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 :

5002 Post No. : 16902

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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)


This article is written by Sadanand Kamath, 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 :

4805 Post No. : 16573

‘Main Kya Karoon’ (1945) was produced under the banner of Flora Films and was directed by Sudhir Sen. The star cast included Suraiya, Hansa Wadkar, Pahadi Sanyal, Bikram Kapoor, Anil Kumar, Agha, Shah Nawaz, E Billimoria, Gulab, Cuckoo, Sunetra, Motibai, Ratan Piya etc. The film was released on July 12, 1946.

It is interesting to note from the advertisement of this film (which I have included in the video clip of the song) is that Cuckoo’s name appears in the cast list as ‘Kukoo’. The name of the dance director, ‘Prof. More’ appears prominently in the advertisement which is bolder than that of names of the supporting actors like Pahadi Sanyal, Shah Nawaz etc. I guess, ‘Prof. More’ is the same person as K S More (also spelled as ‘Moray’ or ‘Morey’) who was also the Dance Director to whom Cuckoo had married.

‘Filmindia’ in its October 1946 issue, had written a favourable review. While noting that the film had an usual story of a marriage tangle, the review had commended the work of the dialogue-writer in making an ordinary story into a fast-paced narratives thus sustaining the audience interest in the film. The gist of the story is as under:

Two head-strong fathers (Shah Nawaz and Bikram Kapoor) get their boy and the girl married in their childhood. Soon the fathers start quarrelling eventually cutting off their relationship. The girl comes back to her father house.

Both the boy and the girl lose sight of each other over a period of time. They have grown up in their own environments. One day both of them meet each other without knowing that they were married in their childhood. The hero (Agha) falls in love with the heroine (Suraiya) who is a bit hesitant because she thinks that she was a child widow. However, the hero convinces her for the marriage.

In the meanwhile, there is another development. The hero’s friend is in love with his sister (Hansa Wadkar) who is the friend of the heroine. Multiple misunderstandings develop between all the four main characters resulting in some humorous situations. Finally, the marriage tangle is solved to the satisfaction of all.

The fact that the film was released on July 12, 1946 and the review was published after about 3 months indicates that the film must have run for at least 3 months.

‘Main Kya Karoon’ (1945) had 8 songs – written by D N Madhok (7) and Rammurti Chaturvedi (1) which were set to music by Ninu Mazumdar. The Blog has so far covered 5 songs from the film. I am presenting the 6th song, ‘baamna ki chhori dil le gayi, baniye ka poot jiya le gaya’ rendered by Ninu Mazumdar and Hamida Bano. The song is written by D N Madhok.

This is a love song as a tete a tete between lovers in which there is a bit of teasing as well as the assessment of the then prevailing situation in India where inter-caste marriages were frowned upon. The boy admits that his heart has been taken away by a daughter of a brahmin. The girl retorts that her heart has been taken away by a baniya’s (trader’s) son. Then they talk about how they lost their heart to each other. The girl says that her beloved’s magical eyes, his fair complexion and smiles cast spell on her. The boy reminds his beloved that they have yet to cross the stumbling block of the respective families as both of them belong to different castes. The girl is confident that more than the caste and the family, it is the mutual love for each other that matters the most in the marriage.

I heard this song for the first time only a couple of days back and I immensely liked both the tune and the orchestration. Both the prelude and interlude orchestrations enhance the mood of the song. Another innovative use of the orchestration is instead of the short ‘musical fillers’ in-between lines of the song, there is what I would call it as ‘extra interlude’ orchestrations after the first four lines of the antara of the song to avoid monotony of the repeat of the lines thereafter.

With this song, only two songs from the film remain to be covered on the Blog:

1. Mai-e-gulgun hai jawaani hai by Rajkumari Dubey and Hamida Bano

2. Jaaniyaan maano hamri rasiya maano hamri by Hamida Bano

Audio Clip:

Song-Baamna ki chhori dil le gayi (Main Kya Karoon)(1945) Singers-Ninu Mazumdar, Hamida Bano, Lyrics-D N Madhok, MD-Ninu Majumdar

Lyrics

baamna ki chhori dil le gayi
ho o o o
baniye ka poot jiya le gaya..aa

baamna ki chhori dil le gayi
ho o o o
baniye ka poot jiya le gaya

gaagri utaaye jaaye
gaagri utaaye jaaye
pag to le
o kamar do bal khaaye
jaadu bhari aankh rang hai gora
jaadu bhari aankh rang hai gora

ho o o o
hans hans ke moh liya man mora
ho o o o
hans hans ke moh liya man mora
sukh lekar dukh de gaya

haay
sukh lekar dukh de gaya
ho o o o
baniye ka poot jiya le gaya..aa

baamna ki chhori dil le gayi
ho o o o
baniye ka poot jiya le gaya..aa

jaat begaani biraadari ka dar
ho ham pe lagi hai jaani sab ki nazar
pyaar mein biraadari na jaat koi
ho neh laga liya jo wo kare so hoi

jaat begaani biraadari ka dar
ho ham pe lagi hai jaan sab ki nazar
pyaar mein biraadari na jaat koi
o neh laga liya jo wo kare so hoi
sukh lekar dukh de gaya

haay
sukh lekar dukh de gaya
ho o o
baniye ka poot jiya le gaya..aa
baamna ki chhori dil le gayi
ho o o
baniye ka poot jiya le gaya..aa


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 :

4706 Post No. : 16410

After about 8 transfers in different states on promotions, I was promoted further and brought to our Head office in Bombay ( it had yet to become Mumbai). I settled down here for good. The year was 1983. While going to the office everyday, I used to see a beautiful Housing society at the corner of Versova Road and Juhu Road junction. The society’s name was ” Karachi Residents’ society-No.4″. I was very curious about this name. On one Sunday, while returning from a friend’s house, I stopped my car near this society, I saw a middle-aged person coming out of the gate. I stopped him and enquired. From what he told me, I gathered that this was a society of those people who lived in Karachi, before the Partition. He further enlightened me that there were 5 such societies in Bombay and there was also a “Lahore Residents’ Society ” which too had 5 numbers. People who fled from Karachi and Lahore at the time of Partition still loved their original abode !

Later I read somewhere that there was a Bombay Residents’ Society in Karachi also ! So the attachments were on both sides !! Partition not only divided the Country in 1947 but also affected the Film industry badly on both sides. Few days ago I was reading a book “Mourning the Nation – Indian cinema in the wake of Partition” written by Bhaskar Sarkar. Then I remembered those societies. Today, those society buildings have been pulled down and new buildings have come up, with different new names. However, a closer look shows older names mentioned in small letters in brackets on the new name boards.

According to the book, Indian film industry lost some Gems, but Pakistan was not in a position to do justice to these Gems, as their film industry was in doldrums. Everything had to be started all over again. Till that time the artistes had to wait. Problem in India was the void created by the exit of artistes, but this was easily done by a strong reserve available, waiting in the wings for opportunities. This was the second line. The problem in Pakistan was having to establish the infrastructure itself plus financers for the film production, since the economy was yet to develop.

In undivided India, Lahore (then in the Punjab) was important as a showbiz centre. It was an established film-making centre. The first Talkie film ever to be made in a Lahore studio was Heer Ranjha-1932 and thereafter many Urdu and Punjabi films were produced from Lahore every year. The partition of India into two independent states – India and Pakistan, caused irreparable damage to film production in Lahore. Most of Lahore’s film producers were Hindus and as the city fell on the side of the Islamic state of Pakistan, they migrated to India. This deprived Lollywood, as Lahore is referred to in film circles, of much needed investment and expertise in film production and distribution. Many talented actors and musicians from Punjab and Sindh area tried their luck in the Cine Industry at Lahore. Nevertheless, the biggest centre of film production was Bombay and it was every aspiring artiste’s dream to go to Bombay and shine there.

The film activity at Lahore increased considerably in the early 40s in terms of film production and Music. Those days many actors and musicians shifted their base to Bombay from Lahore, Calcutta and other places too.

The list of such people is very long, but it will suffice to mention some well known names-
Noorjehan, Pran, Saigal, Prithwiraj Kapoor, Shyam, Dilip Kumar, Surinder, Karan Dewan, Dev Anand, Balraj Sahni, Singer Khursheed, Mumtaz Shanti, Veena, Begum Para, Meena Shorey, Suraiya, Manorama, Kamini Kaushal, Shyama(Khursheed Akhtar), A R Kardar, M Sadiq, Suresh(Nazim Ahmed), Amar, Chetan Anand, Zande Khan, Ghulam Hyder, Pt.Amarnath and his brothers Husnlal-Bhagatram, Hansraj Behl, S.Mohinder, Firoz Nizami, Khursheed Anwar, Khayyam, Vinod, Shyamsunder, Kidar Sharma, Krishna Chander, O P Dutta, Saadat Hasan Manto, Qamar Jalalabadi, D N Madhok, Tanvir Naqvi, Prem Dhawan etc etc. Many of the actors and producers used to shuttle between Lahore and Bombay for their work.

And when the PARTITION took place in 1947, in the communal frenzy, polarisation of artistes took place. Some Hindus shifted to Bombay and Some Muslims left for Lahore.

At the actual time of Partition some Indian artists were in Lahore for film work. They were B R Chopra, Ramanand Sagar, I S Johar, Gulshan Rai, Omprakash, Jeevan, O P Nayyar, Rajinder Singh Bedi, Naqsh Lyallpuri, Surinder and Prakash Kaur Manorama and Pushpa Huns. They all left Lahore hurriedly and reached Bombay Safely.

However this journey was not so safe for one actor-Comedian Durga Prasad, known as Durga Mota. He was very fat. In the melee, he reached the Lahore station and somehow entered the Train to Bombay. Suddenly a group of mad rioters entered the Lahore station and started killing the travellers. Most people ran helter skelter, but due to his heavy body, Durga Mota could not run and was cut into pieces on the Lahore station platform itself !

Same way many artists from Bombay left for Lahore and ALL of them reached safely. some of the Directors who migrated to Pakistan were-

Syed Shaukat Hussain Rizvi, S M Yousuf, Najam Naqvi, Munshi Dil, Nakshab Jarachavi, M Sadiq, Zia Sarhadi, Sibtain Fazli(of Fazli Brothers), S T Zaidi , Zahoor Raja, Wali saheb, A R Kardar,Nazir,W Z Ahmed,Masood Pervez, Shareef Nayyar,Luqmaan, Dawood Chaand, Rakhan, Nusrat Mansoori, M H Qasim, Roop K Shorey, Butt Kasher, Barkat Mehra and Manto.

Some of the Actors/actresses were- Nazeer, Sadiq Ali, Masood, Sudhir, Santosh, Ratan Kumar, Najmul Hussain, Suresh and Nasir khan(both came back to India later), Sh.Mukhtar, M.Ismail, Ajmal, Gulam Mohd, Kumar, Ghori, Majeed, Shahnawaz, Himalayawala, Shyam Kumar, Allauddin, Shah Shikarpuri, Charlie, Nazar Faizi Noorjehan, Meena Shorey, Khursheed, Zeenat Begum, Asha Posley, Najma, Kalawati, Rehana, Swarnalata, Ragini, Bibbo, Renuka Devi, Geeta Nizami, Maya Devi etc.

Some from the music field were- Khursheed Anwar, Inayat Hussain, Rafiq gaznavi, G A Chisti, Ghulam Hyder, Firoz Nizami, Nissar Bazmi, Nashaad, Tufail Faruqi, Tanvir Naqvi, Faiyaz Hasmi, Iqbal Bano, Premlata,Khursheed,Zeenat Begum,Shevan Rizvi,Rasheed Atre,Fateh Ali khan,Babul etc.

With so many people migrating to Pakistan at a time and given the condition of the Pakistan Film Industry then, it is a moot question, whether all these migrants could get work there and shine ?

There were 2 types of people who migrated-

1. Those who had achieved their peaks already in India and
2. Those who had just started their careers.

Obviously the second group, at least some of them, could do well there eventually.

Some of the successful migrants there were- Noor jahan, Khursheed Anwar, G A Chisti, Nissar Bazmi, Firoz Nizami, Najam Naqvi, Nakshab Jarachavi, Sibtain Fazli, Wali Saheb,Manto, Rashid Atre, Sudhir, Santosh, Asha Posley, Shameem, Najma, Yasmeen, Ragini, Zahoor Shah, Shaikh Iqbal, Himalayawala, Nazar, Rafiq Gaznavi, Tanvir Naqvi, Iqbal Bano etc.

The unfortunate ones were-some of them- Meena Shorey, Ratan Kumar, M Sadiq, Charlie, Ghori, Kumar, Shaikh Mukhtar, Najmul Hussain, Neena, Kalavati, Maya devi, Gulam Hyder, Nashaad, Premlata etc.

Almost all the artists who shifted to Bombay prior to Partition did very well here.

(Notes- 1.All lists are only indicative and not exhaustive
2.Migrants means between 1947 to 1970 period.)

About two years ago, there was a fruitful discussion on my Facebook page about Partition effects on Film industry in India and Pakistan. Many senior experts (from US and UK too !) participated and some more new information came out of this discussion…..

The rioting of 1947 set in motion irreversible, irrevocable migration. B R. Chopra and I S Johar were planning films in a big way in Lahore but had to run for their lives. Ramanand Sagar left in July, as did Gulshan Rai. Character actor Om Prakash (of Fateh Din fame, an all-time favourite skit relayed for years by Radio Lahore), comedian-bad man Jeevan and many others also left Lahore for Bombay. O P Nayyar recorded his immortal song Priyatam Aan Milo/ Dukhia Jiya Bullai, Aan Milo at the His Master’s Voice studio in Lahore. He left Lahore only in 1948 when it became clear that people with the wrong religion were not going to return to their homes on either side of the Punjab. Writer Rajinder Singh Bedi escaped, sitting on top of a railway carriage carrying loads of Hindus and Sikhs out of Lahore. Song-writer Naqsh Lyallpuri began his literary career in Lahore as a journalist but had to leave in 1947. Punjabi singers Surinder Kaur and Prakash Kaur, and Pushpa Hans also left Lahore.

Migration in the other direction also took place. Nazir and his wife Swarnlata, Noorjahan and her husband Shaukat Husain Rizvi, character actor Alauddin and many others headed for Lahore. Manto came in January 1948, music directors Ghulam Haider and Khurshid Anwar followed some years later and director M. Sadiq probably in 1969 or 1970. Meena Shorey, Khurshid and Mumtaz Shanti also immigrated to Lahore. Some Pakistani actors in Lahore continued to use Hindu filmic names. Santosh Kumar (Musa Raza) and Sudhir (Shah Zaman), the two most famous heroes of the 1950s and 60s followed such practice. On both sides, initially considerable goodwill existed between the two film communities.

Some families were divided. Thus for example, while Nazir Ahmed khan shifted to Lahore, his nephew K. Asif stayed on in Bombay. Kardar stayed on but his brother Nusrat Kardar and son Rauf Kardar returned to Lahore. While Suraiya, her mother and grandmother settled in Bombay, many of her other relatives shifted to Lahore. Rafi stayed on to reign supreme in Bombay while his parents and siblings were in Lahore.

There were some cross-religion marriages that created peculiar challenges. Raj Kapoor’s maama (maternal uncle) Mr Mehra married a Muslim actress Anwari, converted to Islam and stayed in Lahore. A unique case of reverse migration took place as well: poet Sahir Ludhianvi (Abdul Hai) left Lahore for India.

Luckily,except for few like Noorjehan, Khursheed Anwar and some others, the well established Muslim artistes like Rafi, Talat, Shamshad, Naushad and hundreds of others chose to remain in India. They prospered here and became popular in Pakistan as well.

After partition,this turmoil subsided after a short period in India and it was business as usual here, while in Lahore, Pakistan had to build up from scratch, but the Film Industry there too stabilised in a few years’ time. The base of Film industry in Pakistan was built by people who migrated from India. Migration from India to Pakistan continued till about 1970 for the pre-partition artistes. In fact till about 1965 there was an exchange of artistes from both sides to work in other countries, but after the 65 war, this working stopped almost completely.

Music Directors who left India after Partition had done a very good job here. Composers like Nissar Bazmi and Feroz Nizami became exceptionally successful in Pakistan, but Nashad, Rafiq Ghaznavi and others were not successful to that extent. Khursheed Anwar, a very highly respected composer here remained a father figure even in Pakistan.

Partition did a lot of damage to both countries and the film industry. With so many artistes leaving at a time surely affected the filmdom, but it also opened up new avenues for new singers and new blood composers.

Despite all this in the Partition year – 1947 saw making of a Record number of films in India – 181 (this record remained till 1985). Of course most films were made in a hurry to complete before the deadline of August-1947. Still, even in these circumstances also some very good, meaningful, milestone and musical films were made in 1947, like… Aaj aur Kal (the first Sci Fi film), Bhakta Dhruv, Dard, Do Bhai, Elan, Jugnu, Leela, Meera, Meerabai, Mirza Sahiban, Natak, Parwana, Shehnai, Sindoor etc.etc.

Today’s song is from one of the unknown films of 1947 – Bela. The only noteworthy point about this film was, it was the first ever film of Zohrabai, where she sang all the 10 songs of the film. The other film surpassing this record was film Meerabai – 47, where Sitara Kanpuri sang all the 13 songs of the film. However even this record was broken in 1947 itself when M. S. Subbulakshmi sang all 17 songs of her film Meera-1947. As far as I remember this record is yet unbeaten.

Bela-47 was made by Ranjit Cinetone. It was directed by Chaturbhuj Doshi and the MD was Bulo C Rani. The film had 10 songs. 9 songs are already discussed. Today’s song is the last 10th song and the film says YIPPEE. I was given this song by Abhay Jain ji of US, but it was a slightly short one. Sadanand Kamath ji found another version song which was longer and uploaded it for me. I thank both of them.


Song- Peepal ke patve se chikni meri gori re (Bela)(1947) Singers- A R Oza, Zohrabai Ambalewaali, Lyricist- D N Madhok, MD- Bulo C Rani

Lyrics

peepal ke patve se chikni meri gori re
chanda se pyaara mera baalmaa ho
chanda se pyaara mera baalmaa ho

peepal ke patve se chikni meri gori re
chanda se pyaara mera baalmaa ho
chanda se pyaara mera baalmaa ho

torey nainon mein chhoti si duniya basaayi hai
gham e aasha umang sang naachne ko aayi hai
torey nainon mein chhoti si duniya basaayi hai
gham e aasha umang sang naachne ko aayi hai
meri umang meri chhoti si gori re
mera sahaara mera baalmaa ho
meri umang meri chhoti si gori re
mera sahaara mera baalmaa ho
chanda se pyaara mera baalmaa ho

peepal ke patve se chikni meri gori re
chanda se pyaara mera baalmaa ho
chanda se pyaara mera baalmaa ho

pyaar ke phool mein balma kaante lage hain
lag na jaaye
pyaar ke phool mein balma kaante lage hain
lag na jaaye
dekho ulfat ke pehloo mein furkat chhupi hai
wo din na aayen
dekho ulfat ke pehloo mein furkat chhupi hai
wo din na aayen
kehti rahoon
kit dhoondhoon kit jaaun re
kehti rahoon
kit dhoondhoon kit jaaun re
mera to haal mere baalmaa ho
chanda se pyaara mera baalmaa ho

peepal ke patve se chikni meri gori re
chanda se pyaara mera baalmaa ho
chanda se pyaara mera baalmaa ho


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 :

4656 Post No. : 16324

“Firdaus”(1953) was produced by M S Ahluwalia and directed by Vasant Joglekar for New Premier Films, Bombay. The movie had Geeta Bali, Anoop Kumar, Rama, Om Prakash, Lalita Pawar, Jamaal Amrohi, Badri Prasad, Randhir, Pesi Patel, and Vasant Thengadi etc in it with Ashok Kumar in guest appearance.

The movie had eight songs in it, all being female solos, sung by four singers- Rajkumari (3), Geeta Dutt(2), Asha Bhonsle (2) and Lata Mangeshkar (1). Two songs have been covered so far.

Here is the third song from “Firdaus”(1953) to appear in the blog. This song is sung by Rajkumar. D N Madhok is the lyricist. Music is composed by Robin Chatterjee.

Only the audio of the song is available. The song sounds like a mujra song to me, going by its lyrics. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Dekhi re anaadi tori preet (Firdaus)(1953) Singer-Rajkumari, Lyrics-D N Madhok, MD-Robin Chatterjee

Lyrics

dekhi re anaadi tori preet
dekhi re anaadi tori preet
dekhi re anaadi tori preet
anaadi tori preet

jhooth mooth ki baat ko
maine jaana saanch
ab door khade muskaat ho o o
dekh begaani aanch(?)
mare hue ko marna yaa kaahe ki reet ho
kaahe ki reet
anaadi tori preet
anaadi tori preet
dekhi re anaadi tori preet

tum bin jeena maut baraabar
tum bin jina maut baraabar
aur julam bedardi na kar
aur julam bedardi na kar
hamne apni haar maan li ee ee ee ee
hamne apni haar maan li
maan li tori jeet
maani tori jeeet
dekhi re anaadi tori preet
anaadi tori preet
dekhi re
dekhi re anaadi
anaadi tori preet
dekhi re anaadi tori preet


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 :

4496 Post No. : 16027

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

In India, most people want a Son and not a daughter, but the thinking of film makers seems to be different. From 1931 to 2012 period, only one film titled BETA was made in 1992, whereas there were 3 films titled BETI, made in 1941, 1957 and 1969. there was also one film called BETI NO. 1 made in 2000. Interestingly, while there was a film called BETA HO TO AISA in 1994, there was also a film called BETI TUMHARE JAISI in 1969. As if a compromise was done, there was a film BETI-BETE in 1964 (here also BETI came first). I am happy about this because, hopefully, it indicates where the Indian society is heading to !

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 40’s decade one more major change in the film industry took place due to Partition. More about it when we discuss a song from 1951 in coming times.

Today’s film is an excellent example in which the cast indicated artistes, none of whom lasted till 1951. Most retired, some died and a few migrated to Pakistan. The film was directed by Jayant Desai, music was by Gyan Dutt, lyricists were D N Madhok and B R Sharma. The actors were Khurshid, Arun, Vasanti, Ghori, Bilimorea, kesari, Nagendra, Rewashankar and Khatun etc.etc.

In my last post I had written about the multifaceted S N Tripathi, who was an actor, singer, music director and director. Some readers were surprised to read about his multiple activities. But in the Hindi cinema field, there were some really talented, multi activity artistes, both in films and outside films. Offhand I can mention at least 3 such artistes. The first is Dewan Sharar, who was from a Royal clan. He was editor of an Urdu cine-magazine, worked in New York with League of Nations, editor of a London weekly, Wrote many books in English, wrote story of film KARMA-33 an English film, wrote many Radio plays on BBC, Producer and actor in the Hindi version of film Karma-33, worked for A.I.R. Delhi, acted in 8 Hindi films, wrote stories of 10 films and 62 songs in 12 films.

Second example is of Pandit Badri Prasad, who was a Hero, character actor, director, producer, Singer, Music Director, Lyricist and Choreographer in addition to being a Sanskrit scholar. Third example is Sailesh Mukherji – actor, singer, Music Director and Interior Designer (Mala Sinha’s bungalow), Radio compere on A.I.R. Calcutta.

In today’s film also there is one such multi activity artiste. The name is Nagendra Majumdar. He was the father of Ninu majumdar, the music director. Nagendra was born in a happy family in the year 1894 in Bombay. After his father died, “Pearl Dairy’ established by his father ran very well doing good business. Suddenly, Nagendra’s wife fell seriously ill and despite taking her full care, she expired. Due to neglect of the Dairy in this period, Dairy also closed down.

He shifted to Baroda and worked as a State Police Inspector. Later he worked as a Watch and Ward Inspector in Baroda Railways. He left the job and started working as a hero in dramas of famous dramatist R.V.Desai. Heeralal, the owner of Laxmi Film Company, Bombay was impressed with his personality and took him to Bombay in 1926 to act in his silent films. Thus started his film career. In those days Silent films used to be completed within a month. He worked as a Hero in films of Laxmi, Jagdish and Imperial film companies.

In the same year, he directed a film ‘Paani mein aag’-1926, made by Royal Arts. Then came two more films made by Kaiser E Hind films. He also directed films for other companies. In all, he directed 15 Silent films by 1932. By then the Talkie had arrived. In the next 14 years he directed 12 Talkie films like – Ras Vilas-32, Sassi Punnu-32, Patit Pawan-33, mirza Sahibaan-33, Mera Imaan-34, Kala Wagh-34, Rangila nawab-35, Kimiyagar-36, Aaj ka Alladin aka Alladin II-36, Lehri lutera-37, Talwarwala-46 and Swadesh Sewa-46.

When offers for direction became few, he started acting in films. He acted in 12 films. When K L Saigal came to Bombay, Nagendra wanted to work with him. In the film Tansen-43, he did the role of Tansen’s (Saigal’s) father and he was very happy. Other films that he acted in were Kanchan-41,Beti-41, Khilauna-42, Bhakt Surdas-42, Armaan-42, Tansen-43, Gauri-43, Adab Arz-43, Bharthari-44, Prabhu ka Ghar-45, Ghazal-45 and Dhanna Bhagat-45.

His last 2 films came in 1946, but his health was not cooperating for quite a few years. He gave up work and took a rest. However, he suffered from paralysis and died on 22-8-1951. His son Ninu Majumdar worked in Bombay A.I.R. as head of Gujarati programmes, since 1937. By the time Nagendra died, Ninu had already started working as a Music Director.

As a Director, Nagendra had worked with the best of his times like, Master Vithal, Zubeida, Jillo, Billimorea brothers, Madhuri, Navinchandra, Durga Khote, Jairaj, Sultana, Noorjehan sr and such luminaries of those days. He had worked for Ranjit, Imperial, Sharda, Lakshmi, Jayant Desai films, Yagnik films etc etc.

There is a name Revashankar in the cast. Some of Ranjit Movietone’s earliest talkie films had music by Jhande Khan. Next came the trio of Banne Khan, Ganga Prasad Pathak and Rewa Shankar Marwari. None of that music was ever released on 78 rpm records. From 1938-39, the great duo of Jnan Dutt and Khemchand Prakash took over the charge of Ranjit’s music, later to be joined by Bulo C Rani. It was only around 1938 that RANJIT started releasing its film music on 78-rpm records.

Rewa Shankar Marwari’s association with Ranjit Films and films produced or directed by ex-Ranjit hand Jayant Desai continued in the 1940s. He acted in 27 films, till 1955, sang 12 songs in 9 films and gave music to 21 films from Veer Babruwahan-34 to Matrubhoomi-49.

Rewa Shankar sang a beautiful classical composition ‘jay jay shankar’ in Shankar Parvati (1943) for composer Jnan Dutt. It is available with several collectors, and is a rare instance of film music using Raag Shree.

Lastly about actress Khatun. Miss Khatun Bano was born and brought up in a poor Muslim family of Lahore. As per the family tradition, she learnt dancing and singing. once, when she was performing on stage in Lahore, the Talent hunter of Sagar movietone spotted her and she was offered a role in a Talkie film- which was a novelty in 1931. Her first film was Abul Hasan-31. Then came Subhadra haran-32, Meerabai-32, Maya Bazar-32 etc etc. In all, she acted in 59 films, till her last film Ibrat-60. She also sang 25 songs in 12 films.

Today’s song is the 7th song of this film to be presented. In one of the song posts, our Sadanand Kamath ji has given the film story already. For me too, this is my second song from Beti-41 to be discussed here.

( Credits – Information for this, is collated from various sources like Listener’s Bulletins No. 40 of Feb-80 and No.145 of July 2010, HFGK, muVyz, Sapnon ke Saudagar by Vithal Pandya, Silent films by Dr.Verma, Lost Treasures by kamlakar P. and my notes.)


Song-Jo pahne ban jaaye dulhan (Beti)(1941) Singer- Vasanti, Lyricist- D N Madhok, MD- Gyan Dutt
Chorus
Male Chorus

Lyrics

Jo pahne ban jaaye dulhan
Jo pahne ban jaaye dulhan
thhan thhan nikle baala joban
thhan thhan nikle baala joban
dekh dekh lalchaaye saajan
sautan ka jo jiya jalaaye
aisi saadi kaun banaaye
Shankar mill
Shankar mill
Shankar mill

Jo pahne ban jaye dulhan
Jo pahne ban jaye dulhan
thhan thhan nikle baala joban
chhan chhan nikle baala joban
dekh dekh lalchaaye saajan
sautan ka jo jiya jalaaye
aisi saadi kaun banaaye
Shankar mill
Shankar mill
Shankar mill

laala jee jab baahar jaayen
dhoti patlidaar banaayen
laala jee jab baahar jaayen
dhoti patlidaar banaayen
laali jee ka joban bhaaye
aisi dhoti kaun banaaye
Shankar mill
Shankar mill
Shankar mill

laali jee ka joban bhaaye
aisi dhoti kaun banaaye
Shankar mill
Shankar mill
Shankar mill

patli patli pyaari malmal
patli patli pyaari malmal
sabse sundar sabse komal
tan ko laage jaise makhmal
saajan ko de josh ramaaye
aisi makhmal kaun banaaye
Shankar mill
Shankar mill
Shankar mill

saajan ko ?? ramaaye
aisi makhmal kaun banaaye
Shankar mill
Shankar mill
Shankar mill
Shankar mill
Shankar mill
Shankar mill


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 THIRTEEN years. This blog has over 16900 song posts by now.

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

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