, 91, one of the most outstanding film directors of the subcontinent, passed away at a local hospital late on Sunday night (15-4-2007). He was suffering from an infection of the lung. He was laid to rest at the Bagh-i-Rehmat graveyard on Monday afternoon.
After coming up with a series of films in only five years, Wahiduddin Ziauddin Ahmed, was not as prolific as some of his successors in the film industry. He directed-produced five films before the partition of the sub-continent: ‘Aik Raat’, ‘Mann Ki Jeet’, ‘Prem Sangeet’, ‘Prithaviraj- Samyukta’ and ‘Mira Bai’ — all released between 1942 and 1947.
After partition, he made just two films ‘Roohi’ and ‘Wada’, while a third one, ‘Wafa Ki Ada’, remained incomplete. The country’s environment was obviously not suited to his brand of cinema and his creation as one of his masterpieces, ‘Roohi’, has the distinction of being the first-ever film to be banned in Pakistan. The government said the film generated ‘class hatred’, and if that was not bad enough, portrayed a ‘rich married woman having an affair with a young, unmarried man’.
The ban was later revoked and ‘Roohi’ was released in 1954. The same year W.Z. Ahmed was at the forefront of the campaign against the screening of Indian films. The protest was known as ‘Jaal agitation’ after a Dev Anand-starrer of the same name that had been imported out of East Pakistan’s quota — a limited number of Indian films were allowed into Pakistan until then — and then brought over to West Pakistan. The protest led to the arrest of Mr Ahmed and many others in Lahore.
Mr Ahmed owned the Shalimar Pictures in Pune and another studio in Madras before 1947. Some very famous writers and lyricists worked for Shalimar, including Josh Malihabadi, Krisan Chander, Ramanand Sagar, Akhtar-ul-Iman and Sagar Nizami. He established the W.Z. Studio at Wahdat Road in Lahore after some years after partition. He spent many years of his life pursuing the ideal of a filmmakers’ cooperative.
Sanaullah Khan Gandapur, who worked as an assistant to W.Z. Ahmed, remembers his guru as an excellent story-writer and a director with a vision and skill to mould actors according to his requirement. “He was a man of diversified interests and immense knowledge,” Mr Gandapur says.
Mr Ahmed was born in Gujarat, India, in 1916 where his father was a senior police officer. He is said to have been moved into entering filmdom by K.L. Sehgal’s Dev Das. It is said Mr Ahmed went to watch Dev Das and was so disappointed with the production that he decided to direct films himself.
He married twice. His first wife was a daughter of Sir Ghulam Husain Hidayatullah. Later on, he married Shahida, who acted in films under the adopted name of Neena. She died a few years ago (April 1990). Mr Ahmed had a son, Fariduddin Ahmed, and a daughter, Afia Rabbani.
Fariduddin Ahmed, well known as Farid Ahmed, was a talented filmmaker who married television and stage actor and producer, Samina Ahmed. Farid died in 1993.
Today’s song is a duet and is a parody of the famous and popular song from film ‘Jhoola’ (1941) – “Main To Dilli Se Dulhan Laaya Re”, sung by Arunkumar and Rehmat Bano. It was filmed on Mumtaz Ali and a debutant actress Shehzadi (not the sister of Zubeida, Sultana and Mehtab). I feel in this song some other tunes of songs are also present, but I could not identify them. This was the first ever song sung by Bharat Vyas in Hindi films.
Song – Main To Aagre Se Joota Laaya Re Ho Rani Ji (Prem Sangeet) (1943) Singers – Bharat Vyas, Shanta Thakkar, Lyrics – Bharat Vyas, Music – SK Pal
Lyrics (Provided by Sudhir)
main aagre se
main jaipur se
o main aagre se
o main jaipur se
main aagre se joota laaya re
ho rani ji
main aagre se joota laaya re
ho rani ji
main jaipur se chunri laayi re
ho raja ji
main jaipur se chunri laayi re
ho raja ji
o main aagre se joota laaya re
ho rani ji
aao paniya
aao paniya bharan ko chalen
haan haan paniya bharan ko chalo na re
haan chalo na re
ui chalo na re
aao paani pioge raja
na na chaai pilaao
na na paani pio
na na chaai pilaao
na na paani pio
pio pio
ye paani ka pyaala hai
pio pio
main naahin piunga
main naahin piunga
hato to to to. . .
mora jiya ghanda mera
keh sakoon ganwaar hai
mora jiya ghanda mera
keh sakoon ganwaar hai
hua hai qusoor humse zuroor
maaf hamen karo huzoor
khaao khaao kasam
tum ram ji ki
haan haan ram ji ki
hanuman ji ki
ho siya jaanki ki
aaj gori women ko haraaya re
ho ram ji
aaj gori women ko haraaya re
ho ram ji
main aagre se
o main jaipur se
o main aagre se
o main jaipur se
main aagre se joota laaya re
ho rani ji
main aagre se joota laaya re
ho rani ji
main jaipur se chunri laayi re
ho raja ji
main jaipur se chunri laayi re
ho raja ji
ho main aagre se
main aagre se joota laaya re
ho rani ji
———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-
मैं आगरे से
मैं जयपुर से
हो मैं आगरे से
हो मैं जयपुर से
मैं आगरे से जूता लाया रे
हो रानी जी
मैं आगरे से जूता लाया रे
हो रानी जी
मैं जयपुर से चुनरी लाई रे
हो राजा जी
मैं जयपुर से चुनरी लाई रे
हो राजा जी
ओ मैं आगरे से जूता लाया रे
हो रानी जी
आओ पनियां
आओ पनियां भरन को चलें
हां हां पनियां भरन को चलो ना रे
हाँ चलो ना रे
ऊई चलो ना रे
आओ पानी पीओगे राजा
ना ना चाय पिलाओ
ना ना पानी पियो
ना ना चाय पिलाओ
ना ना पानी पियो
पीओ पीओ
ये पानी का प्याला है
पीओ पीओ
मैं नाहीं पीऊँगा
मैं नाहीं पीऊँगा
हटो टो टो टो॰ ॰ ॰
मोरा जिया घणा मेरा
के सकूँ गंवार है
मोरा जिया घणा मेरा
के सकूँ गंवार है
हुआ है क़ुसूर हमसे जुरूर
माफ हमें करो हुज़ूर
खाओ खाओ कसम तुम राम की
हाँ हाँ राम जी की
हनुमान जी की
हो सिया जानकी की
आज गोरी वुमेन को हराया रे
हो राम जी
आज गोरी वुमेन को हराया रे
हो राम जी
मैं आगरे से
ओ मैं जयपुर से
हो मैं आगरे से
हो मैं जयपुर से
मैं आगरे से जूता लाया रे
हो रानी जी
मैं आगरे से जूता लाया रे
हो रानी जी
मैं जयपुर से चुनरी लाई रे
हो राजा जी
मैं जयपुर से चुनरी लाई रे
हो राजा जी
हो मैं आगरे से
ओ मैं आगरे से जूता लाया रे
हो रानी जी
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