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

Posts Tagged ‘D N Madhok


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

5171 Post No. : 17141

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Blog 10-Year Challenge (2012-2022) – Song No. 91
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This date ten years ago (viz 14 September 2012) saw seven songs from seven different movies getting covered in the blog.

Here are the details:-

Blog post number Song Movie (Year) Remarks
6634 Ae dil e beqaraar bol Fariyaad (1942) 3 songs out of 9 covered so far
6635 Kaanta laago re sajanwa mose raah chali na jaaye Basant (1942) Movie YIPPEED by now
6636 Zulm ki nagri mein kisi ka kaun sahaara hai Aas(1953) Movie YIPPEED by now
6637 Mere jaisa nahin milega ulfat ka deewaana Fifty Fifty (1956) Movie YIPPEED by now
6638 Bachke kahaan jaaoge khinche huye chale aaoge Kahaani Ham Sab Ki (1973) Movie YIPPEED by now
6639 Matlab jo samjhe mere sandes ka Baarood(1976) Movie YIPPEED by now
6640 Din ba din wo mere dil se Trishna (1978) Movie YIPPEED by now

One can notice that six movies (out of seven) whose songs were covered on this date ten years ago have since been YIPPEED. That leaves us with just one movie which is eligible for Blog Ten Year Challenge today (14 September 2022).

The sole movie eligible for Blog Ten Year Challenge today is “Fariyaad”(1942).

“Fariyaad”(1942) was directed by Jayant Desai for Ranjit Movietone, Bombay. The movie had Mubarak, Noorjahaan, Shamim, Rama Shukul, Ishwar Lal, Alaknanda, Rajkumari Shukla, Faatak, Baby Kamla etc in it.

“Fariyaad”(1942) had nine songs in it. Three songs have been covered in the blog.

Here is the fourth song from “Fariyaad”(1942). This song is sung by Ishwarlal. D N Madhok is the lyricist. Music is composed by Khemchand Prakash.

Only audio of the song is available. Ishwarlal had acted in the movie so it is clear that the song was picturised on himself.

Lyrics and other details were sent to me by Prakashchandra.


Song-Yaad kisi ki aayi (Fariyaad)(1942) Singer-Ishwarlal, Lyrics-D N Madhok, MD-Khemchand Prakash

Lyrics(Provided by Prakashchandra)

yaad kisee kee aayee ee ee
yaad kisee kee aayee ee

yaad kisee kee aayee ee ee
yaad kisee kee aayee ee
yaad kisee kee aayee ee ee
yaad kisee kee aayee ee
dil ko de dee dard-e-nishaani
dil ko de dee dard e nishaani
aankh mein aansoo laayee
aankh mein aansoo laayee
yaad kisee kee aayee ee ee
yaad kisee kee aayee ee

ro mere armaa..aan
ro meri aashaaa..aa..aaa
ro mere armaa..aaan
ro meri aashaa..aaaa
main bhee to dekhoon tamaashaa
main bhi to dekhoon tamaashaa
jin ke liye ghar phoonk diyaa hai
jin ke liye ghar phoonk diyaa hai
woh nikley harjaayee
woh nikley harjaayee
dil ko de dee dard nishaanee..eee
dil ko de dee dard nishaani
aankh mein aansoo laayee
aankh mein aansoo laayee
yaad kisee kee aayee ee ee
yaad kisee kee aayee ee

beet gayee ab ab yaad na aayein
lab pe mere fariyaad na aayein…aen..aen
beet gaayee ab yaad na aayein
lab pe mere fariyaad na aayein…aen…aen
na main kisee kaa na koyi meraa
na main kisee kaa na koyi meraa
main hoon meri tanhaayee ee ee ee
yaad kisee kee aayee ee ee
main hoon meri tanhaayee ee ee
yaad kisee kee aayee ee
yaad kisee kee aayee ee ee
yaad kisee kee aayee ee
yaad kisee kee aayee ee ee
yaad kisee ki aayee 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.

Blog Day :

5166 Post No. : 17133

Today’s song is a melodious song from a less known film on a well known historical name – ‘Panna Dai’ (1945). The film was made by Pradeep Pictures, Bombay. Directed by Ram Daryani, its MD was Gyan Dutt and the songs were written by Dina Nath Madhok. It had a very sparkling star cast of Durga Khote, Chandra Mohan, Meenakshi, Mubarak, M Ismail, Master Vithal, Gope, Gulab, Leela Mishra, Nana Saheb Phatak, Azuri, Baby Nalini, Ratan Piya and many others in a long list suitable for such a historical movie.

When silent films started in India in the first decade of the previous century, by the time the films became an All India attraction in subsequent years, people were attracted to this new medium of entertainment. The Radio had also started during this period – around 1923 or so – first in Bombay, then Calcutta and finally in Madras in 1924. The organised broadcasting started on 23-7-1927. However it was only audio entertainment and available only in bigger towns and with wealthy people. Films gave the visual satisfaction and from 1931 films became ‘talkie’, providing audio and visual pleasures. No wonder this medium became popular more quickly. With portable equipment, films reached nooks and corners of the entire country.

As the talkie films started, well known artistes in different fields like literature, singing, music performers and stage actors wanted to join this industry. This applied to even the most respected and well known people. The industry was also keen to get such well known artistes and hence some such people did join the industry- albeit for a short period.

Initially, Bombay being the major center for films, the local famous artistes from the Marathi community represented a sizable number in this industry. No wonder then that the famous and well known authors, stage actors, singers and musicians contributed their share in films. Famous stage actors like Bal Gandharva, Bapurao Pendharkar, Hirabai Badodekar, Sureshbabu Mane, Govindrao Tembe, PL Deshpande, GN Joshi etc. sang, gave music and acted. Writers like VS Khandekar, NS Phadke, PK Atre, HN Apte etc. wrote stories, songs and screenplays in Marathi and Hindi films.

It was not only the Marathi bigwigs from stage and literature but even from the Hindi and Urdu famous artistes came to films to give their bits. People like Narayan Prasad Betab, Pt Sudarshan, Agha Hashra Kashmiri, Pt Narottam Vyas, Amritlal Nagar, Kanhaiyalal Munshi, Safdar Aah Sitapuri, Kazi Nazrul Islam, Jigar Muradabadi etc. did some work in films.

From Gujarat too such contributors like Master Vasant, Raghunath Bramhabhatt etc. came and from Bengal a host of writers and stage actors flooded the film industry. (Names of all language artistes are only indicative and not exhaustive).

All these ‘outsiders’ contributed, enriched the films and left for their own respective fields again. One such highly respected and well known stage actor from Marathi dramas was Nana Saheb Phatak. He acted only in 4 Hindi films including today’s film ‘Panna Dai’ (1945). (Bal Gandharva did only 2 Hindi films). Here is a short bio data of Nana Saheb Phatak. it is very difficult to get such information.

‘Nana Saheb’ Phatak was a great actor in Marathi theater 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 theater. 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 theater. 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’ 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 theater 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 Nana Saheb Phatak as Macbeth and Durga Khote as Lady Macbeth. Despite stellar performances by these veteran actors, the production did not go well. Art and theater 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.

Nana Saheb 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.]

Panna Dai’s name is famous in Indian History for her personal sacrifice. She substituted her own son to save the life of the heir of the Kingdom. Her son was killed before her eyes mistaking him for the heir. Here is some information about her.

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 of 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.]

This film was the last film for Master Vithal. After this film, he retired from Hindi films (which he regretted later) and settled in Kolhapur till his death.

Let us now enjoy the second song from this film on this Blog.


Song- Neele gagan par laali chhaayee (Panna Dai)(1945) Singer- Raj Kumari, Lyricist- Deena Nath Madhok, MD- Gyan Dutt
Chorus

Lyrics

neele gagan par laali chhaayee
holi ka din aaya hai
neele gagan par laali chhaayee
holi ka din aaya hai
satiyaan tilak laga len
sooraj thhaal mein kesar laaya hai
thhaal mein kesar laaya hai
satiyaan tilak laga le
sooraj thhaal mein kesar laaya hai
thhaal mein kesar laaya hai
neele gagan par laali chhaayee
holi ka din aaya hai
neele gagan par laali chhaayee
holi ka din aaya hai

maa bete ko choom rahi hai
kaan mein uske kahti hain
maa bete ko choom rahi hai
kaan mein uske kehti hain
bhoomi ka dena kab denge
bhoomi ka dena kab denge
aaj wo shubh din aaya hai
neele gagan par laali chhaayee
holi ka din aaya hai
neele gagan par laali chhaayee
holi ka din aaya hai

tod rahi hain jag se naata
nirmal jal ki dhaara mein
tod rahi hain jag se naata
nirmal jal ki dhaara mein
bahte paani mein satiyon ne
bahte paani mein satiyon ne
man ka moh bahaaya hai
neele gagan par laali chhaayee
holi ka din aaya hai
neele gagan par laali chhaayee
holi ka din aaya hai

ek sotk se hain parwaane ae ae ae ae
ek saath jal jaayenge haan
ek saath jal jaayenge haan
ek saath jal jaayenge haan
ab tak inhi patangon ne
ab tak inhi patangon ne
jyoti ko amar banaaya hai
neele gagan par laali chhaayee
holi ka din aaya hai
neele gagan par laali chhaayee
holi ka din aaya hai
satiyaan tilak laga len
sooraj thhal mein kesar laaya hai
thhaal mein kesar laaya hai
neele gagan par laali chhaayee
holi ka din aaya hai
neele gagan par laali chhaayee
holi ka din aaya hai

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

नीले गगन पर लाली छाई
होली का दिन आया है
नीले गगन पर लाली छाई
होली का दिन आया है
सतियाँ तिलक लगा लें
सूरज थाल में केसर लाया है
थाल में केसर लाया है
सतियाँ तिलक लगा लें
सूरज थाल में केसर लाया है
थाल में केसर लाया है
नीले गगन पर लाली छाई
होली का दिन आया है
नीले गगन पर लाली छाई
होली का दिन आया है

माँ बेटे को चूम रही है
कान में उसके कहती है
माँ बेटे को चूम रही है
कान में उसके कहती है
भूमि का देना कब देंगे
भूमि का देना कब देंगे
आज वो शुभ दिन आया है
नीले गगन पर लाली छाई
होली का दिन आया है
नीले गगन पर लाली छाई
होली का दिन आया है

तोड़ रही हैं जग से नाता
निर्मल जल की धारा में
तोड़ रही हैं जग से नाता
निर्मल जल की धारा में
बहते पानी में सतियों ने
बहते पानी में सतियों ने
मन का मोह बहाया है
नीले गगन पर लाली छाई
होली का दिन आया है
नीले गगन पर लाली छाई
होली का दिन आया है

एक सोत्क से हैं परवाने ए ए
एक साथ जल जाएंगे हाँ
एक साथ जल जाएंगे हाँ
एक साथ जल जाएंगे हाँ
अब तक इन्हीं पतंगों ने
अब तक इन्हीं पतंगों ने
ज्योति को अमर बनाया है
नीले गगन पर लाली छाई
होली का दिन आया है
नीले गगन पर लाली छाई
होली का दिन आया है
सतियाँ तिलक लगा लें
सूरज थाल में केसर लाया है
थाल में केसर लाया है
नीले गगन पर लाली छाई
होली का दिन आया है
नीले गगन पर लाली छाई
होली का दिन आया है


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

Blog Day :

5116 Post No. : 17064

Today’s song is from the film Chanda ki Chandani-1948.

The film was directed by Dwaraka Khosla, the lyricist was D.N.Madhok and the music Director was Gyan Dutt.

When I was looking at the cast of this film, my eyes were stuck on one name and a smile came to my face.

From the day films started being made in India, in the first stage, no one was ready to work in films. In the second stage, no one from a respectable family was coming forward to work in films. In the third stage, very few educated people joined the films. However, as the film industry got well established, the picture changed and highly educated people from respectable families joined Cinema world. Not only that, working in films became a matter of prestige. It brought fame and money both ! The film industry attracted all talented people from various places.

Working in films also became an attraction for many producers, directors, lyricists, singers, music directors,cinematographers, choreographers etc. In fact, people who had no direct involvement in the actual role playing too became attracted to be seen on the silver screen. Thus, we find many examples of such ‘ unconnected ‘ film personalities to appear on the silver screen at least once.

Take the case of Music Director S.N.Tripathi, for example. When he joined the film industry through Bombay talkies, for fun, he first did a small role in the film Jeevan Naiya-1936, which was also the first film of Ashok Kumar as a Hero. But after that film, after 10 years, he started acting in films and finally he ended up acting in 83 films in his career, while giving music to 107 films and even directing 10 films ! This is the charisma of films !!. Another example I remember offhand is that of music director Jaikishen ( of Shankar- Jaikishen fame), who appeared as a singer in the film Begunah-1957.

Among lyricists, I remember Dewan Sharar, doing a small role in the film Karma-1933, who ended up appearing in 7 more films in the next 20 years ! Not only this, but even Lata Mangeshkar ( initially as a need), Asha Bhosle, R D Burman etc have appeared on the silver screen. Mukesh and Talat Mehmood had done Hero’s roles too. There could be many such examples and our readers can quote them.

In my younger days ( which was too long ago ! ), I remember Alfred Hitchcock, director of Murder mystery films, had the habit of appearing at least once in evry film that he made, either as a part of a crowd or in a negligible cameo role. During that period, it became a craze all over the world to spot him in his films- which was a difficult task and people saw films many times just to locate him.

All this came to my mind, when I saw the name of Neelkanth Tiwari in the cast of the film Chanda ki Chandani-1948. Tiwari was a well known author and a lyricist in Hindi films. This winner of Sahitya Academy Award, had a penchant for appearing on Silver screen. He appeared in at least 2 films – Apna paraya-1942 and Chanda ki Chandani-1948. He is also said to have appeared along with Dev Anand (with whom he was quite close) in one of his films- name of which I do not know. Not only this he also sang a song in his first film Nirdosh-1941 !

Other members of the cast of this film were Jairaj, Rehana, E.Bilimoria, Moni Chatterjee, Kesari, Veera, Ameer bano etc. The case of E. Bilimoria is strange. He became an actor by accident (reminds me of Motilal and Ranjan too). 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, who worked in films. 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 he 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’ (in Gujarati) by Harish Raghuwanshi, with thanks.)

Another name of interest was that of Veera. This name too may not be known to many. Veera was from a Parsi family.Her full name was Veera Ankaleshwaria. Obviously, her family came from Ankaleshwar,a small industrial town(now), in Gujarat. She started her career in films as a Heroine opposite Nasir khan in the film Mazdoor-1945. Then came Shikari-46 and later Eight days-46, both had Ashok Kumar as the Hero. Both the films were from Filmistan. Her last film as Heroine was Tohfa, opposite Rehman and Leela opposite Agha , both films from 1947. Then she stopped getting Heroine roles and shifted to side roles. In all she did 22 films.

Her other films were, Veena, Ziddi, Chanda ki Chandani- all 48, Sanwaria-49, Hamara Ghar and hamari beti- 1950, Hamari shaan, Ramjanma and Sagar-1951, Aasmaan, izzat, Moti mahal, Sanskar and Shin shinaki boobla boo-all1952, Dana Pani-53, Boot polish and Sheeshe ki deewar both 1954.

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

Today’s song is a good one, sung by Sulochana Chavan and B. Hussain. I do not know who this B. Hussain was. HFGK mentions the singer of this song as Geeta Roy, but the names on the actual gramophone record are different. This song and the record photo was uploaded by Jaffer Bhai. Thanks to him for this rare song. Let us enjoy this duet – which is the 7th song of this film to feature on this Blog.


Song- Kaali kaali raat hai (Chanda Ki Chaandni)(1948) Singers- Sulochana Kadam, B Hussain, Lyricist- D N Madhok, MD- Gyan Dutt
Both

Lyrics

kaali kaali raat hai
kaali kaali raat hai
gar saas teri so jaaye to kuchh baat hai
kaali kaali raat hai
gar saas teri so jaaye to kuchh baat hai
kaali kaali raat hai
kaali kaali raat hai

lo ghir ghir baadal aa gaye
aa morey raaja
hum ghabra gaye
lo ghir ghir baadal aa gaye
aa morey raaja
hum ghabra gaye
tu to ghabra gayi
mera dhadke hai dil
tu to ghabra gayi
mera dhadke hai dil
tu makkhi ban ke
kabootar ban ke
o sajni aa ke raat beeti jaat hai
raat beeti jaat hai

per maa teri so jaaye to kya baat hai
per saas teri so jaaye to kuchh baat hai
kaali kaali raat hai
kaali kaali raat hai

jo main jaanti
saasu ka raaz ghar mein hoga
jo main jaanti
saasu ka raaz ghar mein hoga
kabhi na aati
kunwaari hi rah jaati
jo main jaanti
saasu ka raaz ghar mein hoga
kabhi na aati
kunwaari hi rah jaati
jo main jaanta
meri dushman hai meri maata
jo main jaanta
meri dushman hai meri maata
zehar ka pyaala pee ke
kabhi ka mar jaata
jo main jaanta
meri dushman hai meri maata
zehar ka pyaala pee ke
kabhi ka mar jaata

udhar padi to khabardaar
ye last hai
kaali kaali raat hai
kaali kaali raat hai
per saas teri so jaaye to kuchh baat hai
per maa teri so jaaye to kya baat hai
kaali kaali raat hai
kaali kaali raat hai


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

Blog Day :

5072 Post No. : 16993

Today’s song is from the film Firdaus-1953.

I have not seen this film and I do not know its story either. From what I read somewhere about this film, it seems to be a story of a newly married couple – Indra and Madhu, who get separated on their first night itself. The film has the background of India’s Partition.

1953 was a period just about 6 years after the Partition turmoil and those who suffered from it directly were still in the process of setting their lives in order. While people had not forgotten the pain of partition, no one wanted to even think again about that period. Therefore films made with such stories and background did not fare so well. While about 10 to 15 % of the population had actually suffered during Partition, for all others these were only stories, not knowing its devastation and the seriousness.

Most of the country had left the partition behind and looked forward to development and prosperity. Hindi film industry too had recovered from the shake up and was on the tracks once again.However, even in the films made now it reflected the changing society of India. Films were made on Mythology, Joint family benefits, Musical Comedies. It was now the turn of the South to replace the East in terms of winning the Hindi markets. However, compared to the Bangla artistes, not many southern artistes-especially the males- joined Hindi films. Mainly actresses came from south to Hindi films.

1953 established the practice of ” Guest Artistes” in Hindi films, starting from the film ‘ Aabshaar ‘ aka Waterfall, decisively. RK films and Raj Kapoor surged forward with films and Raj- Nargis paired with ‘ Aah ‘. Milestone and Hit films like Anarkali, Baaz, Boot Polish, Dil-E-Nadaan, Do Bigha Zameen, Fareb, Footpath, Jhanjhar, Jhansi ki Rani (First Indian Technicolour film), Ladki, Mayurpankh, Patita, Shikast, Teen Batti Char Raasta etc. entertained the audience, besides the Mythologicals, Historicals (distorticals ?), action and stunt films and family dramas.

Film Firdaus-53 was made by New premier Films and it was directed by Vasant Joglekar. It was produced by M.S.Ahluwalia. Music was composed by Roshan and Robin Chatterjee and the cast was Geeta Bali, Anup Kumar, Omprakash, Badriprashad, Vasant Thengdi, Randhir etc etc.

Everyone in this world has friends. Some are social friends, some are professional friends, few are Fb and WA friends. The best category is where the childhood friendship continues till old age and also a friendship which grows late in life but is a heartfelt one. One such friendship was famous in the film industry in the 50’s decade. Our film industry is full of ungrateful people. There is nothing like true friendship here. So called friends do not hesitate to cut the throat of others for selfish purposes. There are hundreds of such instances here. However for every rule there is an exception and there was ONE friendship which was used as an example here. That is the friendship of Vasant Joglekar and Ashok Kumar. They were true friends and their friendship ended only when Joglekar died.

Vasant Joglekar, actor-by compulsion and producer/Director-by choice was born on the Christmas day, 25th September 1914 at Nagpur. He started his filmi career as asstt. to Master Vinayak in 1942. In the struggling days he met Ashok Kumar and they became friends forever.

starting with Aap ki seva mein-47,in which Lata Mangeshkar sang her first Hindi film solo, Joglekar produced 10 films and directed 20 films ( 11 Hindi and 9 Marathi). In one of the Marathi films directed by this young man-Vasant Joglekar, sctress Sumati Gupte was acting in it. They fell in love and soon got married in 1943. Sumati became Sumati Gupte Joglekar. In due course, the couple had 3 daughters- Meera, Chanda and Madhushri.
In almost all his films Ashok Kumar was a fixture. There was a time when Ashok kumar was involved in 30 films at one time,still the 31st film was that of Joglekar. The only condition Dadamuni used to put was that Joglekar’s wife, actress/housewife Sumati Gupte Joglekar should provide him food Tiffin cooked by her own hands, at the shooting place ! . He was very fond of her cooking. No wonder, Sumati was a CKP by birth-a fish eater and the Bangali babu liked Fish dishes very much !

Joglekar’s Filmography as a Director in Hindi films – Aap ki sewa mein-47, Adalat-48, Nand Kishore-51, Jeet Kiski-52, Firdaus-53, Samaj-54, Karigar-58, Aanchal-60, Aaj aur kal-63, Ek Kali Muskayee-68 and last film Prarthana-69.

Vasant Joglekar tried to promote his daughter Meera as a Heroine in Hindi films, with the film Ek Kali Muskayee-68. However, she was not successful and the film was a flop.

Vasant Joglekar died on 13-1-1993.

Even in this film, Firdaus-53, Ashok kumar was present as a Guest artiste, though not in the cast. Today’s song is sung by Geeta Dutt. Written by D N Madhok, the music was by Robin Chatterjee. He was born on 8-1-1914, at Calcutta. His name is not too well known to Hindi film lovers, though he was very famous in Bengal, where he composed several NFS and film songs. For many years he assisted Anupam Ghatak,MD. He even sang in the chorus for New Theatre’s film Adhikar-1938. However he was not so successful in Hindi films.

His first Hindi film was Rajlakshmi-1945, wherein he gave the first opportunity to Talat Mahmood to sing a Hindi film song. Till then he was singing Bangla NFS and film songs with the name Tapan kumar. His next film was Tum aur main-1946 which had very good songs by kanan Devi. Then came Voh Dono-1947 and here Sandhya Mukherjee gave good songs. Robin Chatterjee gave music to 14 Hindi films,namely – Rajlakshmi-45, Tum aur main-46, Voh Dono-47, Sabyasachi-48,Ratnadeep-51, Pehli Shadi-53, Firdaus-53, Shobha-54, Majboori-54, Africa-54, Dhake ki malmal-56, Miss Toofan mail-58, Police Station-59 and Chimney ka Dhuvan-1973…this was a much delayed film. He also gave music to a Bhojpuri film- Saiya se kar le milanwa-1966.

Robin Chatterjee died on 2-4-1976 at Bombay at the age of just 62 years.

There is a strange and unusual name in the cast – Vasant Thengadi. Vasant Thengadi was born on 11-1-1910 at Nagpur. He was son of Congress leader Dhaniram Thengadi. Vasant had his education in Poona. He could not join the Army, because of his father’s political connections. He had to leave his Engineering college after father’s death. Being very handsome,tall and with good physique, he started working in Marathi dramas and films. He started his Hindi work with the film Dhuandhar-35. ( This was also the Debut film for Leela Chitnis and Meera Alexander). He started doing Villain roles and became popular and famous. Besides Marathi films, his Hindi films were Taramati-45, Phir bhi apna hai-46, Mera Ladka-38, Din Raat-45, Ten o clock-42 etc. Later he also worked as assistant director to Raja Nene.

His wife Kusum Thengdi and her sister Ranjana were also actresses. Ranjana was Dilip Kumar’s Heroine, in the film Milan-1946.

Today’s song is a rare song. You will like this song.


Song- Chaandni raat hai chaandni raat hai (Firdaus)(1953) Singer-Geeta Dutt, Lyrics-D N Madhok, MD-Robin Chatterjee

Lyrics

Chaandni raat hai
Chaandni raat hai

Chaandni raat hai
Chaandni raat hai
Chaandni raat hai
Chaandni raat hai
aise mein aake milo humse to kya baat hai
aise mein aake milo humse to kya baat hai
chaandni raat hai
chaandni raat hai
chaandni raat hai
chaandni raat hai

chhup ja chanda
so ja taaron
chhup ja chanda
so ja taaron
ek dooje ko ankhiyaan na maaro
ek dooje ko ankhiyaan na maaro
aaj balam ji se meri mulaakat hai
chandani raat hai
aaj balam ji se meri mulaakaat hai
chaandni raat hai
chaandni raat hai
chaandni raat hai
chaandni raat hai
aise mein aake milo humse to kya baat hai
aise mein aake milo humse to kya baat hai
chaandni raat hai
chaandni raat hai

chhoti chhoti lahren uthhen nadiya ke paani mein
chhoti chhoti lahren uththen nadiya ke paani mein
jaise armaan uthhe uthhti jawaani mein
jaise armaan uthhe uthhti jawaani mein
unse na kahiyo chanda teri meri baat hai
chaandni raat hai
unse na kahiyo chanda
teri meri baat hai
chaandni raat hai
chaandni raat hai
aise mein aake milo humse to kya baat hai
aise mein aake milo humse to kya baat hai
chaandni raat hai
chaandni raat hai
chaandni raat hai
chaandni raat hai


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

5002 Post No. : 16902

———————————————–—————————————
Blog 10-Year Challenge (2012-2022) – Song No. 38
————————————————————————————–

This date ten years ago (viz 29 march 2012) was a lean day for the blog. This date saw only two songs from two different movies getting covered in the blog. Here are the details:-

Blog post number Song Movie (Year) Remarks
5702 Dil mein shama jalaake tere intezaar ki Sabak(1950) & songs covered so far out of 10
5703 Muhabbat ka naghma zubaan par na aata Pyaar Kiya To Darna Kya (1963) Movie YIPPEED by now

It can be seen that one of the two movies whose songs were covered on 29 march 2012 has since been YIPPEED.

That leaves us with only one movie which is eligible for Blog Ten Year challenge today ten years later on 29 march 2022.

This movie is “Sabak”(1950).

“Sabak”(1950) was produced and directed by M Sadiq for Sadiq Productions, Bombay. The movie had Munawar Sultana,Jagirdar,Karan Dewan,Om Prakash,Kumar, Cuckoo, Jilloo Maa, Shyama etc in it.

“Sabak”(1950) had ten songs in it. Seven songs have been covered in the blog so far.

Here is the eighth song from the movie to appear in the blog. This song is sung by Surinder Kaur. D N Madhok is the lyricist. Music is composed by A R Qureshi.

Only the audio of this rare song is available. My guess is that this song was picturised on the leading lady of th movie viz Munawwar Sultana. I request our knowledgeable readers to help throw light on the picturisation of this song.

Lyrics of the song and other details were sent to me by Prakashchanda.

audio link:

Song-Aahen jo main na bharoon (Sabak)(1950) Singer-Surinder Kaur, Lyrics-D N Madhok, MD-A R Qureshi

Lyrics(Provided by Prakashchandra)

aahein jo main naa bharoon oon oon
tum hi kaho kyaa karoon oon oon
aahein jo main naa bharoon oon oon
tum hi kaho kyaa karoon

bheegee bheegee morey tan mein
bheegee bheegee morey tan mein
chhalkey dono nainon mein aansoo
chhod gayaa tu ulfat ko gaaliyaan doon oon oon
tum hi kaho kyaa karoon oon oon oon
aahein jo main naa bharoon ooon oon
tum hi kaho kyaa karoon

terey merey khel se pehley
tere mere khel se pehley
pyaar ne laakhon khel rachaaye
pyaar ne laakhon khel rachaaye
ek bhi aisaa aa hamne na dekhaa
jis`ke labon par aayee naa haaye
jis`ke labon par aayee naa haaye
abki jo main na daroon..oon
tum hi kaho kyaa karoon oon oon
aahein jo main na bharoon oon oon
tum hi kaho kyaa karoon oon oon
aahein jo main na bharoon ooon


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

Blog Day :

4998 Post No. : 16895

Today’s song is from the film Sasural-1941.

Most of the “Family Dramas”, especially from the Southern stables, depict the problems of the family after the new Bahu comes to the house. In majority cases “problem” means disputes between the Saas- Bahu or the torture meted out to the meak and humble, sanskari Bahu by the Saas and /or Nanad. We have seen many such films. And then we have also seen films where the Bahu is dominating and gives troubles to saas and sasur- going to the extent of throwing them out of their own house. The third and most enjoyable type of family drama is wherein the Bahu is Tit for Tat to the machinations of the irritating Saas and Nanad.

I have been watching movies for about 65-70 years in different languages like Marathi, Hindi, English, Telugu, Kannada, Tamil and even a few Bangla ones. This was because Hyderabad state, where I grew up, was a multilingual state having a substantial population of Marathi, Telugu and Kannada people and of course Urdu speaking Muslims-the Rulers. In the beginning, when I was about 10 to 12 years old, I used to be a ‘Chaperone’ to a group of old relatives in the family for going to the theatre to see the films. Their invariable choices were essentially Mythologicals or tear jerker family films. I have seen more such ‘crying’ or ‘miracle’ filled films in my childhood.

But besides the types of family films mentioned above, there is or rather was one more category, wherein the film story used to be , in which the ‘would be’ Sasural was described in detail or the film story was about the proposed Sasural. In such films, the marriage is fixed, but the Groom or the Bride is mistaken for a wrong person,causing misunderstanding between the pair, till the mistake is rectified to set the things right. I have seen such films too. One film of the 40’s I remember is ” Panghat”-1943, wherein the groom is mistaken for a wrong person. Another similar story was in the film ” Chitchor”-1976. Such films were quite fun to see, because except the actors in the film, everyone in the theatre knew who was the real groom or the bride ! This enhanced the enjoyment.

Today’s film Sasural-1941 is also of this type only. In this film, however, both the groom and the bride misunderstand each other for some other person, but luckily fall in love with the right companion. This film was made by Ranjit Movietone and was directed by Chaturbhuj Doshi. All 13 songs of the film were written by D N Madhok and the music was by Gyan Dutt. The cast consisted of Motilal, Madhuri, Nurjahan Sr., Kantilal, Urmila, Bhagwan Das etc.etc.

Motilal was one of the earliest actors who brought ” Natural acting” to films. Later on actors like Ashok Kumar, Sanjeev Kumar, Amol Palekar and few others practiced it to enrich their films. Most of the new age readers may not be knowing who the actress ” Madhuri” in this film was. The only Madhuri they know is Madhuri Dikshit (I too liked her). For their benefit I reproduce here, once again, a translation of my article on this actress Madhuri. This was originally written in Marathi for a periodical, which has ceased to exist anymore.

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

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

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

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

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

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

Madhuri was very beautiful. After doing 17 silent films,she made her debut in Talkie films with ‘ Pardesi Preetam’-1933. Jaswantlal Nandlal directed his first film here. Her Hero was Raja Sandow. She did many films for Ranjit under the direction of Jayant Desai. From 1933 to 1942,she acted in 28 films. They were (not in order) Kashmeera, Mitti ka Putla, Noor e watan, Secretary, Lehri lala, Rangeela Raja, Sitamgarh, Prithviputra, Thokar, Raj Ramni, Diwali, Matlabi Duniya, Toofani Toli, Shama parwana, College Girl, Nadira, Veer Babruvahan, Zamin ka chaand, Ban ki chidia, Toofan Mail, Mehman, Sasural, Shadi, Ikrar, Vakil Saheb, Paapi, Mazaq and Dharm-45 …her last film.

In 1941,Madhuri got married and after completing films on hand, retired from Film line. After this, she simply disappeared for next 50 years without a trace,till the organisers of a programme located her. Bombay’s ” Amrut” and ” Cine Society of Bombay ” held a felicitation programme on 7-2-1999, for “Stars from the Silent Era”. For Madhuri it was a surprise that the organisers found her out after living in oblivion for over 50 years. She was simply overwhelmed with the people’s affection and love.

She and Jairaj were felicitated on that day.

Film Sasural-1941 story appeared in the December issue of Film India magazine review, in short. Our Sadanand Kamath ji had given it in 2016, in his comments. Here it is…

“The marriage of Vinod (Motilal) and Usha (Madhuri) is fixed, But Usha has not seen her would-be-husband. A mix-up of suitors happens when a fat servant (Kantilal) impersonates Usha’s would-be-husband. The detailed story is not revealed in the review probably to avoid the ‘suspense in the comedy of errors’. It is only towards the end of the film when the impersonation of suitors gets revealed while on a forest trail when Usha falls in the arms of Vinod and the fat servant (Kantilal) gets the maid (Nur Jahan Sr,) as the original suitors.”

The funny song is sung by Kantilal, Motilal and chorus. Kantilal was a favourite with Sagar Movietone initially and then Ranjit Movietone. he featured in all the 3 successive comedy films made by Ranjit in this war period, namely Musafir-1940, Pardesi-1941 and Sasural-1941. Chandulal Shah believed that his audience needed lauhter during the tensions created by the second world war.

KANTILAL CHHAGANLAL PACHCHIGAR ( Soni) was born on 18-4-1907 in Surat, Gujrat. He was from a Goldsmith family. Due to inherent interest in music,after college education he came to Bombay to try film singing.

His first film was ‘Bulbul e Paristan’-1934 from Vishnu Cinetone. Kikubhai Yagnik was the MD. Kantilal sang 2 songs in it.In 1935, he acted, sang and gave Music to Preet ki reet. He sang in 6 songs. From 1937 to 1941, he was with Ranjit Movietone and acted and sang in 16 films. He sang 40 songs under Khamchand Prakash and Gyan Dutt. Then came Gazi Salahuddin, Kangan, Holiday in Bombay and Kanchan. Kantilal sang 60 songs in 24 films under 5 MDs.

In 1943,he married Ushaben and acted in Gujarati films and Dramas.
He died on 17-6-1971.

Some of his films were, Tufani Toli, Ban ki chidiya, Billi, Gorakh Aya, Prithvi Putra, Adhuri Kahani, Nadi kinare, Aaj ka Hindustan, Achhut, Diwali, Holi, Musafir, Pardesi, Sasural, Shaadi etc.

Enjoy the comedy song….


Song- Bibi bole naahin kunda khole naahin (Sasuraal)(1941) Singers- Kantilal, Motilal, Lyricist- D N Madhok, MD- Gyan Datt

Lyrics

ho o o
khole naahin
bole naahin
ho kunda khole nahin
bibi bole naahin
ho kunda khole nahin
aji baahar pade re barsaat
bole naahin
bibi bole naahin
o kunda khole naahin

aji baahar pade re barsaat
bole naahin
bibi bole naahin
o kunda khole naahin
bibi bole naahin

baaman ke ghar kutiya re bhaunke
bole naahin
kuchh bole naahin
baaman ke ghar kutiya re bhaunke
ghadi ghadi mein ?? chaunke
baali umar dar jaat
bole naahin
bibi bole naahin
o kunda khole naahin
o ji baali umar dar jaat
bole naahin
bibi bole naahin
o kunda khole naahin
bibi bole naahin

kanya ke ghar chaandi sona
par kismat mein phata bichauna
bole naahin
bibi bole naahin
kanya ke ghar chaandi sona
par kismat mein phata bichauna
khaane ko hai bhaat
bole naahin
bibi bole naahin
o kunda khole naahin
aji khaane ko hai bhaat
bole naahin
bibi bole naahin
o kunda khole naahin
bibi bole naahin

aeji baahar pade re barsaat
bole naahin
bibi bole naahin
o kunda khole naahin
bibi bole naahin

miyaan ke ghar mein patli jo daal
miyaaan jee ladke chale sasuraal
o miyaan ke ghar mein patli jo daal
miyaaan jee ladke chale sasuraal
aji shaadi kar pachhtaaye
bole naahin
bibi bole naahin
ho kunda khole naahin

aeji shaadi kar pachtaaye
bole naahin
bibi bole naahin
o kunda khole naahin
bibi bole naahin

aeji baahar pade re barsaat
bole naahin
bibi bole naahin
o kunda khole naahin
bibi bole naahin

?? nain lade re
aeji bhaado ki kaali kaali raat
bole naahin
bibi bole naahin
o kunda khole naahin
aeji bhaado ki kaali kaali raat
bole naahin
bibi bole naahin
o kunda khole naahin
bibi bole naahin
o kunda khole naahin
bibi bole naahin
aeji baahar pade re barsaat
bole naahin
bibi bole naahin
o kunda khole naahin
bibi bole naahin
bole naahin


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

Blog Day :

4946 Post No. : 16805

Today’s song is from the film Majboori-1954.

The song-“Tere poojan ko Bhagwan, bana man mandir aalishan”- is a famous traditional song. Not only in a few Hindi films, but the song is also sung by many singers as NFS. No one knows how old this song is or who is the original Lyricist of this song. It is sung like a Bhajan by most people.

The known first record for this song was made in 1934.

When singer Shamshad Begum was discovered by music director Ghulam Haider, she was in her early teens. After talking to her father, she was taught this song and this became her first recorded song in Lahore for the record company Xenophone. Since the song was a Hindu bhajan, in order to avoid Hindu displeasure for a ” Muslim girl singing a Hindu devotional song “, her name on the record was mentioned as Radha Rani. This first song of Shamshad was posted on this Blog a few years back (on 30 may 2013).

The second time this song appeared was almost immediate. The actress-singer Rattanbai had come to Bombay from Calcutta. Her name in Calcutta made films and she having worked with a great artiste like Saigal, Rattanbai’s name was already well known and popular in Bombay. In her first film in Bombay ‘Bharat ki Beti’-1935, its Music Director Anil Biswas gave her this traditional song to sing in the film. The third time this song featured in a Hindi film was in the film Majboori-1954 (today’s song). It is sung by Asha Bhosale and Hamida Bano. Actually, this was Hamida Bano’s last song in India, because she migrated to Pakistan after this.

Thus while this song was the first song of Shamshad Begum as an NFS and first song of Rattanbai in a Bombay film, it was the last song of Hamida Bano in India !

( This traditional Bhajan Was also used as a Parody song in the film ” Shaadi”-1962. It was sung by Rafi and on screen by Omprakash.)

Similarly, there is another traditional Mujra song “Inhi logon ne le leena dupatta mera”, which is used in few films. First time this song appeared in the film “Himmat”-1941. By coincidence it was sung by Shamshad Begum. Next time it appeared in the film ” Aabroo”-1943, sung and enacted on screen by actor singer Yaqub. Third time, this song was used in the film “Pakeezah”-1972, sung by Lata Mangeshkar and on screen by Meena kumari.

Both these Traditional songs are sung as NFS by many singers from India and Pakistan as well.

If one looks keenly, one can find a few NFS written by Soordas, Kabir, Meerabai, Narsi Mehta and some other saints of India. These are sung by many famous and not so famous singers. Some of these have appeared in Hindi films also.

Film Majboori-1954 was made by Murli Movietone. It was directed by the producer Ram Daryani himself. The music was by Robin Chatterjee. He was born on 8-1-1914, at Calcutta. His name is not too well known to Hindi film lovers, though he was very famous in Bengal, where he composed several NFS and film songs. For many years he assisted Anupam Ghatak,MD. He even sang in the chorus for New Theatre’s film Adhikar-1938. However he was not so successful in Hindi films.

His first Hindi film was Rajlakshmi-1945, wherein he gave the first opportunity to Talat Mahmood to sing a Hindi film song. Till then he was singing Bangla NFS and film songs with the name Tapan kumar. His next film was Tum aur main-1946 which had very good songs by kanan Devi. Then came Voh Dono-1947 and here Sandhya Mukherjee gave good songs. Robin Chatterjee gave music to 14 Hindi films,namely – Rajlakshmi-45, Tum aur main-46, Voh Dono-47, Sabyasachi-48,Ratnadeep-51, Pehli Shadi-53, Firdaus-53, Shobha-54, Majboori-54, Africa-54, Dhake ki malmal-56, Miss Toofan mail-58, Police Station-59 and Chimney ka Dhuvan-1973…this was a much delayed film. He also gave music to a Bhojpuri film- Saiya se kar le milanwa-1966.

Robin Chatterjee died on 2-4-1976 at Bombay at the age of just 61 years.

The cast of the film Majboori-54 was Shyama, Balraj Sahni, Agha, kumar, Pramila and many others. There were 8 songs in the film. Some of the songs were recorded as “Chhoti Behan”, the original name for the film. Today’s song is the 5th song to be presented here. It is sung byAsha Bhosale and Hamida Bano, as per HFGK. After this film, Hamida Bano migrated to Pakistan.

Singer Hamida Bano was born on 19-10-1928, in Lahore. Her family shifted to Bombay in 1942, the same year as Geeta Roy’s family did. Hamida’s elder brother Akbar worked with a Drama company. He gave her the initial training in singing. This kindled a desire in her mind to sing in Hindi Films. Those days,the well known Actor/Director Master Bhagwan lived nearby. He once recommended her name to his best friend-C.Ramchandra. He was the MD for Bhagwan’s film “Naghma-e-Sahara “-1943. He gave her a break with 3 songs in this film. Unfortunately, this film got delayed and was released only in 1945. Meanwhile, Naushad had found her and he gave her a song in film ” Sanjog”-43 and she sang her first released song with Shyam kumar.

C.Ramchandra continued using her in films like Bahadur, Lalkar, Manorama, Raunaq, Sawan etc. In those years C.Ramchandra himself was not very famous-till his HIT films like Safar-46 and Shehnai-47 etc. So Hamida was not much benefitted by these songs. From 1945, it was composer Bulo C Rani, who used Hamida Bano for some really memorable songs like in the film ” Moorti”-45-Badariya baras gayi us paar . Then came Rajputani, Chheen le Azadi, Phulwari, Badi baat, Shahenshah Babar, Naseeb, Parayi aag, Preet, Devar, Dharti, Nek Parveen, Neelkamal, Tohfa and Rimjhim. After 1950 her songs became less and she sang in Bikhre Moti, Rajput, Anjaam,and Majboori-54-her last film in India. She sang about 125 odd songs in about 62 films.

In 1956, she migrated to Pakistan. In Karachi, she recorded some songs. Then she settled in Lahore and became active in social work. Occasionally, she was seen in functions like ” Nigar Awards Function ” etc. She continued singing on Lahore Radio. Hamida Bano died on 20-11-2006 at the age of 78 yrs. Her last song in India was with Asha in Majboori-1954-“Tere poojan ko Bhagwan bana Manmandir alishan”.

Let us now enjoy this traditional song…..


Song-Tere poojan ko Bhagwaan bana man mandir aalishaan(Majboori)(1954) Singers- Hamida Bano, Asha Bhosale, Lyricist- D N Madhok, MD-Robin Chatterjee

Lyrics

Tere poojan ko Bhagwaan
Bana man mandir aalishaan
Tere poojan ko Bhagwaan
Bana man mandir aalishaan

kaun banaaye teri moorat
kisne dekhi teri soorat
kaun banaaye teri moorat
kisne dekhi teri soorat
kaun banaaye teri moorat
kisne dekhi teri soorat

saare jag mein roop hai tera
saare jag mein roop hai tera
andekhe Bhagwaan
Bana man mandir aalishaan
Tere poojan ko Bhagwaan
Bana man mandir aalishaan

saagar teri shaan dikhaaye
parvat tera khauf jataaye(??)
saagar teri shaan dikhaaye
parvat tera khauf jataaye(??)
saagar teri shaan dikhaaye
parvat tera khauf jataaye(??)

kaliyon mein hai khushboo teri
kaliyon mein hai khushboo teri
phoolon mein muskaan
Bana man mandir aalishaan
Tere poojan ko Bhagwaan
Bana man mandir aalishaan
Tere poojan ko Bhagwaan
Bana man mandir aalishaan


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

This article is the 16700th article in the blog.

Blog Day :

4898 Post No. : 16700

Publishing the blog century post brings some anxious moments. One has to worry about the song that should be used for the occasion. It also calls for more efforts than usual as far as writeup is concerned.

But once the century post is published, one tends to relax for the next 99 songs. The next century post occasion will not arrive for many months, so I can relax- this is the usual feeling. But sooner or later, even those “many months” are over and yet another blog century occasion presents itself.  🙂

That occasion is upon us. And this post is post number 16700th for the blog.

I have discussed it in the past that I begin to worry about the century post only at the eleventh hour and 59th minute. When the time for worrying arrived, I found that I had no idea what song to discuss. Then I remembered that I sometimes come across rare songs and I note down their details, hoping to use these songs at special occasions. These details are stored away in text files titled “rare songs”, “rare songs latest”, “rarest songs” etc.

I located these files and realised that I had several songs in these files. I checked them up and finalised a song. Just when I sat down to prepare a writeup, I found out that the song had already been used up on a past occasion. So I had to switch over to another song.

The song that I have chosen as the 16700th song for the blog is from “Pagdandi”(1947). This movie was directed by Ramnarayan Dube. The movie had Akhtar, Padma, Gyani, Kalawati, G N Butt, Om Prakash, Shyam Lal, Durga Mota Sudarshan, Raza Meer etc in it.

The movie had ten rare songs in it. HFGK does not contain details of the singers for any songs. Only the record numbers of the songs are available. That is how rare these songs are.

However, the blog has so far covered as many as eight songs from the movie.

This song, the ninth song from “Pagdandi”(1947), like other songs does not give details of the singer. But the uploader mentions the singer as Munawwar Sultana. Lyrics are by D N Madhok. Music is composed by Khursheed Anwar.

The song is a fun song to listen to. It is a “Sainyya bhaye kotwal ab dar kaahe ka” genre of song, which was fairly popular in Hindi movies those days. I remember “Daroga jee”(1949) containing several songs of this genre. In these songs, the lady would tell everyone that her beau had become a big shot government employee and now others better start paying respect and tributes to the lady. Sainyya becoming “kotwal” (read policeman) was preferred the most. Next preference was for sainyya to become patwaari (which is the case here).

In all these songs, others would be warned to behave themselves, else “thhaane mein rapat” may follow.  🙂 In this case, one is threatened with “bhaari jurmaana”.  🙂 Such misuse of powers vested with officials was considered normal those days. 🙂

In small remote places, even today small time policemen and government officials wieid considerable influence over public. If they go to the local market, the shopkeepers treat them as VIPs. Some of them, mainly policemen do not even pay for stuff they take from shops. Kids who watch all this dream of becoming policemen. People who are a bit more aware dream of becoming IAS or IPS, but such people are not found in these remote places.

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

Only one more song from the movie is left to be covered. But that record number of that song “Rukhsat hua jo god ka paala” is not mentioned, which suggests that this song was only there in the movie and its records were not issued. So unless the prints of the movie miraculously become available, this tenth and final song from the movie is not available and has been lost.

With this song, we reach blog post number 16700. This is the 167th blog century for the blog. Now we are just three centuries away from 17000 mark. At the present rate, we should be there in another six months or so.

I take this opportunity to thank one and all. The continous support, patronage and encouragemnent that we get from one and all is the fuel that drives this musical bandwagon. I take this opportunity to thank one and all. I take this opportunity to especially thank our regulars whose contributions are enriching the blog and taking it to newer heights. Here is hoping that we keep reaching many more landmarks in the times to come.


Song-Balma patwaari ho gaye (Pagdandi)(1947) Singer-Munawwar Sultana, Lyrics-D N Madhok, MD-Khursheed Anwar

Lyrics

balma patwaaree ho gaye
naukar sarkaaree ho gaye
balma
balma patwaaree ho gaye
naukar sarkaaree ho gaye

arre o dagar chalne waale
are o
are o dagar chalne waale
meree matkee dhulkee jaaye
uthha le
meree matkee dhulkee jaaye
uthha le
mat ghoor ghoor ke dekho hamen
jis jis ne yoon dekha hamko
jurmaane bhaaree ho gaye
mat ghoor ghoor ke dekho hamen
jis jis ne yoon dekha hamko
jurmaane bhaaree ho gaye
balma
balma patwaaree ho gaye
naukar sarkaaree ho gaye

arre o gaanv waalon aawo
arre o
arre o gaanv waalon aawo
khud jahaan dekh lo ghus ghus jaao
khud jahaan dekh lo ghus ghus jaao
patwaaree sabka afsar hai
yeh bade saab kaa kehna hai
aardar bhee jaaree ho gaye
patwaaree sabka afsar hai
yeh bade saab kaa kehna hai
aardar bhee jaaree ho gaye
balma
balma patwaaree ho gaye
naukar sarkaaree ho gaye

arre o dagar chalne waale
arre o
arre o dagar chalne waale
meree matkee dhulkee jaaye
uthha le
meree matkee dhulkee jaaye
uthha le
mat ghoor ghoor ke dekho hamen
jis jis ne yoon dekha hamko
jurmaane bhaaree ho gaye
mat ghoor ghoor ke dekho hamen
jis jis ne yoon dekha hamko
jurmaane bhaaree ho gaye
balma
balma patwaaree ho gaye
naukar sarkaaree ho gaye


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.

Blog Day :

4820 Post No. : 16592 Movie Count :

4522

Today’s song is from an obscure old film Jhoothi Sharma-1940. The film was made by Bhavnani Productions, Bombay and was directed by its owner Mohan Bhavnanni himself Music was given by the veteran, multi-talented Badri Prashad and the songs were written by D.N.Madhok.

Though the film was obscure which remained unknown in later years, it was a special film because a German had written its story and screenplay, while another German had provided the background music and the orchestration for the film. Now, where did the Germans come from in this film ?

Very few people know that Indian Cinema had a little known connection with the rise of Hitler in Germany in 1932-33. A group of men , engaged in Cinema in Germany, flocked to India in the 30’s and played a vital role in Indian Cinema and the arts of that time. After Hitler took over Germany in 1933, the German Cine Studio’s glory days were over and they were turned into Nazi Propaganda Machines !

It was at this time that several of its men left the studio and arrived in India, and contributed during the Indian cinema’s formative years.

The foremost among them is Frantz Osten, a German whom Himanshu Rai and Devika Rani met at the UFA when they went to train there (they worked with Lang and Marlene Dietrich). Osten had already been directing films for the couple since 1925, when he made Light of Asia for them from Germany.

In 1934, he came to India and the next year, after Rai founded ‘ Bombay Talkies ‘ the legendary film studio in Malad that now lies in ruins, Osten directed its first film.

He went on to direct the famous Devika Rani-Ashok Kumar starrer, Achhyut Kanya, without much knowledge of Hindi. The film, which featured the song “Main ban ke chiriya”, was shot by Joseph Wirsching; the sets were designed by Karl von Spreti and the laboratory was headed by Zolle, Osten’s team of UFA ex-members who worked for Rai’s state-of-the-art studio.

Osten and his fellow Germans directed 16 films for Rai. It was a remarkable feat for people who knew little Hindi ‘ mistaking the word “bulbul” once for a pair of bulls. While in Bombay, he became a member of the Nazi Party (1936). He was interned by the British at the outbreak of WW2 while shooting his last film there, Kangan. Released and allowed to return to Germany (1940).

“It’s not clear if they had anything to do with the Nazi ideology, either way,” said film historian Amrit Gangar.

“If they did, it did not show in their films. But there were two other people who almost certainly migrated to India because of the persecution of Jews.”

They were Walter Kauffman, a scholar and composer interested in Oriental music, and Wilhelm Haas, a writer and a friend of Franz Kafka.

“Both were Jews, and Haas came to India because of Kauffman, who went on to found the Bombay Chamber Music Society,” Gangar added.

Kauffman arrived in 1934 after meeting director-producer Mohan Bhavnani at the UFA (where V. Shantaram also did a stint).

“Haas was in Czechoslovakia, but left the country for India just after Hitler’s invasion,” Gangar said.

Kauffman, Haas and Bhavnani worked together in Premnagar (1940), Naushad’s first film as music director. Kauffman composed the background score; Haas wrote the screenplay.

“It is debatable, but Kauffman is probably also the person behind the All India Radio signature tune. Haas was a member of the Indian chapter of PEN,” Gangar said. Haas also wrote the script for Bhavnani’s Jhooti Sharam (1939) and Kauffmann provided Orchestration and background music.

The story of Paul Zils ( 1-6-1915 to 30-3-1979 ) stands out, though. Zils, believed to be a Nazi sympathizer, turned up in India under strange circumstances: he was bound for Indonesia in a steamer that got torpedoed by an Indian naval ship during World War II and he was taken prisoner.

After his release, because of his film experiences, the leadership of the sales department in Ezra Mir led government documentary production company, called him to join Information films of India. End of October 1945, he came to Bombay and started his work. In March 1959 he returned to Germany.

Josph Virsching-the Cinematographer, however, stayed back in India till his death in 1967. He did few Hindi films too.

Paul Zils directed 3 Dev Anand films, according to the documents. Hindustan Hamara-50 and Zalzala-52 are found in HFGK, but the third film called ‘ Shabash”, though listed in 1949, gives no details, except the film name. ( Information adapted from the book ” Walter Koffman” by Amit Gangar, with thanks and my notes.)

The cast of the film Jhoothi Sharm-40 was Trilok Kapoor,Bimla Kumari, Shareefa, Navin Yagnik, Nayampally, Girish, Iqbal, Rajkumari and others. The film was directed by Mohan Bhavnani. Most of the new generation readers may not know anything about this pioneer film maker.

Mohan Dayaram Bhavnani was born on 2-10-1903 at Hyderabad-Sindh. He studied at the College of Technology, Manchester (1921-24). After graduation, he went to Germany to study film making at the UFA (Universum Film ArtikenGessel schaft), a German motion picture production company in 1924. He came back to India and joined Kohinoor Film Co. in Bombay. He made several Silent films with actress Sulochana, like Cinema ni rani, Maitri prem, Veer Bala, Bhamto Bhoot, Wild Cat of Bombay ( she played 8 different roles in it) etc. Then he joined Imperial film co. in 1927. In 1931 he became an independent producer with Indian Art Production.

He returned to Germany to study sound film technique, when the advent of the Talkie happened in India. he came back and made his first Talkie Farebi jaal aka The Trapped-1931, a part Talkie film. It flopped but actress Durga Khote debuted with this film and sang 2 songs too. Even his future wife Enakshi Rama Rau also acted in this film in a small role.

He started his Ajanta Cinetone(1933-34) and his own Bhavnani Productions (1935-1948). He hired famous author Premchand to write a story for the film ‘ Mazdoor’ (The Mill)-1934. The film was banned for 2 years. It was followed by the film Jagran-1936- both films on Labourer’s problems. He also produced a film Ajeet-48, the first full length colour film on 16 mm and blown up on 35 mm.

He left filmmaking and joined the Government Films Division as its first Chief producer (48-55). Then he went to China, on the invitation of Chow En Lai to make documentaries for China. He took his cameraman Kishore Rege and S.K.Kulkarni with him.

His wife Enakshi became a famous Dancer and also wrote books on Dances of india. Mohan Bhavnani died on 30-12-1962 at Bombay The 72nd Annual Cannes film Festival was organised from 14th to 25th May 2019 and it was dedicated to short films made by Mohan Bbhavnani of india. What an honour for him to get such a tribute!

Filmography- 1925: Cinema Ni Rani, Matri Prem, Seth Sagalsha, Veer Bala, 1926: Bhamto Bhoot, Diwan Bhamasha, Mena Kumari, Pagal Premi, Ra Kawat, Samrat Shiladitya, 1927: Daya Ni Devi, Gamdeni Gori, Naseeb Ni Lili, Trust Your Wife, Wildcat of Bombay, 1929: Hawai Swar, Khedda, Khwab-e-Hasti, Mysore: Gem City of India, 1930: Vasantsena, 1931: Farebi Jaal, Lafanga Langoor, Shakuntala, 1932: Veer Kunal, 1933: Afzal, Rangila Rajput, 1934: Dard-e-Dil, Mazdoor (Director, Writer), Sair-e-Paristan, 1935: Jung Bahadur, Navjeevan, Shadi Ki Raat, 1936: Dilawar, Garib Parwar, Jagran (Director, Producer), Wrestling, 1937: Zambo the Ape Man, 1938: Double Cross (Director, Producer, Writer), Himalay Ki Beti, Yangrilla, 1939: Zambo Ka Beta, 1940: Jhoothi Sharm, Prem Nagar (Director, Producer), 1945: Biswi Sadi, 1946: Rang Bhoomi, 1948: Ajit (Director, Producer), 1949: Vale of Kashmir, 1950: The Private Life of a Silk Worm, Search For Shelter (Producer), 1951: Lest We Forget, 1952: Kumaon Hills, 1953: Feminine Fashions (Producer), Folk Dances of India, Republic Day Record, Six Years of Freedom (Producer), 1954: Good Manners (Producer), Modest Homes (Producer), 1955: Republic Day 1955, 1956:Operation Khedda, 1957: The Himalayan Tapestry ( Thanks to Encyclopedia of indian Cinema.)

Today’s song is sung by Iqbal Bibi. I do not have any information about this singer/actress.


Song- Phoolon ki main laayee hoon maala (Jhoothhi Sharm)(1940) Singer-Iqbal Bibi, Lyricist- D N Madhok, MD- Badri Prasad

Lyrics

Phoolon ki main laayee hoon maala
Phoolon ki main layee hoon maala
chun chun kali kali
Phoolon ki main laayee hoon maala
chun chun kali kali
koi mohe kahe kahaan
koi mohe kahe kahaan
preet ki hai kaun gali
koi mohe kahe kahaan
preet ki hai kaun gali
Phoolon ki main laayee hoon maala
chun chun kali kali
ab Ghanshyam milo
ho ab Ghanshyam milo
bhayi birha ki gali
ab Ghanshyam milo
ab Ghanshyam milo
bhayi birha ki gali
Phoolon ki main laayee hoon maala
chun chun kali kali
Phoolon ki main layee hoon maala

torey bin chain nahin
torey bin chain nahin
kal bin rain nahin
torey bin chain nahin
kal bin rain nahin
ab Ghanshyam milo
ab Ghanshyam milo
jag hai chalaa chali
ab Ghanshyam milo
ab Ghanshyam milo
jag hai chalaa chali
Phoolon ki main laayee hoon maala
chun chun kali kali
Phoolon ki main laayee hoon maala


This article is written by Peevesie’s mom, 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.

Blog Day :

4817 Post No. : 16589

Hullo Atuldom

Today we are revisiting a movie that released in 1966 and was directed by J B H Wadia. The songs were all written by D.N. Madhok and C Ramchandra was the music director. It had 8 songs of which only 2 are on the blog. These are the ones posted:

Song Remarks
Duniya banaane waale ne post by Sudhirji marking 4200th post of the blog and has a lot of info about the actor Sajjan.
Tasveer bhi dekhi thhi this is also a post by Sudhirji.

Interesting notes are present in this second post about how C Ramchandra and D N Madhok have collaborated only twice (before this movie) and that too in the beginning of their careers.

Both these posts provide links to Memsaab’s blog and the synopsis/ review to the movie. BTW I forgot to mention that we are revisiting “Tasweer”.
As I sat to write this post my aim was to look for movies starring Zulfiqar Ali Shah Khan whose birthday falls on 25th September. He would have turned 82. I was paying particular attention to movies at the start of his career. I stumbled on a few movies where he had made uncredited appearances and the songs associated with them. I found that most of his initial songs are already present on the blog. I also found the song which was his absolute first appearance. I looked up for the song on the blog and also posted a comment pointing to the actor’s presence (that is the reason for my noticing that detail Nahmji).

I am sure the followers of the blog have figured out that I am talking of the very handsome, smart, fashionable, uber-cool icon of Bollywood. An actor, who in the later half of his career made super cool movies which were all phenomenal successes. His movies were peppered with great music, action and emotions. He had a special liking for the Cow-Boy getup. We are remembering Feroz Khan today. Sudhirji’s post of 2017 gives us a lot of insight on Feroz ‘stylish’ Khan and his career, I am sure I can’t better it.

Today’s song see him dance with Helen. We have Kalpana sitting, getting sad and shedding a tear and Sajjan (in a french beard) as part of the audience.

Audio

Video

Song-Nazar badli zamaane ki (Tasveer)(1966) Singer-Mahendra Kapoor, Lyrics-D N Madhok, MD-C Ramchandra
Chorus

Lyrics

nazar badli zamaane ki
na tum badle
na hum badle
wahi hai dil
wahi armaan
wahi waade mohabbat ke
(chorus)
nazar badli zamaane ki (lara lara)
na tum badle (lara lara)
na hum badle (lara lara)
wahi hai dil (lara lara)
wahi armaan (lara lara)
wahi wade mohabbat ke (laa laa laa)

jhatak de tu agar gesu
toh yeh mehfil mehek jaaye
jhatak de tu agar gesu
toh yeh mehfil mehek jaaye
tere nazron se takraaye
toh saaghar bhi behek jaaye
na badli woh adaa teri
na zulfon ke makam badle
wahi hai dil
wahi armaan
wahi wade mohabbat ke
(chorus)
nazar badli zamaane ki (lara lara)
na tum badle (lara lara)
na hum badle (lara lara)
wahi hai dil (lara lara)
wahi armaan (lara lara)
wahi wade mohabbat ke (laa laa laa)

tumhaara naam sunte hi
dhadak jaataa hai dil ab bhi
tumhaara naam sunte hi
dhadak jaataa hai dil ab bhi
jo naghma tumne chheda thha
wo dohraata hai dil ab bhi
mile bichhde huye phir se
agar nazrein karam badle
wahi hai dil
wahi armaan
wahi waade mohabbat ke
(chorus)
nazar badli zamaane ki (lara lara)
na tum badle (lara lara)
na hum badle (lara lara)
wahi hai dil (lara lara)
wahi armaan (lara lara)
wahi wade mohabbat ke (laa laa laa)


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over FOURTEEN years. This blog has over 17100 song posts by now.

This blog is active and online for over 5000 days since its beginning on 19 july 2008.

Important Announcement

(© 2008 - 2022) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

17162

Number of movies covered in the blog

Movies with all their songs covered =1329
Total Number of movies covered=4609

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