Posts Tagged ‘Chitragupta’
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4857 | Post No. : | 16647 | Movie Count : |
4537 |
Today (4 november 2021) is the Deepaawali, the festival of lights.
Believe it or not, this happens to be the 14th deepaawali for the blog ! To last this long as a blog is quite an achievement.
During the occasions of previous deepaawalis, we have discussed as many as 37 deepaawali songs. All popular Deepaawali songs, including iconic songs have been covered in the past.
When I checked up the past Deepaawali articles, I realised that I had covered many interesting topics while discussing deepaawali. One of those topics was air quality or lack thereof. It is considered a topical subject because whenever Deepaawali arrives, messages spring up in Indian social media telling us that firecrrackers that we burst during deepaawali pollutes the environment.
Of late, there have been some studies that have pointed out that pollution in India is not because of Deepaawali, which lasts for just one day but because of other reasons, that take place over longer durations.
The real cause for pollution in India is like this- 51% of air pollution is due to industrial activities, 27 % due to vehicles, 17% due to crop burning and only 5% due to fireworks.
There is this 80-20 principle, or Pareto principle which states that 20 percent activities give 80 percent of the results. So, we need to take care of these 80 % results and address the 20 percent activities that are causing them. So, if we in India are serious about improving air pollution, then we have to address the major contributors namely industrial activities, vehicle pollution and crop burning. Singling out Deepaawali, when 95 % of pollution is contribued by other activitites is hypocrisy and dishonesty on the part of these activists with selective agenda.
These activists would want us to believe that Indian cities are the most polluted and India is the most polluted country, because it is the only major country that celebrates Deepaawali.
I visited a site (iqair.com) that displays Air Quality index for major cities as well as nations. What I found in that site was quite revealing.
According to it, the top 15 most polluted cities of the world (at 8 AM on 4 november 2021) are :
| SN | Major City | US AQI | US AQI Classification |
|---|---|---|---|
| 1 | Lahore, Pakistan | 289 | Very unhealthy |
| 2 | Delhi, India | 213 | Very unhealthy |
| 3 | Beijing, China | 199 | unhealthy |
| 4 | Karachi, Pakistan | 179 | unhealthy |
| 5 | Kolkata, India | 179 | unhealthy |
| 6 | Shenyang, China | 171 | unhealthy |
| 7 | Dubai, United Arab Emirates | 170 | unhealthy |
| 8 | Mumbai, India | 169 | unhealthy |
| 9 | Wuhan, China | 161 | unhealthy |
| 10 | Dhaka, Bangladesh | 160 | unhealthy |
| 11 | Kabul, Afghanistan | 158 | unhealthy |
| 12 | Kathmandu, Nepal | 152 | unhealthy |
| 13 | Jakarta, Indonesia | 150 | unhealthy |
| 14 | Sofia, Bulgaria | 139 | unhealthy for sensitive groups |
| 15 | Kuwait City, Kuwait | 132 | unhealthy for sensitive groups |
In the top 15 major cities, three Indian cities and one Nepali city figure. Other cities do not celebrate Deepaawali.
When I looked at the list of the most polluted countries in the world, I found that India is third in the list. The first two countries above India are our neighbours and they do not celebrate Deepaawali at all.
| SN | Country | US AQI in 2020 (average) | US AQI in 2019 (average) | US AQI in 2018 (average) | Population |
|---|---|---|---|---|---|
| 1 | Bangladesh | 77.10 | 83.30 | 97.10 | 164, 689,383 |
| 2 | Pakistan | 59.00 | 65.80 | 74.30 | 220, 892,331 |
| 3 | India | 51.90 | 58.10 | 72.50 | 1,380,004,385 |
| 4 | Mongolia | 46.60 | 62.00 | 58.50 | 3,278,292 |
| 5 | Afghanistan | 46.50 | 58.80 | 61.80 | 38,928,341 |
| 6 | Oman | 44.40 | – | – | 5,106,622 |
| 7 | Qatar | 44.30 | – | – | 2,881,060 |
| 8 | Kyrgyzstan | 43.50 | 33.20 | – | 6,524,191 |
| 9 | Indonesia | 40.70 | 51.70 | 42.00 | 273,523,621 |
| 10 | Bosnia Herzegovina | 40.60 | 34.60 | 40.00 | 3,280,815 |
| 11 | Bahrain | 39.70 | 46.80 | 59.80 | 1,701,583 |
| 12 | Nepal | 39.20 | 44.50 | 54.10 | 29,136,808 |
| 13 | Mali | 37.90 | – | – | 20,250,834 |
| 14 | China | 34.70 | 39.10 | 41.20 | 1,439,323,774 |
| 15 | Kuwait | 34.00 | 38.30 | 56.00 | 4,270,563 |
So one can see that countries that do not celebrate deepaawali in their lands are even more polluted than India, the country that celebrates deepaawali. So the people who preach India about celebrating deepaawali should train their guns elsewhere if they are actually environment conscious.
It also shows that the reasons for pollutions lie elsewhere. It is indiscipline and third worldly lack of environmental awareness that is the major cause of pollution in these countries. Some of these countries claim to be progressing on the basis of vague figures of GDP per capita or Human development index, but when one looks closely, it turns out that these countries are plucking low hanging fruits, while disregarding pollution laws, minimum wages laws, safety laws etc.
If one wants to have an idea of the development of a country, the best way to gauge its development is its Air Quality Index(AQI). If one looks at the above tables, one finds that all the top polluting countries and cities are third world countries and their cities. Countries that are developed do not figure at the top. Even advanced nations neighbouring third world nations have good AQI while their neighbouring third world countries have poor AQI figures. Some examples of such advanced economies surrounded by third world economies are Israel and Singapore.
So unless a country addresses its environment and cleans up its air, it will not become a developed nation. India is definitely not going to become a developed nation any time soon, seeing its AQI. Same is true for China as well. Their GDP figures may look impressive, but it is gradually coming out that much of their GDP figures may be manipulated and fake. When one looks at AQI index of China, we find that China does figure among the top polluting nations, so it means that China is developing by disregarding enviroment. Sooner or later nature will get back at China. We can already see signs of that happening.
India needs to address its pollution problems, but for that, we first need to identify the real causes of pollution, instead of getting influenced by people with agendas.
I will discuss these matters in detail in future posts.
I have also discussed in the past that Deepaawali, where Goddess Laxmi is worshipped, is best celebrated if we worship Goddess Saraswati first. Worshipping Goddess Saraswati means getting educated, learning skills, upgrading our skills and becoming productive. Then we need to make use of our skills by producing goods and services, which is basically worshipping Lord Vishwkarma. When our goods and services get bought by consumers then we get money in return, or in other words, we are blessed by Goddess Laxmi.
Advanced nations, that figure low down in the list of polluting countries, follow the correct procedure of worshipping Goddess Laxmi. Much of their effort is on research and development (worshipping Goddess Saraswati) and then manufacturing goods or providing services ( worshipping Lord Vishwakarma). They do not consciously worship Goddess Laxmi, but Goddess Laxmi blesses them much more than she blesses Indians who seek to worship her just on the day of deepaawali, without first investing in worshipping Goddess Saraswati and Lord Vishwakarma.
So, I always try to tell my fellow Indians (who care to listen) that we are not worshipping Goddess Laxmi the right way. We need to worship her the way advanced Western countries worship her. Symbolic worship on one particular day will not do. Our worship should be round the clock throughout the year, and it should be to keep upgrading ourselves and keep giving goods and services that are in demand worldwide.
The festival of deepaawali, as it is celebrated in India, is easily the most important festival for Indian economy. Now that the effects of Covid 19 virus on India are receding, this deepaawali festival is likely to give a big boost to Indian economy, which is looking up after a forgettable year. I hope that the worst is over for India as well as the rest of the world.
On this occasion, I discuss a song from “Jai Mahalaxmi Maa”(1976). This movie was directed by Vijay Sharma for Pearl Pictures, Bombay. The movie had Ashish Kumar, Kanan Kaushal, Anita Guha, Chaand Usmani, Sapru, Sujata, B M Vyas, S N tripathi, Renu, Sundar, Bharhchaari, Dilip Dutt, Neelam, Sheikh, Anant Marathe, Helen, Dalda, Hari Shukla, Narmada Shankar , Habeeb etc. The movie also had special appearances by Jagdeep, Mahipal and Jeewan.
“Jai Mahalaxmi Maa”(1976) had five songs in it.
Here is the first song from the movie. This son, the theme song of the movie, is sung by Usha Mangeshkar and chorus. Bharat Vyas is the lyricist. Music is composed by Chitragupta.
The song is picturised on Kanan Kaushal and others.
With this song, “Jai Mahalaxmi Maa”(1976) makes its debut in the blog.
I take this opportunity to wish everyone a very happy, prosperous and safe deepaawali. Let us give our best (my way of worshipping Goddess Saraswati) and I am sure she will shower her wishes on us in abundant measure.
Video
Song- Jai hey mahalaxmi maa naiyya meri paar karo (Jai Mahalaxmi Maa)(1975) Singer-Usha Mangeshkar, Lyrics-Bharat Vyas, MD-Chitragupta
Chorus
Lyrics
jai hey mahalaxmi maa
jai hey mahalaxmi maa
naiyya meri paar karo
jai hey mahalaxmi maa
naiyya meri paar karo
jholi phailaaye khadi ee
jholi phailaaye khadi
maiyya bhandaar bharo o o
jai hey mahalaxmi maa
naiyya meri paar karo
jai hey mahalaxmi maa
naiyya meri paar karo
tu hai dayaalu maiyya mamta bhari
laakhon dukhiyon ki toone vipda hari
tu hai dayaalu maiyya mamta bhari
laakhon dukhiyon ki toone vipda hari
hum bhi aaye sharan tihaari
hum bhi aaye sharan tihaari
hum pe bhi to zara dhyaan dharo o o
jai hey mahalaxmi maa
naiyya meri paar karo
jai hey mahalaxmi maa
naiyya meri paar karo
aayi deewaali aayi
deepak jalen
teri kripa ho to sabhi phoolen phalen
aayi deewaali aayi
deepak jalen
teri kripa ho to sabhi phoolen phalen
sukh sampati se ghar bhar jaaye
sukh sampati se ghar bhar jaaye
itna sa upkaar karo o
jai hey mahalaxmi maa
naiyya meri paar karo
jai hey mahalaxmi maa
naiyya meri paar karo
jholi phailaaye khadi
maiyya bhandaar bharo o o
jai hey mahalaxmi maa
naiyya meri paar karo
jai hey mahalaxmi maa
naiyya meri paar karo
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4836 | Post No. : | 16620 |
When I saw this song on You Tube, a few days ago, I was very happy. This was one of the most popular Lories in those days – and naturally so, because it was composed by the melody King Chitragupt and was sung by the melody Queen Lata Mangeshkar. In one of her interviews to Film fare, she had said ” I like to sing songs of Chitragupt ji and I particularly liked the lori ‘ Chanda loriyan sunaaye’ from film Naya Sansar-1959.”
I was pleasantly surprised to know that this famous Lori was yet to be posted on our Blog. Surely, it fits into the song category of “How I forgot to post this song earlier”. I believe, this song was waiting for me only !
Lories have been a part of many films, where a family life is the main plank of the film story. The earliest famous Lori was the one sung by K L Saigal – “So ja Raajkumari so jaa”, from film Zindagi-1940. Earlier to that also there were many- as many as 15- Lories in the films right from film Radhe Shyam aka Zulm E Kans-1932, in which Devki (Phool kumari) sings a Lori for her child (Shri krishna), asking him not to cry loudly, lest Kans will come and kill him. -” so ja tu mere lal chu ke se, voh Paapi aa jaye”. Then there was ” Dheere dheere aa re Badal” sung by Amirbai and Arunkumar in film Kismet-1943. Many more Lories subsequently became popular, but today’s Lori was more popular and famous.
Film Naya Sansar was produced by Darshan Malhotra for his own banner Shri krishna Films. It was directed by Nanabhai Bhatt. This was a rare occasion when Nanabhai Bhatt directed a Social film. Normally he was equated with B and C grade action and Mythological films only.
Director Nanabhai Bhatt ( 12-6-1915 to 24-4-1999). He was a director in many films.He directed mostly Mythological and stunt films only. Nanabhai was born as Yashwant ( pet name – Batuk) at Porbandar. Since he was the younger one he was called Nanabhai ( opposite to Motabhai-elder brother). This name continued till the end. His father was a doctor. After matriculation, he went to Mumbai in 1934, where his elder brother Balwant Bhatt was working. Balwant started with Imperial,shifted to Sagar and now was with Prakash pictures of Vijay and Shankar Bhatt. He got Nanabhai a job as Sound Recordist.Soon he graduated as Production Executive.He also wrote several screenplays.
In 1942 he directed “Muqabala”, for Homi Wadia, as Batuk Bhatt. Homi Wadia became his good friend. When Homi established his own Basant Pictures, Nanabhai joined him and directed his “Hunterwali ki Beti”-43, with Nadia again. He also did mauj, Jee Haan, Chaalis Karod etc. He directed about 50 films of various genres like Stunts, Mythologicals,crime, social, costume etc.
Nanabhai’s first wife was Hemlata. He also married Shirin banu, his Heroine of few films. To circumvent the Bigamy law, he married her in a Temple and that too in the presence of Hemlata ! He had 3 children from Hemlata and 6 from Shirin. Mukesh and Mahesh Bhatt are from Shirin. His children and grandchildren married in different religions.Thus his big family was an example of Secularism ! In addition to 9 children Nanabhai also produced 20 films under his own Deepak Pics and Gautam Chitra !
FILMOGRAPHY OF NANABHAI BHATT: 1942: Muqabala; 1943:Hunterwali Ki Beti; Mauj; 1945: Chalis Karod; 1946: Maa Baap Ki Laaj; 1947: Meerabai; 1949: Shaukeen; Veer Ghatotkach; Sudhaar; 1950: Hamara Ghar; Janmashthami; Veer Babruwahan; 1951: Lakshmi Narayan; Daman; Lav Kush; Ram Janma; 1952: Apni Izzat; Baghdad; Sinbad the Sailor; 1954: Toote Khilone; Watan; 1956: Kismet; 1957: Mr X; Ustad; 1958: Chaalbaaz; Son of Sinbad; 1959: Bazigar; Daaka; Kangan; Madam XYZ; Naya Sansar; 1960: Lal Qila; Police Detective; Zimbo Comes to Town; 1961: Teen Ustad; 1962: Baghdad Ki Raatein; Rocket Girl; 1963: Alapiranthavan; Bhootnath; Cobra Girl; 1964: Samson; 1965: Adhi Raat Ke Baad; Bekhabar; 1966: Shankar Khan; 1967: Arabian Nights; 1968: Jung Aur Aman; 1974: Jeevan Rekha; 1975: Balak Aur Jaanwar; 1976: Dharti Mata; 1981: Gajara Maru; 1982: Jaya Parvati Vrat.( Thanks to Harish Raghuwanshi ji and Encyclopedia of Indian Cinema for some information.).
The music was by Chitragupt and the film cast was Jayashree Gadkar, pradeep kumar, nanda dhumal, Tuntun, Sundar, Shammi, majnu and dancers Sheila Vaz, Sai Subbulakshmi and Kamla Laxman. The heroine Jayashree Gadkar was a very popular and busy actress in marathi cinema. I was surprised to learn that she had acted in 73 hindi films. Despite this number, she was not famous in Hindi films because she got only B and C grade action and Mythological films in Hindi.
Jayshree Gadkar (21 February 1942 – 29 August 2008) was a noted Marathi and Hindi movie actress and a star of Marathi cinema from the 1950s up to the 1980s.
Jayshree was born into a Konkani-speaking family at Kanasgiri (Sadashivgad) near Karwar in the Uttara Kannada district of Karnataka, India. She married Bal Dhuri, a theatre actor best known for his portrayal of Dashratha in Ramanand Sagar’s TV serial, Ramayana (where Jayashree herself played his wife, Kaushalya). She also published an autobiography, Ashi Mi Jayshri.
She began her career as a child dance artist. She entered films as a tamasha dancer in movies. Her first role was that of a group dancer in V. Shantaram’s Jhanak Jhanak Payal Baaje in 1955, which featured Sandhya as the leading lady. Later, well known Marathi film Director Dinkar D Patil cast her in a small role with dance in his Marathi film Disat Tasa Nasat, opposite Raja Gosavi. This was followed by Sangtye Aika, a tamasha-based movie which was the first in which she played a leading role. This helped her gain fame and recognition and she started doing heroine roles. She eventually became one of the most successful and prolific heriones in the history of the Marathi film industry.
Many remember her for the famous song Bugdi mazi saandli ga jata sataryala. But Jayshree Gadkar was much more than that. She was not only a versatile and accomplished actress but the face of Marathi cinema in its golden era. This paved her way into mainstream Marathi cinema.
Later, both Raja Gosavi and Jayshree gave many hits as a pair, like Aaliya Bhogasi [her first film], Utavla Navara, Yala Jeevan Aise Nav, Awaghachi Sansar and Paishacha Paus. Gath Padli Thakathaka was her first major role. Jayashree got a lot of success as a heroine in movies based on tamasha and lavni, the trend at the time.
Her film Saangtye (1959) ran for 132 weeks in a theater. Her terrific dance performance in Bugdi mazi saandli ga became a craze among Marathi viewers. She was paired with the most popular heroes of the time like Suryakant (Pancharati, Rangpanchmi, Vaijayanta) and Arun Sarnike (Sawal Maza Aika, Ek Gav baara Bhangadi, Gangaulan).
Manini was a turning point in her career. She was paired with Chandrakant Gokhle. She went on to act with his son Vikram Gokhle too, in films like Utavla Navra and Subhdra Haran.
Gadkar also acted in historical movies like Mohityaanchi Manjula and Shahir Parshuram. She won many accolades and awards at the national and state level. She was also felicitated with the state government’s V Shantaram Purskar, Gadima Purskar, P Savlaram Purskar and many more. She married co-star Bal Dhuri in 1975, and directed two films, Sasar Maher and Ashi Asavi Saasu.
Jayshree acted in about 250 films over a period of four decades. Her filmography was varied and included a rich repertoire of tamasha stories as also mythologicals in addition to socials and love stories.
In later years, Jayshree turned film director. Her directorial efforts include Saasar Maher and Ashi Asavi Saasu. She also acted in Ramanand Sagar’s TV Series Ramayana, as Kaushalya (mother of Rama) along with her husband Bal Dhuri, who was Dasharath (father of Rama). Her home is adorned with the photo of both in Ramayana costume. Her Autobiography Ashi Me Jayshree was published in 1986. Gadkar had received awards for her part in the films Manini, Vaijantha, Sawaal Majha Aika! and Saadhi Mansa.
Surprisingly, Jayashree Gadkar had acted in as many as 73 Hindi films. Her first film was Jhanak Jhanak Payal Baje-55 and the last film was Lav kush-97. However another film which was delayed came in 2009 was Jai jai Santoshi Maa. (Thanks to wiki, rediff.com, muVyz, HFGK and my notes).
Let us now enjoy the sweet lori from this film.
Song- Chanda Loriyan sunaaye hawa jhoolna jhulaaye(Naya Sansaar)(1959) Singer- Lata Mangeshkar, Lyricist- Rajindra Krishan, MD- Chitragupta
Lyrics
chanda loriyaan sunaaye hawa jhoolna jhulaye
raani nindiya sulaaye mere laal ko
raani nindiya sulaaye mere laal ko
chanda loriyaan sunaaye hawa jhoolna jhulaaye
raani nindiya sulaye mere laal ko
raani nindiya sulaye mere laal ko
barson shaam savere maa ne roya dil ka dukhda
barson shaam savere maa ne roya dil ka dukhda
tab ja ke bhagwaan ne baksha ik chaand ka tukda
chanda loriyaan sunaaye hawa jhoolna jhulaaye
raani nindiya sulaaye mere laal ko
raani nindiya sulaaye mere laal ko
khelega jab mere angna khel ye pyaare pyaare
khelega jab mere angna khel ye pyaare pyaare
khelan ko tab laayegi maa neel gagan ke taare
chanda loriyaan sunaaye hawa jhoolna jhulaaye
raani nindiya sulaaye mere laal ko
raani nindiya sulaaye mere laal ko
baandh ka sehra banega jis din dulha mera raaja
baandh ka sehra banega jis din dulha mera raaja
khushiyon ki baaraat sajegi armaanon ka baaja
chanda loriyaan sunaaye hawa jhoolna jhulaaye
raani nindiya sulaaye mere laal ko
raani nindiya sulaaye mere laal ko
Kabhi to haan haan haan kaho na
Posted on: October 6, 2021
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4828 | Post No. : | 16607 |
“Son of Sindbad”(1958) was produced by Ram Kamlani and Balwant Bhatt and directed by Nanabhai Bhatt. for NeoLight Films Bombay. This “Kalpnik” movie had Premnath, Jabeen, Bhagwan, Poornima, Nishi, Tiwari, Shammi, Sundar, Kuldeep Kaur, Jagdeesh, Samson, Cuckoo, Ridku, Kriiplani, K Tiwari Saroj, Heera, Fazlu, Saiyyad, Keshav, Abdul, Kenny etc in it.
The movie had eight songs in it. Two songs have been covered in the past.
Here is the third song from “Son of Sindbad”(1958) to appear in the blog. It is sung by Rafi and Geeta Dutt. Prem Dhawan is the lyricist. Music is composed by Chitragupta.
Only the audio of the song is available. The movie had Lata Mangeshkar, Rafi, Mukesh and Geeta Dutt as playback singers so it is difficult to guess about the picturisation of this song. I request our knowledgeable readers to throw light on the picturisation of this song.
Song-Kabhi to haan haan haan kaho na (Son of Sindbad)(1958) Singers-Rafi, Geeta Dutt, Lyrics-Prem Dhawan, MD-Chitraupta
Lyrics
kabhi to haan haan haan kaho na
na na ji na na na meri jaan
kabhi to haan haan haan kaho na
na na ji na na na meri jaan
aise na taalo
main mar jaaunga
milega mar ke bhi chain kahaan
haay
kabhi to haan haan haan kaho na
na na ji na na na meri jaan
jhoothhi hi tasalli sahi
jhoothha hi tu de ja hamen waada
ja ja re deewaane
kyun hai tera gaali khaane ka iraada
arre jhoothhi hi tasalli sahi
jhoothha hi tu de ja hamen waada
ja ja re deewaane
kyun hai tera gaali khaane ka iraada
yoon na jalenge
joote padenge
o yoon na jalenge
joote padenge
to ye bhi sah legne jaane jahaan
kabhi to haan haan haan kaho na
na na ji na na na meri jaan
bade teesmaar khan ho
dekho koi aur darwaaza
tere darwaaze se hi apna to uthhega janaaza
bade teesmaar khan ho
dekho koi aur darwaaza
tere darwaaze se hi apna to uthhega janaaza
chutti to hogi
roti phirogi
chutti to hogi
roti phirogi
jaao ji
marna nahin hai aasaan
kabhi to haan haan haan kaho na
na na ji na na na meri jaan
yoon na thhukraao
na milega koi dilwaala aisa
dhoondhoge chiraag leke
to bhi paaoge na mere jaisa
aah aah aah
yoon na thhukraao
na milega koi dilwaala aisa
dhoondhoge chiraag leke
to bhi paaoge na mere jaisa
tu bemisaal hai
tu bhi kamaal hai
aa ha
tu bemisaal hai
tu bhi kamaal hai
to phir aaj hi kar do haan
kabhi to haan haan haan kaho na
na na ji na na na meri jaan
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4821 | Post No. : | 16597 |
“Bhakt Pooran”(1952) aka “Parasmani” was a partially colour film. This mythological movie was produced by Vinod Chandra Desai and directed by Dhirubhai Desai for Vinod Films, Bombay. The movie had Nirupa Roy, Shahu Modak, Vanmala, Sapru, B M Vyas, Niranjan Sharma, Lalita Pawar, Shanta Kunwar, Radha, Dhuliya, Lathani, Amina, Munnas, Anwari, Pratibha, Ramesh Tiwari, Dilip Pahalwan, M Tandon, Baby Naaz, Pappu etc in it.
“Bhakt Pooran”(1952) had eight songs in it. Four songs have been covered so far.
Here is the fifth song from “Bhakt Pooran”(1952) to appear in the blog. The song is sung by Rafi. Ramesh Chandra Pandey is the lyricist. Music is composed by Chitragupta.
Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this philosophical song.
Song-Re moorakh kis baat par karta hai abhimaan(Bhakt Pooran)(1952) Singer-Rafi, Lyrics-Ramesh Chandra Pandey, MD-Chitragupta
Lyrics
re moorakh kis baat par
karta hai abhimaan
tujhse kitne chal base ae ae
raha na naam nishaan
andha manva nain deewaane
andha manva nain deewaane
andha manva
jaane tujhe kahaan le doobe
jaane tujhe kahaan le doobe
inke kaun thhikaane re ae
andha manva
kya hai tere paas re praani
kis par tu itraaye ae ae
kya hai tere paas re praani
kis par tu itraaye
angaaron ko phool samajh kar phoola nahin samaaye
saja ke jhoothhe sapne suhaane re ae
andha manva nain deewaane
andha manva
panchrang chunri odh ke thhagini
chham-chham naache maaya
laakhon kanchan si kaaya ko o
laakhon kanchan si kaaya ko
mitti ban kar khaaya
to mit gaye ek se ek sayaane re
andha manva
ooncha chadh kyun chamak dikhaave ae ae ae
ooncha chadh kyun chamak dikhaave
kare gagan se baaten
pal mein ye din dhal jaayenge
pal mein ye din dhal jaayenge
hongi andheri raaten
bhed ye moorakh man kya jaane
moorakh man kya jaane
moorakh man kya jaane ae ae
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4794 | Post No. : | 16554 |
Today’s song is from the film Toote khilone-1954. The film was made by Pragati Pictures, Bombay. Produced by N.Mehta, it was directed by Nanabhai Bhatt. Though this was a social film, Nanabhai Bhatt was known for Mythological and stunt films. His real name was Yeshwant and pet name was Batuk. he directed his first Hindi film-Muqabala-42, using his name-Batuk Bhatt. Nana and Batuk indicate the small one or the younger one. Obviously Nanabhai was the youngest sibling. Incidentally, he was the father of Mahesh Bhatt and Mukesh Bhatt, from his second wife-Shirin bai, one time actress.
The Music Director for this film was my favourite and the Melody maker-Chitragupta, with Dilip Dholakia as his usual assistant. Though he always, invariably, made melodious music, more than most other MDs, Lady Luck did not support him wholeheartedly and he remained an MD for generally B and C grade films. He did get a few films from A grade banners like AVM, but it was not enough to stabilise him in that slot.Toote khilone-54 was actually his almost the first Social film after he composed music from 27 earlier films of B and C grades.Lata mangeshkar was very close to Chitragupta. Initially when Lata increased her fees from 100 to 500 rupees per song, Chitragupta told her, ” Lataji, now I will not be able to afford your songs” To this Lata replied,” whenever you need me, just call me. For you this rate will not apply.” And true to her words, she sang for him and never ever charged him. She took whatever he gave her.
Like Chitragupt, his assistant Dilip Dholakia was also not very lucky as a MD. Chitragupta was a very homely and simple fun loving person.They had a group consisting of Lata, Meena, Usha, prem Dhavan and Dilip Dholakia. They used to have a lot of fun at Chitragupt’s home. Chitragupta was a Lalaji (Kayastha in Bihar). Their Non Veg food used to be very good and Lata relished it very much.
In the late 80’s I got introduced to Chitragupta personally, when my best friend’s daughter got married to his elder son. When Chitragupta came to know that I liked their ” Sattu ki Puree”, he invited me to his home for Lunch and we had Sattu Purees, Aloo saag and kheer to our heart’s content !
Today’s song is sung by Asha Bhosle and chorus. Just a few days back, in my write up for the 1000th post, I had said that the film history gets updated from time to time, whenever there is a New Evidence available. For a long time, it was believed that Asha’s first song was from the film Chunaria, under the baton of Master Hansraj Behl. But now it is proved that she sang her first song in the film ” Andhon ki Duniya”-1947, which was released on 10-1-1948. Chunaria -48 was released at the end of November 1948. Raju Bharatan has given this proof on page 287 of his book ” Asha Bhosle-A Musical Biography.”
The cast of the film Toote Khilone-54 was Shekhar (with the real unusual name of Indriya Daman), Purnima, Gulab, Ranjit Kumari, Master Romi, Ginger the Dog and other humans.
The guest artiste was Asha Mathur. She started her film career in a dramatic way. When she was studying in I.T.College in Lucknow, once Kishore Sahu came there as a Judge in their Beauty Contest. Bina Rai stood first, Asha Mathur was Second and one Indira Panchal was third. Kishore Sahu gave a break to all three in his film Kali Ghata-1951. Bina Rai became a well known actress. Indira Panchal chose to leave films and got married into the famous Mahindra family and Asha Mathur had a chequered career.
One of the few educated actresses of her times, Asha Mathur (Sohan Singh in real life) studied up to B.A. Both Asha Mathur and Bina Roy were introduced by Kishore Sahu in Kali Ghata (1951). While Bina Roy was relatively more successful among the two and did some memorable movies including Anarkali (1953) and Taj Mahal (1963), Asha Mathur was relegated to obscure mythical and costume films including Alif Laila (1953), Rajyogi Bharthari (1954), Malka-E-Alam Noorjehan (1954), Amar Kirtan (1954) etc because of her lackluster performances. Her most memorable role was in Poonam (1952), as a suffering wife of Ashok Kumar. She married famous director of her times Mohan Sehgal and left films. She acted only in 18 films. Her last film was Taqdeer-58.
Asha Mathur is a forgotten name today except for the few popular songs picturized on her – Humsai na poocho koi pyar kya hai (Kali Ghata, 1951) and Baanki adayein dekh na ji dekh na(Amanat, 1955).
Ranjeet Kumari’s name was Ranjit Kaur. She was a sikh from Punjab. She acted in only 8 films, from Matwali Meera-40 to her last film Toote Khilone-54. She got married to actor Ramsingh and moved with him to his village in U.P. to become and remain a housewife till her last day.
One of the beauties of old films was Gulab. The First actress from Kashmir to work as a Heroine in Hindi films was GULAB. Her real name was Saraswati Devi. She was born on 10-6-1908 at Jammu. She joined Krishna Film Company in 1924. Her first silent film ‘Krishna kumar’ came in 1925. She worked in 60 silent films. Her last silent film was ‘Dagabaz Dushman’-32, made by East India Film co.Bombay.
Her first Talkie film was Suryakumari-33, made by Vishnu Cinetone. It was directed by Dhirubhai Desai. She sang one song ‘more preetam jab ghar aaye’ composed bu Kikubhai Yagnik. Then came Baburao Patel’s ‘Bala Joban’-34, Sewa Sadan-34 and Nai Duniya-34 ( Debut film of Rajkumari and Jayant). In this film Gulab sang 2 songs.
Gulab was very beautiful and quite popular in the film industry. Some of her films were Bambai ki sethani-35, Challenge-37, Bharosa-40, Pyas-41, Ek Raat-42, Station master-42, Gaali-44, Rattan-44, Mann ki jeet-44, Mirza Sahibaan-47, Lahore-49, Badi Behan-49, stage-51, Post Box 999-58, Chhabili-60 etc etc. She acted in 160 films. Her last film seems to be Haqeeqat-64. She also sang 22 songs in 11 films.
The story of film Toote Khilone-54 , as I found on Cineplot, is…..Pragati Pictures’ “Toote Khilone,” premiered at the Roxy Theatre on March 19th, 1954 is produced by N. Mehta and directed by Nanabhai Bhatt and it is a very good film based on a story-idea whose truth and simplicity invest it with an irresistible appeal.
The deeply moving and very human story, sensitively enacted by Shekhar, Purnima, Asha Mathur and little Romi, tells of a little child and his bewildered sorrow in the midst of domestic troubles. Written by Akhtar Mirza, the story centers on a young married couple and their little son who dotes on his mother’s cousin, Sheela. When the mother dies of cancer, Sheela stays on to look after the little boy and eventually marries his father. Trouble arrives in the shape of Sheela’s mother who moves into the happy household and builds up in her daughter a resentment against the child. The poisonous insinuations of the older woman turn Sheela into a confused and bitter foster-mother, but kindness and love triumph when the heart-broken child runs away. The film reaches a cleverly presented climax in which Sheela and her husband find the child safe and all three happily return home.
Playing his role with restraint and sympathy is Shekhar who puts on a fine performance as the boy’s father. His portrayal of a man who marries a second time so that his child may have a mother is quite flawless. As the young wife, Purnima is superb. Hers is a natural and convincing performance, done with a fine understanding of the role.
A superb performance comes from Romi, as the little boy caught up in a web of circumstances he cannot understand. He is utterly lovable and, together with the wonderful canine star, Ginger, he walks away with the picture’s honors. Gulab turns in another one of her brilliant cameos as the interfering mother-in-law, and Asha Mathur gives an appealing and warm interpretation of the tragic role of Shekhar’s first wife.
Song-Raat rangeelee chham chham naache aaj kisi ke pyaar mein (Toote Khailaune)(1954) Singer- Asha Bhonsle, Lyricist- Anjum Jaipuri, MD- Chitragupta
Chorus
Lyrics
o o o
o o o
o o o
o o o
o o o
o o o
o o o
o o o
o o o
o o o
o o o
o o o
(raat rangeeli chhamchham naache raat rangeeli
raat rangeeli chhamchham naache raat rangeeli)
raat rangeeli chhamchham naache aaj kisi ke pyaar mein
aankh michauli khele chanda pariyon ke darbaar mein
hmm hmm hmm hmm
hmm mm hmm
raat rangeeli chhamchham naache aaj kisi ke pyaar mein
aankh michauli khele chanda pariyon ke darbaar mein
raat rangeeli chhamchham naache
raat rangeeli
raat rangeeli chhamchham naache
raat rangeeli
o o o o o
jhilmil jhilmil chaandni mein
jhoome taara taara
taaron ki baaraat laaya chanda pyaara pyaara
aa aa aa aa aa
aa aa aa aa aa
jhilmil jhilmil chaandni mein
jhoome taara taara
taaron ki baaraat laaya chanda pyaara pyaara
o o o o
o o o
chanda pyaara pyaara
gori gori kirnen naachen sapnon ke sansaar mein
aankh michauli khele chanda pariyon ke darbaar mein
raat rangeeli chhamchham naache
raat rangeeli
raat rangeeli chhamchham naache
raat rangeeli
o o o o o
neeli chunri odhh ke
pariyon ki raani aayi
jaise neele baadalon mein
bijli le angdaai
aa aa aa aa aa
aa aa aa aa aa
neeli chunri odhh ke
pariyon ki raani aayi
jaise neele baadalon mein
bijli le angdaai
o o o o
o o o
bijli le angdaai
meethhi meethhi raagini hai
paayal ki jhankaar mein
aankh michauli khele chanda pariyon ke darbaar mein
hmm hmm mm mm
hmm mm hmm
raat rangeeli chhamchham naache aaj kisi ke pyaar mein
aankh michauli khele chanda pariyon ke darbaar mein
raat rangeeli chhamchham naache
raat rangeeli
raat rangeeli chhamchham naache
raat rangeeli
raat rangeeli chhamchham naache
raat rangeeli
raat rangeeli chhamchham naache
raat rangeeli(o o o o
o o o o
This article is written by nahm, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws
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Blog Day : |
4724 | Post No. : | 16436 |
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Geeta Dutt – Solos and Duets (06)
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Question:
Kitaaben bahot si
padhi hongi tum ne
magar koyi chehra bhi
tum na padha hai
Answer:
Padha hai meri jaan
Nazar se padha hai
Next Question:
Bata mere chehre pe
Kya kya likha hai
The above is a film song from the film ‘Baazigar” written by Zafar Gorakhpuri. There have been some songs in hindi films which refer to ‘Kitaab’, like
Dil ki kitaab kori hai kori hi rehne do and Haathhon mein kitaab baalon mein gulaab.
The second song above is my own post from 2015. As I read it again today, I found that I referred to the ‘Baazigar’ song in that post as written by Sameer, but that’s incorrect. Another reason why I am talking about books today is, in a recent post I talked about film magazines. That evoked a few comments from regulars, which in turn made me remember a lot of mishaps or near misses, which have happened in my life.
My love for reading has always been an important factor in my life. Not necessarily, useful things or text book learnings, but anything on any topic that catches my fancy and is readable and reasonably understandable to my unscientific mind. Scientific theories are beyond me, and maths was my weakest subject in school. But I was not at all lacking in analytical abilities and general knowledge, which seems to have gotten me through at least one all india level competitive exam, where lakhs of people aspiring for government jobs tried. It could have been sheer luck that I got most of ‘analytical ability’ part objective type answers correct. It certainly cannot have been the mathematical portion of the exams. One portion was of English language, that must have helped. I kept the ‘Maths’ part for the last, and some of the answers I just marked randomly :-). The exam was for undergraduates, but my father still could not believe it, when he saw the merit list.
Reading, reading and more reading, has made me a more balanced person, where I don’t get easily rattled. Never bored under any circumstances. Magazine is ‘risaala’ in urdu language. I have grown up with all kinds of publications, periodicals, weekly, fortnightly, monthly, and of course the daily newspapers. Digests also, in Urdu and ‘Reader’s digest’ in English. I have read many novels in Urdu too, which are difficult to come by now. I know, digital version is available, if I really want to read them now. All my maternal uncles and paternal uncle, would carry some newspaper or magazine with them whenever they came to our place. Now I go to their places, there is no sign of magazine or newspapers in their household. We can blame this on digital media, which has put paid to the printed material’s role, in our daily lives. It comes DTH, appears cheaper, requires no hard-work or maintenance even. Don’t have to save it from small children. That the children should be kept away from things digital, is another matter.
Thus, I was exposed to different type of publications in English, Urdu, Hindi and Marathi, while growing up. I consider myself fortunate to have seen “Blitz” in English and in Urdu, for e.g. All periodicals published in the south also I have read while growing up, be they political, sports or financial. Maybe in 1993 people still referred to books as ‘kitaab’, but now the word is rarely heard, unless I am watching an urdu drama series. There also only the older generation is heard talking of ‘kitaab’. In school textbooks were ‘kitaab’ and notebooks were ‘copy’ or kaapi.
Living and growing up in a metropolitan city has its own advantages. Major ones in my opinion are, the cosmopolitan outlook that one develops in personal and social aspects, plus the opportunities for growth and success in life professionally, are better. A thriving city is like a big machinery, it cannot afford to let any part of it be disrupted. Be it the lowest of slums or the poshest of locality. And overall people are not bothered what others are doing, which augers well in some ways. In terms of personal freedom and mental well-being.
So here I was, growing up in Mumbai, in which good fortune I had no contribution to make. It was destiny. A couple of things, like missed opportunities that have surfaced in the memory, is a job opportunity in a financial magazine. I got a call for some sort of test they were taking, I must have applied for the ‘trainee’ job, right after graduation. I attempted that test, without knowing what to expect there. I may not have fared well there, as I never got a call or any communication.
Another instance of a missed opportunity is one where I attended a walk-in interview somewhere in the Fort area for some trainee post at TCS in 1990-91. Computers were the new in-thing in the late 80’s and in college we had ‘computer science’ as optional subject. TCS was on its way up to the greater things it achieved in later years. There was group discussion also among the candidates who had turned up that day. I remember there were around 15-20 of us. At the end of it all some were shortlisted, then were told to take up the course, which was costing may be 10000/- or so, I don’t exactly remember. They said that the candidates will be absorbed in the company after that course, but the fees had to be paid. I came home and discussed all this with my parents. I was not so keen on computer programming, as it is, so didn’t press the issue. Theory subject were my forte, and I used to do well in subjects like economics. Late 80’s and early 90’s was also a period of great boom in share markets investments. It turned out that my father has shares of TCS, which he obviously got at the time of issue years ago. Lo and behold, if he knew or had an inkling of the company’s prospects and potential, then he could have guided me in that direction. But that was not to be, as it was not destined to be. After all God Almighty is the best of planners, and it is his will and his alone, that can take us in a particular direction.
Nida Fazli has said accurately:
“waqt se pehle qismat se zyada, kisi ko mila hai na kisi ko milegaa”
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Lakdi jal koyla bhayee
koyla bhayee raakh
Main baawri aisi jali
koyla bhayee na raakh
This is the actual doha, from which the initial lines of the song are inspired. Lyricist is Anjum and the composer of this truet song is Chitragupt. The singers are Geeta Dutt, Shamshad Begum, and Shanti Sharma. Shanti Sharma is a new name for me, but I see in the stats page that she has 2 songs in the blog.
This is a nice qawwali style song, I had saved the link for featuring in this series of Geeta Dutt. One more variation, in the singer’s repertoire for sure. She has been part of many qawwali’s in the career, as she was capable of singing all types and moods of film songs. She was comfortable in the mischievous songs also, with her strong vocals, with a hint of khanak, like Shamshad Begum. Asha Bhosle has in later years, tried to adopt the strength in voice which was a signature of Shamshad Begum and which Geeta Dutt has demonstrated in many songs.
Song-Dekho to dil hi dil mein jalte hain jalne waale (Hamaara Ghar)(1950) Singers- Geeta Roy, Shamshad Begum , Shanti Sharma, Lyrics-Anjum, MD-Chitragupta
All
Lyrics
Lakdi jal koylaa bhayee
Aur koyla jal bhayaa raakh
baaki dushman yoon jale ae ae
ki koyla bhaye na raakh
dekho to dil hi dil mein ean
dekho to dil hi dil mein
jalte hain jalne waale
haay jalte hain jalne waale
dekho to dil hi dil mein
jalte hain jalne waale
haay jalte hain jalne waale
aapas mein mil jul kar hansnaa
khel naseebe waalon ka
haay khel naseebe waalon kaa
aapas mein mil jul kar hansnaa
khel naseebe waalon ka
haay khel naseebe waalon kaa
ho oo oooo
kaam nahin duniya mein kisi ko
dekh ke jalne waalon ka
haan dekh ke jalne waalon ka
aaa aa aa aa
khoob samjhte hain matlab
in ulti seedhi chaalon kaa
hai dhokhe ki ye duniyaa aa
hai dhokhe ki ye duniyaa
kehte hain kehne waale
haay kehte hain kehne waale
dekho to dil hi dil mein
jalte hain jalne waale
haay jalte hain jalne waale
dekh ke ham ko jalte ho
kya seekhe chaal zamaane ki
haay seekhe chaal zamaane ki
dekh ke ham ko jalte ho
kya seekhe chaal zamaane ki
haay seekhe chaal zamaane ki
ho oo o o o
aankhen ho to haalat dekho
deepak ki parwaane ki
haay deepak ki parwaane ki
ooo oooooo
ye baat magar kapti dil ke
nahin samajh mein aane ki
qismat mein jab likkha hai
qismat mein jab likkha hai
rote hain rone waale
haay rote hain rone waale
dekho to dil hi dil mein
jalte hain jalne waale
haay jalte hain jalne waale
Ganga mein nahin Jamuna mein nahin
Posted on: June 22, 2021
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws
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Blog Day : |
4722 | Post No. : | 16433 |
Today’s song is from a Mythological film- Shri Krishna Bhakti-1955. Made under the banner of Combined films Traders, Bombay, it was directed by the Wizard of Trick scenes- Babubhai Mistry. MD was my favourite- Chitragupta. All the 8 songs of this film were written by G S Nepali.
Hindu religion describes how the 10 Avatars of Lord Vishnu (Dashavataar) actually represent the Evolution of the Human race. The 10 Avatars were…
| 1. | Matsya….Life started from water. |
| 2. | Kachha(Tortoise)…. First Amphibian who learned to live both in Sea and on Land. |
| 3. | Varaah (The Boar)….Life solely on Land. |
| 4. | Narsimha….Half qualities of Animal and half of Human. |
| 5. | Waman….Developing Humans. |
| 6. | Parshuram….Human ruled by Emotions |
| 7. | Shri Ram….Perfect Human being. |
| 8. | Shri Krishna….Survival amongst the opposition. |
| 9. | The Buddha….Extreme stage of Sacrifice |
| 10. | Kalki….End of Anarchy and present set up, to start a New Age all over again….Yet to come. |
The most popular among these are, of course, Ram and Krishna. But what was the necessity of these Avatars at all ? Answer to this is in Bhagwad Geeta. BHAGAVAD GITA is one of our cultural heritage books. It is a part of Mahabharat and is also a part of Bramhopnishad-which is a scripture on Yogas.
This is a dialogue between Lord Shri Krishna and Arjun. The legend says that when Kauravas and Pandavas stood opposite each others for a war on Kurukshetra, Dhritrashtra,the blind father of Kauravas asked Sanjay- who had the divine power of seeing the war at Kurukshetra- to describe him the war happenings. Sanjay starts and in the course of his reporting, the entire Geeta too is narrated.
Without going into the details further, enough to stress that Lord Shrikrishna explains to Arjuna that, whenever there is a decline of Dharma and righteousness, He takes birth from age to age (sambhavami yuge yuge), to protect the virtuous, destroy evil-doers and to reestablish Dharma and righteousness.
This is described in the IV chapter, stanzas 7 and 8 in Bhagavad Gita thus-
“Yada Yada Hi Dharmasya
Glanirva Bhavathi Bharatha,
Abhyuthanam Adharmaysya
Tadatmanam Srijami Aham’.Bhagavad Gita (Chapter IV-7)
“Whenever there is decay
of righteousness O! Bharatha
And a rise of unrighteousness
then I manifest Myself!”Praritranaya Sadhunam
Vinashaya Cha Dushkritam
Dharamasansthapnaya
Sambhavami Yuge-Yuge.”Bhagavat Gita (Chapter IV-8)
“For the protection of the good,
for the destruction of the wicked and
for the establishment of righteousness,
I am born in every age.”
Indian filmmakers have made several films on the stories associated with these two Avatars- Ram and Krishn. Lord Ram has always been hailed as the “Purushottam” or the complete man. Personally, I feel that Characters like Shri Ram are not suitable for this age. For today’s times, the best suited is Krishna. While Ram taught us how to rule righteously, Krishna taught us how to win over the Villains and be successful. In today’s context, Krishn-Niti is more suitable,I aver. When your righteous living is in danger due to evil forces, you can not remain like a Purshottam. You will need to adopt Krishn Niti for survival. The best difference between these two can be explained by this Shlok.
Shri Ram – Ahinsa Parmo Dharmah….There is nothing greater than Non violence.
Shri Krishna – Dharma Hinsa tathaiva cha….You are justified to pick up arms for a just cause.
For the last 100 odd years, we were taught only the first part, but now we realise the second part is more suitable for our survival, in these times. Krishna Niti says, there is nothing wrong to adopt unconventional methods if your Right Cause is facing strong opposition. Lord Krtishna’s life was full of interesting episodes and therefore I like Krishna more than Ram, for his relevance to modern times.
Today’s song is from a film which depicts the story of a Krishn Bhakt. It is about how the devotee is saved from imminent death. The story of the film is….
In a village lives a boastful Bramhin Balbhadra Shastri and Cheta-the Krishn Bhakta Harijan. One day Cheta invites several Sadhus for food, whom Balbhadra had insulted. At the time of meals, the Sadhus get more than enough food. At the same time, food from Balbhadra’s house disappears. This enrages Balbhadra Shastri. On Janmashtami day, Shanti- Balbhadra’s daughter serves Prasad to Seva, son of Cheta. Balbhadra is very angry and hits Seva. He becomes unconscious. Same time the Idol in the temple disappears miraculously. People are afraid and request Cheta to invoke God to come back. Cheta sings a Bhajan and Seva comes alive and at the same time the Temple idol returns. All the people start hailing Cheta.
Balbhadra is very angry and decides to kill Cheta, but in the melee, instead of Cheta, Balbhadra kills his own daughter Shanta. Balbhadra accuses Cheta of her murder and takes him to court. Cheta is sentenced to death. On the day of execution, when Cheta is singing a bhajan while on way to the Gallows, suddenly, Shanta comes running and explains that the killed girl was someone else and she was kidnapped. Cheta is freed. Balbhadra repents and Cheta is honoured as a Great Krishn Bhakt.
The great Editor and special effect-Trick scene expert Babubhai Mistri ( 5-9-1918 to 20-12-2010), in the beginning, was an assistant with Prakash pictures.Prakash was making a film “Khwabon ki Duniya”- 37, based on the famous novel “The Invisible Man” by H.G.Wells,1897.The shooting started but the basic problem was how to show the ‘invisible‘ man. There was no special effect technique available in India till then, like in Hollywood.
Vijay Bhatt had an assistant called Babubhai Mistri, who accepted the challenge and using a dim light, a black curtain and a black thread to move articles, he achieved the desired results. This made the film not only a hit and popular one, but also a unique one. Babubhai Mistri, thus, became the father of the trick scenes and special effects in India. In the process, Babubhai also earned a nickname of ‘kaala dhaaga‘ (black thread) for the rest of his life, in the film industry.
Babubhai directed 49 Hindi films-mostly B and C grade Mythologicals, Costume, and Historical films. He also directed 1 Telugu and 9 Gujarati films. His first film as a director was Muqabala-42. Surprisingly he started off with a social film, but there was a valid reason. The initial Poster Painter had developed into a skilled Editor and trick scene expert, by his own hard work, encouraged by the Wadia brothers. The film was an unusual film of a story of twin sisters. Wadias wanted Babubhai to do something which will make the film stand out from all other such films.
Directed by Babubhai Mistry, it was the last movie of Fearless Nadia for Wadia Movietone. She had a double role of twin sisters: good Madhuri and bad Rita.
This film was First in India to use Split-screen method for double roles, where both sisters could cross each others, shake hands and talk together. The other attraction was the Night club set, which, in case of police Raid, could be converted into a respected residence in few minutes. It was a great fun to watch these two things.
A happy ending picture, but to see and hear the laboured Hindi dialogues of Madhuri (good Nadia) was another treat.
Today’s song is a bhajan by Mohd. Rafi and chorus.
Song- Ganga mein nahin Jamuna mein nahin (Shri Krishn Bhakti)(1955) Singer- Mohd. Rafi, Lyricist- G S Nepali, MD- Chitragupta
Chorus
Lyrics
Ganga mein nahin
Jamuna mein nahin
mehlon mein nahin
kutiyon mein nahin een een een
jahaan yaad karo Bhagwaan wahin
jahaan yaad karo Bhagwaan wahin
mehlon mein nahin
kutiyon mein nahin
jahaan yaad karo Bhagwaan wahin
jahaan yaad karo Bhagwaan wahin
kyun naam na lekar dhan jode
kaudi ke liye naataa tode
kyun naam na lekar dhan jode
kaudi ke liye naataa tode
sone mein nahin chaandi mein nahin
sone mein nahin chaandi mein nahin
heere mein nahin moti mein nahin
jahaan yaad karo Bhagwaan wahin
jahaan yaad karo Bhagwaan wahin
chupke se ro(?) man ki maala
chupke dekhe murli waala
chupke se ro(?) man ki maala
chupke dekhe murli waala
jantar mein nahin mantar mein nahin
jantar mein nahin mantar mein nahin
dharti mein nahin saagar mein nahin
jahaan yaad karo Bhagwaan wahin
jahaan yaad karo Bhagwaan wahin
paataal gagan jal mein thhal mein
muskaata hua ?? pal mein
paataal gagan jal mein thhal mein
muskaata hua ?? pal mein
mandir mein nahin teerthon mein nahin
mandir mein nahin teerthon mein nahin
Geeta mein nahin Vedon mein nahin
jahaan yaad karo Bhagwaan wahin
jahaan yaad karo Bhagwaan wahin
mehlon mein nahin
kutiyon mein nahin
jahaan yaad karo Bhagwaan wahin
jahaan yaad karo Bhagwaan wahin
- In: "Aankh" song | Dance song | Devnagri script lyrics by Sudhir | Feelings of heart | Geeta Dutt songs | Guest posts | Lyrics contributed by readers | Post by nahm | Rafi songs | Song sung by three or more singers | Songs of 1950s (1951 to 1960) | Songs of 1958 | Usha Mangeshkar songs | Yearwise breakup of songs
- 1 Comment
This article is written by nahm, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4654 | Post No. : | 16320 |
Geeta Dutt – Solos and Duets (05)
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Geeta Dutt – Solos and Duets (05)
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Among the first few songs, I had selected for posting in this series, is this group song, with folksy tune. The film is ‘Chaalbaaz’ (1958), the music is composed by Chitragupt and lyricist is Prem Dhawan. The title of the film evokes memories of late Sridevi and her double role and the comic act in the film of same title in the year 1989.
The song is a brief one for a group song and the lyrics are very colorful, and not just because of the color-coding. Reminds me of a famous song, a truet of Lata-Rafi-Mukesh, with choruses and Rafi Sahab’s alaaps – “Ramaiyyaa Vastavaiyya“. This is a famous song, and we know all about this one.
Present song is not so famous one, but for all I know it might have been a hit and popular one in 1958. Singers are Geeta Dutt, Mohammed Rafi and Usha Mangeshkar. I found it last year on YouTube and saved it for this series, as it sounded folksy and peppy, with the clap sounds enhancing the enjoyment. Apart from ‘Qawwalis’ and the ‘Tappa’ genre, the folk forms use the clap as a rhythmic addition in the song, which must be enjoyable for those not actually singing or playing music instrument, as they can also participate. Hindi film songs are a dime a dozen for using ‘claps’ in songs.
A few such songs (non-Qawwali) which come to mind :
“Laara Lappa Laara Lappa Laai Rakhda” – from ‘Ek Thi Ladki’ (1949)
“Na munh Chhupa Ke Jiyo” – from ‘Hamraaz’ (1967)
“Is Duniya Mein Jeena Hai To Sun Lo Meri Baat” – from ‘Gumnaam’ (1965)
“Ye Chaand Sa Roshan Chehra” – from ‘Kashmir KI Kali’ (1964)
“Suno Jaana Suno Jaana Mere Pehlu Se Mat Jaana” – from ‘Hum Sab Ustad Hain” (1965)
Also there are many ‘garba’ songs which have women dancing with accompanying hand claps.
I have found a pdf file containing list of all Hindi film songs by Geeta Dutt. But I don’t know a way of sorting data, if it is possible in pdf file. I will try to get it converted in excel, that will make it easy to sort data. For example, we can know how many songs Geeta Dutt sang for Chitragupt in her career.
Atulji is doing a great job of collating information of all Lata mangeshkar’s songs year wise viz-a-viz songs posted in the blog. I can see that a similar collation of data is possible with a list of all songs of Geeta Dutt, with the help of this pdf file.
Okay, I found a way. I searched and found 94 times Chitragupt’s name in the pdf list of Geeta Dutt’s songs. So here goes the stats:
| Sr. no. | Name of singer/s | Total songs with Chitragupt | Songs posted in the blog |
| 1 | Geeta Dutt | 94 | 48 |
| 2 | Geeta Dutt-Rafi | 28* | 19 |
| 3 | Geeta-Rafi-Usha Mangeshkar | 2 | 1 |
*Includes 4 truets, two with Usha Mangeshkar and two with S Balbir.
Done with the stats, so let us move to the song, of which only audio is available.
Song – Hamen Maar Gayi Re Tirchhi Najariyaa Tori (Chaalbaaz) (1958), Singer – Mohammed Rafi, Geeta Dutt, Usha Mangeshkar, Lyrics – Prem Dhawan, MD – Chitragupt
Male Chorus
Female Chorus
Lyrics
tinak tinak dhin
dhinak dhinak dhin
tinak dhinak
taat daat dhin tinak
taat dhin
taat tiba bap
bap brrrrrrrrrrr…
ho ooo oooo
ho ooooo
hoy ye……
ambuwa ki daal pe jhoole pade
arey saawan mein tere sang naina lade
hamen maar gayi re
tirchhi najar tori maar gayi ee eee
hamen maar gayi re ea
tirchhi najar tori maar gayi
kaisi ghadi haay naina lade
dil ko hazaar dukh sehne pade
main to haar gayi re
tose sajan main to haar gayi
ae ji haar gayi re ea
tose sajan main to haar gayi
aisi najar se saiyyan ne dekhaa
nanha sa jiya mora dol gaya
ha aaa aaaaaa
ho ooooo
aaaa aaaa
ho oooo
aisi najar se saiyyan ne dekhaa
nanha sa jiya mora dol gaya
dheere se aa ke
ghoonghat utha ke
nainon ki boli koi bol gayaa
haaye
dekhi sooratiya to reh gaye khade
poonam ki raat jaise chandaa chadhe
hamen maar gayi re
tirchhi najar tori maar gayi haan aan
hamen maar gayi re
tirchhi najar tori maar gayi
dhokha hai pyaar jaane saara zamaana
phir bhi kise na yahaan pyaar huaa
ha oooo oooo
ooo oooo
dhoka hai pyaar jaane saara zamaana
phir bhi kise na yahaan pyaar huaa
kis ka kalejaa hai bolo jahaan se
nazron ka teer nahin paar huaa
haaye
baitthe hain haath haaye
dil pe dhare
aage teri marzi hai jo bhi kare
hamen maar gayi re
tirchhi nazar tori maar gayi
ae ji haar gayi re
tose sajan main to haar gayi
ooo ooooo ooo
ooooooo
ae ji to haar gayi re
ooooooo
tose sajan main to haar gayi
oooo ooooooo
ae ji haar gayi re
ooooooo
tose sajan main to haar gayi
ae ji haar gayi re
tose sajan main to haar gayi
————————————————————
Hindi Script Lyrics (Provided by Sudhir)
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तिनक तिनक धिन
धिनक धिनक धिन
तिनक धिनक
तात धिन
तात तिबा
बप बर्रर्रर्रर्रर्र॰ ॰ ॰
हो ओ ओ ओ ओ
हो ओ ओ
होय
अम्बुवा की दाल पे झूले पड़े
अरे सावन में तेरे संग नैना लड़े
हमें मार गई रे
तिरछी नजर तोरी मार गई॰॰ई॰॰ई
हमें मार गई रे
तिरछी नजर तोरी मार गई
कैसी घड़ी हाय नैना लड़े
दिल को हज़ार दुख सहने पड़े
मैं तो हार गई रे
तोसे साजन मैं तो हार गई रे
ए जी हार गई रे
तोसे साजन मैं तो हार गई रे
ऐसी नजर से सैंयां ने देखा
नन्हा सा जिया मोरा डोल गया
हा आ आ
हो ओ
आ आ
हो ओ
ऐसी नजर से सैंयां ने देखा
नन्हा सा जिया मोरा डोल गया
धीरे से आ के
घूँघट उठा के
नैनों की बोली कोई बो गया
हाए
देखि सुरतिया तो रह गए खड़े
पूनम की रात जैसे चंदा चढ़े
हमें मार गई रे
तिरछी नजर तोरी मार गई हाँ हाँ
हमें मार गई रे
तिरछी नजर तोरी मार गई
धोखा है प्यार जाने सारा ज़माना
फिर भी किसे ना यहाँ प्यार हुआ
हा ओ ओ
ओ ओ
धोखा है प्यार जाने सारा ज़माना
फिर भी किसे ना यहाँ प्यार हुआ
किसका कलेजा है बोलो जहां से
नज़रों का तीर नहीं पार हुआ
हाए
बैठे हैं हाथ हाय दिल पे धरे
आगे तेरी मर्ज़ी है जो भी करे
हमें मार गई रे
तिरछी नजर तोरी मार गई रे
ए जी हार गई रे
तोसे सजन मैं तो हार गई रे
ओ ओ ओ
ओ
ए जी हार गई रे
ओ
तोसे सजन मैं तो हार गई रे
ओ
ए जी हार गई रे
ओ
तोसे सजन मैं तो हार गई रे
ए जी हार गई रे
तोसे सजन मैं तो हार गई रे
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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