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

Posts Tagged ‘Dada Chandekar


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 :

5119 Post No. : 17067

Today’s song is from the film Ladai ke baad-1943.

This is a very misleading title for a film which was made during the peak period of Second World war. Reading this title, it is natural for anyone to feel that this was a film which was on the matters which will take place after the war is over, or it may be a depiction of the country and the social life going through changes after the war ended. But none of it ! It was simply all about a war (Ladai) between two neighbouring families, caused by the usual Ego clash – though there is a loving couple in both families, hoping to get married. And it was called a Comedy film.

The film was made by Navyug Chitrapat, Poona. There is a little history behind the launch of this film making company. Master Vinayak (father of actress Baby Nanda) had his own film company Hans Pictures, in partnership with half brother Baburao pendharkar and cameraman pandurang Naik. Their first film was Chhaya-36-aq bilingual in marathi and hindi. It was not only a hit film but also it won many awards. Next 2 films, Premveer-37 and Dhrmveer-37 were also successful. Then came the film Jwala-38, a bilingual. Unfortunately this film was a big flop and Vinayak suffered heavy loss. To make it up, he then made 2 more films-Bramhachari-38 and brandy ki botal-39. Although these were successful at the Box office, the loss was not compensated. Even the last attempt with marathi film Ardhangi-40 (Hindi-Ghar ki Rani-40) could not salvage the damage done by jwala and Hans Pictures was dissolved.

He then launched navyug Chitrapat, along with Acharya P.K.Atre as a partner. Navyug was the first film company to offer 100 rupees shares to the common public (Bombay Talkies had given its shares to its Directors initially). The first film made was in Marathi-Lapandav-40. Then came Amrit-41(in Hindi and marathi) and ‘Pahili Mangalagaur’-42 in marathi, wherein Lata Mangeshkar made her Debut. During the making of this film, Vinayak left navyug and started his own ” Prafull Pictures’. After the last film Ladai ke baad-1943, navyug Chitrapat also closed down.

Actually, if one goes through the early marathi Cinema production history, one would know that launching and closing film companies was quite frequent in the Marathi film industry. In the early era, films were made in Poona, Kolhapur and Bombay. Two major communities in Maharashtra, Gujarati and Marathi entered the cinema field. Gujaratis were businessmen and had the money power. They immediately became the owners of film companies, supplied finance and made profits. Marathi people had no money but they had a hard working nature, acting Talent, Music expertise and Technical knowledge. Thus the jobs were automatically divided. Whenever Marathi people owned or launched film companies, they lost the battle due to lack of business sense and clash of false egos among partners. In later years, however, this picture changed.

Film Ladai ke baad-43 was directed by R.S.Junnarkar. Raghunath Shankar junnarkar was born on 19-3-1911 in Bijapur. After matriculation, he joined the film industry as a technician,in 1931, in Zarina pictures. He moved to kohinoor film company and then to United Artistes. Later he joined Kohinoor Cinetone in the capacity of screenplay writer and editor in 1934. master Vinayak Called him to Hans pictures in 1936. He was diligent and hard working. He got his first chance as a director of film sangam (Hindi and Marathi)-1941. Before this, he had jointly directed the film Bahurani in 1940, with actor Mubarak.

For navyug pictures he directed Pahili mangalagaur, Tuzach (Hindi version Main tera hoon) and Pundalik all marathi films. After Vinayak left navyug he completed the film pahili mangalagaur. In this film, there was a kissing scene of Snehaprabha pradhan and Shahu Modak. Lata also debuted in this film with acting and singing for herself.

Junnarkar was excellent as a screenplay writer. he wrote for films Nigahe nafrat -35 (Debut of Shobhana Samarth), Chhaya-36, dharmaveer-37, jwala-38, Neera and nanda-1946(directed also). he also wrote lyrics for film Taqrar-1944, he edited films, premveer, Nigahe nafrat, dharmaveer, Birha ki raat and Baazuband. (Thanks to the book ‘ Marathi Cinema in retrospect’ by Sanjit Narvekar).

Coming back to film Ladai ke baad-43, the songs were written by Wali Saeb.He was the brother of lyricist Nazim Panipati. Wali Saheb was a person of one of a kind. He was an educated person fond of writing stories and songs, but he was also very orthodox in nature, So much so, that he had made it compulsory for his actress wife Mumtaz Shanti, to come for shootings in a Burkha, and was also a perfect Hypocrite who allowed her to act in films as a lover of the Hero ! He would put it in her contract that the hero would not touch her during the shoots. To ensure this, he used to be present personally in her every shoot. After the shooting, she was to put on her Burkha again and head straight home, without talking a word with anyone.

It seems her uncle Barkat Nizami ( husband of actress Geeta Nizami) had brought her in films and he used to take away 75% of her earnings ( 50% for himself and 25% for his son). However, after her marriage to Wali saheb, this had stopped.

His name was Wali Mohd Khan. He was born in Poona on 10-8- 1908. His family was from Punjab. He became a Compounder with a Doctor in Lahore till 1938. He used to write songs for the Recording companies, for a sum of Rs. 5 per song ! He entered film line as a story writer and Lyricist, with film,” Soni Kumharan ‘ produced by East India Film Company.His songs became popular and he started writing dialogues too.He wrote songs, stories and dialogues for 36 films in all, with 280 songs. He worked for Kamla Movietone, Pancholi studios,Talwar productions, Cine art production etc.He even sang one song in the film Udhar-1949.

After trying his hand at Direction in Venus pictures film ” Lady Doctor”-44, he went on to produce and direct film ” Dekhoji”-47, under his own banner, Punjab film corporation ltd. Bombay. He produced and directed 4 more films, Padmini-48, Heer Ranjha-48, Putli-50 and Zamane ki Hawa-52. In all these films, the Heroine was Mumtaz Shanti. He migrated to Pakistan, with his actress wife, in the mid 50s. ( Thanks to information from Film Directory-46, muVyz, HFGK and my notes.)

I am not giving the film story because it was given along with the film’s first song discussed here in 2016. The music was by Dada Chandekar. Shankar Vishnu aka Dada Chandekar was from Kolhapur. He was born on 19-3-1897. His father used to do Keertan in temples and also play Harmonium. Dada also became an expert in playing the harmonium. Due to poverty, Dada joined Kirloskar drama company and used to do female roles. One day, by chance when the regular Harmonium player was absent, Dada got the opportunity to play Harmonium in a drama, which was lauded by all.

Later he joined Deenanath Mangeshkar’s Balwant Natak company where he played Harmonium for 20 years. Now Dada wanted to join the film industry. He assisted Dhamman Khan in the film Kaliya Mardan made by Bhali Pendharkar. When Dhamman Khan was removed due to his irregularity, Dada was appointed MD for the same film. Thus started his career finally. In 1937, he joined Huns Pictures of Master Vinayak and gave background music for the film Jwala-1938. This prompted the film Brahmachari-1938 to be given to him. This film’s music became Hit and created records in Hindi and Marathi versions. He gave music to Huns and Navyug films.

His other films as a MD were Brandy ki Botal-39, Devta-39, Ghar ki Rani-40, Amrit-41, Sangam-41, Ladai ke baad-43, Lieutenant-44, Din Raat-45, Main Tera Hoon-47, Moti-47 and his last Hindi film Phool aur Kaante-48. Meanwhile he was doing Marathi films also. He gave music to 25 Marathi films till 1964. It was he, who gave the First ever opportunity to Lata Mangeshkar to sing in a film. The film was ” Pahili Mangalagaur”-1942. It was a duet with Snehprabha Pradhan.

Dada Chandekar gave music to many Marathi dramas and he also worked for All India Radio, Poona for a few years. Dada Chandekar, one of the early composers of Hindi and Marathi films, died on 27-1-1976 at Poona.

Today’s song is a duet sung by Snehprabha Pradhan and Govind Kuruvilkar.

Editor’s note. This is the 100th song of Wali sahab as a lyricist in the blog. He becomes 32nd lyricist and 94th artist overall to complete 100 songs in the blog.


Song- Dagar mori chhodo ji (Ladaai Ke Baad)(1943) Singers- Snehprabha Pradhan, Govind Kuruvilkar, Lyricist- Wali Sahab, MD- Dada Chandekar

Lyrics

Dagar mori chhodo ji
Dagar mori
chhodo ji
tum to chhedoge
main hoon akeli
tum to chhedoge
main hoon akeli
Dagar mori chhodo ji
Dagar mori
chhodo ji

donon haathhon mein mere kabootar
donon haathhon mein mere kabootar
tere sar se bhari hai ye gaagar
tere sar se bhari hai ye gaagar
kaise chhedoonga
naar naveli

Dagar mori chhodo ji
Dagar mori
chhodo ji
tum to chhedoge
main hoon akeli
tum to chhedoge
main hoon akeli
gaagar mein donon kabootar bithhaakar
gaagar mein donon kabootar bithhaakar
gaagar ko dhhakke se upar uthhaakar
gaagar ko dhhakke se upar uthhaakar
hamse karoge athhkheli
hamse karoge athhkheli
tu ko samjhaye ??
tu ko samjhaye ??

Dagar mori chhodo ji
Dagar mori
chhodo ji
tum to chhedoge
main hoon akeli
tum to chhedoge
main hoon akeli

mujhe baadh liya kaajal ki dori se kyun
mujhe baadh liya
mujhe baadh liya kaajal ki dori se kyun

toone chhedaa thha
toone chhedaa thha
panghat pe chori se kyun
toone chhedaa thha
panghat pe chori se kyun
mose bhool hui
aaj mose bhool hui
naar naveli

kahin dekhe na mori saheli
Dagar mori chhodo ji
Dagar mori
chhodo ji
tum to chhedoge
main hoon akeli
tum to chhedoge
main hoon akeli
agar mori chhodo ji
Dagar mori
chhodo ji


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 :

4745 Post No. : 16472 Movie Count :

4474

Today’s song is from a very obscure film Lieutenant-1944 ( It is pronounced as लेफ्टनंट ). It was actually a stunt film, belying the film title, which misled the readers thinking that this was a War film ! The only connection of this film with War was perhaps that this film was made during the II WW period.

The War period of 1939 to 1945 was quite tough for the film industry. The most stunning blow to it was that the supply of most essential items were now under the control of the Government and that the Raw Film was one of the items in their list ! The Raw film supply was not only restricted, but also it was given to only those who were making the films regularly. Additionally a filmmaker who would make a War Propaganda film or show in his films such scenes was eligible for extra quota at control rates. For this reason some leading filmmakers made Propaganda films,e.g. Master Vinayak made “Badi Maa” in 1945, while Acharya Atre made film ” Panna” in 1944.

The Government control on essentials like Petrol, Sugar etc prompted the rise of Black Marketing and generation of Black money. Many unscrupulous people made a lot of money. Some of this easy money flowed into the film line and during the 1940s decade, this money slowly destroyed the Studio system, encouraged freelancing and the prices of stars soured skywards. The cost of making films also escalated. Even an ordinary C grade Stunt film, which could be made in about 50000 at the beginning of 1940, ended in Lakhs by 1949 end.

The Government had increased the Entertainment Taxes in Bombay, Madras, UP and CP areas, so the cost of Cinema tickets had increased. Prithvi Theatre was launched by Prithviraj Kapoor. Film artistes gathered under the leadership of EVR Naicker in Madras to form DMK party. M. Karunanidhi was a prominent leader.

In Spite of all this, some good Musical films were made in 1944. Saigal, who arrived in Bombay from Calcutta for good, made his second film in Bombay. New composers, New Heros and New heroines brought a variety of Genres of films made in 1944. Some of the major films of 1944 were….

Bhanwara – Second film by Saigal and Khemchand Prakash in Ranjit in Bombay. Made in just 9 days’ shooting for Saigal, by director Kidar Sharma. It was the second film for Monica Desai too (sister of Leela Desai and wife of Phani Mujumdar).

Bharthari – Last film in India by singer actress Jahan Ara Kajjan who sang her last 2 songs in it. She migrated to Pakistan in the wake of Partition. Very good songs in the film, especially ” Bhiksha de de maiya” by Amirbai and Surendra.

Chal Chal re Naujawan – First film from newly established Filmistan, by the deserters’ group from Bombay Talkies, led by S.Mukherjee and Ashok Kumar. Ashok Kumar sang 6 songs in it for the first time for Ghulam Haider. His song ” Bolo Har Har Mahadev” was very melodious and popular.

Chand – Debut film of Husnlal-Bhagatram team. They were recommended by elder brother Pt. Amarnath, who was the first choice of D.D.Kashyap. After V.Shantaram and his team left Prabhat, this was an attempt by Prabhat to join the mainstream by opting for the first time a Non Marathi star cast and Punjabi style musicians. 5 singers were used by H-B for 11 songs. A mild success film.

Daasi – it was a musical from Lahore by Pt. Amarnath- with his favourite Zeenat Begum.

Film Dost produced the evergreen Noor Jahan song ” Badnam – muhabbat kaun karen” composed by Sajjad Hussain. This one song alone made them both immortal.

Draupadi – a feeble attempt by Baburao Patel to make a Heroine out of his secretary Sushila Rani.

Gaali – Another film by Sajjad, but with only 3 songs to him and 9 to Hanuman Prasad.

Iraada – Pt.Amarnath brought Hemant Kumar for his second Hindi song. He had debuted in the film Meenakshi-42 already, but no record was issued for that song.

Ismat – The first and the only film of the brothers Pt. H.P.Sharma and Pt. Govardhan pershad, as a composer team.

Jwar Bhata – Devika Rani’s discovery, Dilip Kumar’s first film. He was the side Hero and the Hero was Agha. Actress Mrudula also debuted as Dilip’s Heroine.

Krishn Bhakt Bodana – The only film of the Revolutionary Poet singer Master Vasant from Surat. Avinash Vyas, Shankar rao Vyas composed music, while S.N.Tripathi gave background music.

Musical film Lal Haveli – Only time when Noor Jehan and Surendra sang together under Mir Saheb.

Mann ki Jeet – W.Z.Ahmed brings new Heroine Neena, who sings in the voice of Debutante Sitara of Kanpur in all her films. Neena was a Non-Singer.

My Sister – Saigal goes back to Calcutta to complete a Musical film ” My Sister”. Pankaj Mullick gives excellent songs by Saigal and others.

There were two films ‘ Panchhi’ and ‘ O Panchhi’ with average songs.

Panna – A war propaganda film based on ” Mata Hari” story, with a new Heroine Geeta Nizami. MD Amir Ali dies before the film is released. The credits in the film dedicate the film to Late Amir Ali.

Perhaps the best music was by Vasant Desai to film ” Parbat pe apna dera”. Vanmala and ulhas excel in acting in a story of sexual repression. All songs are excellent, especially Amirbai’s song ” Pareshan hoon main ” is simply divine.

Lastly, the Best one. Record breaking musical ” Rattan” gave superlative songs by Naushad. Barring 2 songs by Manju, the other 8 songs were all Hits. Rattan gave 200% returns on the film and song records, to the Producer.

Film Lieutenant-44 was made by National Theatre, Bombay and it was directed by a veteran of stunt films, Nari Ghadiyali. There were 8 songs,all written by lyricist Mustafa. We do not know who was its Music Director. The cast of the film was Benjamin, Sharada, Bibi, Sadiq, Shahzadi, Putli,Habeeb,Nazira and many others. Two interesting names in the cast are Putli and Sadiq.

Mothers and daughters acted as leading ladies in the same era….Miss Putli or Putlibai and Miss Gohar Mamajiwala (the term Miss was used not merely to state the marital status of the leading ladies of those days)….

Like Miss Sharifa and Husna Banu , Putli and Gohar were mother and daughter. Putli was an accomplished actress of the silent screen who championed in the Talkies because of her extraordinary singing talents. Gohar was born in 1910 and entered the screen in 1926, where her mother Miss Putli too entered more or less the same time. Information about Miss Putli is very limited however, Gohar became India’s popular iconic star and is still remembered today.

Miss Putli acted in 33 Talkie films. Her first Talkie was Ratan Manjiri-35 and her last film was Dhoke baaz-46. She sang one song each in the film Lehri Badmash-44 and Dhokebaaz-46.

Sadiq Ali, was born on 6-10-1911 at Jalandhar, Punjab. His 2 cousins- Wazir Ali and Nazir Ali were famous Indian cricketers. Sadiq Ali completed his Engineering degree and worked in M.E.S. at Kanpur (Military Engg. Services). Due to strong desire to work in films and dramas, he resigned from his job after 5 years and joined Agha Hashr’s Drama company. When the company was closed, he joined The Burma Imperial film company at Rangoon. After a few small roles, he came down to Bombay.

After working in some smaller companies, he joined Minerva Movietone. Starting with khan Bahadur-37, he worked in Minerva’s Pukar-39, Sikandar-41, Phir Milenge-42, Prithwiraj Sanyogita-43, Parakh-44 (only directed by Modi) and Ek din ka sultan-45, also in Sandesa-39,Black out, Duniya tumhari hai, Phir milenge, Lieutenant, Ulti Ganga, Patharon ke saudagar,Jagbeeti,Nishana, Do Naina, Manjhdar, Mitti etc. In all he acted in 23 films. His last film was Ever Ready-46. After partition, he migrated to Pakistan.

First film in Pakistan was Judai (1950 Shaheena,Nazar and Zeenat). Other films include Shola (1952).

Sadiq Ali was a very successful and famous actor before partition and got the title of Prince of Minerva. He acted in many films in India, but in Pakistan, Sadiq Ali could not be successful as he was in India.

He was paralyzed in the 60’s and could be seen sitting with a Pan shop in Capitol Cinema lane, Karachi. Died on 12-7-1977 in Karachi. In his last days, he was seen begging on the road.

No information is available on the film story or other details. With today’s song, film Lieutenant-1944 makes its debut on this blog.


Song- Dushman ki chhaati par jhanda gaad ke hum lehraayenge (Lieutenant)(1944) Singers- unknown male voice, Lyricist- Mustafa, MD- Dada Chandekar
Chorus

Lyrics

Dushman ki chhaati par jhanda gaad ke hum lehraayenge
zaalim ko duniya se mitaakar jai jaikaar manaayenge
jai jaikaar manaayenge
Dushman ki chhaati par jhanda gaad ke hum lehrayenge
zaalim ko duniya se mitaakar jai jaikaar manaayenge
jai jaikaar manaayenge

rokenge seene per apni dushman ki sangeen
dushman ki sangeen
qurbaani ke khoon se hi ye duniya hai rangeen
ye duniya hai rangeen
rokenge seene per apni dushman ki sangeen
dushman ki sangeen
qurbaani ke khoon se hi ye duniya hai rangeen
ye duniya hai rangeen
sangeenen kya desh ki khaatir
topon se lad jaayen
topon se lad jaayenge
sangeenen kya desh ki khaatir
topon se lad jaayen
topon se lad jaayenge
Dushman ki chhaati par jhanda gaad ke hum lehrayenge
zaalim ko duniya se mitaakar jai jaikaar manaayenge
jai jaikaar manaayenge

?? ab hamne bhi kheenchi hai talwaar
kheenchi hai talwaar
kheenchi hai talwaar
haathi sa dariya ho chaahe golon ki bauchhaar
golon ki bauchhaar
ruk na sakte ab hamne bhi kheenchi hai talwaar
khenchi hai talwaar
haathi sa dariya ho chaahe golon ki bauchhaar
golon ki bauchhaar
haar se behtar mar jaana
maarenge ya mar jaayenge
maarenge ya mar jaayenge
haar se behtar mar jaana
maarenge ya mar jaayenge
maarenge ya mar jaayenge
Dushman ki chhaati par jhanda gaad ke hum lehrayenge
zaalim ko duniya se mitaakar jai jaikaar manaayenge
jai jaikaar manaayenge

aage peechhe dekh ke aisa maarenge ham teer
maarenge ham teer
bach jaaye dushman ka dil ??
phans jaaye to taqdeer
phans jaaye to taqdeer
murdon ke sarkaar ki unki
ginti karte jaayenge
ginti karte jaayenge
murdon ke sarkaar ki unki
ginti karte jaayenge
ginti karte jaayenge
Dushman ki chhaati par jhanda gaad ke hum lehrayenge
zaalim ko duniya se mitaakar jai jaikaar manaayenge
jai jaikaar manaayenge
jai jaikaar manaayenge ae ae ae


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3908 Post No. : 14965

“Phool Aur Kaante”(1948) was directed by Achyut Ranade for Navyug Chitrapat, Bombay. The movie had Lalita Pawar, Salvi, Saroj Borkar, Mohan Sahgal, Master Ratan, Swaroop Sahgal, Tulsi Bai, Shalini, Chaube etc in it.

The movie had twelve songs in it. Four songs from this movie have been discussed in the past.

Here is the fifth song from “Phool aur Kaante”(1948) to appear in the blog. This song is sung by Meena Kapoor. Vishwamitra Adil is the lyricist. Music is composed by Dada Chandekar.

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


Song-Ik teer jigar par khaa ke ham(Phool aur Kaante)(1948) Singer-Meena Kapoor, Lyrics- Vishwamitra Adil, MD-Dada Chandekar

Lyrics

ik teer jigar pe khaa kar hum
ik teer jigar pe khaa kar hum
na idhar ke rahe
na udhar ke rahe
na idhar ke rahe
na udhar ke rahe
seene mein aag laga kar hum
na idhar ke rahe
na udhar ke rahe
na idhar ke rahe
na udhar ke rahe

nazron ke bhi takkar khoob rahi
ladti bhi rahin sharma bhi gayin
nazron ke bhi takkar khoob rahi
ladti bhi rahin sharma bhi gayin
par dil se dil takra kar hum
na idhar ke rahe
na udhar ke rahe
na idhar ke rahe
na udhar ke rahe
ik teer jigar pe khaa kar hum
na idhar ke rahe
na udhar ke rahe
na idhar ke rahe
na udhar ke rahe

jab yaad kisi ki aati hai
jab yaad kisi ki aati hai
aankhon se aansu girte hain
dil mein toofaan uthhaa kar hum
na idhar ke rahe
na udhar ke rahe
na idhar ke rahe
na udhar ke rahe
ik teer jigar pe khakar hum
na idhar ke rahe
na udhar ke rahe
na idhar ke rahe
na udhar ke rahe

hain phool aur kaante donon hi
ulfat ki rangeeli raahon mein
hain phool aur kaante donon hi
ulfat ki rangeeli raahon mein
ulfat mein paaon badhaa kar hum
na idhar ke rahe
na udhar ke rahe
na idhar ke rahe
na udhar ke rahe
ik teer jigar pe khaa kar hum
na idhar ke rahe
na udhar ke rahe
na idhar ke rahe
na udhar ke rahe
seene mein aaga laga kar hum
na idhar ke rahe
na udhar ke rahe
na idhar ke rahe
na udhar ke rahe


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3883 Post No. : 14909

“Phool Aur Kaante”(1948) was directed by Achyut Ranade for Navyug Chitrapat, Bombay. The movie had Lalita Pawar, Salvi, Saroj Borkar, Mohan Sahgal, Master Ratan, Swaroop Sahgal, Tulsi Bai, Shalini, Chaube etc in it.

Three songs from this movie have been discussed in the past.

Here is the fourth song from “Phool aur Kaante”(1948) to appear in the blog. This pathos filled song is sung by Meena Kapoor. Vishwamitra Adil is the lyricist. . Music is composed by Dada Chandekar.

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

I have not been able to get one work in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.


Song-Barbaad mohabbat ki chhoti si kahaani hai (Phool Aur Kaante)(1948) Singer-Meena Kapoor, Lyrics-Vishwamitra Adil, MD-Dada Chandekar

Lyrics

barbaad mohabbat ki
chhoti si kahaani hai
barbaad mohabbat ki
chhoti si kahani hai
ik toota hua dil hai
ik teri nishaani hai
ik teri nishaani hai

saawan bhi gaya kab ka
baadal bhi gaye kab ke
phir bhi meri aankhon se
ashqon ki rawaani hai
ashqo ki rawaani hai
barbaad mohabbat ki
chhoti si kahaani hai

taqdeer ki thokar ne ae
wo zakhm lagaaya hai
wo zakhm lagaaya hai
?? umangen hain
khamosh jawaani hai
khamosh jawaani hai
barbaad mohabbat ki
chhoti si kahaani hai

mar jaate to achha tha
par haay re majboori
par haay re majboori
hum mar bhi nahin sakte
wo maut suhaani hai
wo maut suhaani hai
barbaad mohabbat ki
chhoti si kahaani hai


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3747 Post No. : 14710

“Sangam”(1941) was directed by Junnarkar for Navyug Chitrapat Limited, Poona. The movie had Meenakshi, Vatsala Kumthekar, Sundarabai, Malti gupte, Baby Devi, Salvi, Damuanna Malwankar, Jog, Nandu khote, Vinayak etc in it.

This movie had 14 songs in it. Two song from the movie have been covered in the past.

Here is the third song from “Sangam”(1941) to appear in the blog. The song is sung by Sundarabai. Amritlal Nagaris the lyricist of this song. Music is composed by Dada Chandekar.

Seeing that Sundarabai acted in the movie as well, one can guess that this song was picturised on herself.

I have not been able to get a few words right in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections in the lyrics as applicable.


Song-Laaj mori raakho ho gareeb niwaaz (Sangam)(1941) Singer-Sundarbai, Lyrics-Amritlal Nagar, MD-Dada Chandekar

Lyrics

laaj mori raakho ho gareeb nivaaz
laaj mori raakho ho gareeb nivaaz
laaj mori raakho ho gareeb nivaaz
dhan balheen
kahat moko more dhan mahaaraj
dhan balheen
kahat moko more dhan mahaaraj
laaj mori raakho ho gareeb nivaaz

deen dukhi main darid ?? ki ?? prabhu tum taaranhaar
deen dukhi main darid ?? ki ?? prabhu tum taaranhaar
sharan taran main naath ubaaro
sharan taran main naath ubaaro
padi vipad phir aaj

man mandir tan kalash chadhhaayo
man mandir tan kalash chadhhaayo
prem bhuja(?) pahiraayo
prem bhuja(?) pahiraayo
do gajvan ko aaj sajaayo
do gajvan ko ?aaj sajaayo
?? hey raghuraaj
?? hey
sir taaj(?)
sir taaj(?)
laaj mori raakho ho gareeb nivaaz


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3745 Post No. : 14703

“Sangam”(1941) was directed by Junnarkar for Navyug Chitrapat Limited, Poona. The movie had Meenakshi, Vatsala Kumthekar, Sundarabai, Malti gupte, Baby Devi, Salvi, Damuanna Malwankar, Jog, Nandu khote, Vinayak etc in it.

This forgotten movie had 14 songs in it. One song from the movie is covered in the past.

Here is the second song from “Sangam”(1941) to appear in the blog. The song is sung by SundarabaiShyamabai. Amritlal Nagar, a famous and prominent Hindi writer is the lyricist of this song. Music is composed by Dada Chandekar.

I request our knowledgeable readers to throw light on the details of this rare movie.

Audio

Song-Sakhi shyaam na aaye nahin aaye(Sangam)(1941) Singer-Shyamabai, Lyrics-Amritlal Nagar, MD-Dada Chandekar

Lyrics

sakhi shyam na aaye
nahin aaye
dharke mori chhatiyaa
sakhi shyam na aaye
nahin aaye
dharke mori chhatiyaa
sakhi shyam na aaye
nahin aaye
dharke mori chhatiyaa
aa aa aa aa
aa aa aa aa
dharke mori chhatiyaa

dhoodhnat hari van van raadha
jaaye chhipe kit kaanha aa aa
dhoodhnat haari van van raadha
jaye chhipe kit kaanha
haan
paany padoon ab aao mohan
saawan ban gayi ankhiyaan
haan aan
sawan ban gayi aankhiyaan
sakhi shyaam na aaye
nahin aaye
ghar khelne chhatiyaa
sakhi shyam na aaye
nahin aaye
dharke mori chhatiyaa

jal bin meen bhajan bin meera
jal bin meen bhajan bin meera
tarpat praan gaanwaye
aao madhav main balihaari
aao madhav main nalihaari
aao madhav
aao madhav
aao madhav
main nalihaari
chain padat din raatiyaan
sakhi shyam na aaye
nahin aaye
dharke mori chhatiyaa
sakhi shyam na aaye
nahin aaye
dharke mori chhatiyaa


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3613 Post No. : 14407

Today’s song is from a relatively unknown film ‘Ghar Ki Rani’ (1940). The film makes its debut on the blog today.

Every person in this world likes to talk about himself. More so, if the person is from the film line and now retired. Some of them write their autobiography and some others get someone to write for them. Autobiographies (AB) are of two types. One in which the author talks about the times he spent in the studios, about the film, people connected with it, anecdotes and generally gives information about those times, in his book. Such ABs are considered the best from the point of view of Film History. Such ABs are less in number.

The other type of AB is, in which the author writes more about his personal life mainly, giving negligible space to other matters like film, people and related matters. Such authors are under the wrong impression that the world is dying to know about him and his life, while the facts remain that they had lives like majority of people in India working in films.

Overall, the statistics say that women wrote more ABs than the men. Among the many ABs are the ones by Durga Khote, Leela Chitnis, Shanta Apte, Shanta Hublikar, Kanan Devi, Hansa Wadkar (one of the very few in the world, on which a film was made – ‘Bhumika’ (1977), Sulochana Latkar, Jayashree Gadkar, Snehprabha Pradhan etc etc. Among the males, some ABs are those of Bimal Roy, Nabendu Ghosh (I found that most film male personalities in Bangla cinema wrote their ABs), Sachin Burman, Salil Chaudhari, Hemanta Kumar,  Vithal Pandya, Ramchandra Thakur and C. Ramchandra. Bangla artists wrote in Bangla only. Some have been translated into English.

Among these ABs, I would rate Durga Khote, Sulochana and Kanan Devi and Vithal Pandya’s  books as the best in the first category. The worst AB is that of C Ramchandra from the second category in my personal opinion.

When I write about a film or a song, I try to first read the related part from the AB of the concerned artiste, if any, so that my information becomes factual and reliable. In case of today Leela Chitnis was the heroine of film ‘Ghar Ki Rani’ and today’s song is also by her, so naturally, her AB came handy to me for additional information. It is a matter of coincidence that my previous article was from the film ‘Fashion’ (1943) and today’s film ‘Ghar Ki Rani’ (1940) – both had by chance a similar story in content. The difference is I had not seen ‘Fashion’, but I saw the Marathi version of ‘Ghar Ki Rani’.

Film ‘Ghar Ki Rani’ aka ‘The Better Half’ was a bilingual film, as per those day’s practice by producers of Maharashtra. The film was in Hindi and Marathi. In Marathi, the title was ‘Ardhangi’. It was made by Master Vinayak for his own Hans Pictures. Hans Pictures was in financial crisis during this period due to the failure of their ambitious film ‘Jwaala’ (1939), in which Chandramohan had acted in both versions, dubbing his own dialogues in Marathi himself, fluently.

When Master Vinayak had started Hans Pictures, the first film was ‘Chhaaya’ (1936). He had called Leela Chitnis to Kolhapur from Karachi to work in ‘Chhaaya’. Prior to that about a year or so earlier, Leela and Vinayak had been introduced in Poona. That time they had developed an attraction for each others, though Leela was already married and had 2 children. When they met again for film ‘Ghar Ki Rani’ at Poona, no such feeling had remained. That time Master Vinayak had married Susheela – sister of actress Indira Wadkar, and he too had 2 daughters by then. One of them was Baby Nanda. During the shooting of the film Leela fell from her cycle and had fractures. One month was lost in that.

Leela had just completed ‘Bandhan’ (1940) made by Bombay Talkies and ‘Jhoola’ (1941) was nowhere in sight. After completing this film in Poona, when she went back to Bombay, she learnt that Bombay Talkies owner Himanshu Rai was serious and in the hospital. Soon he died and the studio was divided into two groups. Work was to start for her next film ‘Jhoola’. In between this period, she went to Gwalior to meet her son who was studying there in a Public school. In this period, a sad but funny thing happened.

Some British soldiers caught and raped an young girl whose name was Leela Chitnis. The soldiers were arrested and the newspapers in Bombay announced that Leela Chitnis was raped by soldiers and that she is not well. Her mother telephoned her in Gwalior and started inquiring about her health in a serious tone. This was followed by her sister’s call who said that she is reaching next day to take care of her health. Leela Chitnis was confused. Not aware of the drama in Bombay, she did not know why suddenly her health was questioned. Next day her sister came and then everything was clarified. After she came back to Bombay she contacted the papers and clarified the matter.

The story and lyrics of the Marathi version of this film were written by Acharya PK Atre, but for Hindi version Pt Indra translated them. Today’s song is by Leela Chitnis and Master Eric. HFGK credits the song to Master Vinayak. However, in the addenda, an explanation is given with correct name. The fact is, Master Vinayak had a dental problem, due to which he could not sing well. All his songs in Marathi and Hindi films were sung by Master Eric. This is mentioned in several books.

Now, who was this Master Eric? His real name was Vasant Jadhav. He was born in 1907 into a Marathi Christian family of Kolhapur. Bhalji Pendharkar selected him for acting and singing in Shyam Cinetone’s film ‘Parth Kumar’ (1934) (Hindi / Marathi). His pet name was Eric, so he became Vasant Eric and later on due to his singing, he was called Master Vasant Eric. He joined Kolhapur Shalini Cinetone and worked with Master Vinayak. He also worked in films like ‘Aakashwani’ (1934) and ‘Honhaar’ (1936). He sang songs in films from 1937 onwards. In all the Marathi / Hindi films of Master Vinayak he sang for him.

Vasant Eric knew Ratanbai. She introduced him to Ardeshir Irani and he employed Eric in his music department, playing various instruments and singing whenever needed. He acted and sang in films made by Hans, Navyug and Prafull Films. In 1948, he gave music to a Marathi film. He was called by many MDs to play chord piano for their songs. The male voice in Lata’s First Hindi Playback song “Paa Laagu Kar Jori Re”  is that of master Vasant Eric only.

His son Ravindra was an actor and daughter Hemlata Shankar (Jadhav) was a film dancer. His grandson Nitin Shanker is an arranger in Bollywood today. Master Vasant Eric died in 1982.

I have seen the film’s Marathi version, ‘Ardhangi’. The story of film ‘Ghar Ki Rani’ was-

Satyavan (Vinayak) is a University professor. Though he is highly educated, his wife Savitri (Meenakshi Shirodkar) is a simple housewife devoted to husband and his family. One day Satyavan’s colleague introduces his wife to Satyawan. Arundhati (Leela Chitnis) is a modern, educated, English speaking and cigarette smoking beautiful woman. Satyawan gets mad after her and takes every opportunity to meet and flatter her. In his mind he starts comparing Arundhati with his wife Savitri and feels ashamed of his wife. He feels Savitri is absolutely illiterate, old styled useless woman and avoids taking her with him anywhere.

He appoints a tutor to teach Savitri European manners and English speaking etc. It is difficult for Savitri, but for husband she does them and soon picks up, being intelligent woman. When Satyawan tries to impress Arundhati, she gives him freedom. Soon he comes very close to her to have an affair. However Arundhati humiliates him and makes him to all her domestic work. Then one day, she abandons Satyawan for the rich Zamindar Marotirao (Baburao Pendharkar).

Satyawan realises that he has been a fool to run after such a woman and returns happily to his wife Savitri, little knowing that it was Savitri who instigated Marotirao to go for Arundhati, to save her husband going away from her. Thus the Mahabharata story of Savitri who wins back her husband form Yama, comes to a close in Kalyug ! ( 655 )

Here is a rare song of Leela Chitnis and Master Vasant Eric from film ‘Ghar Ki Rani’. When you listen to Eric’s voice, you will realize the similarity of Master Vinayak’s and his voice.

 


Song – Aao Sainyaan Khul Kar Khelen Aaj Poonam Ki Raat Hai (Ghar Ki Rani) (1940) Singer – Leela Chitnis, Vasant Eric, Lyrics – [Unattributed], Music – Dada Chandekar

Lyrics (Provided by Sudhir)

aao sainyaan
khul kar khelen
aaj poonam ki raat hai
aao sainyaan
khul kar khelen
aaj poonam ki raat hai
chandramukhi ho
pehlu mein to
chandramukhi ho
pehlu mein to
khoob poonam ki raat hai

chanda chhin chhin mein chhip jaata
rajnion ka chumban le aata
phir hum par joban barsaata
aaj poonam ki raat hai
hoon hum
khoob poonam ki raat hai

tum dard badha ke
dil mein mujhe chhipa lo
praanon se praan
aahon se aah mila lo
main teri aankh mein
aansoon jal kar jhoomoon
jo girey aankh se
to gaalon ko choomoon
bhool jaaye duniya hum ko
hum duniya ko bhoolen
bhool jaaye duniya hum ko
hum duniya ko bhoolen
madhoshi ki godi mein
armaan banaayen ghoomen
aaj poonam ki raat hai
hoon hum
khoob poonam ki raat hai
aao sainyaan
khul kar khelen
aaj poonam ki raat hai

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
आओ सैंया
खुल कर खेलें
आज पूनम की रात है
आओ सैंया
खुल कर खेलें
आज पूनम की रात है
चन्द्रमुखी हो
पहलू में तो
चन्द्रमुखी हो
पहलू में तो
खूब पूनम की रात है

चंदा छिन्न छिन्न में छिप जाता
रजनीओं का चुम्बन ले आता
फिर हम पर जोबन बरसाता
आज पूनम की रात है
हूँ हुम
खूब पूनम की रात है

तुम दर्द बढ़ा के
दिल में मुझे छिपा लो
प्राणों से प्राण
आहों से आह मिला लो
मैं तेरी आँख में
आँसू जल कर झूमूँ
जो गिरे आँख से
तो गालों को चूमूँ
भूल जाये दुनिया हमको
हुम दुनिया को भूलें
भूल जाये दुनिया हमको
हुम दुनिया को भूलें
मदहोशी की गोदी में
अरमान बनाएँ घूमें
आज पूनम की रात है
हूँ हुम
खूब पूनम की रात है
आओ सैंया
खुल कर खेलें
आज पूनम की रात 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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3604 Post No. : 14382

Today’s song is from an obscure film from 1941 – ‘Amrit’. The film was produced by Navyug Chitrapat Ltd. It was directed by Master Vinayak. The music was by Dada Chandekar, who was a regular with Master Vinayak, for his Hindi and Marathi films. The cast of the film was Meenakshi Shirodkar, Vinayak, Master Vithal, Lalita Pawar, Baburao Pendharkar, Dada Salvi, Damuanna Malvankar, Vishnupant Jog etc. The cameraman was Pandurang Naik, one of the owners of Navyug, along with Baburao, PK Atre and Vinayak, of course.

Hindi film industry of Bombay was dominated by Gujarati and Marathi people. It was natural, considering that Bombay was located in Maharashtra and close to Gujarat. The Gujarati people had money, so they became producers, financiers, owners and distributors, never interfering with the making of films, but controlled the monetary part. Marathi people had talents in various categories like acting, music, direction, publicity etc. As the industry grew and got talents from every part of India, in due course the number of Marathi people diminished in the industry. During this period, the Marathi film industry was also very strong and the Marathi crowd of Hindi films shifted to Marathi industry.

Till independence, this situation was in place. The Marathi film makers like Master Vinayak, V Shantaram, Bhalji Pendharkar etc made films simultaneously in Marathi and Hindi, from the earliest time of the film making in India. This trend, however, almost stopped completely, after the polarisation in 1947, except for few bilingual films made later, like ‘Chhatrapati Shivaji’ in 1952 and ‘Mahatma’ in 1953 which came in Marathi and Hindi. ‘Mahatma’ was even made in English.

Master Vinayak Karnataki (19-1-1906 to 19-8-1947) was born in Kolhapur. Many of his cousins and family members were already in film line. His half brothers Bhal ji and Baburao Pendharkar, maternal cousin V Shantaram and his brother V Avadhoot (cinematographer) were in films. His own brother Vasudev also became a cameraman. Master Vinayak was working as a teacher in a school, but Bhalji convinced him to join films. Initially Vinayak was with Prabhat, working under Shantaram and learning many things. He started his own company, Hans Pictures, in partnership with Baburao Pendharkar and cameraman Pandurang Naik. Their first film was ‘Chhaaya’ (1936). Almost all films made by Master Vinayak till 1947 were bilingual in Marathi and Hindi, sometimes with different titles, like ‘Ardhaangi’ in Marathi became ‘Ghar Ki Rani’ (1940) in Hindi etc.

While Shantaram stressed on technical aspects of film making successfully, Vinayak was keen on strong story. Therefore he used the works of top class writers in Marathi like VS Khandekar, PK Atre, Mama Varerkar etc. [Auth Note: VS Khandekar later won the Sahitya Academi Award, the Jnanapeeth award, Padma Bhushan award and many more honours like D Litt etc. The Government issued a postage stamp in his honour, after his death.] ‘Chhaaya’ won many awards and was commercially successful. Next came ‘Dharamveer’ (1937) and ‘Premveer’ (also 1937). The heroine in ‘Premveer’ was Ashalata – wife of music director Anil Biswas). Then came ‘Jwaala’ in 1938, with Chandramohan in both versions – Marathi and Hindi. He learnt to speak excellent Marathi for this film. Later he did three more Marathi films. Unfortunately, ‘Jwaala’ was a resounding flop – not because of any reason other than Master Vinayak meddling with the story too much, according to VS Khandekar (this appears to be a chronic ailment of film line !).

Master Vinayak fell back on comedy and made ‘Brahmachari’ in 1938 and ‘Brandi Ki Botal’ in 1939. Both were successful, but the loss due to ‘Jwaala’ was too big. Even one more comedy – ‘Ghar Ki Rani’ (1940) could not salvage the damage. Hans Pictures was dissolved to form another company Navyug Chitrapat, with PK Atre as a partner. Navyug was the first film company to offer 100 rs. shares directly to public. (Bombay Talkies had shares with only the directors, initially). The first film was ‘Lapandav’ (1940). Though it was successful, PK Atre left the company along with its heroine Vanmala – his consort, and established his own company Atre Pictures.

After another comedy, Navyug made ‘Amrit’ in 1941. In 1942, Navyug made the film ‘Pahili Mangalagaur’, in which Lata Mangeshkar made her debut as an actress and singer. She sang her first ever film song with Snehprabha Pradhan, under the baton of Dada Chandekar. There was a kissing scene of Snehprabha and Shahu Modak in this film. During the making of this film, Master Vinayak left Navyug and started his own company Prafull Pictures. He made several Hindi and Marathi films including ‘Badi Maa’ (1945). He died on 19-8-1947, just 4 days after Independence.

The music director of ‘Amrit’ was Dada Chandekar, a regular of Master Vinayak. His real name was Shankar Vishnu Chandekar. He was born on 19-3-1897 at Kolhapur. His father used to do ‘keertan‘ in temples. His younger brother Narhari used to call him as Dada (Bade Bhaiya – elder brother), and subsequently everyone started to call him Dada only. Later his real name was not known to anyone. He was an excellent harmonium player.

He joined Kirloskar Drama Company, where he used to do female roles, as per system in those days. Once Deenanath Mangeshkar’s Harmonium player was absent. Dada was called and then he worked in Deenanath’s Balwant Natak Mandali  for next 20 years. Later he joined Dhamman Khan, MD as his assistant. In 1935 he gave some songs in film ‘Kaliya Mardan’, when Dhamman Khan left midway.

In 1937 Dada Chandekar joined Hans Pictures. He composed the background music for ‘Jwaala’. Pleased by his work, Master Vinayak gave him his first independent film- ‘Bramhachari’ in 1938. All the songs became hits and were popular. Particularly the song by Meenakshi, “Yamuna Bich Khelun Khel, Kanhaiya”. The song was performed on screen by Meenakshi wearing a swimming costume, a very revolutionary idea in that era. The song became popular all over India. People repeatedly saw the film for this song and Meenakshi in swimming dress ! However, Master Vinayak did not get any money from this film, as he had to sell the film, while still in production, at a mesum- mainly because of the new heroine. Actually, it was successful due to her only.

Dada continued with Master Vinayak till 1947. Then he left Hindi films. Till 1964, he gave music to dramas and Marathi films. He also worked in All India Radio, Poona for some time. He died on 27-1-1976. In all, he gave music to 13 Hindi and 25 Marathi films. some of his Hindi films are, ‘Bramhachari’, ‘Brandy Ki Botal’, ‘Jwaala’, ‘Ghar Ki Rani’, ‘Amrit’, ‘Ladaai Ke Baad’, ‘Din Raat’, ‘Main Tera Hoon’, ‘Moti’ and ‘Phool Aur Kaante’.

One of the actors in the film was Damuanna Malvankar (1893 to 1975); incidentally the film shooting was done in his home town Malwan only. He was one of the most famous and popular comedian in Marathi films. He used his natural squint in his comedy. He did about 100 films in all, which also include Hindi films like ‘Andheri Duniya’, ‘Bramhachari’, ‘Brandy Ki Botal’, ‘Sangam’, ‘Ghar Ki Rani’, ‘Mera Haq’, ‘Mera Ladka’, ‘Badi Maa’, ‘Jeevan Yatra’, ‘Subhadra’, ‘Main Tera Hoon’etc. His daughter Bharati (Marathi film actress) is the wife of Lata’s brother Hridaynath Mangeshkar. Baburao Patel of Film India was a great fan of Damuanna Malvankar and wrote very lovingly about him in his magazine.

Then there was actor Vishnupant Jog, who paired with Damuanna in 29 comedy films.

I have not seen this film. Here is the film synopsis from ‘Encyclopedia of Indian Cinema’,

A complicated plot about class differences in a coastal Konkan village. It introduced a typical Khandekar character, the idealistic but dogmatic patriarch who becomes a victim of his own beliefs.

Here it is Bappa (Salvi), who monopolises the village palm trees from which toddy is made. He believes in fairness, not mercy. The story of his urban son Vilas (Master Vithal), his daughter Lata (Meenakshi) and her friend Sadanand (Master Vinayak) is interspersed with that of a drunken shoemaker Krishna (Baburao Pendharkar) and his wife Seeta (Lalita Pawar). Vilas, who covets the shoemaker’s wife Seeta, procures a new hut for them. He then starts having problems with his father and all the parallel stories converge when Vilas accidentally kills Seeta’s daughter.

Bappa, using his political influence, gets her innocent husband arrested instead and Seeta exploiting Vilas’s desire for her, retaliates by making him virtually her slave. Bappa eventually faces up to his moral responsibility in a tale that also warns against the Demon Drink.

The song being presented today, is sung by Meenakshi Shirodkar, Vishnupant Jog and chorus. This is an old style song. The film makes its debut on the blog.

[Author’s Note: Acknowledgements and thanks – The above write up refers to and has adapted material from Encyclopedia of Indian Cinema, Marathi Chitrapat Sangeetkar Kosh, Listener’s Bulletin, IMDB, MuVyz, HFGK, Wikipedia, and my own notes.]


Song – Jaago Jawaano, Jaago Jawaano, Navyug Aaya Re (Amrit) (1941) Singer – Vishnupant Jog, Meenakshi Shirodkar, Lyrics – Pt Indra, Music – Dada Chandekar
Chorus

Lyrics (Provided by Sudhir)

jaago. . .
jaago. . .
jaago jawaano
jaago jawaano
navyug aaya re
navyug aaya re
ey hey. . .

aaya re
aaya re
aaya re
jaago jawaano
jaago jawaano
navyug aaya re
navyug aaya re
ey hey. . .

nav jeevan laaya re
nav jeevan laaya re
laaya re
laaya re
laaya re
jaago jawaano
jaago jawaano
navyug aaya re
navyug aaya re

na koi nanga
na koi bhookha
na koi ooncha neecha
ik paani se
ik khaad se
sab booton ko seencha
amrit baagh lagaaya re
amrit baagh lagaaya re
jaago jawaano
jaago jawaano
navyug aaya re
navyug aaya re

teri daulat hai tu
teri taaqat hai tu
teri himmat hai tu
teri kismat hai tu
tere haathon mein honi jhoome
haan tere haathon mein honi jhoome
tere paanv ko manzil choome
tere paanv ko manzil choome
teri aankhon mein hardam savera
teri aankhon mein hardam savera
savera
savera
savera
savera
savera
savera
tu to suraj se chamki kaaya re
tu to suraj se chamki kaaya

jaago jawaano
jaago jawaano
navyug aaya re
navyug aaya re

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
जागो॰ ॰ ॰
जागो॰ ॰ ॰
जागो जवानो
जागो जवानो
नवयुग आया रे
नवयुग आया रे
ए हे॰ ॰ ॰

आया रे
आया रे
आया रे
जागो जवानो
जागो जवानो
नवयुग आया रे
नवयुग आया रे
ए हे॰ ॰ ॰

नव जीवन लाया रे
नव जीवन लाया रे
लाया रे
लाया रे
लाया रे
जागो जवानो
जागो जवानो
नवयुग आया रे
नवयुग आया रे

ना कोई नंगा
ना कोई भूखा
ना कोई ऊंचा नीचा
इक पानी से
इक खाद से
सब बूटों को सींचा
अमृत बाग लगाया रे
अमृत बाग लगाया रे
जागो जवानो
जागो जवानो
नवयुग आया रे
नवयुग आया रे

तेरी दौलत है तू
तेरी ताक़त है तू
तेरी हिम्मत है तू
तेरी किस्मत है तू
तेरे हाथों में होनी झूमे
हाँ तेरे हाथों में होनी झूमे
तेरे पाँव को मंज़िल चूमे
तेरे पाँव को मंज़िल चूमे
तेरी आँखों में हरदम सवेरा
तेरी आँखों में हरदम सवेरा
सवेरा
सवेरा
सवेरा
सवेरा
सवेरा
सवेरा
तू तो सूरज से चमकी काया रे
तू तो सूरज से चमकी काया रे

जागो जवानो
जागो जवानो
नवयुग आया रे
नवयुग आया रे


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Phool Aur Kaante”(1948) was directed by Achyut Ranade for Navyug Chitrapat, Bombay.

The movie had Lalita Pawar, Salvi, Saroj Borkar, Mohan Sahgal, Master Ratan, Swaroop Sahgal, Tulsi Bai, Shalini, Chaube etc in it.
Read more on this topic…


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

LADAAI KE BAAD (1943) was produced under the banner of Navyug Chitra and was it was directed by Ram Daryani. The star cast included Snehlata Pradhan and Shahu Modak in lead roles with David, Kusum Deshpande, B Sawsare, Sharda, Raja Pranjape, G Savkar, Pratima Devi, Sudha Apte etc in secondary roles. Apart from doing the lead role, Snehprabha Pradhan was also the story writer and choreographer for the film.
Read more on this topic…


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 17200 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

17246

Number of movies covered in the blog

Movies with all their songs covered =1338
Total Number of movies covered=4642

Total visits so far

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Blog Start date: 19 july 2008

Active for more than 5000 days.

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