Posts Tagged ‘D N Madhok’
Dheerey dheerey haank re gaadee
Posted on: April 7, 2024
- In: "Dheere dheere" song | Asha Bhonsle songs | Bullock cart song | Duet | Guest posts | Lyrics by Prakashchandra | Lyrics contributed by readers | Post by Arunkumar Deshmukh | Songs of 1940s (1941 to 1950) | Songs of 1950 | Surinder Kaur songs | Surinder Kaur-Asha Bhonsle duet | Yearwise breakup of songs
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This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5742 | Post No. : | 18264 |
Today’s song is from a ‘not so well known’ film Sabak-1950. Out of 10 songs of this film, 9 are already discussed here. This is the last and final song for YIPPEE.
The sudden demise of Saigal in the early part of 1947 and the stir created by India’s Independence in the latter half of 1947 sent shock waves to the film industry. The exodus of Muslim artistes from India to the newly created nation Pakistan created a void in the industry. The Indian film industry had always been a dynamic one, because it was never tied to any particular style or system. As per need it had always moulded itself to newer environments and adapted to changes – be it style of acting or drama-classical type of songs. Due to its secular nature and readiness to assimilate newer styles and music, the Indian film industry continued to prosper.
From 1947 to 1950 was a period to shed the carried forward outdated music and imbibe new popular music from all over the world. The void in the stock of actors, Lyricists and Composers was almost immediately filled up by the waiting second line trained artistes in every field. In these 3 years new Music directors like Shankar Jaikishen, S.D.Burman, Roshan, Madan Mohan, Khayyam’s entry brought a new breeze of music. New lyricists like Shailendra, Hasrat, Shakeel, Majrooh, Rajendra Krishna, Sahir, Indivar etc pumped in fresh sounding songs and Rafi, Mukesh, Kishore, Talat, Manna Dey etc sang with fresh gusto and the public became ecstatic.
The year 1950 was full of films trying to reestablish Indian traditions and values through its family and social films and the stress on the popular mythologicals and stunt films continued, along with fresh lilting music to cheer up. D.C.Dutt, Ninu Mujumdar, Sardul Kwatra, S.Mohinder, O.P.Nayyar, Ram ganguli etc were new MDs to add to the melody of the old stalwarts like Naushad, C.Ramchandra, Husnlal-Bhagatram, Hansraj Behl, Vasant Desai etc.
Let us take a look at some important films of 1950, out of the total 113 Hindi films made in this year….
AFSAR – Based on the famous ” Inspector General” by Gogol. Suraiya regaled with her songs.
AANKHEN – Debut of Madan Mohan. Odd singers like Raj Khosla and Madan Mohan sang in it. Some songs of Meena Kapoor and Mukesh were hits.
AARZOO – Dilip Kumar- Kamini Kaushal love story on silver screen (and also off screen).
BABUL – The love tragedy of Dilip-Nargis.Excellent songs by Naushad.
BAWRE NAIN – First musical hit of Roshan. A Tragedy film.
DAASAAN – Yet another Tragedy, laced with good songs by Naushad.
JOGAN – Bulo. C. Rani’s best music.
SAMADHI – With the background of Netaji, a story of two brothers. Song ‘ Gore gore, o baanke chhore’ became a Hit.
SARGAM – Another filmistan musical. C.Ramchandra gave excellent songs on classical music, Rock and Roll, African Folk song and even an Arabic music song. All in one film.
GAUNA – Usha Marathe renamed Usha Kiran by Amiya Chakravarti. Anup kumar was the hero.
HAMARI BETI – Nutan launched at 14 years of age. Mother Shobhana Samarth debuted as a Director.
MASHAL – Based on Bankim Chandra’s novel ‘Rajani’. Manna Dey sang one of his best songs ‘ Upar gagan vishaal’.
MUQADDAR – Kishore acted and sang songs.
HAR HAR MAHADEV – Nirupa Roy and Trilok Kapoor made this Mythological, a great Hit. ( they went on to act in 7 more films together). Songs were popular too.
In addition a few films from Madras also enriched Hindi cinema in 1950.
Today’s film Sabak-1950 was neither a Hit film nor its songs became popular. But I can vouch for the fact that this film had very good songs.
SABAK(1950), produced and directed by M.Sadiq under the banner of Sadiq Productions, had music by A.R.Qureshi (the famous Tabla nawaz Allarakha and father of the famous Tabla player Zakir Hussain) with songs by D.N.Madhok.
The cast was Karan Dewan, Munawwar Sultana, Omprakash, Jahgirdar, Abbas, Jillo, Kumar, Cuckoo etc.
The story was interesting.
Thakur(Jagirdar) is a rich person,owner of 10 villages and 10000 bighas of land. Badrikaka (Omprakash) is a poor cultivator, who is Thakur’s enemy. But Thakur’s son Manohar (karan Dewan) is in love with Lajwanti (Munawwar Sultana), daughter of Badri kaka. Both parents warn their children. When Lajo does not stop, Badrikaka takes her to Thakur and demands that both be married. He is insulted and thrown out. Next day, Badri’s Mango grove is destroyed and burnt. He wants to leave the town, but in the fields, he finds a pot of Gold and papers which prove that Thakur is a cheat and all his property belongs to Badrikaka.
Now the situation is reversed. Thakur is poor and Badri is rich, so are their children. The film details how everybody learns the importance of love more than money. It is a SABAK (Lesson) to all.
The director of this film was M.Sadiq, who had ups and downs in his career, but he succeeded, both in India and later on in Pakistan, where he migrated in 1970. He was born in Lahore on 10-3-1910 and died in Lahore on 3-10-1971.
Sadiq was a Cinematographer, writer, s/p and dialogue writer, producer and director-all in one. Kardar knew Sadiq from 1932. M.Sadiq’s father was a Tailor and he was looking after the Kardar Studio’s costume department. He requested that his son may be taken by Kardar. Kardar took him also When he first directed the First Talkie from Lahore ” Heer Ranjha”-1932, its story and screenplay was by Sadiq. He started his career with Thokar-39 as a writer. Around 1940, he shifted to Bombay along with his mentor A.R.Kardar, actor Suresh ( Nazim Ahmed), actor Amar and a few others. While working as Kardar’s assistant, slowly he developed into a Director who directed about 27 films.He directed films like- Namaste, Rattan, Anmol Ratan, Saiyan, Shabab, Musafirkhana, Chhoo mantar, Chaudhavin ka chaand, Tajmahal and Bahu Begum for which he also wrote story and dialogues.
After Khota Paisa-58 Sadiq fell on bad times. He had no films on hand.That was the period when Guru Dutt was also in problems of debts. He wanted to make a film but did not want to direct it. That time Johny Walker suggested the name of M.Sadiq,whose first movie Namastey & another movie Sanjog,both produced by A R Kardar,were released in 1943 & were big hits.His Rattan,released in 1944 ,broke the records all over, in box office sweep. Poonam, Shabab,Anmol Rattan, Pardes, Jawani Ki Hawa, Anjan, were few of his famous movies. The prolific director,however, was now passing through a lean phase & of late he had made light comedies,like Chhoo Mantar, Duniya Rang Rangeeli, Khota Paisa, Musafir Khana etc.
M.Sadiq was brought in & he made the movie at break neck speed & released in 1960. Film Chaudhvin ka Chand needed a director who was fully equipped with muslim background and observation of even small presentations of voice, etiquettes, religion etc. It is all that M Sadiq performed but we must keep in mind Guru Dutt was behind the screen, though uncredited but he had the lion share to beautify the film. The movie proved to be the biggest hit and earned a lot more than other movies made by Gurudutt.M.Sadiq proved to be the saviour for Gurudutt. Gurudutt,not only came out of the cesspool of debt ,but earned enough money to plan his next movie.
The movie proved to be lucky for the good Samaritan M.Sadiq also who was recognized as a specialist of the movies having Muslim background.He got big movies Taj Mahal,Noor Jahan & Bahu Begum (1967),to direct.
Riding on the peak of popularity, after Bahu Begum, Sadiq Sahab left India & migrated to Pakistan. In 1971,there under his own banner he decided to produce Baharo Phool Barsao & for the music & songs he signed Nashad & Shewan Rizvi,respectively. Both had already migrated to Pakistan from India. He started shooting at Lahore Studio. But a calamity struck & Sadiq Sahab passed away after a brief illness on 03-10-1971. The movie was completed by Hasan Tariq & was released in 1972. The movie opened to full houses & celebrated Golden Jubilee at many places in Pakistan. Even in the re-run the movie was a jubilee hit.
M.Sadiq was destined to die at his birth place Lahore.
Today’s song is the last and final song of this film. The film will be YIPPEED with this song. It is a duet by Asha Bhosle and Surinder Kaur. Enjoy….
Song- Dheere dheere haank re gaadi(Sabak)(1950) Singers-Surinder Kaur,Asha Bhosle, Lyricist- D.N.Madhok, MD- A.R.Qureshi
Lyrics(Provided by Prakashchandra)
din gayaa aa aaa aa
shaam aayee eee eee
lekar aayee taaron ke paighaam
ke jaago dil waalon o oo
dilon ki dhadkan par ulfat
ulfat waalon
dheerey dheere haank rey gaadi
dheerey ae dheere haank rey
dheerey dheere haank rey gaadi
dheerey ae dheere haank rey ae
tik na sakengey morey
nain unn raahon pe ae
tik na sakengey morey
nain unn raahon pe aey ae
jaan dil dekar dil liyaa thhaa hamne
pyaar ka saudaa kiyaa thhaa hamne
dheerey dheere haank rey ae ae
dheerey dheere hank rey gaadi..ee..eee
meri raam kahaanee
ambuwaa ke ped sunaayen suntey jaanaa
meri raam kahaanee
ambuwaa ke ped sunaayen suntey jaanaa
jhoom rahaa hai mere saamney
woh samaa suhaanaa
jhoom rahaa hai mere saamney
woh samaa suhaanaa
ang ang ne thirakna seekhaa thhaa
mere dil ne dhadknaa aan aaa
o mere dil ne dhadknaa seekhaa thhaa
dheerey dheere haank rey ae ae
dheerey dheere haank rey gaadi
dheerey ae dheerey haank rey ae
tik na sakengey morey
nain unn raahon pe ae
dheerey dheere haank rey gaadi..ee ee eee
raftaar teri hai ae ae
tez badee o gaadi waaley ae ae
raftaar teri hai ae
tez badee o gaadi waaley ae ae
aisey mein kaisey koyi
meethhi meethhi yaad sambhaaley
aisey mein kaisey koyi
meethhi meethhi yaad sambhaaley ae
peechhey reh gaye khet suhaaney
gaaye jahaan aan aaa
o gaaye jahaan mil milke gaaney
dheerey dheere haank rey aey ae ae
dheerey dheere haank rey gaadi
dheerey ae dheere haank rey
tik na sakengey morey
nain unn raahon pe ae ae
dheerey dheere haank rey gaadi..ee
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5723 | Post No. : | 18243 |
Today’s song is from an obscure film Insaan-1952.
The year of 1952 – It was just 5 years since we got our Independence and only 2 years after we became a Sovereign Democratic Republic, totally and actually free from the last contact with the British Empire, like being called a ‘Dominion Republic’. The General Elections were over and a Congress Government, as expected, took over as the new ruler. As far as the film industry was concerned, there was a huge crowd of new producers, who had a lot of black money to invest. This increased the number of films, but the quality was the victim.The proportion of quantity and quality was inverse. Film federation or the Indian government was unable to control this influx of outsiders.
The number of films rose from 97 in 1951 to 105 in 1952, only to go down to 98 in 1953. However, from 1954 (117 films) the number became steady till the China war in 1962. In the year 1952, the Government established ‘ Directorate of Film Festivals’ and from 24th January to 1st February 1952, an International Film Festival – the first in India – was organised in Bombay. Though it was our First festival, 23 countries exhibited 140 films. This gave many lessons to our filmmakers about the quality, content and the technique of films.
Let’s look at some noteworthy films of 1952. Mehboob’s colour film ” AAN “, made with a budget of 35 lakhs, earned 10 times more-3.57 crores. The film was shot as Black and white in 16 mm. The print was sent to the UK to blow it up to 35 mm and make it Technicolour. Dilip Kumar, Nadira, Nimmi and Naushad made this film memorable, with the story adapted from Shakespeare’s ” Taming of the Shrew” and lovely songs.
Baiju Bawra had songs which are popular even today. The first Hindi film of actress Padmini -Mr. Sampat was a comment on Indian politicians. Dilip’s Daag and Dev Anand’s Aandhiyan were ordinary films with good music. But Jaal, starring Dev and Geeta Bali was a Hit film. Anhonee had a double role of Nargis. Anand Math, based on the Independence struggle of 1857 had ‘ Vande Mataram’ in a different but loveable style . This was Hemant Kumar’s first Hindi film as a Music Director. Other good films were Yatrik, Ratnadeep and Chhoti maa.
O.P.Nayyar’s first film Aasmaan, Bewafa,Narayan Dutt’s first film Mordhwaj, Poonam with all 9 songs by Lata Mangeshkar, Parchhain by Shantaram, Debut film of Raaj Kumar (jaani fame) Rangeelee, musical film Sangdil were entertainers. Film Zalzala showed Dev Anand dying at the end. The only other film in which Dev Anand ever died was The Guide-1965. Dev Anand was not an expert in dying in films, like Dilip Kumar, who died in 7 films. Although Dilip earned the title of ” Tragedy King”, he paid heavily with his mental health and he had to seek psychiatric treatment. Azaad-1955 changed his track finally !
In all these films of 1952, the film Insaan was nowhere. It was just an ordinary film, but its songs were really and surprisingly very good. When you hear today’s song, you will agree with what I said. It was a social film, produced by G.J.Mohala. Directed by Jagdish Sethi, the film had music by B.N.Bali. The cast of the film was Prithviraj Kapoor, Ragini, Kamal Kapoor, K.N.Singh, Raj kumar, Chaman Puri, Roopmala, Kanhaiyalal, Cuckoo etc.
Actress Ragini, one time a famous and popular actress of hindi films of the 40’s had migrated to Pakistan after Partition. She was especially called to India to work in 2 films, namely Chamkee and Insaan, both in 1952. After these films she went back to Pakistan.
Ragini was born as Shamshad Begum, on 11-12- 1923, at Gujranwala, in a bazaar, where, to quote that great sage, Agha Hashr, “Days are dormant and nights wide awake.” Her mother named her Shamshad Begum, and her father, Seth Diwan Parmanand, happily allowed a Muslim name. But, her mother died during her childhood, and Diwan took this young girl from Gujranwala to Lahore.
Even this early, Ragini had the looks that made her noticeable. In those days, the classical sense of beauty was quite different. Large, sparkling eyes and a fair complexion was enough for any girl in the films to be termed beautiful. Aahoo Chashm Ragni and Pari Chehra Naseem (Saira Bano’s mother) were both considered the epitome of beauty, although young people question those attributes today as “just average”. Ragini had Brown eyes. In Indian cinema there were only 3 Heroines who had such Brown eyes. Ragini was one, Kamla Kotnis was second and the third was Vanmala.
Ragini was not able to go to school for undisclosed reasons, although she had a happy childhood. Diwan Sahab’s good friend, Roop K. Shorey was a well known film maker, and one day, while visiting his house, he noticed the girl child. “Isn’t she cute?” he said. “She has the looks of a fine film actress.” Although Diwanjee had some reservations about allowing the girl to join the industry, Shorey pledged that he would look after her at every step of the shoot. In those days, there were very few girls in the industry. To find a seventeen year old girl as the heroine meant that you had hit the jackpot.
Shorey cast Shamshad as Ragini, in Kamla Movietones’ Punjabi film, Dulla Bhatti in 1940. M.D. Kunwar was the hero, while Ragini played Nooran in the film. It was a hit and people were spellbound by her charm. Her next film, Sehti Murad did not make such a bang. She also did ‘himmat’ and ‘Raavipaar’. Later, she worked in many films before Partition, including her first Hindi film,Nishani-42,,naila,Anarkali,Poonji, Kaise Kahoon, Dasi, Shirin Farhad,farz and others. In Kardar’s film, Shahjahan, Ragini played Mumtaz Mahal, while her first hero, M. D. Kunwar, who had done Dulla Bhatt’s role, characterized Shahjahan with great aplomb. Kunwar was so enamoured of Ragini that he had requested Kardar for the role, to be close to Ragini. Unfortunately, Ragini did not respond to his romantic advances, and Kunwar sank himself in perpetual drunkenness, which led to his getting infected by tuberculosis and his death soon after that.
After Kardar’s Shahjhan, Ragini did a few more films before Partition, namely Nek Parveen, Farz, etc. Amongst these, director Niranjan’s film, Farz was Sudhir’s first film too, and Ragini played the lead with him. Ragini acted in 14 Hindi films, before her migration. Ragini got married to mian Mohd. Aslam in 1945 and took a break to raise a family. After Partition,she migrated to Pakistan and was welcomed with open arms in Pakistan. She worked as the heroine in films like Mundri, Akeli, Nazrana, Beqarar, Shararey, Mumtaz and Zanjeerin Pakistan. Radio Pakistan , during its creative days, used to play the hit songs of Beqarar, Naukar and Bedari in the 1960s. The song from producer S. Gul and director NazeerAjmeri’s 1950 film, Beqarar is still played on the radio. Dil ko laga ke kaheen thokar na khana. It was sung by Ali Bux Zahoor and Munawwar Sultana, and remains one of the earliest hit duets of Pakistani films.
Ragini was an expressive character actress, who did a variety of roles in films like Husn o Ishq, Anarkali, and Aab e Hayat She made a perfect Mumtaz Mahal in Naseem Saqlain’s Taj Mahal, although she wore a half veil in some of the scenes. It was a remarkable spectacle, but flopped because the local audience could not understand its historical significance. A huge expense to uplift it, with superb costumes, apart from the details taken care of during the royal procession shown in the film, are its high points. Ragini was able to use her arching eyebrows and expressive eyes brilliantly in Taj Mahal. Much has been written about her intimacy with famous producer, S. Gul, but he always maintained and proved by his actions that he had sympathy and reverence for her and shared her grief and heart felt fondness for the good times she had spent in the undivided India.
Ragini was invited to India to do two films, Chamkee-52 and Insaan-52. She completed these and went back to Pakistan. Later she divorced her first husband and married producer Gul. Her last days in Pakistan were very sad. She was thrown out of her house by her Son in Law,as he did not want an actress in his house..She was left alone and bedridden due to Arthritis in just one room.Despite many appeals on Radio and TV in Pakistan,nobody helped her,except one fan from India who went all the way to Pakistan and helped her to some extent.She died in misery and loneliness on 27-2-2007 at Lahore at the age of 85 years. (information collated from various sources like pak.mag, cinerang by Isaq Mujawar, muVyz, HFGK,Flashback,Chanderi Smriti Chitre by Samant and my notes).
The Hero of this film was Kamal Kapoor, whom our readers will recall as a badman in many films of the 80’s and the 90’s, especially due to his Eyes ! His snake-like eyes and fair skin made him look more like a KGB or Nazi baddie. Prithviraj Kapoor’s cousin, Kamal Kapoor, acted in over 600 films, spanning across three languages. He started off as a hero but with little success. From the Sixties onwards, Kapoor switched to playing a minor villain. His notable work includes Don, Gora aur Kala, and, of course, Mard, where he played the evil General Dyer.
Born on 22nd February 1920 in Lahore, Kamal Kapoor completed his education in Lahore. He started his career in 1944, with Prithvi Raj Kapoor, working in his theatre. Kamal Kapoor’s debut film was the 1946 release, ‘Door Chalein’. This movie, produced under the banner of Durga Pictures was directed by Phani Majumdar and the music composer was K.C.Dey while Kamal Kapoor and Naseem were the leading pair. Kamal Kapoor played Raj Kapoor’s father in ‘Aag’ (1948) which was also Raj Kapoor’s debut film as producer-director. Later he got numerous offers to play similar roles which he flatly refused to do.
Kamal Kapoor’s career as a villain started with the film “Johar Mehmood In Goa” which was released in 1965. This movie proved to be a big hit thus putting an end to the bad times for Kamal Kapoor. Soon he was flooded with work and was offered to play different characters in films like “Johar In Bombay”, “Johar Mehmood In Hongkong”, “Jab Jab Phool Khile”, “Raja Aur Rank”, “Dastak”, “Pakeezah”, “Paapi”, “Chor Machaye Shor”, “Five Rifles”, “Do Jasoos”, “Deewar”, “Khel Khel Me”, “Mard” and “Toofan”.
He once again got a chance to play Raj Kapoor’s father in the 1967 release “Diwana”. In his career spanning over five decades he acted in over 200 films in Hindi, Punjabi and Gujarati languages. He played different kinds of roles from a gangster to a police officer. He played the role of Don’s right-hand man Narang in Don (1978). This blue-eyed actor always had a powerful presence on screen. He worked in 152 films – from Door Chalen-46 to Aakhri Sanghursh-97( last film). Kamal Kapoor died on 2nd August, 2010.
Today’s song is sung by Asha Bhosle. I liked this song very much. I am sure readers will also like it.
Song- Do dil hotey saajna to bada maza thha (Insaan)(1952) Singer- Asha Bhosle, Lyricist- D.N.Madhok, MD- B.N.Bali
Lyrics
Do dil hotey saajna to bada maza thha
do dil hotey
oye do dil hotey saajna to bada maza thha
ik dil detee dard ko
ik tumhen diya thha
ik dil detee dard ko
ik tumhen diya thha
do dil hotey
oye do dil hotey saajna to bada maza thha
do dil hotey saajna to bada maza thha
jab ghadee ghadee ik dil ro deta naam tumhaara leke
jab ghadee ghadee ik dil ro deta naam tumhaara leke
dooja dil usko parcha leta tasallee deke
in nit ke ghamon se jaan hamaari
in nit ke ghamon se jaan hamaari chhoot jaati ko kya thha
do dil hotey
oye do dil hotey saajna to bada maza thha
do dil hotey saajna to bada maza thha
phir nain kabhee bechain na hotey
phir nain kabhee bechain na hotey
ruktey na palakon mein aansoo aake
ruktey na palakon mein aansoo aake
kabhee dar dar ke main jaag na uthhtee
kabhee dar dar ke main jaag na uthhtee
nindiyaa se ghabraa ke
main naam na lab par laatee uskaa
jisne dard diyaa thhaa
do dil hotey
oye do dil hotey saajna to bada maza thha
do dil hotey saajna to bada maza thha
ik dil detee dard ko
ik tumhen diya thha
ik dil detee dard ko
ik tumhen diya thha
do dil hotey
oye do dil hotey saajna to bada maza thha
Prabhu aaye tore dwaare
Posted on: February 6, 2024
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5681 | Post No. : | 18195 |
Today’s Bhajan is from a Devotional film (भक्ति प्रधान ) – Bhakta Raj-1943. This was a film made by Jayant Desai Productions, Bombay. It was directed by Jayant Desai himself. The Lyricist was D.N.Madhok and the music was by C Ramchandra.
This was the first film of C.Ramchandra, as a well paid Music Director of Jayant Desai productions and also a steady beginning of his career. C.Ramchandra has written a very interesting account of those days in his Marathi Autobiography-‘ Mazya jeevanachi Sargam’ (माझ्या जीवनाची सरगम ). The date was 19-11-1942 and C.Ramchandra got married with his first wife ‘Ben’ aka Ratan Thakur. This was a love marriage and it was done against the wishes of both the families. They got married in the temple at Arya Samaj, in Matunga, Bombay. Only 3 friends were in attendance. One of them was his Best friend Master Bhagwan. After marriage they stayed in their 2-room tenement. In one room a friend stayed with his wife and in the other his mother and sister stayed. C.Ramchandra and his wife slept in the gallery for their First Night.
His mother and sister left him and he took another 2 room flat elsewhere for them. The Marriage brought good luck and Jayant desai called him to join his company as an MD, on a princely salary of Rs. 300 pm. His first film was Bhaktaraj in 1943. The film celebrated the Silver Jubilee. He did 5 films with Jayant Desai, namely Bhaktaraj, Zaban, Manorama, Lalkaar and Chandragupta. All these films were successful. It was Jayant Desai who changed his name from Ramchandra Narhari Chitalkar to C.Ramchandra, to suit the Cine Industry.
In 1946, he left Jayant Desai on the issue of increased salary and within a few days joined Filmistan at a salary of Rs. 1000pm. This change altered his life totally…….
The story of film Bhaktaraj-1943 was based on a character – Ambarish – found in Bhagwat Puran, in which King Ambarish ruled in Satyayug. Taking this name and a part of the original story, a new ” Khichdi” story was written for this film. The star cast of this film was Vishnupabnt Pagnis, Vasanti, Kaushalya, Mubarak, Kantilal, Nurjahan Sr. and many others. Vishnupant Pagnis was a popular star in those days. In 1936, Prabhat Film Company had made a Marathi film ” Sant Tukaram”, in which Vishnupant had played the role of Saint Tukaram. This film became very famous not only all over India but even abroad also.
Vishnupant Pagnis was born in a small place Chikodi, near Kolhapur, on 1-11-1892, in a lower middle class family. After formal education, he was assisted by Shahu Maharaj of Kolhapur state to join a Drama company at the age of 10 years. He sang naturally, without any training from an expert. He was a popular artiste doing female roles, till his entry in films. He shifted to work in various drama companies including “Lalit Kaladarsh” of Mama Varerkar- a name connected with many Marathi and Hindi films of that time. In 1913, he floated his own company ‘ Jagchitradarsh ‘, only to wind up after two years in 1915. He continued working in dramas and doing female roles, for which he was famous in those times.
After a few years, he left drama acting. In 1920, he worked in a silent film, Surekha Haran. In this film V Shantaram had also acted. After this he worked as a Music Teacher in Municipal school at Girgaum in Bombay. After his wife died, he lived with his friend Petkar. They started a Gold Jewellery shop “Pagnis Petkar and Mandali” in Girgaon.
When Prabhat Film company planned to make Sant Tukaram, a search was undertaken for the main role and the main female role. This was in early 1936 and he was selected for the role of Tukaram, while a worker in the Prabhat company-Gauri – was selected as his wife. The Director duo of the film- Damle and Fattelal- were not happy about his selection, because his name was associated with female roles. But this became his strong point for the film in which he portrayed a soft, kind and loving Tukaram. He did the role so well that the film Sant Tukaram became an International Hit, in addition to running to full houses in Non Marathi areas like Madras Presidency, covering Andhra, Tamilnadu, Kerala and Karnataka and also in Bengal and Punjab. He became an actor in great demand for Saint films. After the film Sant Tukaram, hundreds of people used to crowd in his shop at Girgaum to pay respects and touch his feet as Tukaram. He also always dressed like Tukaram thereafter !
Vishnupant Pagnis worked in 4 more such films, namely Sant Tulsidas-39, Narsi Bhagat-43, Bhakta Raj-43 and his last film Mahatma Vidur-43. He also gave music to 2 films, Sant Janabai- 38 and Sant Tulsidas-39 (Marathi). These two and Mahatma Vidur were also made in Marathi language. His most famous film Sant Tukaram was released in Hindi only in 1948, but without his songs, because he had died on 3-10-1943. The MD- Snehal Bhatkar sang his songs in the Hindi version.
Vishnupant Pagnis did the immortal role of Tukaram in his first film and then lived the role throughout his life, though he did 4 more films in the same Genre of Saint films.His name became famous not only in India but also in other countries, when this film was hailed as “one of the 3 Best films in the world”at the Venice Film Festival, where it won accolades.
Records of his Bhajans from this film created records ( we too had these records in our house in the 40s.) Even today this film is shown and discussed in the film Institutes of many countries.Many books, essays and articles are published on this film. His performance as Tukaram has become a major reference-point in debates about Indian performance idioms: e.g. Kumar Shahani’s essay The Saint Poets of Prabhat, 1981; Geeta Kapur’s Mythic Material in Indian Cinema, 1987 etc etc.
In the film Bhaktaraj-1943, the queen’s role was done by actress Kaushalya. Kaushalya was born at Lucknow on 12-12- 1929. She was the daughter of the famous dancer Lachhoo Maharaj and actress Daya Devi. Being brought up in the house of dancer and actor, Kaushalya picked up Dance, Music and acting very early. She appeared as a child artiste in films from 1936, when she was just 7 year old. She worked in 11 films as a child artiste. After the film Devbala-38, she did roles in Bhole Bhale and Uski Tamanna-both in 1939, made by Sagar Movietone. She even sang in both films.
Then came films like Darshan and Ghar ki laaj, both 1941, and Baraat, Bharat milap, Rai Saheb, Station master and Swapna, all 42. The work poured on her till 1946, when she got married to a boy from Calcutta, when she had gone there to do films. After marriage she found it difficult to work in films, but continued for some more films, till her last film Ek Do Teen-1953.
In all Kaushalya acted in 27 films and sang more than 100 songs in about 35 films, in her short career. As a Heroine she had worked with Prithviraj Kapoor, Ulhas, Kumar, Ishwarlal, Trilok Kapoor etc.
Today’s Bhajan is sung by Visnupant Pagnis, Kaushalya and Kantilal. Enjoy….
Song- Prabhu aaye tore dwaare (Bhakt Raj)(1943) Singers- Vishnupant Pagnis, Lyricist-D.N.Madhok, MD- C.Ramchandra
Vishnupant Pagnis + Kaushalya + Kantilal
Lyrics
Prabhu aaye tore dwaare
Prabhu aaye tore dwaare
maare
maare haare
haare maare
maare haare
haare
de darshan bhakton ke pyaare ae
de darshan bhakton ke pyaare
Nand dulaare RaadheShyaam
Nand dulaare RaadheShyaam
bhajo pyaare pyaare naam
RaadheShyam RaadheShyaam
bhajo pyaare pyaare naam
RaadheShyam RaadheShyaam
RaadheShyam RaadheShyaam
RaadheShyam RaadheShyaam
RaadheShyam RaadheShyaam
bhajo pyaare pyaare naam
RaadheShyam RaadheShyaam
bhajo pyaare pyaare naam
RaadheShyam RaadheShyaam
RaadheShyam RaadheShyaam
RaadheShyam RaadheShyaam
RaadheShyam RaadheShyaam
RaadheShyam
Prabhu
raakhe tu jaako
Prabhu
raakhe tu jaako
koi maar sake na waako
koi maar sake na waako
toohi bhakton ka rakhwaalaa aa
toohi bhakton ka rakhwaalaa
jab jab bhaktan kare keertan
naache Nandlaala
jab jab bhaktan kare keertan
naache Nandlaala
bhola bhaalaa mora kaalaa
Brij ka gawaalaa aa
Brij ka gawaalaa aa
jab jab bhaktan kare keertan
naache Nandlaala
jab jab bhaktan kare keertan
naache Nandlaala
jab jab bhaktan kare keertan
naache Nandlaala
jab jab bhaktan kare keertan
naache Nandlaala
teree mahimaa jo gaaye
teree mahimaa jo gaaye
wo sada sukh paaye
wo sada sukh paaye
tum ho sab dukh taaranhaare
tum ho sab dukh taaranhaare
Nanddulaare RaadheShyaam
Nanddulaare RaadheShyaam
bhajo pyaare pyaare naam
RaadheShyaam RaadheShyaam
bhajo pyaare pyaare naam
RaadheShyaam RaadheShyaam
RaadheShyaam RaadheShyaam
RaadheShyaam RaadheShyaam
RaadheShyaam RaadheShyaam
RaadheShyaam RaadheShyaam
RaadheShyaam RaadheShyaam
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5582 | Post No. : | 18055 |
Today’s song is from the film Panna Dai-1945.
One year earlier i.e. in 1944 another film Panna-1944 was released, but that one was made as a British War Propaganda movie. In that movie, the lead actress Geeta Nizami was awarded Rs. 6000 for her role, by the British Government ! Of course, the film Panna Dai-1945 was clearly a film on the historically famous Panna Dai of Rajputana for her singular supreme sacrifice for saving her King’s heir from the enemies.
This historical film was directed by Ram Daryani and the Music Director was Gyan Dutt, who composed music for 8 songs written by D.N.Madhok and 2 songs by Dewan Sharar. The cast of this film was Durga Khote, Chandra Mohan, Meenakshi (Shirodkar), Master Vithal (this was his last film in Bombay, before he retired to his hometown-Kolhapur), Gope, Gulab, Leela Mishra, Nanasaheb Phatak, Azuri, Ratan Piya and a host of other artistes. There are always unusually more actors in any Historical film.
During the 1930’s decade, the common people in India had 2 major sources of entertainment. One – Stage Dramas and Two – the recently started Radio. The first one was financially accessible to the people, but Radio was still a Richman’s preserve. The organised Radio started from 23-7-1927, first in Bombay, then in Calcutta and then in Madras. In addition, books by famous authors in all languages were also available. However films – first the Silent and from 1931 onwards The Talkie films gave the visual satisfaction providing audio and visual pleasures. No wonder this medium soon became the most popular quickly. With the portable equipment films reached the nooks and corners of India.
Due to its attraction, well known artistes from the other mediums like Music, instruments, stage actors and even authors like dramatists and story/song writers were keen to join films. To start with, Bomay being in Maharashtra, the Marathi singers, actors, musicians-vocal and instrumental as well as technicians thronged in majority to the film industry. From stage, famous actors like Bal Gandharva, Bapurao pendharkar, Hirabai Badodekar, Sureshbabu Mane, Govindrao Tembe, keshavrao Bhole, Master krishnarao, Dada Chandekar, Dhammankhan, B.R.Devdhar, Vishnupant pagnis, P.L.Deshpande, G.N.Joshi and many others joined films. Writers like V.S.Khandekar, N.S.Phadke, H.N.Apte etc also contributed to films.
From Hindi and Urdu, contributions came from people like Narayan Prasad Betab, Pt. Sudarshan, Agha Hashr Kashmiri, Pt. Narottam Vyas, Amritlal Nagar, K.M.Munshi, Safdar Aah Sitapuri, Kazi nazrul Islam etc who joined films. Several musicians also joined. Not many readers may be knowing that even the great Indian poet writer Rabindranath Tagore had also acted in and directed a film – ” Natir Puja” in 1932.
In today’s film, a very well known,popular and prestigious actor from the Marathi stage -Nanasaheb Phatak – did a role. ‘Nanasaheb’ Phatak was a great actor in Marathi theatre who left a memorable impression with his deep voice and powerful dialogue interpretation. Born Gopal Govind Phatak on June 24, 1899, he was drawn to the stage at a very young age. He is believed to have been initiated into Marathi theatre through the play Raksha Bandhan, in which he played the role of Giridhar. One of his earliest performances was in Yashwant Tipnis’s Matsyagandha in 1919 as the old king Shantanu.
With the help of his guru, Shri Ganpatrao Joshi, a veteran actor popularly known as ‘The Garrick of Maharashtra’, Phatak reached the height of his career during his time with the Lalitkaladarsha Natak Mandali—from 1921 to 1936. The Lalitkaladarsha Natak Mandali was founded by veteran singer-actor Sangeet Surya Keshavrao Bhosale. On September 20, 1913, the mandali (troupe) premiered a new play, Rakshasi Mahatvakanksha (Demonic Ambition), written by the highly respected playwright Veer Vamanrao Gopal Joshi, at the Bombay theatre. The play established Lalitkaladarsha Natak Mandali as a reputed company in the industry, and prominent playwrights began to hand over their plays to be staged by the troupe. Keshavrao Bhosle also pioneered the use of red velvet curtains in Marathi theatre. During his tenure with the mandali, Phatak gained tremendous popularity performing in plays including Rakshasi Mahatvakanksha in 1914, Warerkar’s Sanyasyacha Sansar (Sanyasi’s Life) in 1919, and Sonyacha Kalash (Golden Spire) in 1932.
Phatak also performed in films, and his major screen credits include the silent movie Bajirao-Mastani in 1925, his role as the evil Kamsa in Akashvani in 1934, the hero Mansingh in Rajput Ramani in 1936, the rival poet in Pratibha in 1937, in Panna Dai-in 1945 and Shivaji in Thoratanchi Kamala in 1941.(only Marathi)
In 1945, he played the role of Sudhakar, the drunkard in Gadkari’s Ekach Pyala, which set a new standard for other Marathi theatre performers. Phatak played this role for over 15 years. His ability to embody a variety of characters led him to perform across genres in drama, ranging from historical to mythological and social to Shakespearean. In 1954, the eminent Marathi writer Vishnu Vaman Shirwadkar, popularly known by his pen name Kusumagraj, adapted Shakespeare’s Macbeth for the Mumbai Marathi Sahitya Sangh as Rajmukut in Marathi. The play was directed by Herbert Marshall, a British director, and starred Nanasaheb Phatak as Macbeth and Durga Khote as Lady Macbeth. Despite stellar performances by these veteran actors, the production did not go well. Art and theatre critic Dhyaneshwar Nadkarni would later attribute this failure to ‘the Indianising of Macbeth’.
Phatak continued to be interested in Shakespeare. Shirwadkar said that Phatak once asked him to write a play to suit old-school actors, so he adapted Shakespeare’s King Lear as Natasamrat (The Actor-Emperor) in 1970 with Phatak in mind. Unfortunately, Phatak could not act in it. Nanasaheb Phatak remained a dominant figure on the Marathi stage for over 35 years. He was bestowed with the Akademi Award for Marathi Stage Acting in 1959. He passed away 15 years later on April 8, 1974. (Thanks to articles from map.sahpedia.org, http://www.marathifilmdata.com, and Natya kalawant from Rasrang .)
Film Panna Dai-1945 was about the supreme sacrifice of an ordinary Dai (one who looks after newborn babies and small children, a sort of pseudo-mother. She substituted her own son to save the heir to the kingdom and saw her son killed in her presence. Her name became immortal in Rajput history. Panna Dai was a 16th century nursemaid to Udai Singh II, the fourth son of Rana Sanga. She was a Khinchi Chauhan Rajput. In Hindi, Panna means ’emerald’ and Dai means ‘nurse’. Udai Singh was left in care of Panna, after Rani Karnavati committed Jauhar in 1535. When Udai was attacked by his uncle Banvir, Panna Dai sacrificed her own son’s life to save him.
Panna Dai was the nurse of Rani Karnavati, who was the wife of Rana Sanga. In 1531, Vikramaditya, the second son of Rana Sanga, succeeded the throne after his brother Rana Ratan Singh II. He was known for being insolent and arrogant. In 1535, Chittor was attacked by Bahadur Shah, causing Karnavati to call nobles and ordinary soldiers to defend Chittor. Those who were forced to leave Mewar or were disgruntled, joined. Unfortunately, the battle was lost, leaving Chittor sacked. However, Rajputs occupied the fort as soon as Bahadur Shah left. With the fort back in Rajput control, Vikramaditya came back from Bundi to rule again.
After the defeat, Vikramaditya’s temperament didn’t improve, causing him to physically abuse a respected chieftain at the court. In this situation, Banvir (Rana Sanga’s nephew), who was the son of a non Rajput concubine of Prithviraj, joined the court. Banvir was ambitious and in 1536, he assassinated Vikramaditya. To remove all obstacles to his claim to the throne, Banvir attempted to assassinate Udai Singh. However, Panna was alerted of the situation, and she was assisted by a woman of Bari caste, who smuggled out Udai Singh from Chittor, carrying him in a basket, while Panna placed her own son, Chandan, in Udai’s place. Banvir came soon after, asking for Udai. Panna pointed at the bed, now occupied by her son, and watched as he was murdered. Banvir arranged a meeting of the court and informed the chiefs that both the heirs were deceased. He then claimed his right to the throne and appointed himself king of Mewar. Panna and Udai fled to Kumbhalgarh, where the governor was a Maheshwari Mahajan, Asa Depura, who agreed to grant Udai protection. Udai Singh was nearly 15 years of age then.
When the rumours of Udai Singh being alive reached Banvir, he called him impostor, but since Udai Singh was around 15 years of age and his maternal relatives from Bundi could recognize him, Udai Singh started getting more and more support. In 1540, Udai and a considerable force from Mewar, marched into Chittor to reclaim his throne. Banvir sent out an army to repel the attack, but he was defeated. Udai Singh was crowned the 12th Rana of the Sisodia Dynasty. His eldest son and successor Maharana Pratap was born in the same year. [Adapted from ‘History of Rajputana’ by Raja Rajwade and wikipedia, with thanks.].
Today’s song is sung by Meenakshi Shirodkar.
Song- Mand mand chalee hawa chalee hawaa (Panna Dai)(1945) Singer- Meenakshi Shirodkar, Lyricist-D.N.Madhok, MD- Gyan Dutt
Lyrics
mand mand chalee hawa
chalee hawa
mand mand chalee hawa
chalee hawa
mera dil naach raha
mera dil naach raha
mera dil naach raha
mera dil naach raha
ambuwa pe koo karti koyaliya
koyaliya
ambuwa pe koo karti koyaliya
koyaliya
mand mand chalee hawa
chalee hawa
mand mand chalee hawa
chalee hawa
daalee pe phool jhoomne lage
ae ae
daalee pe phool jhoomne lage
ae ae
ik doosre ko choomne lage
ae ae
ik doosre ko choomne lage
bhanwre ke kaan mein kali ne kaha
bhanwre ke kaan mein kali ne kaha
chalee hawaa
mand mand chalee hawaa
masti pe bhi masti chhaa gayee
ee ee ee ee ee
masti pe bhi masti chhaa gayee
ee ee ee ee ee
patjhad mein jaise vasant aa gayee
patjhad mein jaise vasant aa gayee
paanee bhi dhun mein naachne lagaa
paanee bhi dhun mein naachne lagaa
chalee hawaa
mand mand chalee hawaa
chalee hawaa
mand mand chalee hawaa
chalee hawaa
mera dil naach rahaa
mera dil naach rahaa
mera dil naach rahaa
mera dil naach rahaa
ambuwa pe koo karti koyaliya
koyaliya
ambuwa pe koo karti koyaliya
koyaliya
mand mand chalee hawaa
chalee hawaa
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 : |
5579 | Post No. : | 18052 |
“Tasveer”(1966) was produced and directed by JBH Wadia for Wadia Movietone, Bombay. This movie had Kalpana and Feroz Khan in lead roles. It also had Helen, Sajjan, Nazir Husain, Lalita pawar, Sabina, Raj Mehra, Rajender Nath, Indira Bansal, Arti, Dalpat, Bismilla, Gaikwad, Badshah, Darshan, Kishan Kumar, Prem and Dog named Rover(Trainer Kamal) etc in it.
“Tasveer”(1966) had eight songs in it. Three songs have been covered in the past.
Here is the fourth song from the movie to appear in the blog. This song is sung by Mahendra Kapoor and Suman Kalyanpur. D N Madhok is the lyricist. Music is composed by C Ramchandra.
The song is picturised as a joyous song on Feroz Khan and Kalpana after Nazir Hussain (playing ladki ka baap) agrees to their wedding after the loyal dog tiger certifies that Feroz Khan is a genuine person. I have not watched the movie, but I am sure the dog is the most good looking creature in the movie as far as I am concerned. 🙂
Lyrics of the song were sent to me by Prakashchandra.
Audio
Video
Song-Chale kahaan ho (Tasveer)(1966) Singers-Mahendra Kapoor, Suman Kalyanpur, Lyrics-D N Madhok, MD-C Ramchandra
Both
Lyrics (Provided by Prakashchandra)
aayyoaayyiyyo hho o o o ho o o o
aayyiyyo hho o o o ho o o o
chaley kahaan ho
chaley kahaan ho
meri dhadkanein badhaa ke ae
na door jaao ab itney qareeb aake
na door jaao ab itney qareeb aake
main dekh loon kaheen tum bhi to naheen aisey ae
jo ghair bann`te hain
apni lagee bujhaake
jo ghair bann`te hain
apni lagee bujhaake
main dekh loon oon oon
jawaab chaahiye iskaa to paas aao
jawaab chaahiye iskaa to paas aao
meri nazron se poochh lo nazar milaa ke
ho o o ho
meri nazron se poochh lo nazar milaa ke
nazar fareb hai ae
nazar fareb hai
kaun iss kaa aitbaar karey
nazar fareb hai
kaun iss kaa aitbaar karey
abhi milaayi abhi chal diye churaa ke ae
abhi milaayi abhi chal diye churaa ke
chaley kahaan ho meri dhadkanein badhaa ke ae
na door jaao ab itney qareeb aake
main dekh loon oon oon
kahaaniyaan sunee sunaayee keh rahee ho
kahaaniyaan sunee sunaayee keh rahee ho
jo baat sach hai dhadkanon se sunn lo aa ke
aa aaa aa aa aa
jo baat sach hai dhadkanon se sunn lo aake
ye dil meraa hai
ye dil meraa hai
magar dhadkanein tumhaari hain ae
ye dil meraa hai
magar dhadkanein tumhaari hain ae
to mil gayee mujhe duniyaa hai tumein paa ke
to mil gayee mujhe duniyaa hai tumein paa ke
chaley kahaan ho meri dhadkanein badhaa ke ae
na door jaao ab itney qareeb aake
chaley kahaan ho o o
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5574 | Post No. : | 18046 |
Today’s song is from the film Pyas-1941.
The year 1941 was an year which would start the realignment, improvement, trials, changes and introduction of new waves in acting, singing, direction and the story contents. Many ‘Carried Forward’ baggage from the silent film era were to be discarded- like Music based on stage and dramas in Parsi, Gujarathi and Marathi languages. New Genres were to be opened up to make this entertainment more acceptable. Additionally the second world war, started in 1939 end period, had an unpredictable duration and the film industry would have to cope up with the British Government’s expectations from the film industry.
1941 was the first year in the second decade of the Talkie Era and it was the beginning of the emergence of a New film industry. When Talkie started in 1931, for many years after that, the films were made by the people who had done work in the Silent films. These films had a spill over for the silent era artistes. Once the films started talking,most silent artistes who could not speak Hindi or Urdu automatically disappeared. Thus started the influx of new actors who could speak Hindi and sing songs, in whatever way they could. Intelligent directors like V Shantaram,Bhavnani, Sohrab Modi, Chandulal Shah, Himanshu Rai, B N Sircar, L V Prasad and a host of Gujarati directors understood that the Talkie needs a different treatment than silent films. Music directors from stage dramas tried their hand in composing film music.
In the next 8-9 years, there was a perceptible change in the film making, acting, singing, and composing music in the films that were made. Quality artistes from the silent era continued for some more years – finally giving way to the new artistes. The 30s and the 40s mostly differed in film music and story contents. The new blood composers like Anil Biswas, C Ramchandra, Naushad, Ghulam Haider, K Datta, Hansraj Behl, Bulo C Rani, Gyan Dutt and many more replaced the Parsi, Marathi and Gujarati drama music to more acceptable lilting songs. Many musical films were made and some everlasting songs were composed by these people. At the end of the 1940s, one more major change in the film industry would take place due to Partition. Let us see some important films of 1941, presently….
JBH Wadia became Chairman of the Film Advisory Board. He produced the First Sindhi film ‘Ekta’-1941. His film Court Dancer was also in English.
Asra– Debut of actor director N A Ansari.
Behan– Mehboob directed this film having an incest suggestive story.
Chandan– Debut of S N Tripathi as an MD.
Chitralekha– First big success of Kidar Sharma. Mehtab’s bath scene caused a ripple.
Dhandhora– Actor comedian Charlie directed the only film.
Doctor– Pankaj Mullick gave excellent songs. First popular song with woof beats-‘Chale pawan ki chaal’.
Jhoola– One of the most successful films like Kangan and Bandhan, starring Ashok Kumar and Leela Chitnis.
Kanchan– First composed song of naushad-” Bata do koi”.
Khazanchi– A milestone in musical revolution with Punjabi Theka, by Ghulam haider. Debut of Shamshad Begum in Hindi films.
Lagan– Saigal, as usual, gives good songs.
Mala– was remade as ‘Amar-55’ with music again by Naushad only.
Naya Sansar– Story of Newspaper world. A novelty. Ashok Kumar’s famous cigarette smoking in films started from this film, solving his problem of ‘ what to do with the hands during acting’ !
Nirdosh– Mukesh sings his first song.
Padosi– Last film of V Shantaram before leaving Prabhat. A Landmark film. “Kaisa chhaya hai ujala” is a popular chorus song.
Pardesi– Debut of actress Anjali Devi (not the southwali) with real name ‘Durgesh’.
Radhika– Debut of Nalini Jaywant.
Raj Nartaki– Ambitious Wadia film in English , Bangla and Hindi. Released in the USA by Columbia Pictures of Hollywood.
Sangam– Amritlal nagar’s first film as a writer. He did 18 films as writer and Lyricist.
Sikandar– A Magnum-Opus from Minerva. Chorus song- ” Zindagi hai pyar se” is very popular.
Taj mahal– Debut of Baby Suraiya as an actress.
Sasural and Ummeed were 2 films in which Noorjehan senior acted and sang. However these films are usually wrongly included in the filmography of Malika E Tarannum Noor jehan. She entered the Hindi films only with film Khandan-1942 at Lahore.
Film Pyas-1941 was made by Murli Movietone. It was directed by Ram Daryani. All the 9 songs were written by D.N.Madhok and composed by Khemchand Prakash. The cast consisted of Snehprabha Pradhan, Ishwar Lal, S.Nazir, Shamim, Gope, E.Bilimoria, Shareefa, Gulab, Majid and others. Film Pyas-41 was a very successful film. It was written by K S Daryani- brother of director Ram Daryani. The film was shot in Ranjit studio. This was the first film of Murli Movietone. The March 1942 issue of Film India magazine reviewed the film and Baburao Patel, for once , was all praise for the film, direction and the acting. The film was released in Imperial Cinema, Bombay on 14-2-1942. While praising the acting of Snehprabha Pradhan, Baburao Patel could not resist the temptation of subtly commenting on her looks, saying, ” she was photographed so nicely that she sometimes looked ‘almost’ beautiful” ! That’s Baburao for you !!.
Here is the film’s story from this review, nicely adapted by our Sadanand Kamath ji, way back in 2016.
Rai Saheb Bhagwandas (Nazir) is a rich man with a modern outlook. His wife has been ailing for some time and is under the treatment of Dr. Sunderlal (E Billimoria) who plots to get rid of Rai Saheb’s wife and her child to install his niece Menaka (Sharifa) as his wife. The ailing wife suspects the plot and one day she runs away from home with her child. She walks to a nearby village and hands over the child to the Village Chief.
After some days, a dead body of a woman is fished out from a river which turns out to be that of Rai Saheb’s ailing wife. He is heart-broken. He searches for the child but fails to find the baby. In the meanwhile, Dr Sunderlal has managed to get his niece Menaka married to Rai Saheb. Now, Dr Sunderlal starts blackmailing his own niece and manages to extract money from her.
The adopted child of Village Chief has now grown up as Chiman and finds a playmate Radha (Snehprabha Pradhan), the daughter of a village doctor. One day, Rai Saheb and his party come to the village for a picnic. Coincidentally, Chiman and Radha meet Rai Saheb who introduces Roop (Shamim), the daughter of Rai Saheb’s close friend, to both of them.
Chiman goes to the city and meets Roop and her elite circle of people. Chiman is fascinated by the glamour of the city. However, Radha compels Chiman to return to the village. At this stage, Relu, a village eccentric who secretly loves Radha, picks up a quarrel with Chiman and spills the beans regarding the mystery of his parentage. Chiman is devastated by the revelation and goes to the city to find out his real parents, unmindful of the fact that Rai Saheb whom he has met is his real father.
During his search for his real father, Chiman meets Dr Sunderlal who tries to kill him by injecting some poison but is saved by Roop. Having completely exposed of his wrong doing, Dr Sunderlal commits suicide. Chiman is restored to his real father, Rai Saheb. Chiman, now a rich man, moves with Roop. Rai Bahadur is happy that Chiman is liking the company of Roop and holds a reception to announce the engagement of Chiman with Roop. During the reception, Chiman remembers Radha but under pressure, he has to reluctantly agree for the announcement of his engagement with Roop. Radha steps into the reception hall and Chiman runs towards Radha.
Now, there is a competition as to who would sacrifice the love for Chiman – Radha or Roop. Ultimately, it is Roop who sees Chiman’s emotional attachment to Radha and decides to give up her claim over Chiman. Radha gets married to Chiman.
The villain’s role of Dr. Sundar lal was done by Eddie Bilimoria. In the early era of the Talkie films the Bilimoria brothers were very famous. First it was D (Dinshaw) and then came E (Eddie) Bilimoria. Eddie was born at Bilimora,in Gujarat, in 1900. At the age of just 13 years he ran away from house to Kirkee (near Poona), to his uncle, to become a Fireman in Railways. Here, he became a Door keeper in a Cinema house and also learnt operating the film projector. Due to ill health, he was brought to Bombay.
One day he went to Imperial Studio to meet his brother Dinshaw. Mistaking him to be Dinshaw, make-up was done to him and he played a role in the film ‘Punjab Mail’. Then onwards he started working regularly in films. As a Hero his first silent film was ‘Raj Ramani’. He worked as Hero in 7 Imperial films and 10 films of Ranjit Studio. His Heroines were Putli, Shanta, Sultana. Madhuri, Padma, Panna and others. When Talkie films started he was Hero in 32 films made by Ranjit, opposite Gauhar, Shanta, Kamla, Mehtab, Madhuri and Sitara etc. He worked in 15 films opposite Madhuri only. Fencing, shooting and horse riding were his specialties as a stunt Hero. He was the First in India to wear Cowboy dress in stunt films.
Char chakram-32, Miss 1933-33, and Nadira-34 were his Hit films. In the film ‘ Sipahi ki sajni’-36, he jumped into Sea from a flying plane, without duplicate. Daredevil stunts were his hallmark. There were hundreds of stitches on his body. After 1939 he stopped getting Hero roles, so did other character roles. After 1953, he was reduced to only an Extra. He did acting till 1973 and then took up a job in a Fridge and AC shop. He stayed in a flat in Kemps corner in Bombay. His last days were not very happy. E.Bilimoria died on 18-2-1981 at Bombay.
He acted in 73 Talkie films, directed 1 film ( sone ki chidiya-48) and also sang 4 songs in 4 films. His first film was Radha Rani-32 and last was Honeymoon-73.
( adapted from ‘Inhe na Bhulana’ by Harish Raghuwanshi, with thanks.)
Here is the comedy song from this film, sung by Ishwar Lal and Gope. Enjoy….
Song-Banaanewaale ghada mujhko banaaya hota (Pyaas)(1941) Singers- Ishwarlal, Gope, Lyricist- D.N.Madhok, MD- Khemchand Prakash
Lyrics
banaane waale
banaane waale
ghada mujhko banaaya hota
mujhe bhi shauk se phir
usne uthhaaya hota
Raadha
o Raadha
tu nahin samjhee Raadhe
ghada mujhko banaayaa hota
banaane waale
ho o
banaane waale
ghada mujhko banaayaa hota
banaane waale
ghada mujhko banaayaa hota
mujhe bhi shauk se phir
usne uthhaaya hota
mujhe bhi shauk se phir
usne uthhaaya hota
ghada mujhko banaaya hota
banaane waale
ho banaane waale
ghada mujhko banaaya hota
banane waale
ghada mujhko banaaya hota
galey mein bainya daal ke humre
galey mein bainya daal ke humre
panghat par le jaati
panghat par le jaati
sharmaati
ithhlaati
sharmaati
ithhlaati
jhaanjhar ki been bajaati ee
jhaanjhar ki been bajaati
ghada mujhko banaaya hota
banaane waale
ho banaane waale
ghada mujhko banaaya hota banaane waale
ghada mujhko banaaya hota
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5537 | Post No. : | 17995 |
Today’s song is from the film Aaj ka Hindustan-1940.
The second world war had already begun in 1939 and the British Government had promulgated many restrictions on the Indian people like rationing of food items. rationing of petrol and other essential items. As far as the Film industry was concerned, the Raw Film used to be imported as it was not yet made in India. The Government started a quota system for the filmmakers, based on a formula of films made in an year on average and many related parameters. This created problems for individual filmmakers who made films at random and had no studio of their own.
All this had social repercussions and gave scope and rise to Black Marketing of almost everything. Cost of living went up and suddenly the number of films made crashed to a low level of only 86 films in the year of 1940. It took some time for the filmmakers to reschedule their policies. The studio system actually became stronger as artistes preferred to stick to their studios to ensure their sustenance.
From the time when the films started being made in 1913 in India, there came some Milestones years which responded to the changes in the industry. The following were the years when industry had to remodel itself as required.
1931 – Sound entry in films. This encouraged more filmmakers who understood the bright future for the films.
1940 – After a decade of experience, the industry did away with the old dramatic acting style and stage music to songs. Fresh and new composers brought in a variety from different states of India.
1942 – The next younger generation started their own studios making the system strong. More talents were employed.
1946/47 – There was an overhauling of the industry, when a sizable number of film people migrated to Pakistan. This brought in new talents, new blood and ideas to fill the gap. The beginning of “The Golden Era” started.
1950 – After the first 20 years of filmmaking the industry shed its old look and adapted to needs of changing times, tried to be with the world outside India, in music and production with modern equipment. Fall of Calcutta as a Hindi film centre.
Now let us take a closer look at the year 1940……
The year 1940 was the end of the first decade of Talkie films. From 1931 to 1939 most of the film music was made and sung by people who were experts in Classical Music. Classical music has never been the area of common people. It was born in Temples and nurtured in the Darbars of Kings and Nawabs. When film music relied heavily on classical mode, it became an imposition on the masses. Luckily, from the last 2 years of the 30’s, film music started changing and the emphasis shifted to traditional and Folk tunes over the classical.
1940 saw the emergence of Naushad with his first film ‘ Prem Nagar”, as an independent MD. He is the one who advocated the combination of classical with Folk music and this was accepted by other MDs. More people now turned to film songs.MDs like Naushad, Anil Biswas, C Ramchandra, Saraswati Devi, Gyan Dutt, Pankaj Mullick and their followers in the later part of the 40’s changed film music upside down.
National Studios emerged from the merger of Sagar Movietone and Mehboob gave his blockbuster milestone film ” Aurat”. Himanshu Rai died untimely and the reigns of Bombay Talkies came into the hands of Devika Rani. Ranjit brought more popular films from its factory. Though there were signs of slow death, New Theaters still continued with musical films. Prabhat brought its third successive Saint film ‘ Sant Gyaneshwar”. Wadias looked after their Stunt films with fearless Nadia and John Cavas.
In the south, SS Vasan started his Gemini Studios. Master Vinayak and P K Atre started Navyug Films. In August 1940, there was a big fire in New Theatres leading to heavy losses. The use of Harmonium was banned on A.I.R. Due to War Times, Raw Film controls were given to the Film Advisory Board. It also gave rise to Black Marketing of Raw film, in addition to already existing Rationing, and a new class of rich investors emerged in the film industry shaking its established Studio Systems and Culture.
The year 1940 made only 86 Hindi films, less than 100 for the consecutive third year in a row. Let us take a look at some important films of 1940.
New Theatres film Aandhi had good music and songs.
Bombay Talkies continued with Ashok Kumar and Leela Chitnis with the film Azaad, but it was not as popular as Jhoola, Kangan and Bandhan.
A dubbed foreign film -“Azadi E Watan” was the only Hindi film for which Malika Pukhraj had sung 2 songs.
Ranjit’s Achhut tackled a social evil, with good songs composed by Gyan Dutt.
A Stunt film of Shankar Vazare ” Aflatoon Aurat” had an English song in it.
Sagar’s last film ” Alibaba” by Mehboob was released. “Aurat” , a Landmark film by Mehboob for National Studios was the origin of its remake ” Mother India” 57’.
Film ‘Bharosa’ by Minerva was based on an Incest story.
Sirco’s offering ‘Geeta’ had a crime story, with double roles of Chandramohan and Durga Khote.
Prakash Pictures film ‘Narsi Mehta’ had Sant Tukaram fame Vishnupant Pagnis and some good bhajans.
Film Usha Haran saw the Debut of Sitara Devi.
Film Zindagi from New Theatres had very good songs by Saigal.
In addition to restrictions, the British Government also needed people’s support for their war efforts. For this they started ” War propaganda films”. Those producers who made films showing war propaganda in favour of the British, were to get extra ‘Raw film quota’. Many producers opted for this and made films by adding some scenes/dialogues/songs to this effect. Films like Panna-1944 and Badi Maa-1945 are some examples. Actress Geeta Nizami even got a reward from the British Government of Rs. 9000 for her acting in Panna-44 and an extra quota for the producers.
Today’s film Aaj ka Hindustan-1940 may also be one such film. I have no idea about its storyline, but looking at its songs like ” Charkha chalao Behno”, it gives an idea about its being a Propaganda film. Made by Ranjit Movietone it was directed by Jayant Desai and the MD was Khemchand Prakash. Lyricist was D.N.Madhok. The cast consisted of Rose, Prithviraj,Ishwarlal, Charlie, Dikshit, Yaqub, Sitara, Tarabai (sister of Sitara and mother of dancer Gopi krishna), kalyani bai etc etc.
Madhok was an interesting personality in the Hindi film industry. It was D N Madhok who was responsible for recommending Naushad to Manibhai Vyas and Naushad got his first film Kanchan as an MD. He started work and composed one song also. But the orchestra players rebelled against Naushad. They could not tolerate that one of them became a composer and started ordering them. Due to their constant non cooperation,Naushad left the film and it went to Gyan Dutt,who not only retained Naushad’s composition but also gave him the credit as MD for that song. The song was ‘ bata do koi kaun gali gaye shyam’ by Leela Chitnis in the film Kanchan which was released only in 1941. After this Madhok took Naushad to Mohan Bhavnani and he got his first film ‘Premnagar-40′ as MD.
The role of Madhok in the early success of Naushad was vital.Apart from helping Naushad to get established,he worked with Naushad in 11 films out of Naushad’s first 14 films,till Rattan 44. D N Madhok was born on 5-9- 1902. He wrote songs,stories,screenplays and dialogues from 1937 to 1969 a span of 32 years.His famous films were,Bhakta Surdas,Tansen and Rattan. Madhok wrote 882 songs in 119 films. He died on 9-7- 1982 in Hyderabad.
He acted in the film Radhe Shyam-1932. He directed 16 films- from Khubsurat Bala-1933 to Naata-1955. He had sung 1 song in his first film Radhe Shyam-1933. He gave music to the film Radhe Shyam-1933.
Though Madhok was prolific and influential,his reputation in the industry was not good. Besides having all types of bad habits, he was often accused of stealing composers’ tunes and selling them to others. In fact he provided Lyrics and tunes as a package, hence he was popular among some composers. In fact Khwaja Khursheed Anwar a highly respected composer of those days is on record, in an interview ( available on Dr. Surjit Singh ji’s website) to prove how Madhok stole his tunes and sold them to others.
There is an anecdote about how Sajjad Hussain snubbed Madhok in this connection. Sajjad was officially the only composer originally for the film ‘Gaali-44’.
Madhok was one of the many lyricists of this film. One day Madhok came to Sajjad with a ready-made tune and Lyrics for the song ‘ ab aaja dil na lage ‘. Self-respected Sajjad was so enraged that he told Madhok, ” Miyan hum Naushad nahin hai. Humen Tarje banani aati hai “. The final result was Sajjad lost the film and it went to Hanuman Prasad. Madhok was vindictive too.
Let us now enjoy today’s duet sung by Sitara and Ishwarlal……
Song- Dagaa dai ke chale gaye ho baalam (Aaj Ka Hindustan)(1940) Singers-Sitara, Ishwarlal, Lyricist- D.N.Madhok
MD-Khemchand Prakash
Unknown male voice
Chorus
Sitara + Ishwarlal+ Chorus
Lyrics
dagaa dai ke chale gaye ho baalam
jamuna ke pul paar
dagaa dai ke chale gaye ho baalam
jamuna ke us paar
ghar aaja nanad ke bhaiyya
ghar aaja nanad ke bhaiyya
ho ghar aaja nanad ke bhaiyya
tere jhoothhe bhaye ikraar
ghar aaja nanad ke bhaiyiya
tere jhoothhe bhaye ikraar
tohe raam duhaayi
hoy
tohe raam duhaayi
hoy
tohe raam duhaayi
koi pee ki nagariya bataaye de
koi pee ki nagariya bataaye de
mohe sainyya ke photu mangaaye de
mohe sainyya ke photu mangaaye de
ho nanadiya
ho nanadiya karo ikraar
haan jamuna ke pul paar
ho nanadiya karo ikraar
haan jamuna ke pul paar
tohe raam duhaayi
hoy
tohe raam duhaayi
hoy
tohe raam duhaayi
aa aa aa aa aa
aa aa aa aa
aa aa aa
dhaan pake ae ae ae
ae ae ae
hey ae ae ae
he he
aur nimbua paake
he he he he
dhaan pake aur
nimbua paake
dhaan pake aur
nimbua paake
dekho sajanwa aake
dekho sajanwa aake
bisar gaye kheton kee duniya
bisar gaye kheton kee duniya
sautan ke ghar jaake baalam
sautan ke ghar jaake baalam
aake balamwaa lo ye bakhaar
jamuna ke pul paar
aake balamwaa lo ye bakhaar
jamuna ke pul paar
tohe raam duhaayi
hoy
tohe raam duhaayi
hoy
tohe raam duhaayi
ghar aaja nanad ke bhaiyya
ghar aaja nanad ke bhaiyya
ho ghar aaja nanad ke bhaiyya
tere jhoothhe bhaye ikraar
ghar aaja nanad ke bhayiya
tere jhoothe bhaye ikraar
dagaa dai ke chale gaye ho baalam
jamuna ke pul paar
dagaa dai ke chale gaye ho baalam
jamuna ke pul paar
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 : |
5503 | Post No. : | 17945 |
“Goonj”(1952) was produced by H S Kwatra and directed by Phani Majumdar for Kwatra arts Productions, Bombay. The movie had Suraiyya, suresh, Sapru, Majnu, Ramesh Thakur, Madan Puri, Randheer, Urvashi, Praveen, Rajni, Uma Devi, Moti Sood, Jugal, Gadadhar Sharma, Darpan, Ravikant, Bhag Singh Joshi, Sohan, Bhagwan etc in it.
The movie had eleven songs in it. Nine of songs have been discussed in the past.
Here is the tenth song from “Goonj”(1952) to appear in the blog. This song is sung by Rafi, Trilok Kapoor (singer), Uma Devi and chorus. D N Madhok is the lyricist. Music is composed by Sardul Kwatra.
This song, sung by three singers and chorus is a delightful song to listen to.
Only the audio of this song is available. I request our knowledgeable readers to throw light on the picturisation of this song. Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this song.
Lyrics of the song were sent to me by Prakashchandra.
Song-Sambhal sambhal kar jaana dil ki maar na khaana (Goonj)(1952) Singers-Rafi,Trilok Kapoor, Uma Devi, Lyrics-0D N Madhok, MD-Sardul Kwatra
Male chorus
Female chorus
Lyrics(Provided by Prakashchandra)
ye lehraate bal khaate raaste (ho o ho o ho o o ho o oo)
ye lehraate bal khaate raaste (ho o ho o ho o o)
kudrat ne haathon se banaaye tere waaste (ho o o o ho o ho o o)
ye lehraate bal khaate raaste
ye lehraate bal khaate raaste
ho o ho o ho o o desh begaanaa (ye lehraate bal khaate raaste)
ho o ho o ho o o desh begaanaa (ye lehraate bal khaate raaste)
sambhal sambhal kar jaanaa
dil ki maar na khaanaa
sambhal sambhal kar jaanaa
dil ki maar na khaanaa
ho o ho o ho o o desh begaanaaa
(ye lehraate bal khaate raaste)
ye lehraate bal khaate raaste
maine sunaa hai is parbat pe
aisey jaadoo chaltey hain aen
haan chalte hain aen ae ae
dekhney waaley donon haathon se ae
kalejaa malte hain ae
hhaan maltey hain ae
maine sunaa hai is parbat pe
aisey jaadoo chaltey hain aen ae ae
hhaan chalte hain aen ae ae
dekhney waaley donon haathon se ae
kalejaa malte hain ae
hho maltey hain
dil ko thhokar(??) paaon tikaanaa
paaon tikaanaa
dil ko thhokar(??) paaon tikaanaa
paaon tikaanaa
ho o ho o ho o o
sambhal sambhal kar jaanaa
dil ki maar na khaanaa
hoo oo oo oooo
sambhal sambhal kar jaanaa
dil ki maar na khaanaa
ho o ho o ho o o ho o (ye lehraate bal khaate raaste)
desh begaanaaa (ye lehraate bal khaate raaste)
lo nain kisee ke poochh rahey hain
kaho kahaan se aaye jee ee
kahaan se aaye jee eee eee
git pit dekh rahee hoon
aise jaisey badey ghabraaye jee
bade ghabraaye jee eee eee
do nain kisee ke poochh rahey hain
kaho kahaan se aaye jee ee
kahaan se aaye jee eee ee
git pit dekh rahee hoon
aise jaisey badey ghabraaye jee ee
bade ghabraaye jee eee
najar najar mein maar na jaanaa
maar na jaanaa aa
najar najar mein maar na jaanaa
maar na jaanaa aaan
sambhal sambhal kar jaanaa
dil ki maar na khaanaa
ooo oo ooo ho o o o o
sambhal sambhal kar jaanaa
dil ki maar na khaanaa
oo oo ooo ooo o ooo(ye lehraate bal khaate raaste)
desh begaanaa (ye lehraate bal khaate raaste)
oo oo ooo ooo o ooo(ye lehraate ye bal khaate raaste)
desh begaanaa (ye lehraate ye bal khaate raaste)
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5467 | Post No. : | 17885 |
Today’s song is from the film Khamosh Sipahi-(1950).
The film was made by Maansarovar Pictures, Bombay, owned by Dinanath Madhok, who was not only its producer, co-director, story and script writer but also its Lyricist. The music was by Hansraj Behl and the film had its co- director Ram Kamlani, the youngest brother of comedian Gope. HFGK gives only 4 names in the cast-Nigar Sultana, Sohan, Gope and David. Surely there must be more artistes but they are not mentioned. This is one of those films which is not available now and no information about its story is available anywhere.
The hero of the film was Sohan (Kapila). His case was one of those youngsters who had no talent but were pushed into films where they failed. Such cases of nepotism were many in the film industry, be it Hindi, Marathi, Bangla, Tamil, Telugu or any other language. In India, nepotism is commonly seen in Industries, Films, Politics and other areas where large money or power is involved.
It is said that ‘No trees can grow under a Banyan Tree’. This is absolutely true and applicable in Film industry. Except in cases like the Kapoor family, i.e. Raj, Shammi and Shashi, who made their bright careers despite the shadow of their Father and other Brothers, we find that many of the sons, daughters, brothers or sisters of many popular and famous film stars were failures and never made it big in Hindi cinema.
We know cases like Suneil Anand, Nasir Khan, Tony Walker, Naina Sahu, Meera Joglekar, Ajit Chitnis, Rajendranath, Narendranath, Anup Kumar, Mallika, Khursheed Jr., Simple Kapadiya, Shivangi Kolhapure, Preeti Ganguly, Radhika and many more. In spite of having all the backing of famous family members, these and so many others just did not make it, because Talents are not always hereditary !
They all were given a fair opportunity to display their talent on the screen , but unfortunately despite their honest effort their skill could not come out & the viewers were left unimpressed. They were selected by big banners and well experienced directors were there to guide them. But their talent remained hidden inside them and with their nonexistent artistry they disappointed their mentors.
Sohan Kapila was the son of Mohandas Kapila, a big financier of Hindi films and a close relative of Tolaram Jalan, owner of Filmistan in the 50’s decade. Sohan entered films as a Hero opposite Geeta Bali in the film Girls School (1949). Then he was in the film Lajawab (1950) with Rehana. His third film was Khamosh Sipahi (1950) with Nigar Sultana. After two more films- Sanskar (1958) and Ek Arman mera (1959) with Jayashree Gadkar, he was taken by Filmistan for the film Chand ki Duniya (1959) with Nalini Chonkar.
Non-actor Sohan Kapila was in the romantic lead of Filmistan’s Babar, which was released in 1960. Hemen Gupta , distinguished director, who earlier had directed Anand Math for Filmistan ,directed the movie and it also had the winning combination of Sahir & Roshan. Dependable character actor Gajanan Jagirdar did the role of great Moghal Emperor Babar. But the movie flopped, as the new hero failed pathetically to register any emotion on his face. A big jolt for Seth Tola Ram Jalaan, who was already facing financial problems. Mr. Kapila appeared in movies like Commercial Pilot officer (1963) and Picnic (1966), in inconsequential roles and disappeared from the scene forever . His daughter Padmini Kapila also pursued a film career, but could not achieve much success .
There were many other actors like him, who got chances to appear opposite illustrious heroines, unfortunately their effort did not leave any impact on the cine loving public. Watching their miserable performance on the screen, no film maker came forward to sign them. Out of sight is out of mind, it was a matter of time when the public as well as the film industry forgot them.
Malhaar, as the name suggests,was a musical film produced by great singer Mukesh in 1951. It had a story by veteran actor S K Prem & its evergreen music was composed by Roshan. The movie had newcomers Arjun & Shammi (Nargis Rabadi). Arjun did get another chance in Daku Ki Ladki to please the viewers with his emoting before the camera, but could not succeed and it was the end of his career in films.
Rattan Chopra the lucky boy was selected for films, among hundreds of aspirants. Mohan Kumar had suffered a huge setback when Aman flopped. He took the newcomer for Mom Ki Gudia, opposite Tanuja, with great hopes. Unfortunately, Mom Ki Gudia too failed to dispel the gloom and sank to bottom. Acting was not his cup of tea, Rattan Chopra understood & wisely opted out of the race of stardom.
K. Amarnath introduced new comer Vijay Kumar in his 1954 offering Alif Laila opposite Nimmi & Asha Mathur. Sohan Kapila and Vijay Kumar had impressive physiques, but had no clue about acting. The movie had lilting music by Shyam Sunder, which was his last contribution towards the film industry. Helen for the first time got a chance to perform solo in the movie & for many decades she remained on top. But for Vijay Kumar it was his first & last chance.
Another non actor Premendra was introduced by old timer Vijay Bhatt in Holi Aayee Re (1970), which was directed by his younger sibling Harsukh Bhatt. It was pathetic to watch Premendra unsuccessfully trying to showcase his imaginary ability in the field of acting. The movie flopped phenomenally & a huge investment made by Bhatt Brothers went up in a cloud of smoke. Premendra was with Kumud Chhugani in Holi Aayee Re.
There were some more like Pratibha Sinha, Archana Gupta, Jayant Gupta, Ashok Sharma, Nusrat Kardar, Rajeev Kapoor, Manish Kumar, Navinchandra, Aroop Kumar, Prashant, Shalini, Kaycee Mehra, Vikram, Shekhar Suman, Deepak Kumar, Ajay, Som Dutt and many more.
Among them, some film names which I remember off hand are Arjun in Malhar-51, Rattan Chopra in Aman-67,Mom ki Gudia-72, Vijay kumar in Alif laila-54, Premendra in Holi aayee re-70, Deepak Kumar in Aabroo-68, Ajay in Wapas-69, Som Dutt in Mann ka meet-68, Vikram in Julie-75, Rajeev Kapoor in Ram teri Ganga maili-85, Shekhar Suman in Utsav-84, Kaycee Mehra in Chhabilee-60 and Mem didi-61, Prashant in Sehra-63, Ashok Sharma in Hamari yaad aayegi-61, Ajit Chitnis in Aaj ki baat-55, Nusrat Kardar in Dard-47, Manish in SaraswatiChandra-68, Rajiv in Nayi umar ki nayi fasal-65, Aroop Kumar in Bezubaan-62 etc etc. ( based partly on an article by M.N.Sardana ji, with thanks).
One of the major differences between the film industry of yore and today is that during the older times, there were artistes who had multi faceted qualities and who shifted from one department to another when needed and excelled. You would see artistes like Badri Prashad who was an actor, Producer, Director, Lyricist, Music Director, Singer and also a Choreographer. There were many like him in those days. Nowadays, every department is of specialised people and we rarely see artistes having expertise in different departments of filmmaking.
Such people diminished from the decade of the 60’s. The last such artiste was perhaps Kishore Kumar. Today’s film Had its director Ram Kamlani and the Lyricist D.N.Madhok who fell in the category of artistes with different skills. Ram Kamlani (DoB 20-10-1919) acted in 9 films from Inaam-1946 to Kashmakash-1973. He directed 5 films- Muskurahat-1943, Khamosh Sipahi-1950, Hangama-1952, Bezubaan-1962 and Biradari-1966. He also sang 22 songs in 15 films from Doosri Shaadi-1947 to Chaalbaaz-1958.
D.N.Madhok (5-9-1902 to 9-7-1982) Acted in one film- Radhe shyam-1932. He also sang one song and he was its Music Director also. He directed 16 films from Khubsurat bala-1933 to Naata-1955. He wrote stories and scripts of many films and finally, he wrote 882 songs in 119 films from Radhe Shyam -1932 to Samay Bada Balwan-1969.
Today’s song is sung by Surinder Kaur. She may not be so familiar to us but she was very popular in Punjab. Singer SURINDER KAUR – The nightingale of Punjab. Surinder Kaur was born in Lahore, on 25-11-1929, in a Punjabi-Sikh family. She was the sister of Parkash Kaur and the mother of Dolly Guleria, both noted Punjabi singers. She sang mainly Punjabi folk songs, where she is credited for pioneering and popularising the genre and later was known as the ‘Nightingale of Punjab’. She also sang songs in some Hindi movies as playback singer, between 1948 and 1952. Surinder Kaur made her professional debut with a live performance on Lahore Radio in August 1943, and the following year on 31 August 1943, she and her elder sister, Parkash Kaur cut their first duet, “maavan te dheeyan ral baithian”, for the HMV label, emerging as superstars across the Indian subcontinent.
Following Punjab’s division in 1947 owing to partition of India, Kaur and her parents relocated to Ghaziabad, Delhi. Next she married Prof. Joginder Singh Sodhi, a lecturer in Punjabi literature at Delhi University. Recognising her talent, her husband became her support system, and soon she started a career as a playback singer in Hindi film industry in Bombay, introduced by music director Ghulam Haider. Under him she sang three songs in the 1948 film Shaheed, including Badnam Na Ho Jaye Mohabbat Ka Fasaana, Aanaa hai toh aajaao and Taqdeer ki aandhi…hum kahan aur tum kahaan. Her true interest however lay in stage performances and reviving Punjabi folk songs, and she eventually moved back to Delhi in 1952.
She sang 58 songs in 22 films in Hindi. First film was Mehendi-47 and the last film was Aandhiyan-52.
In all, Kaur recorded more than 2,000 songs, including duets with Asa Singh Mastana, Karnail Gill, Harcharan Grewel, Rangila Jatt, and Didar Sandhu. Although her collaboration with Sodhi was cut short upon the educator’s death in 1976, she continued the family’s creative tradition via duets with their daughter and disciples, Rupinder Kaur Guleria, better known as Dolly Guleria and granddaughter Sunaini, culminating in the 1995 LP, ‘Surinder Kaur – The Three Generations.
She was conferred the Sangeet Natak Akademi Award for Punjabi Folk Music in 1984, by the Sangeet Natak Akademi, India’s National Academy of Music, Dance and Theatre, the Millennium Punjabi Singer award, and Padma Shri award in 2006 for her contribution in Arts. The Guru Nanak Dev University conferred on her a doctorate in the year 2002.
Towards the later part of her life, wanting to get close to her mitti, Surinder Kaur settled in Panchkula in 2004, with an aim to construct a house in Zirakpur, near Chandigarh. Subsequently, on 22 December 2005, she suffered a heart attack and was admitted to General Hospital, Panchkula. Later, however, she looked up and personally went to Delhi to receive the coveted Padma Shri Award in January 2006. It is another matter that she was painfully aware of the events that delayed the honour for so long, despite her unparalleled contribution to Punjabi music. But even when she received the award she was regretful that the nomination for the same had come from Haryana and not Punjab for which she worked tirelessly through five decades.
In 2006, a prolonged illness prompted her to seek treatment in the US. She died in a New Jersey hospital on 15 June at the age of 77. She was survived by three daughters, eldest, singer Dolly Guleria who lives in Panchkula, followed by Nandini Singh and Pramodini Jaggi, both settled in New Jersey.
When we listen to her songs, we notice the pronunciation of certain words in a different style. For example , please listen carefully to how she pronounces the word “Meherbani” in this song and you will agree with me. The word sounds to me like ” Merbani”.
Song- Meri galiyon ki nishaani wo paani (Khaamosh Sipaahi)(1950) Singer-Surinder Kaur, Lyrics-D N Madhok, MD-Hansraj Bahl
Lyrics
meri galiyon ki nishaani
wo paani
sajan yaad rakhna
badi meharbaani
meri galiyon ki nishaani
wo paani
sajan yaad rakhna
badi meharbaani
bhool jaana na tum ye fizaayen
ye thhandi hawaayen
aah bhar lena chup se
jo hum yaad aayen
jo hum yaad aayen
kya bharosa hai dam ka
ye duniya hai phaani
ye duniya hai phaani
sajan yaad rakhna badi meharbaani
meri galiyon ki nishaani
wo paani
sajan yaad rakhna
badi meharbaani
hum rahen na rahen
par rahe behta paani
hamaari nishaani
thahar jaana jo tumko
pukaare rawaani
pukaare rawaani
lahar uthhke bolegi meri zabaani
meri zabaani
sajan yaad rakhna
badi meharbani
meri galiyon ki nishaani
wo paani
sajan yaad rakhna
badi meharbaani
Main jaadoogar hoon kaareegar hoon
Posted on: June 1, 2023
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Blog Day : |
5431 | Post No. : | 17816 |
“Oot Pataang”(1955) was produced by Navinchandra C Shah and directed by Chandulal Shah for G M Pictures, Bombay. The movie had Usha Kiron, Agha, Anwar, Maruti, Jankidas,Indira, Mumtaz Begum, Vanitha, Rashid Khan, Shammi Chowdhary, Madhuri, Dube, Khwaja Ahmed etc in it. VijayaLaxmi was also there in a guest appearance.
“Oot Pataang”(1955) had nine songs in it. Six songs have been covered in the blog.
Here is the seventh song from “Oot Pataang”(1955) to appear in the blog. The song is sung by Rafi. D N Madhok is the lyricist. Music is composed by Vinod.
Only audio of the song is available which is the title song cum introduction song. I request our knowledgeable readers to throw light on the picturisation of the song.
Lyrics of the song were sent to me by Prakashchandra.
Audio link:
Song-Main Jaadoogar hoon kaareegar hoon (Oot Patang)(1955) Singer-Rafi, Lyrics-D N Madhok, MD-Vinod
Lyrics(Provided by Prakashchandra)
hahhaa haaaa haaaa hhhaaaa
main jaadoogar hoon
kaareegar hoon aayaa cheen se
rakhoon jahaan kadam
sadaa nikley zameen se
hho o main jaadoogar hoon
kaareegar hoon aayaa Cheen se
rakhoon jahaan kadam
sadaa nikley zameen se
oot pataang
o chaachaa cheen chaang
o paapaa peengpang
o maamaa kingkong
do o o o
daadaa daadaaa deen daang
ootpataang
main jaadoogar hoon
kaareegar hoon aayaa Cheen se
rakhoon jahaan kadam
sadaa nikley zameen se
oot pataang
arrey o chiki chikee chikee chikee
ke jaadoogar
koyi khel dikhaa dey
tu..tu tu tu yahaan par
chhoo mantar chhoo mantar chhoo mantar…rrrrr
bol tu hai aadmi ke bandar
aadmi hoon mmmm …mmmm..mmm
mast qalandar..rrr
eengi peengi cheeng chaang
murshid thhaa jo meraa
aingan baingan talee talaingan
badley cholaa teraa
arrey jantar manthar kaam karantar
antar mantar kaam karantar
chhoo ooo oo
ban jaa bandar
do se ban gayee inkee chaar taang
oot pataang
ooo omain jaadoogar hoon
kaareegar hoon aayaa Cheen se
rakhoon jahaan kadam
sadaa nikley zameen se
oot pataang
o chaachaa cheen chaang
o paapaa peengpang
o maamaa kingkong
do o o o
daadaa deen daang
ootpataang
main jaadoogar hoon
kaareegar hoon aayaa Cheen se
rakhoon jahaan kadam
sadaa nikley zameen se
oot pataang
abey o bandar..rrrr
meri minnat kar..rrrrr
teri dum ko ghisaa doon
tujhe phir se banaa doon insaan nar
abey o bandar..rrr…rrr
kar mujhe salaam
jhuk namak haraam
ingee peengee cheen chaang
mursheed thhaa jo meraa
aingan baingan talee talaingan
badley cholaa teraa
jantar mantar kaam karantar
antar mantar kaam karantar
chhoo oo oo oo o ban jaa insaan nar
chaar se ban gayee iskee do o taang
oot pataang
hooo main jaadoogar hoon
kaareegar hoon aayaa cheen se
rakhoon jahaan kadam
sadaa nikley zameen se
oot pataang
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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