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

Posts Tagged ‘Bulo C Rani


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 :

4432 Post No. : 15865

“Bela” (1947) was directed by Chaturbhuj Doshi for Ranjit Movietone, Bombay. The story, screenplay, dialogues and Lyrics of this movie were by D N Madhok. The movie had P Jairaj, Nigar Sultana, Shrinath Tripathi, Pt.Iqbal, Krisnakumari, Master Mehmood, Rekha, Usha, B.R.Sharma etc. in it.

The movie had ten songs in it. Eight of these songs have been covered in the past.

Here is the ninth song from the movie. This song is sung by Zohrabai Ambalewaali. D N Madhok is the lyricist. Music is composed by Bulo C Rani.

Only the audio of the song is available. My guess is that this melancholic song was picturised on the leading lady viz Nigar Sultana. I could be wrong as well, seeing that Zohrabai Ambalewaali’s voice figured in all the ten songs of the movie, so who knows, she may have sung for all the important ladies in the movie, in addition to leading lady. I request our knowledgeable readers tp throw light on the picturisation of the song.


Song-Ho zara meri gali aaa re balam (Bela)(1947) Singer-Zohrabai Ambalewaali, Lyrics-D N Madhok, MD-Bulo C Rani

Lyrics

Ho zara meri gali aa re balam
zara meri gali aaa re baalam
nanhi si jaan hai meri ee
haaye baalma aa
nanhi si jaan hai meri ee
haay baalma aa
tod na de tera gham
ho zara meri gali aa re balam
zara meri gali aa re balam

rain diwas jiya dagmag doley
tera naam pukaare
dheere dheere haule haule
rain diwas jiya dagmag doley
tera naam pukaare
dheere dheere haule haule
jab main pyaar se poochhoon to yehi boley
jab main pyaar se poochhoon to yehi boley
nanhi si jaan hai meri
haaye baalma aa
nanhi si jaan hai meri
haay baalma aa
tod na de tera gham
zara meri gali aa re balam
zara meri gali aa re balam

aadhi aadhi raat
aadhi aadhi raat
mera nindiya se jaagna
aadhi aadhi raat
mera nindiya se jaagna
naam tera le le ke
it ut bhaagna
naam tera le le ke
it ut bhaagna
ab to milo baalma aa
haay baalma aa
ab to milo baalma aa
haay baalma aa
chhoot na jaaye ye dam
zara meri gali aa re balam
zara meri gali aa re balam
nanhi si jaan hai meri ee
haaye baalma aa
nanhi si jaan hai meri ee
haay baalma aa
tod na de tera gham
zara meri gali aa re balam
ho zara meri gali aa re balam


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

Blog Day :

4403 Post No. : 15788

‘Baadshaah Salaamat-1956’ was directed by Prem Sinha for ‘Mayfair Pictures, Bombay’. It had Shyama, Amarnath, Smriti Biswas, Bhagwan, B. M. Vyas, Chandrashekhar, Maruti, Ramesh Thakur, Naaz, Heera Sawant, R. Tiwari, Vinay Kumar and others. Anwar Hussain and Minu Mumtaz make a guest appearance in this movie.

This movie had nine songs composed by Bulo C. Rani. Five lyricists contributed as lyrics writer where P. L. Santoshi wrote two songs, K. Razdaan-two songs, Raja Mehdi Ali Khan-one song, Vinay Kumar- two songs and Shafiq Kanpuri-two songs. Asha Bhonsle, C.H. Atma, Geeta Dutt, G.M. Durrani, Manna Dey, Mohd Rafi and Sudha Malhotra had given their voices to the songs in this movie.

This movie was passed by Censor Board on 12.10.1956.

So far only one song from this movie have been posted on the blog on 09.09.2014.

Today 7th August 2020 is the 104th birth anniversary of Producer, Director, Writer P.L. Santoshi (07.08.1916- 07.09.1978).

On this occasion here is a song written by him from the movie ‘Baadshaah Salaamat-1956’.

This song is sung by Geeta Dutt and Mohd Rafi and it is composed by Bulo C. Rani. Lyrics are by P.L. Santoshi.


Song-Zara dekh idhar (Baadshah Salaamat)(1956) Singers-Geeta Dutt, Rafi, Lyrics-P L Santoshi, MD-Bulo C Rani
Both

Lyrics

Zaraa dekh idhar rr
Zaraa dekh dekh
Dekh idhar
Ka ka ka kidhar rr
Zaraa dekh idhar
Zaraa dekh dekh
Dekh idhar
Sun to sahi kehti hai kya
Meri nazar
Ye meri nazar
Lagtaa hai darr
Kahin tirchhi nazar
Lag jaaye na idhar
Main jaaun na marr
Zaraa dekh udhar rr
Yaa

Zaraa dekh idhar
Zaraa dekh dekh
Dekh idhar

Kehti hai paas mere tu aa
Nazron se meri nazar milaa
Are kehti hai paas mere tu aa
Nazron se meri nazar milaa aa

Nazron se meri nazar milaa
Ek duniya dil mein nayi basaa
Magar rr rr
Lagtaa hain darr
Kahin tirchhi nazar
Lag jaaye na idhar
Main jaaun na marr
Zaraa dekh udhar
Are udhar udhar udhar

Zaraa dekh idhar
Zaraa dekh dekh
Dekh idhar

Ye kaisi mohabbat
Karta hai tu oo
Ye kaisi mohabbat
Karta hai tu oo
Marne se itna darta hai tu
Marne se banda darta nahin
Ja ja ja ja ja kabhi ulfat mein koyi martaa nahin
Hoo hoo hoo
Marne se banda darta nahin
Kabhi ulfat mein koyi martaa nahin

Kabhi ulfat mein koyi martaa nahin
Kabhi ulfat mein koyi martaa nahin
Phir kaisi agar
Phir kaisi magar
Hu aha ha
Phir kaisi agar
Phir kaisi magar
Zaraa dekh udhar
Zaraa dekh dekh dekh udhar

Ye o h aha ha

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

ज़रा देख इधर ’र’र
ज़रा देख देख
देख इधर
क क क किधर ‘र’र
ज़रा देख इधर
ज़रा देख देख
देख इधर
सुन तो सही कहती है क्या
मेरी नज़र
ये मेरी नज़र
लगता हैं डर
कहीं कहीं तिरछी नज़र
लग जाए न इधर
मैं जाऊं न मर
ज़रा देख उधर ‘र’र’
या

ज़रा देख इधर
ज़रा देख देख
देख इधर

कहती है पास मेरे तू आ
नज़रों से मेरी नज़र मिला
अरे कहती है पास मेरे तू आ
नज़रों से मेरी नज़र मिला आ

नज़रों से मेरी नज़र मिला
एक दुनिया दिल में नयी बसा
मगर ‘र’र ‘र’र
लगता हैं डर
कहीं तिरछी नज़र
लग जाए न इधर
मैं जाऊं न मर
ज़रा देख उधर
अरे उधर उधर उधर

ज़रा देख इधर
ज़रा देख देख
देख इधर

ये कैसी मोहब्बत
करता है तू ऊ
ये कैसी मोहब्बत
करता है तू ऊ
मरने से इतना डरता है तू
मरने से बन्दा डरता नहीं
जा जा जा जा जा कभी उल्फत में कोई मरता नहीं
हू हू हू
मरने से बन्दा डरता नहीं
कभी उल्फत में कोई मरता नहीं

कभी उल्फत में कोई मरता नहीं
कभी उल्फत में कोई मरता नहीं
फिर कैसी अगर
फिर कैसी मगर
हु आहा हा
फिर कैसी अगर
फिर कैसी मगर
ज़रा देख उधर
ज़रा देख देख देख उधर

ये ओ ह आहा हा


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.

Blog Day :

4310 Post No. : 15587

Maangne Se Jo Maut Mil Jaati
Kaun Jeeta Is Zamaane Mein

Lata ji’s voice is so truly a match for the sadness oozing from this song, that seems to be so steeped in dejection and sorrow. The film – ‘Sunehre Kadam’ – the last one in Hindi cinema that he composed for in 1966. And as if this expression was not adequate, the film also has another equally melancholic song to match the depths of misery – “Na Baaz Aayaa Muqaddar Mujhe Mitaane Se”.

Bulo C Rani – music director, whose talent was never in question, and yet, in his career he stayed forever, in the sidelines and under the shadows of the bigger names in film. We celebrate his 99th anniversary of birth today, 6th May.

He was born this day in the year 1921, in Hyderabad, Sindh (now in Pakistan). As is with so many of the other lesser known artists of that era, practically no biographic information is documented. His father was a well known musician in his time. Bulo himself was a good singer and used to sing sufi kalaam, especially that of Abdul Shah Lateef. His love for music brought him to Lahore. He was just 21 at that time.

The shooting and processing of the film ‘Khandaan’ (1942) was in progress. Bulo met with Ghulam Haider, but did not get much attention from him. Then he also chanced to meet with DN Madhok, and a very good friendship came about. Madhok Sb got the young Bulo to travel with him to Bombay (now Mumbai). Once there, Madhok Sb got the young musician introduced into the world of Ranjeet Studios in the music department. He assisted Khemchand Prakash and Gyan Dutt in films like ‘Chandni’ (1942), ‘Sukh Dukh’ (1942), ‘Tansen’ (1943),  ‘Shahenshah Babar’ (1944) etc. In 1943 itself, his name appears for the first time in credits as a music director. He shares the music direction work with Gyan Dutt, for the film ‘Paighaan’ (1943). This is followed by a full independent responsibility for music direction, for the film ‘Caravan’ (1944).

Besides shaping up as a music director, the young Bulo was also singing. In his own films and also in films under the music direction of Khemchand Prakash and Gyan Dutt. He sang under the name of Bhola. Now that I read this name, I am wondering, whether the first name ‘Bulo’ is a variation on the name ‘Bhola’ that he used as a singer, and whether that his real first name was Bhola or Bhola-something.

With ‘Paighaam’ starts a journey of about two and a half decades during which he has given music to a little less than 600 songs in 68 or so films.

An interesting side note here. In the 1958 film ‘Al Hilal’, Bulo C created an iconic qawwaali of gigantic and everlasting popularity – “Hamen To Loot Liya Mil Ke Husn Waalon Ne”. After that, he tried to recreate the same magic in practically every alternate film that he did in the next 7 to 8 years. One qawwali by him appears in the films ‘Tin Tin Tin’ (1959), ‘Black Tiger’ (1960) , ‘Pedro’ (1960), ‘Anarbaala’ (1961), ‘Room No. 17’ (1961), ‘Jaadu Mahal’ (1962), ‘Madame Zorro’ (1962), ‘Magic Box’ (1963), ‘Haqdaar’ (1964) and ‘Son Of Hatitai’ (1965). The tone of the qawwaalis is almost similar to the iconic qawwaali of ‘Al Hilal’. But alas, none of the later qawwaalis made any lasting impression.

After the mid 1960s, no more work came his way. The mood of the Hindi film music was under transition, and like a few other music directors, he slowly faded from the memory – both of the listening public and of the film producer fraternity, He did work on some Sindhi films, and started giving coaching classes for music. Forgotten by the industry and his friends, he descended into depression in his later years. The dejection in life came to such an extreme that he eventually ended his own life (May 24, 1993). That he could not get by asking, he snatched it for himself –

maangne se to nahin mili to badh ke khud hi chheen li
jeena nahin tha aur is zamaane mein

The song presented today is quite uncharacteristic in style. This sounds more like an OP Nayyar-ish melody than a Bulo C Rani tune. The film is ‘Black Tiger’ from 1960. The film is produced by MH Doctor under the banner of Highway Pictures, Bombay and is directed by Akku. It is a stunt film with the star cast listed as Nadira, Azad, Sheikh, Ram Raseela, Habeeb, Jilani, Heera Sawant, Najma, Charanjeet, Arvind Kumar, Malik, Maqbool, Kedar, Gulab, Daatu, Sadhna, and Belan etc. Hmm, it is interesting to note – Nadira appearing in the female lead role in a stunt film in 1960. That is if she is the same Nadira that we are familiar with. I request other knowledgeable readers and friends to please add more information about this.

The film has 6 songs. 5 of them are written by Saba Afghani and the sixth one is by Tabish Kanpuri. This song is from the pen of Saba Afghani. The singing voices are of Geeta Dutt and Mahendra Kapoor. A delightful song of romantic exchange that has a very pleasing sound.

Listen and enjoy.

Song – O Parwaana, Kehta Hai Kya Afsaana  (Black Tiger) (1960) Singer – Geeta Dutt, Mahendra Kapoor, Lyrics – Saba Afghani, MD – Pt Shivram
Geeta Dutt + Mahendra Kapoor

Lyrics

o parwaana
kehta hai kya afsaana
zara tum bhi kaho ji
o deewaana
laaya hai dil nazraana
zara suno suno ji
o parwaana
kehta hai kya afsaana
zara tum bhi kaho ji

ye mausam
ye raaten
ye baaten khoyi khoyi
ye masti
ye shokhi
dil kaise bachaaye koi
ye mausam
ye raaten
ye baaten khoyi khoyi
ye masti
ye shokhi
dil kaise bachaaye koi
oo oo meri adaayen
khaali na jaayen
meri adaayen. . .
khaali na jaayen
jo bhi mujhse aankh milaaye
aahen bhare
o chhalkaana
in nazron ka paimaana
zara suno suno ji
o parwaana
kehta hai kya afsaana
zara tum bhi kaho ji

khul jaayen
ye zulfen
to mehfil ko mehka den
utth jaayen
ye nazren
to duniya ko behka den
khul jaayen
ye zulfen
to mehfil ko mehka den
utth jaayen
ye nazren
to duniya ko behka den
oo oo kaali ghataayen
jhoom ke aayen
kaali ghataayen. . .
jhoom ke aayen
saawan ki rut
nacche chham chham
aage tere
pehchaana
kyun kaisa hai nishaana
zara tum bhi kaho ji
o deewaana
laaya hai dil nazraana
zara suno suno ji

sarkaa doon
main aanchal
to chanda bhi sharmaaye
kaliyon ka
dil dhadke
phoolon ko paseena aaye
sarkaa doon
main aanchal
to chanda bhi sharmaaye
kaliyon ka
dil dhadke
phoolon ko paseena aaye
ho oo dil mein samaaye
mast banaaye
dil mein samaaye. . .
mast banaaye
honth gulaabi
nain raseele
jaadu bhare
ye maana
tumhaara hai zamaana
zara suno suno ji
o parwaana
kehta hai kya afsaana
zara tum bhi kaho ji
arre deewaana
laaya hai dil nazraana
zara suno suno ji

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

ओ परवाना
कहता है क्या अफसाना
ज़रा तुम भी कहो जी
ओ दीवाना
लाया है दिल नज़राना
ज़रा सुनो सुनो जी
ओ परवाना
कहता है क्या अफसाना
ज़रा तुम भी कहो जी

ये मौसम
ये रातें
ये बातें खोई खोई
ये मस्ती
ये शोख़ी
दिल कैसे बचाए कोई
ये मौसम
ये रातें
ये बातें खोई खोई
ये मस्ती
ये शोख़ी
दिल कैसे बचाए कोई
ओ ओ मेरी अदाएं
खाली ना जाएँ
मेरी अदाएं॰ ॰ ॰
खाली ना जाएँ
जो भी मुझसे आंख मिलाए
आहें भरे
ओ छलकाना
इन नज़रों का पैमाना
ज़रा सुनो सुनो जी
ओ परवाना
कहता है क्या अफसाना
ज़रा तुम भी कहो जी

खुल जाएँ
ये ज़ुल्फें
तो महफिल को महका दें
उठ जाएँ
ये नज़रें
तो दुनिया को बहका दें
खुल जाएँ
ये ज़ुल्फें
तो महफिल को महका दें
उठ जाएँ
ये नज़रें
तो दुनिया को बहका दें
ओ ओ काली घटाएँ’
झूम के आयें
काली घटाएँ॰ ॰ ॰
झूम के आयें
सावन की रुत
नाचे छम छम
आगे तेरे
पहचाना
क्यों कैसा है निशाना
ज़रा तुम भी कहो जी
ओ दीवाना
लाया है दिल नज़राना
ज़रा सुनो सुनो जी

सरका दूँ
मैं आँचल
तो चंदा भी शरमाये
कलियों का
दिल धड़के
फूलों को पसीना आए
सरका दूँ
मैं आँचल
तो चंदा भी शरमाये
कलियों का
दिल धड़के
फूलों को पसीना आए
ओ ओ दिल में समाये
मस्त बनाए
दिल में समाये॰ ॰ ॰
मस्त बनाए
होंठ गुलाबी
नैन रसीले
जादू भरे
ये माना
तुम्हारा है ज़माना
ज़रा सुनो सुनो जी
ओ परवाना
कहता है क्या अफसाना
ज़रा तुम भी कहो जी
अरे दीवाना
लाया है दिल नज़राना
ज़रा सुनो सुनो जी


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 :

4304 Post No. : 15570

“Anaarbaala”(1961) was directed by Raja Yagnik for Unity Productions, Bombay. This costume drama movie had Daljeet,, Krishna Kumari, Tiwari, Maruti, Neelofar, Pal Sharma, Babu Raje, Pandit Iqbal, Moni Chatterjee, Kesari, Shree Bhagwan, Jeewan Kala etc in it.

The movie had eight songs in it. One song from the movie has been covered in the past.

Here is the second song from “Anaarbaala”(1961) to appear in the blog. The song is sung by Sudha Malhotra. Ramesh Chandra Pandey is the lyricist. Music is composed by Bulo C Rani.

Only the audio of this “remonstrating with the Almighty” genre of song is available. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Duniya banaane waale achcha yahi hota (Anaarbala)(1961) Singer-Sudha Malhotra, Lyrics-Ramesh Chandra Pandey, MD-Bulo C Rani

Lyrics

duniya banaane waale achcha yahi hota
agar ham gareebon ko banaaya nahin hota
duniya banaane waale achcha yahi hota
agar ham gareebon ko banaaya nahin hota
duniya banaane waale ae ae

ham poochhte hain tera kya
hamne bigaadaa
baste huye is ghar ko kyun
toone ujaada
ham poochhte hain tera kya
hamne bigaadaa
baste huye is ghar ko kyun
toone ujaada
gar jaante hum tujhko
bhi daulat se pyaar hai
to pyaar ka sansaar humne
sajaaya nahin hota
duniya banaane waale achcha yahi hota
agar ham gareebon ko banaaya nahin hota
duniya banaane waale ae ae

putli bana hai tu hi
dhaniyon ke haath ki
ummeed kya karen hum
ab tere saath ki
putli bana hai tu hi
dhaniyon ke haath ki
ummeed kya karen hum
ab tere saath ki
Bhagwaan tujhe aaj bhi
hargiz na bulaate
aawaaz pe dukhiyon ke
jo aaya nahin hota
duniya banaane waale ae ae
duniya banaane waale
ab raham gareebon ko
banaaya nahin hota
achcha yahi hota


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

Blog Day : 4239 Post No. : 15451

Mohammed Rafi: The incomparable (II) – Song No. 16
——————————————————-

25/02/2020 – Death anniversary of S. H. Bihari
—————————————————

I am presenting this Rafi sahab solo, philosophical song in memory of Shamsul Huda Bihari (1922-1987) on his 33rd death anniversary day today (25 february 2020).

S. H. Bihari was born in 1922 and his filmy career started in late 1940s it appears.

First song in Rafi Excel sheet is the Rafi-Suraiyya duet “Qismat ke likkhe ko mitaa na sakaa” from Duniya(1949). This would appear to be the first film song by S. H. Bihari, because even the website(http://www.shbihari.com/Welcome.html) on S. H. Bihari is listing his film career from 1950 onwards. There is no mention of his having written this song or other songs from the film. Another song from this film has featured in my series “Divas of hindi film music”.

As per the stats page in the blog he has written total 425 film songs, out of which 175 are posted in the blog. Frankly, through 50’s and 60’s the lyricist scene was full of stalwarts and legendary poets mainly urdu shayars. The music director had multiple choices. Some chose to stick to their tried and tested poets for long durations like Shankar-Jaikishan and Naushad. Others are moving from lyricist to lyricist and poet to another poet or using a combination of poets to write songs for them. But by and large, each music director would work with one lyricist for a particular movie, depending of the genre of the film and type of songs required. A case in point is Ravi- Shakeel Badayauni for ‘Chaudhvi ka chaand” and S. D. Burman- Shakeel Badayuni for ‘Benazir”. Another situation is Madan Mohan-Kaifi Azmi for Chetan Anand’s films like namely ‘Haqueeqat”, ‘Hindustaan ki Qasam”, “Hanste Zakhm” and “Heer Ranjha”. Otherwise Madan Mohan had distinct preference for Raja Mehdi Ali Khan, Rajendra Krishan and Majrooh Sultanpuri. Madan Mohan even did “Laila Majnu” with Sahir Ludhianvi.

Let’s go back to S. H. Bihari. Seeing his filmography, he seems to be a favourite of Hemant Kumar through 50’s and Ravi’s during late 50’s. Through 60’s he worked extensively with O. P. Nayyar, achieving the peak with block buster films like ‘Kashmir ki Kali” and “Ek Musafir Ek Hasina”. The 60’s is the productive decade also working with various music director like, Usha Khanna, Ravi, Shankar-Jaikishan, Ram-Ganguly etc. During 70’s again is mixed fare with Shankar- Jaikishan, O. P. Nayyar and various composers. And the 80’s is mostly with Laxmikant-pyarelal and notable hit music score is in Pyar Jhukta Nahi(1985).
This song from Madhur Milan(1955) is a sweet sounding melodious, motivational and philosophical song. The more I hear such Rafi song the more I am enamoured with Rafi sahab solos of 50’s decade. Song of this film released on 01.01.1955, are composed by Bulo C. Rani. The cast is Mahipal, Madanpuri, Bhudo Advani, Roopmala and Nigar Sultana. Out of twelve songs only 5 songs are posted in the blog. A trivia I gathered from these posts is that the lead actor Nigar Sultana has written a song for the film which is picturized on herself.

The song talks of long journey and hurdles in the journey. It could also mean the eternal journey which is inevitable, seeing that “jaana hai musaafir tujhe har haal mein jaana” is repeated many times. Also the ‘thikaana’ is not just ‘dur’ but ‘badi door’ also, means a long struggle to reach the destination. The line “Chhoti teri seemaaon ka dushman hai zamaana” is meant to convey the personal limitations of the ‘musaafir’ or it can even mean the ‘boundaries of integrity/values’ which the musaafir is loath to lose that the ‘zamaana’ would prefer to destroy. Also those ‘taqdeer ki faujen’ is a phantom, creating a scene where there is a fight with the destiny for the values, truth and maintain the integrity.

The second stanza is too fascinating. This talks of ‘revolution’ or great upheaval, which will go down in history as an achievement. “chaand sitaare” bear witness of this ‘bravery’ and the world shall remember the fascinating story.

I am taking a liberty of reproducing an essay which I wrote(again) for an essay competition in the office.

Integrity – A way of life.

Integrity for me – definitely should be a way of life.
Integrity will come with total transparency in all aspect of life. This is the only way of achieving it. Total integration of thoughts, speech and deeds. Ha, so simple isn’t it?
There is no doubting that a human beings integrity should be beyond doubt. One may ask the question that it is beyond doubt in all cases, where exactly? In the utopian world would be my answer.
We may lament all we want about the limitations of human fallibility. The path of truth is always fraught with thorns, as the thinkers and philosophers throughout the history of this civilization have concurred.
As the most superior creation of the God Almighty, we have a unique gift to offer to the world. We can be true to ourselves as we possess the intelligence to see the truth and recognize it and achieve a semblance of it, to whatever extant it is possible for each one of us. Truth truly is an achievement, has always been one in all eras. The very nature and purity of the concept makes sure that it is a superior achievement, taking the achiever to a higher plain. In an ideal society this achievement should have been the goal of life. All the ancient philosophies and religions point to this.

Religious beliefs are a very sure shot way of achieving this recognition of truth and total amalgamation of truth in thoughts, speech and deeds. The belief that the god Almighty is watching us, nothing is hidden from him and that we have to answer for all our deeds on the ‘Day of Judgment’, will go all the way to the achievement of this task. The fact that nothing can be hidden from a superior force will make each and every one of us to face facts.
During my school days, I recall that there used to a lecture/period for the topic of ‘Deeniyat’. Here as very young children, we were taught that there are two angels sitting on both our shoulders, recording our deeds. The angel on the right shoulder records all our good deed, like we helped someone, gave charity, spoke truth. Alternatively, the angel on the left shoulder records all our bad deeds, if we lied, if we deceived someone, or treated anyone badly etc. Come to think of it, when all is said and done, there are more things that we can do are in the category of bad deeds and there are very few falling under good deeds. I can elaborate, but there is no need for it. In our circumstances and makeup, it is easier to do bad deeds than good. Because sticking to the truth is tougher and keeps getting tougher.

Here is another story heard in childhood, which adds value addition to my discourse here:

A teacher gave a task to the children – He gave them a chick each, asked them to take it to a place where no one can see you and kill it.
Next day, all the kids came and told their story of the task. Somebody went to the bathroom, someone went to the storeroom, to garage etc to kill the chick. Only one child had still not killed it and brought it to school. The teacher asked him that why he did not complete the task. The child replied that he could not find a place where no one can see it to complete the task, because God almighty was everywhere and is constantly watching, so where to go. There is no place where you can hide from the omnipresence of God almighty.

The religions, I have always believed are the means to achieve one goal,that is to regulate human behavior.

A wise man was once asked: Sir, in which field could I make a great career ?

He said: Be a good human being. There is a huge opportunity in this area and very little competition.
And lastly, life is about choices. Some we regret, some we are proud of and some will haunt us. We are what we choose to be.
Everything that happens in life is not fixed… it can be changed by a weapon called will power.
I think Allama Iqbal meant this only here :
Khudi ko kar buland itna ke har taqdeer se pehle
Khuda bande se khud puchhe bataa teri razaa kya hai.


Song-Hai door badi door (Madhur Milan)(1955) Singer-Mohd Rafi, Lyrics-S H Bihari, MD-Bulo C Rani

Lyrics

Hai door badi door
badi door thikaana
Jaana hai musaafir
Tujhe har haal mein jaana
Jaana hai musaafir
Tujhe har haal mein jaana

Utthtaa hua toofaan hai
Behti hui maujen ean
Utthtaa hua toofaan hai
Behti hui maujen
Badhti hi chali aati hain ea ea ean
Badhti hi chali aati hain
Taqdeer ki faujen
Chhoti si(teri) seemaaon ka
Dushman hai zamaana
Jaana hai musaafir tujhe
har haal mein jaana
Jaana aa hai musaafir tujhe
har haal mein jaana
Hai door
Hai door badi door
badi door thikaana
Jaanaa hai musaafir
Tujhe har haal mein jaana
Jaanaa hai musaafir
Tujhe har haal mein jaana aa

Aati hai to ooo ooo
Aati hai to aa jaane de
Kashti se tabaahi
Aati hai to ooo ooo
Aati hai to aa jaane de
Kashti se tabaahi
Hain chaand sitaare
Teri himmat ki gawaahi ee eeee
Duniya ko sadaa yaad rahegaa ye fasaanaa
Jaana hai hai musaafir tujhe
har haal mein jaana
Jaanaa hai musaafir tujhe
Hai door badi door badi door thikaana
Jaana hai musaafir
Tujhe har haal mein jaana
Hai doo ……ooo…….oooo …..ooor

—————————–
Lyrics in Devnagri script (Provided by nahm)
—————————–
है दूर बड़ी दूर
बड़ी दूर ठिकाना
जाना है मुसाफिर तुझे
हर हाल में जाना
जाना है मुसाफिर तुझे
हर हाल में जाना

उट्ठता हुआ तूफ़ान है
बहती हुई मौजें एँ
उट्ठता हुआ तूफ़ान है
बहती हुई मौजें
बढ़ती ही चली आती हैं
बढ़ती ही चली आती हैं
तक़दीर की फौजें
छोटी सी सीमाओं का
दुश्मन है ज़माना
जाना है मुसाफिर तुझे
हर हाल में जाना
जाना है मुसाफिर तुझे
हर हाल में जाना
है दूर
है दूर बड़ी दूर
बड़ी दूर ठिकाना
जाना है मुसाफिर तुझे
हर हाल में जाना
जाना है मुसाफिर तुझे
हर हाल में जाना

आती है तो ओ ओ
आती है तो आ जाने दे
कश्ती से तबाही
आती है तो ओ ओ
आती है तो आ जाने दे
कश्ती से तबाही
हैं चाँद सितारे
तेरी हिम्मत की गवाही
दुनिया को सदा
याद रहेगा ये फसाना
जाना है मुसाफिर तुझे
हर हाल में जाना
है दूर बड़ी दूर
बड़ी दूर ठिकाना
जाना है मुसाफिर तुझे
हर हाल में जाना
है दू………उ ……उ……र


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 : 4130 Post No. : 15289

Today’s song is from film Izzat-1952.

The title “Izzat” obviously carried lot of “Izzat” with producers, because I find this Title in 1937, 1952, 1968 and 1992. Further there was Izzat Aabroo-90 and Izzat Aabroo-2005 (I thought these words were synonyms), Izzat ka Rakhwala-2010, Izzat ke Lutere-90, Izzat ki Roti-93, and Izzatdaar-90. I am waiting for a title Izzat ka Falooda. In these days of strange Titles, this is not impossible.

The cast of the film Izzat-52 was Nirupa Roy, Amarnath, Manorama, Agha, Rajni, Jeevan, Veera, P.Kailash, Pesi Patel, Ramesh Thakur, Baby kalpana etc etc.The film was made by Taimur Art productions. Its owner Taimur Behram Shah was the Producer and also the director of this film. The music was by Bulo C Rani. There were two lyricists,namely Raja Mehedi Ali Khan (7 songs) and Butaram Sharma who wrote just 1 song. Taimur Behram Shah was earlier in Ranjit, working as an assistant director. He got opportunity to direct 2 films of Ranjit – Lakhon mein ek-47 and Bhool Bhulaiya-49. Then he started his own production house and made Izzat-52.

Film industry has a cycle, just like Nature. An actor comes, becomes a Hero, after few years works as a side Hero and then shifts to do character roles. There are some actors, who started as Heros, remained Heros and retired as Heros. Such cases are very few. Same applies to actresses too, There are more actresses who quit films, while they were still Heroines. The reasons are usually, marriage or getting children etc. I remember at least one actress, who was a popular Heroine in the late 30s and 40s-till 1947, but stopped acting in films, because her husband strictly forbade her from doing roles other than Heroine. Her name is Meenakshi Shirodkar.

From the cast, we can see that Nirupa Roy, Amarnath, Manorama, Jeevan, Veera, Agha and P.Kailash began as Lead actors and then became side Heroine/Hero and lastly settled for character roles. Some readers may be surprised about Agha being a Hero anytime. It is interesting to note that in film ” Jwar Bhata “-44, Agha was the Hero and Dilip Kumar had made his Debut in this film as a side Hero. While Agha’s Heroine was Shamim, Dilip’s Heroine was Mrudula – a Debutante herself.

Among the cast, the name of P.Kailash and his mention as a Hero in the past, may be a matter of surprise for some readers. For a long time, I was very curious about this actor. One day I was reading a book “Asli Nakli Chehre” ( असली नकली चेहरे ) by Vithal Pandya. In this book, he has given information about P.Kailash, who did the main role in film ” Jai Hanuman-48″, for which Pandya was an assistant Director. Vithal Pandya had spent over 30 years in film industry from the 30s and 40s. He worked with many directors and in many banners. He wrote 2 books in Gujarati/Hindi, which are highly informative with first hand knowledge. For example, he mentions that S N Tripathi, the Music Director was also an actor and was famous in the role of Hanuman in all Wadia movies. However in this film-Jai Hanuman-48, he had done the role of Ravan. Anyway, based on information in this book coupled with an article by M N Sardana ji, on Fb page ‘Voh din yaad karo’ about P.Kailash, here is some information on P.Kailash for our readers, first time. My thanks to both of them.

Mr P Kailash (Pandit Kailash Chandra Sharma),was born on 03 February 1924 at Multai , a small town in Distt Baitul ( Madhya Pradesh ) .After doing H.S.C., he did a stint of teaching in Akola. Bestowed with sharp features and deep voice, fair coloured P Kailash came to Bombay in 1946 to become an actor . He had not to wait for a long to have entry in the film line .

Seth Chandulal Shah gave him a chance in his mythological movie Jai Hanuman ,as hero opposite Nirupa Roy. The movie made under the banner of Ranjit Movietone was directed by Ram Chandra Thakur. Thereafter , Mr Kailash appeared in many mythological, fantasy and historical movies like Veer Durga Das, Sati Anusuiya, Maha Bharat, Prabhu Ki Mahima, Veer Arjun, Gopal Krishna, Nadir Shah, Thief Of Baghdad, Hercules ,Aab E Hayat, Gul E Bakawali etc. In 1953, he performed as a cop in Ranjit Mvietone’s Papi, along with Raj Kapoor. With Dilip Kumar, he did a role which had comic shades in Leader. Shirin Farhad ,made by veteran film maker Aspi Irani, was another movie in which his performance was much appreciated .

Mr P Kailash appeared in numerous movies made by Film makers like Shree Ram Bohra, B K Adarsh and Filmistan. Maine Jeena Seekh Liya, Hum Kahan Ja Rahe Hain, Picnic, Baba Sari Ladli (Rajasthani) ,Jekra Charnwa Mein Lagle Pranwa (Bhojpuri), Love and Murder, were the movies, Mr P Kailash did for the said film makers. Versatile director Krishan Chopra (May God Bless His Soul) ,who died before completing his second movie ,gave him a life time role of a tyrannical land lord in Heera Moti which was based upon the heart warming story Do Bailon Ki Katha, written by great writer Prem Chand . He brought alive the arrogant and heartless Zamindaar on the screen with his dynamic performance .

Krishan Chopra, impressed with the magnificent personality of Mr P Kailash, gave him an important role in his next movie Gaban ,which was completed by Hrishkesh Mukherjee ,after Mr Chopra passed away untimely. It was a sad coincidence ,that Mr P Kailash ,also did not live long. While on a visit to his birth place Multai, he suffered massive heart attack and left for his heavenly abode on 23 May 1967 . Payal Ki Jhankaar ,made by Filmistan and Thief of Baghdad by Mr Shree Ram Bohra were released later ,after he had gone forever in the young age of 43 years ,leaving his two daughters ,one son and wife .

P.Kailash acted in 43 films. His first film was Jai Hanuman-48 and the last released film was Irada-1971.

The Hero of film Izzat-52 was Amarnath. Amarnath (Bharadwaj) is one of the “same name confusions” victims. There were two Pt. Amarnath Music Directors, 1 actor Amar, 1 actor Amarnath and 1 actor/Director (K.) Amarnath. This Amarnath was born in Hafizabad, in Gujaranwala district of Punjab (Now in Pakistan) in 1922. He started acting in 1939 with Kidar Sharma’s “Dil hi to hai”. Graduating from doing small roles he was made the Leading Man in Dalsukh Pancholi’s film “Patjhad”, started in 1947 opposite Meena (Shorey). Pancholi had to flee Lahore due to Partition riots, but he carried the negatives of Patjhad. Though the film was censored in India in 1948, it seems it was never released.

Amarnath starred as Hero in many other films,like Naghma E Sehra-45, Papiha re-48, Barsat ki ek raat-48, Swayam sidha-49, Nai Bhabhi-50, Kamal ke phool-50, Sheesh Mahal-50, Jalte Deep-50, Johri-51, Nai zindagi-51 , Nirmohi-52, Nirmal-52, Izzat-52, Bahu Beti-53, Nav Durga-53, Toofan-54 etc. Then he switched over to side roles. In all, he worked in 81 films (CITWF data). His last film was Kaun ho tum-70.

The third uncommon name in the cast is that of Veera, about whom very few will be knowing. One time she was a very sensuous actress. Veera was from a Parsi family. Her full name was Veera Ankaleshwaria. Obviously, her family came from Ankaleshwar, a small industrial town(now), in Gujarat.

She started her career in films as a Heroine opposite Nasir khan in film Mazdoor-1945. Then came Shikari-46 and later Eight days-46, both had Ashok kumar as the Hero. Both the films were from Filmistan. Her last film as Heroine was Tohfa, opposite Rehman and Leela opposite Agha , both films from 1947. Then she stopped getting Heroine roles and shifted to side roles. In all she did 22 films.

Her other films were, Veena, Ziddi, Chanda ki Chandani- all 48, Sanwaria-49, Hamara Ghar and hamari beti- 1950, Hamari shaan, Ramjanma and Sagar-1951, Aasmaan, izzat, Moti mahal, Sanskar and Shin shinaki boobla boo-all 1952, Dana Pani-53, Boot polish and Sheeshe ki deewar both 1954.

She married Mohsin Abdulla, who had worked in Bombay Talkies as a writer. He was the younger brother of actress Renuka Devi ( Begum Mirza) and the First husband of actress Neena. After the marriage, both migrated to Pakistan in 1955. No news after that.

Today’s song is a duet sung by G M Durrani and Shamshad Begum. It is a typical song belonging to the 50’s music, influenced by C Ramchandra, O P Nayyar and Shankar Jaikishen. I liked this song. I am sure you too will like it.


Song- Iss duniya se hum nahin darega(Izzat)(1952) Singers- G M Durrani, Shamshad Begum, Lyrics- Raja Mehdi Ali Khan, MD- Bulo C Rani
Both

Lyrics

Iss duniya se hum nahin darega
Iss duniya se hum nahin darega
karega karega karega
kargega
karega karega
tumse muhabbat karega
Iss duniya se hum nahin darega
karega karega karega
karega karega
tumse muhabbat karega

zara sambhal sambhal ke aana
ho zara sambhal sambhal ke aana
meri gali mein kahin na pit jaana
ho meri gali mein kahin na pit jaana
haay marenga marenga marenga

marega
karega karega
tumse muhabbat karega

hamen chhedo na
haaye chhedo na
sab duniya dekhti
aaankhen sekti
uyi
dil phenkti
haaye
tamaasha dekhti

tere nain se nain mera ladega
tere nain se nain mera ladega
ladega ladega ladega
bhai ladega
karega karega tumse mohabbat karega

tere galey mein baahon ka
main haar daaloonga
toone roka
ya toka
to maar daaloonga
aisa karega to
aisa karega to dekh phaansi chadhenga
aisa karega to dekh phaansi chadhenga

haa
chadhega chadhega chadhega
lekin
karega karega
tumse mohabbat karega

hum soch samajh ke baat karega
milo akele mein
tum hampe gadbad karte ho
kis bhare jhamele mein
kabhi chhup chhup mere paas aana
ho kabhi chhup chhup mere paas aana

paas aane se kya hoga samjhaana
paas aane se kya hoga samjhaana
abe
karega karega karega
bhai karega
karega karega
tumse muhabbat karega

Is duniya se hum nahin darega
Is duniya se hum nahin darega
karega karega karega
bhai karega
karega karega
tumse muhabbat karega


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 :

4099 Post No. : 15246

Today’s song is from a historical film ” Woh Zamana “-47.

In India, importance is rarely given to history and to historical personalities born and bred in the local soil. The so called ‘ Historical Films’ made here are mostly on Mughal Kings or other invaders like Sikander or Changez Khan etc, who can not be called the sons of soil. Many of them came from out of India, stayed here till they benefited and left when they finished looting India. True sons of India or locals like Marathas, Rajputs, Gujars or Sikhs have been rare cases of subject matters for Hindi films.

Films on Vikramaditya, Chandragupta, Shivaji, Rana Pratap and brave kings from other states like Gujarat, Rajasthan, Bengal, Orissa, the UP and the southern states like Andhra, Karnataka, Tamilnadu or Kerala have been rare and can be counted on fingers. Very sad state of affairs indeed. This was the result of wanton and systematic planning by the Britishers in their, about 200 years of rule, to teach a distorted history to last about 5 to 6 generations. This was to suppress any patriotic feelings to rise against them. Our generations learnt only about the valour and generosity of the British and the Mughal kings, thereby totally blacking out the true history of original sons of soil leaders and kings, which was the true Indian History.

For example, can you name one king from any of these Indian kingdoms ? Mauryas, Saatwahans, Guptas, Pandyas, Cholas, Pallavas, Chalukyas, or Ahoms ? Ask any average educated Indian to name the kings of Mughal period (only 250 years) 99 out of 100 will name them in the sequence – Babar, Humayun, Akbar, Jehangir, Shahjehan and Aurangzeb. That is how ill-informed almost everyone is about Indian kings and dynasties. The so called Historical films have not helped either.

I have not seen film “Woh Zamana”, but I know that this film was based on the stories of bravery of a king of Kathiawad and how he saved his kingdom from the invaders from the Middle East. Kathiawad was the main part of Saurashtra, which comprised the districts of Junagadh, Amreli, Bhavnagar, Botad, Jamnagar, Rajkot, Morbi, Surendra nagar, Somnath and Dwaraka. After India’s Independence, the Nawab of Junagadh wanted to merge with Pakistan, but his subjects revolted and Sardar Patel merged Junagadh into India. The Nawab migrated to Pakistan with his entourage.

Film “Woh Zamana” was made by Ranjit Movietone. The owner of Ranjit – Sardar Chandulal Shah was from Kathiawad and so had a special interest in this film. Chandulal was keen that the then well known actor singer of Kathiawad, Rati kumar Vyas should act and sing in this film. Rati kumar declined acting in Hindi, but sang 1 duet (with Mohantara) and 1 solo song in this film. This was his only Hindi film. His duet song is already discussed on the Blog.

The lyricist was Pt. Indra and MD was Bulo C Rani, who had joined Ranjit after his Guru Khemchand left it. The cast of the film was Khurshid junior, Altaf, lalita Pawar, S N Tripathi, Pt. Iqbal, Padma Banerjee, Joshi, Kabuli etc.etc.

Khurshid Jr. – the film’s Heroine – was the eldest daughter of Master Ali Baksh, Music Director and Iqbal Begum, film artiste and one time a famous and popular stage artist of Madon, Alfred and other Drama companies in the Eastern India. The family actually belonged to Sargodha in Punjab, but Khurshid was born in Bombay on 10-4-1930. Being born in a filmi family, the atmosphere was very conducive for Khurshid to join films.

After getting school education upto 12 years of age, she entered films. Her first film was Zameen-43 as a side Heroine. Then came Minerva’s Dr. Kumar-44 and Naghma E Sehra-45 – in which she was the Heroine of Master Vithal. Due to her good acting skill, there was no shortage of film offers. She had to add Jr. to her name , as there was a more famous actress singer Khurshid Bano, already in film line, in the same period.

Khurshid’s younger sisters Baby Meena (later Meena kumari) and Baby Madhuri Later actress Madhu- Mehmood’s wife) were also working in films. Khurshid Jr. married her handsome co-star Altaf. who did few films as a Hero but then shifted to side roles soon. After Partition, the couple considered shifting to Pakistan, but decided to stay here as her both sisters were here and doing better.

As long as Meena kumari was alive, they were comfortable, but after her demise, they became helpless and went down financially. They had to live in smaller tenement and roles also dwindled. Khurshid Jr. acted in 65 films. Her last film was Oh Bewafa-80. Altaf acted in just 21 films from Sipahi-41 to Pakiza-71. Even Khurshid had also acted in it.

One more name seems odd in the cast – Kabuli. Abdul Rehman Kabuli was from Afganistan. An expert stage artiste, he had his own Drama Company-Elphinston Theatre Company in Bombay. He sold the company, went to Calcutta and joined Madon Theatres/studios as an actor and director. He first acted in Shirin Farhad-31, Indrasabha-32,Guluru Zarina-32, Zahri saanp-33 etc etc, in all 39 films, both at Calcutta and Bombay, in the early era. Further he directed 12 films, starting with Shravan Kumar-32 up to Veer Bala-38. He wrote 55 songs in 6 films and sang 15 songs in 7 films. After Partition, he returned to his native country.

Today’s song is sung by Kathiawad’s well known actor singer Rati Kumar Vyas. He used to live in Ahmedabad, but was born in Gondal (Rajkot district) on 10-8-1921. Gondal was his maternal grandfather’s town. Due to his inclination towards singing, he was admitted in Vanita Ashram National School, by his father. He was also trained by Pt. Narayan rao Vyas and learnt Classical singing.

He worked as a Music Teacher in Bombay. He recorded his first song at A.I.R. Bombay on 7-2-1941 and got a fabulous amount of Rs. 5 as fees ! His record was brought out by Young India Record company. he acted and sang in several stage dramas. He got into Gujarati films too. His songs in film Allabeli (Good-Bye) were quite famous.

His role and songs in film Jogidas Khuman-48 and 62, both versions became popular and famous. He acted in films directed by Manhar Raskapoor. He was honoured by Delhi Gujarati Samaj and the Kaag Dhaam award also. Rati kumar Vyas died on 12-5-1991. ( Thanks for information, to shri Rajni kumar Pandya ji and Harish Raghuwanshi ji).

Today’s song is a typical Kathiawadi Folk Tune.


Song –Hey ae mulak Kathiyawad (Woh Zamaana)(1947) Singer – Rati Kumar Vyas, Lyricist – Pt. Indra, MD – Bulo C Rani

Lyrics

hey ae ae ae
ae ae ae ae
ae ae ae ae
ae ae ae
hey ae ae ae
ae ae ae ae
ae ae ae
ae ae ae de
ae de de
ae de de

ae mulak kathiawad
ae mulak kathiawad
dharti par doojo nahin
ae ae ae ae
jaise atal pahaaad
ae toote par na jhuke kabhi ee
ae jaise atal pahaad
ae toote par na jhuke kabhi ee
ae jagat raha gun gaaye
ae jagat raha gun gaaye
baghero ka raat din
hey ae ae ae
sheesh jaaye to jaaye
ae moonch rahe oonchi sada
dushman khele daanv
ae dushman khele daanv
peethh na dekhe mard ki
ae dushman khele daanv
peethh na dekhe mard ki
ae ae ae ae ??
haathhi ghaav
ae hans hans jhele soorma
ae jag mein miley na jod
ae jag mein miley na jod
maan ek kul teri kahi ee
hey ae ae ae ae
ae byaah adhoora chhod
ae mard jaaye rann mein lade
mulak kathiawaad
mulak kathiawaad
dharti par doojo nahin ee
hey ae ae jaise atal pahaad
ae toote par na jhuke kabhi


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 : 4074 Post No. : 15212

“Nirmal”(1952) was produced by Revachand M Dembla and Biharilal C Pandit and directed by S Upendra for Shankar Theatres, Bombay. This movie had Poornima, Amarnath, Mirza Musharraf, Shanta Kunwar, Shaam Kumar, Habeeb, Leela Kumari, Cuckoo, Urwashi, Khushi Moolwaani, Sayyad ahmad, M Pahlaj, Peetaambar Setpal, Ajeet, Shaamlal etc in it.

The movie had eight songs in it. Three of these songs have been covered in the past.

Here is the fourth song from “Nirmal”(1952) to appear in the blog. This song is sung by Geeta Dutt. Moti B A is the lyricist. Music is composed by Bulo C rani.

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


Song-Bhanwra bada deewaana (Nirmal)(1952) Singer-Geeta Dutt, Lyrics-Moti B A, MD-Bulo C Rani

Lyrics

bhanwra bhanwra
bhanwra bada deewaana
loote kali kali ka rang
wo loote kali kali ka rang
wo loote kali kali ka rang
madhuban mein chhaayi hariyaali
kali khili hai daali daali
dekh kali ko mast ho gayi
bhanwre ki aankhen matwaali
bhanwra bada machalvi bada sayaana
do din ka hai pankh
wo loote kali kali ka rang
wo loote kali kali ka rang

khili huyi kaliyon par jaaye
lachke kha kar gul ko lagaaye
jiska ras pi daala uske
paas na jaaye aankh churaaye
bhanwra
ye hai kaala wo hai gori
komal komal ang
loote kali kali ka rang
wo loote kali kali ka rang

rang bhi kaala dil bhi kaala
ras pee kar udd jaane waala aa aa aa
rang bhi kaala dil bhi kaala
ras pee kar udd jaane waala aa aa aa
is se dil na lagaana o bholi
ye hai saath na dene waala
bhanwra
di leke ye daga karega
iske preet ka dhang
wo loote kali kali ka rang
wo loote kali kali ka rang


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 :

3864 Post No. : 14881 Movie Count :

4070

Today’s song is from a film Iqraar-42. The song is sung by Bulo C Rani, who became a Music Director himself in 1943. Music Director for this film was Khemchand Prakash. The film was directed by Manibhai Vyas. The 10 songs of the film were written by Pt. Indra and Munshi Dil. The cast of the film was, Madhuri, Motilal, Rama Shukul, Shanta Kashmiri,Bhagwandas, Tarabai, Bhoopat Rai and others.

Cut to….

———————————————
Place- Shanmukhanand Hall,Mumbai
Date 7-2-1999
Time- 7 p.m.
Programme- Felicitation to ‘ Stars from the Silent Era’
Organisers- ” Amrut” and ” Cine Society of Bombay ”

The entire hall was overcrowded. Not only all the seats were occupied,but people were standing wherever possible. Everybody wanted to see the Two STARS on the stage-Jairaj and Madhuri. Both were in their late 80s,but looked radiant and smiling. For Madhuri it was a surprise,that the organisers found her out after living in oblivion for over 50 years. She was simply overwhelmed with the people’s affection and love. For Jairaj,these things were not new. He has been around all the time.

Madhuri and Jairaj were a Popular pair in Silent film era. They worked as a lead pair in 3 films, one each in 1930-Rasili Rani, 1931-Warrior from the wild and 1932-My Hero. They came together after almost 70 years,on this stage.

Like many others, Madhuri too was an Anglo Indian. Her name was Beryl Claessen. She was born on 3-11-1913 at Delhi. Her father was a big officer in Government. Her initial schooling took place in Nainital. She learnt music too,because she wanted to become a Music Teacher. However that she never became,but on a visit to Bombay she was picked up by producer Indulal Yagnik and she started acting in silent films.

Many Heroines in those days were Anglo-Indians, Europeans or Jew girls. Since silent films did not require speaking Hindi or Urdu ( or any language,for that matter),these girls were preferred, as Indian audience loved their fair colour (Gori Mem). Additionally,these girls did not hesitate to give intimate scenes like kissing or doing stunts themselves. Most girls knew Horse riding, fencing and fighting.

In 1928,there was a Silent film Madhuri, but actress Sulochana(Ruby Myers) did this role and in 1932 there was a Talkie film Madhuri,in which also Sulochana only did the role. When Talkie films era began most of the Anglo Indian girls became jobless, since they could not speak Hindi/Urdu nor could they sing a song-the two requirements for actresses in Talkie films. However, a few intelligent and professional actresses learnt Hindi/Urdu language speaking. Madhuri and Sabita Devi (Irene Gasper) were two such clever girls who achieved proficiency in these matters.

Madhuri was very beautiful. After doing 17 silent films,she made her debut in Talike films with ‘ Pardesi Preetam’-1933. Jaswantlal Nandlal directed his first film here. Her Hero was Raja Sandow. She did many films for Ranjit under the direction of Jayant Desai. From 1933 to 1942,she acted in 26 films. They were (not in order) Kashmeera,Mitti ka Putla,Noor e watan,Secretary,Lehri lala,Rangeela Raja,Sitamgarh,Prithviputra,Thokar,Raj Ramni,Diwali,Matlabi Duniya,Toofani Toli,Shama parwana,College Girl,Nadira,Veer babruvahan,Zamin ka chaand,Ban ki chidia,Toofan Mail,mehmanSasural,shadi and Ikrar. By the way, Iqrar – 42 was Madhuri’s last film.

In 1941, Madhuri got married and retired from Film line. After this she simply disappeared for next 50 years without a trace,till the organisers of above programme located her.

This film was made by the film producing machine of the Industry- Ranjit Movietone. The huge set up of the studio, having a galaxy of stars on its roll, had at one time, as many as 300 persons on its pay roll. Most of the workers used to live in studio premises or around it. The Government had opened a Ration shop in the studio campus, for the benefit of their families.

I said it was a film machine, because at a time 5 to 6 films’ shootings took place on the 6 floors of the studio and films for future were planned at the same time. As per a News item published in Film India Magazine of November 1942, the studio had films ready for release…Gauri, Chhoti Maa, Bhakta Surdas, Dukh Sukh, Fariyad, Andhera and Iqrar. The films on floor were Tansen, Vish kanya, Sati Parvati, Kalidas, Shrawan kumar, Rakhi and Jaydev. Due to this continuous activity, the studio staff was always busy and one could hearthe musical rehearsals from near the Music Department.

Like all studios, Ranjit too had a system of employing Music Directors on monthly basis for long terms. In 1942, it was Khemchand Prakash. Hailing from Sujanghar in Rajasthan, Kemchand Prakash, born on 12-12-1907, was an accomplished Kathak dancer and a classical singer. The earthy music of Rajasthan flowed in his veins and helped him infuse irresistible charm into his compositions.

He learned Dhrupad *gaayaki* from his father Govardhan Prasad. He then went to Nepal and lived there for eight years under the patronage of the Maharaja. His career in films began when, on his return, he joined New Theatres (Calcutta) as an assistant to Timir Baran on a monthly salary of Rs.120. When he left New Theatres in 1939 he was drawing Rs. 500 p.m.

As Baran’s assistant he was said to have composed Saigal’s “baalam aaye baso more nam me.n” (in Raag Kafi) and “dukh ke ab bitat nahin” (Raag Des) in’Devdas.’ He even enacted a comic scene and sang a song “lo khaa lo madam khaanaa” in ‘Street Singer’ at the suggestion of the director, Phani Majumdar.

Khemchand migrated to Bombay with Prithviraj Kapoor and Kidar Sharma in search of independent assignments and joined Ranjit Movietone. Khemchand was employed by Ranjit Movietone from 1940 to 1945, in place of Gyan Dutt who was in Ranjit from 1937 to 1940 ( 15 films). Khemchand gave music to 20 films in 5 years period. When he left Ranjit, his friend Bulo C. Rani joined in his place. However ,by that time Ranjit was already going downhill due to financial difficulties caused by the gambling of Sardar Chandulal Shah. With ‘Meri Ankhen’ (1939) he proved himself as an independent composer. Followed ‘Pardesi’, ‘Shaadi’, and ‘Umeed’in 1941 which gave him a firm foothold in the Bombay industry.

One of the most popular songs composed by him during the early phase was sung by Khurshid: “pahele jo mohabbat se inakaar kiyaa hotaa.” “But Khurshid,” recalls Pandit Jagannath Prasad, a cousin and close associate of Khemchand, “was reluctant to sing the song.” And an angry Khemchand gave her the ultimatum: “Sing or get out.”

Unwilling to offend acomposer of Khemchand’s calibre, Khurshid finallygave in and rendered the song. Khurshid had her own reason for hisitating to sing the song, which was a recognizable rehash of Begum Akhtar’s famous ghazal,”deevaana bannana hai to.” She didn’t want to risk a comparison with the great Begum, for she was never really sure of her own calibre as a singer. Ironically, “pahele jo mohabbat” brought her unprecedented laurels!

Khemchand had more hits in 1942–like ‘Chandni’ and’ Khilauna.’ But it was ‘Tansen’ (1943), which sent hsi stock soaring. Based on the immortal singer’s life, ‘Tansen’ inspired Khemchand to come out with a veritable feast of light classical songs, which pleased both the connoisseur and the uninitiated. The film paired Saigal, who had been lured to Bombay by monetary considerations, with Khurshid. And Khemchand gave them a wide range of hummable songs to sing. “more baalaapan ke saathi” (Khurshid,Saigal), “dukhiyaa jiyaraa” and “baraso re” (Raag Megh Malhar–Khurshid), “ghata ghan ghor ghor” (Raag Sarang–Khurshid), “rumjhum rumjhum chaal tihaari”(Raag Shankara–Saigal), “diyaa jalaao” (Raag Deepak–Saigal) and “sapt suran teen graam” (Raag Hameer in Dhrupad–Saigal) were all brilliant compositions, which contributed in a big way to the film’s commercial suceess.

Khemchand’s sway over the Hindi film music scene continued unabated even after the influx of the robust Punjabi brand of music. He stuck steadfastly to classical and Rajasthani folk music and ghazals. His compositions in ‘Bharthari’ (“chandaa des piyaake jaa”–Amirbai), ‘Bhanwara’ (“ham apanaa unhebanaa na sake”–Saigal) and ‘Shahenshah Babar'(“mohabbat me.n saara jahaan jal rahaa hai”–Khurshid) became a rage.

Khemchand was in trouble when the Ranjit boss,Chandulal Shah, started disapproving of his association with outside producers. (Prakash Pictures’ ‘Samaj Ko Badal Dalo’ and Filmistan’s ‘Sindoor.’). The rift came to a head when Shah refused to let Khemchand use a raw voice for a song. “I don’t want an unknown voice in my film.” Shah told off Khemchand. And Khemchand walked out of Ranjit Movietone. The “unknown voice” was young Lata Mangeshkar’s! (Lata had been recommended to Khemchand by Anil Biswas, and he took an instant liking for her mellifluous voice.)

From Ranjit, Khemchand went to Bombay Talkies to score the music for ‘Ziddi.’ The success of the film vindicated his stand on Lata. Lata’s rendering of “chandaa re jaa re jaa re” based on a Rajasthani folk song “kaagaa re jaa re jaa re” was unanimously acclaimed.

‘Ziddi’ launched another eventful career–that of Kishore Kumar’s. In spite of his reputation as a ‘master yodeller’ and a singer of the frothy, light numbers, Kishore invariably excelled as a singer of sad songs. Khemchand Prakash was the first to discover this talent in Kishore. Besides the sad ‘Ziddi’ number (“marne ki duvaaye.n kyaa maangu”), he gave him another pathos-ridden song in ‘Rimjhim’ (jag mag jag mag kartaa nikalaa chaand poonam ka pyaara”).

A line in the song–“meri chaandani bichhad gayi mere ghar mein huaa andhiyaara”–proved ominously prophetic a fortnight after he’d composed the song, when his wife died, which made him a sad, lonely man, and perhaps accounted for the pathos recurring in his later compositions.

Nevertheless, Khemchand wore the facade of a ready-witted jovial person. He had an incorrigible weakness for good food and liquor. In his while dhoti and silk kurta, he was often mistaken for a rich Marwari, while he actually led a frugal existence. At Ranjit Novietone, Khemchand was paid Rs. 100 p.m. When he composed music for his last film at Bombay Talkies, he drew a salary of Rs.1,500. Producers for whom he freelanced seldom paid him his dues in spite of making the best use of his exceptional talent. Once, to collect the two thousand rupees Kishore Sahu owed him, he told the producer-director that he needed the money desperately to perform the last rites of his grandmother. When lyricist Bharat Vyas heard of this ‘bereavement’, he went to Khemchand to offer his condolences. The composer smiled wryly and said, “My grandmother is 90 and fit as a fiddle. I have been ‘killing’ her again and again only to collect my dues from the producers.”

In spite of his meagre earnings, Khemchand was a large-hearted man. He went out of his way to present a radio set to the general ward of Bombay’s K.E.M. Hospital where he had once undergone treatment. (“The antique piece is still working,” says his now physician, Dr. Hindlekar).

Khemchand never allowed his financial worries to affect his creativity. He exhibited his versatility in every composition of his of his–whether it was based on a classical raag (“kukat koyaliyaa kunjan mein”/raag Sarang/Kajjan/’Bharthari’); a Rajasthani folk tune (“silvaa de re sajanavaa mohe/Paro, SushilSahu/’Sindoor’); a ghazal (“dil lagaane mein kuchhmazaa hi nahin”/Khurshid/’Shahenshah Babar’); abhajan (“prabhu ke gun gaaoon main”/Khurshid,chorus/’Shadi’); a romantic song (“ye kaun aaj aayaare”/Kishore, Lata/’Ziddi’); or a heart-reding musical wail (“o roothe hue bhagavaan tum ko kaisemanaaoon”/Amirbai/’Sindoor’). Even as his stock went up as a musician and he came to be acknowledged as one of the best ever composers the film industry had known, Khemchand suffered an acute feeling of loneliness towards the later stages of his career after his wife’s sudden demise, and he began drowning himself in liquor.

During this phase, when he was hospitalized for abdominal ailment, he fell in love with a pretty nurse, Sridevi, who was to be his inspiration in times to come. Khemchand was in poor health when,unexpectedly, Kamal Amrohi assigned the music of Bombay Talkies’ ‘Mahal’ to him. Ashok Kumar had just come back to take over the reins of Bombay Talkies in a desperate attempt to prevent a great institution from crumbling. But the choice of Khemchand as the music director raked up a controversy, as doubts were raised about his about his ability to meet the needs of a changing breed of filmgoers. The music scene in the Bombay film industry had begun to change with breezy, catchy tunes taking over from the slow, classically oriented numbers. The rhythmic, rustic and fast-paced Punjabi folk music was becoming immensely popular. Would the ‘slow’ style of Khemchand suit the changing scene? When he heard the *mukhda* of”aayega aanevaala” in its formative stages, one of the producers of Bombay Talkies, Savak Vachcha, lost his temper, and asked Khemchand, “But when will it(the song) come?” (referring to “aayega” which is repeated five times in the song.) In his faltering Hindi the genial Parsi is said to have asked, “Aap to ‘aayega, aayega’ karte hain, vo aanevaala kidhar hai?”, which provoked the composer to walk out of the room in a fit of fury.

Sometime ago when Kamal Amrohi (who directed’Mahal’) was asked as to what had influenced the choice of Khemchand Prakash for the film, the 69-year old veteran said, “I’d been greatly impressed by Khemchand’s talent when he was with Ranjit. There was always an undercurrent of pathos in his music which reminded me of *marsia* (a dirge) and *noha*(the mournful songs of Moharrum). But he was reluctant to work with me because of my abusive tongue. When I wrote the first part (“khaamosh hai zamaane..”) of “aayega aanevaala”–the rest of the song was written by Nakhshab–and showed it to him,he instantly moved his fingers on the harmonium and played a tune… and I approved it on the spot. Though Nakhshab was angry with me for accepting the very first tune, Khemchand was relieved that I wasn’t so difficult a person after all! Nobody at Bombay Talkies, barring me, was confident of the success of ‘Mahal’ or its songs.”

The film and its music, however, went on to make history. “aayega aanevaala”, based on a Rajasthani folk tune, not only became the film’s major draw,but has remained a perennial favourite of music lovers. The song also opened floodgate of opportunities for Lata Mangeshkar.

Rajkumari, Khemchand’s favourite singer, also sang five memorable songs in ‘Mahal’ (including”ghabaraake jo ham sar ko” and “haaye mera dil”). Though, unfortunately, one of them (“suno mere nainaa”) had to be deleted from the film.

When ‘Mahal’ was released on October 13, 1950 at Bombay’s Roxy cinema to overwhelming response, Khemchand Prakash wasn’t alive to see the fruits of his labour. He had died two months earlier at the Harikisondas Hospital–on August 10, 1950–at the young age of 42.

At the time of his death, Sridevi was beside him. As she wasn’t married to Khemchand and had no legal rights over what he’d left behind, she was left high and dry.

Today, many years after Khemchand’s death, nothing seems to have changed for Sridevi. She still lives in the past, on the pavements of Borivli. Khemchand’s old physician, Dr. Hindlekar, still treats her with great care, but she’s no longer in a position to respond to anybody’s sympathy. The only sound which brings her back to ‘life’ is the strains of “aayega aanevaala.” Whenever she hears the song she stands still on the road, clutching at her only possession–a small sack of clothes and memories of a ‘melodious’ time.

( adapted from articles by Nalin Shah, Satish Chopra, Pankaj Raag and my notes, HFGK, MuVyz and Mid Day 12-2-1999.

Thanks to Harish Raghuwanshi ji )
———————————————-

I have not seen this film and I do not know its theme. However, from a photo with comments in Film India magazine, it can be presumed that the film was a Love Triangle film. Two friends, Motilal and Rama Shukul vying for the same girl Madhuri. In the process they distance themselves from each others and Madhuri tries to bring them together again. One of the actors in this film is Tarabai. She was the elder sister of Sitara Devi and mother of famous Dancer Gopi Krishna. After marriage with Marutirao Pehelwan, she fell on bad days and started working sundry roles in films. Later on her condition became worse and she used to live in Bombay’s slums. Another actor Bhagwan das, who did small roles in films, became a big time producer, later on and then became a pauper also. He had married actress Poornima. One of the 10 songs of this film is sung by one Master Vithal. He was not that Vithal who acted in Aalam Ara-31-India’s first Talkie. This master Vithal was a professional singer from Sholapur.

Today’s song is sung by Bulo C Rani (6-5-1920 to 24-5-1993). He gave music to 71 films composing 574 songs. He sang 37 songs in 19 films also. His end was terrible. He committed suicide by burning himself in his house. Bulo C Rani had joined Ranjit after Khemchand Prakash left in 1945, but by that time, Ranjit was already drowning.

This song is a very slow paced song and I feel it has inspired some other popular song from some later film, but I am unable to pinpoint the song.


Song-Muhabbat mein luta dee apne haathon zindagi apni(Iqraar)(1942) Singer- Bulo C Rani, Lyrics- Not specified, MD- Khemchand Prakash

Lyrics

Muhabbat mein luta dee
apne haathon zindagi apni
Muhabbat mein luta dee
apne haathon zindagi apni
dil apna
aarzoo apni
hansi apni
khushi apni
dil apna
aarzoo apni
hansi apni
khushi apni

meri ghamgheen raaton mein
ujaala bhi andhera hai
meri ghamgheen raaton mein
ujaala bhi andhera hai
unhi ke bazm mein ae shamma
le ja raushni apni
unhi ke bazm mein ae shamma
le ja raushni apni

main barbaad e tamanna hoon
main naakaam e muhabbat hoon oon oon
main barbaad e tamanna hoon
main naakaam e muhabbat
muhabbat ke haseen waadon pe duniya
ro rahi apni
muhabbat ke haseen waadon pe duniya
ro rahi apni

tamanna thhi ki shaam e gham
tamanna thhi ki shaam e gham
kabhi saahil pe ?? hote ae ae ae ae ae
tumhaari qaid hoti aur ?? apni
muhabbat mein ??


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 : 3749 Post No. : 14713

“Jai Hanuman” (1948) was directed by R Thakur for Ranjit Film Company, Bombay. The movie had S. N. Tripathi, Ram Kumar, Pesi Patel, P. Kailash, Nirupa Roy, K. Purohit, Babu Nene, Rajrani, Tarabai, Kamalakant, Inamdar etc in it.

The movie had twelve songs in it. One song has been covered in the past.

Here is the second song from “Jai Hanuman” (1948) to appear in the blog. This song is sung by Geeta Dutt. Pt Indra Chandra is the lyricist. Music is composed by Bulo C Rani.

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


Song-Mohe raam naam dhun laagi (Jai Hanuman)(1948) Singer-Geeta Dutt, Lyrics-Pt Indra Chandra, MD-Bulo C Rani

Lyrics

mohe raam naam dhun laagi
mohe raam naam dhun laagi
jug jug ki preet jaagi preet jaagi
jug jug ki preet jaagi preet jaagi
mohe raam naam dhun laagi
mohe raam naam dhun laagi

ae re sheetal pavan thahar ja
ae re sheetal pavan thahar ja
mand mand ?? ram naam ka ka
mand mand ?? raam naam ka
goonj goonj kar sakal jagat ko
goonj goonj kar sakal jagat ko
kar de raam anuraagi
mohe raam naam dhun laagi
mohe raam naam dhun laagi
jug jug ki preet jaagi preet jaagi
jug jug ki preet jaagi preet jaagi
mohe raam naam dhun laagi
mohe raam naam dhun laagi

raam base more man praanan mein
ram base more man praanan mein
raam jyot jagi nainan mein
raam jyot jagi nainan mein
raam raam mein raam rame hain
rom rom mein ram rame hain
raam ki maaya laagi
mohe raam naam dhun laagi
mohe raam naam dhun laagi
jug jug ki preet jaagi preet jaagi
jug jug ki preet jaagi preet jaagi
mohe raam naam dhun laagi
mohe raam naam dhun laagi


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over TWELVE years. This blog has over 15900 song posts by now.

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

Important Announcement

(© 2008 - 2020) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

15902

Number of movies covered in the blog

Movies with all their songs covered =1218
Total Number of movies covered =4362

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Blog Start date: 19 july 2008

Active for more than 4000 days.

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