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

Posts Tagged ‘Damodar Sharma


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 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 : 5010 Post No. : 16911 Movie Count : 4591

I am presenting a rare song of a 1946 released film, sung by Mohammed Rafi. I came across this song for the first time about 5-6 years back on one of the video-sharing platforms and I immensely liked it. However, to my dismay, I found that the uploaded song was incomplete. I could not find the full song on any of the video sharing-platforms at that time. I tried to locate it from other on-line sources but failed to get it. Gradually, this song went out of my mind. It was only yesterday, I accidentally found the full song – accidentally because the uploader of the song (probably a ‘front’ for SAREGAMA) while uploading the song about 3 years back, wrongly captioned it.

The song is ‘dil samajhta hai yaa khuda jaane’ from an obscure film, ‘Hoor-E-Baghdad’ (1946). The name of the singer is not indicated by SAREGAMA which means that the 78 RPM gramophone record of the song may not have mentioned the name of the singer. However, without any doubt, the voice in the song is that of Mohammed Rafi. The song is written in a ghazal format by F M Pindvi, a name I heard for the first time. Damodar Sharma is the music director. The film had 9 obscure songs of which as of now, only two songs are available.

I get a feeling that F M Pindvi who wrote this song in a ghazal format may have been influenced by Daagh’s ghazal written in the same metre. I reproduce four shers from Daagh’s ghazal:

dil ko kya ho gaya ḳhuda jaane
kyun hai aisa udaas kya jaane

is tajaahul kaa kya thikaana hai
jaan kar jo na mudda jaane

kah diya maine raaz-e-dil apna
us ko tum jaano yaa ḳhuda jaane

kya ġharaz kyun idhar tawajjoh ho
haal-e-dil aap ki bala jaane

‘Hoor-E-Baghdad’ (1946) was produced under the banner of Mohan Pictures and was directed by A M Khan. The star cast included Shiraz, Ayyaz Begum, Devraj, Fazlu, Anwari Bai, Khan Chand, Garib Shah, Aziz Siddiqui, Fateh Singh, Miss Mumtaz etc. From the star cast, it can be guessed that it was a stunt/fantasy film. The story of the film as appeared in this link (probably taken from the song booklet of the film) is reproduced below:

The Shah, feeling that it will soon be the time to pass the crown to one who is duly able, wishes to test his four sons to see who is the most deserving of the honour. Prince Anwar, the Shah’s eldest, was the most able of all and is chosen heir to the throne.

The Shah’s young second wife (Anwaribai) objected, however, as she felt her own son (Devraj) should be the successor. To make her happy, the Shah decides to test them all again, this time in a special court. Again, Anwar was victorious. Still unhappy, the young queen arranges yet another test, with the additional prize being the hand of the vizier’s (A. Siddique) daughter, Almas (Ayaz Begum), who is known as the most beautiful in all of Baghdad. In this new test, each of the sons must risk life and limb to bring back four valuable objects.

With this song, The film. ‘Hoor-E-Baghdad’ (1946) and the lyricist, F M Pindvi make debut on the Blog.

Audio Clip:

Song-Dil samajhta hai ya khuda jaane (Hoor e Baghdad)(1946) Singer-Rafi, Lyrics-F M Pindvi, MD-Damodar Sharma

Lyrics

dil samajhta hai yaa khuda jaane ae ae
meri muskil ko koi kya jaane
dil samajhta hai yaa khuda

aa aa aa aa aaa
kaisi ulfat
mujhe to wahashat hai…..ae ae
kaash mera wo mudda jaane ae ae
dil samajhta hai yaa khuda jaane ae ae /em>

mere hosh-o-khirad pe…ae ae ae ae ae ae ae ae ae
kya guzri..ee ee ee
nigaahen aaj chhupaaye kya jaane
dil samajhta hai yaa khuda
wo tasawwur mein aen aen
aake kehte hain..aen aen aen
tum ho kaise meri bala jaane ae
tum ho kaise meri bala jaane ae
dil samajhta hai yaa khuda jaane ae


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 :

3848 Post No. : 14857 Movie Count :

4064

Today’s song is from an obscure film- Sansaar Naiya-1939. This film was made jointly by Paramount and liberty pictures, Bombay. Actually, both these film companies made only and mainly Action/Stunt and Costume films. Since this was a ‘Social’ film, may be they had to support each others as they were presumably not used to handling such ‘offbeat’ film, from what they were accustomed to produce !

Though the film was classified as Social, the cast of the film contained predominantly seen stunt film actors only. They were Navinchandra, Sarojini, Noorjehan(sr), Basheer, Dhulia, Mirajkar, Mansoor, Kanta Kumari and others of the same ilk. There is also one name ” Puri” in the cast. He seems to be S.L.Puri, who was a singer also. In this film he has 4 solo and 3 duets with Sarojini. This could be the reason why he was in this action film.

For many readers, the name Sarojini may be an unknown name. This is exactly and what generally happens, when siblings are working in Films at the same time. Yes, Sarojini was the elder sister of the more famous actress Indurani. Both were stunt film actresses and worked in around 15+ films only. In reality, it was because of Sarojini that Indurani was dragged into films. Sarojini did more number of quality films than Indurani and also acted in more social films than Indurani. Her career period was longer than Indurani and her daughter Azra became a Heroine in Hindi films.

In spite of all these ‘better’ things, Sarojini’s younger sister Indurani hogged all the limelight. Articles were written on her and even an independent book was published on Indurani in USA. No one wrote on Sarojini exclusively. She appears in Indurani’s book and also is mentioned in Azra’s interview on beetehuedin.com

This type of fate is experienced by few more siblings in Hindi film industry. here are some examples, which I remember off hand…. Every movie buff knows the stingy Kanhiyalal, made famous by his roles of greedy merchants, sahukars (moneylenders) and a comic villain. He became more famous after film ” Mother India-57 “, though he did the same role in the original film ” Aurat”-40. But how many readers know that his elder brother was Sankata Prasad , an actor who was a regular in Sagar Movietone films, and later in more that 65 films ? Actually Sankata Prasad was responsible to bring his brother Kanhaiyalal (Chaturvedi) in the film world.

The eldest son of Jaddan bai, Akhtar Hussain, a very talented actor and director fell back on fame and publicity compared to younger brother Anwar Hussain. I am not comparing him with his sister Nargis.

Among the Travancore sisters, Raagini and Padmini shone here, but Lalitha did not shine in Hindi films. Nasir Khan lived all his life as brother of Dilip Kumar and had not many famous films to his credit. Some more such cases are, Laxmi Roy (younger sister of Geeta Roy), Laxmi Kumthekar (younger sister of Vatsala Kumthekar ), Compser Basant Prakash ( brother of Khemchand Prakash) and many more.

This is what I call as Luck. I agree that Talent is an individual gift and not a family or a traditional handout, but when all things are equal, one sibling lagging behind due to external factors, is purely a matter of Luck.

Actress Sarojini- real name Roshan Jehan and pet name Rani- was born in Delhi to Parents Sheikh Imamuddin and Munawwar Jehan, in 1920. Both sisters were put in a mission school of Daryaganj, Delhi. In those days, children were not allowed to see films, but Sarojini was interested in films and used to read film magazines, unknown to family. She was bold enough to send a letter to an actress of Saraswati Cinetone, Poona. In few days, she received a reply with that actress’ photo. The company asked her to send her photo. Sarojini managed to get a photo and send it across. Soon the company wrote to her that she will be appointed as an actress for Rs. 300 p.m.. Those days, this amount was a windfall.

When her father came to know all this he first gave a sound thrashing to her. Then he started thinking. Due to gambling and addiction, he had lost his business and they were in financial distress. He thought of earning some money by employing his daughters as actresses. He took Sarojini and a very reluctant Indurani to Poona. That time Sarojini was in English 8th std and Indu was in 9th std. At Poona, both got job as actresses at Rs. 300 each, as promised. Plus arrangements for their training in acting, singing and dancing was also arranged. Their father took Rs. 1000/- as advance, gave them some money and returned to Delhi. He sent their grandmother as their guardian.

Sarojini, being the elder, started working in the films immediately with film Deewani-1934. Then came Shri Satyanarayan-35. After closure of Saraswati cinetone, they came to Bombay and stayed in Hindu colony, Dadar. For some time they were engaged by Minerva Movietone for Rs. 450 pm, but when Ramniklal Shah offered them Rs. 500, they joined his company, Mohan pictures. While Indurani worked with Ramniklal, Sarojini worked with Nanubhai Vakil. Eventually, Indu married Ramnik Shah and Sarojini married Nanubhai Vakil in 1943.

Sarojini worked in 17 films in all- Deewani-34, Shri Satyanarayan-35, Bharat ki beti-35, Sundari-36, Son of Alladin -39, Sansar naiya-39, Madhu Bansari-39, Sanskaar-40, Jadui kangan-40, Hatimtai ki beti-40, Deepak Mahal-40, Taj mahal-41, Jadui bandhan-41, Farmaan-42, Naya Zamana-43, Son of Hatimtai-45 and her last film Cicus King-46. The sisters worked together in 3 films, Hatimtai ki beti and Jadui kangan of 1940 and Tajmahal-1941.

Sarojini had 2 daughters. The elder one Azra became a Heroine of many Hindi films. She married and retired. She stays in Bandra, Mumbai. The younger one Rehana, worked for an Airline, retired, widowed and stays in USA. Sarojini died in 1993. Her husband died in 1980.

Film Sansar Naiya was directed by Nanubhai vakil and MD was Damodar Sharma. All songs were written by Pt. Anuj (Sampatlal Shrivastav).

The Hero of this film was Navinchandra.

Navinchandraa’s full name was Navinchandra N. Joshi. He was born in 1907 at Jambusar and belonged to a Gujarati Bramhin family. When he was studying Intermidiate, his dream was to do M.Sc. and become a Professor. He was very much interested in body building and was a weight lifter.He was expert in Long jump, High jump and Malkhamb too, along with yogasanas. This made his body solid. Fair and handsome physique was noticed by one of the seniors in his Gym and he was taken to Bombay to meet produced director Indulal Yagnik. He offered him a Hero’s role in a stunt film. Thus Navin entered the film line with first silent stunt movie “The fall of Pawagarh”-1928. It was produced by Indulal Yagnik and directed by Nagendra Mujumdar. His first Heroine was Iris Crawford. He worked in more than 20 silent films and was famous as the Hero of Stunt and action films.

His first Talkie film was Kala Pahad-1933 in which his Heroine was Gauhar Karnataki ( sister of Amirbai karnataki and wife of Marathi stage artiste Bal Gandharv). The film was made by Sharda Movietone and directed by Baburao Apte (brother of actress Shanta Apte). Navinchandra acted in 33 talkie films, mostly stunt and action films. When the attraction of stunt films waned, he stopped getting roles, because stunt films were not being made now on roll. His last film was Jadui Putli-1946.

His age also caught up with him and he stopped getting films. He started doing small uncredited roles like an extra. The last information about him was when he was working as a Production manager in Imperial Film company, where now the studio was rented to other producers for shooting their films, by Irani’s heirs. One peculiar thing about Navinchandra was that except for the film’s required costume, he was always seen in Dhoti and Kurta only.

Today’s song is a rare song. The film had 11 songs (4 duets and 4 solos of Puri and 3 solos of Sarojini) The tune and style of the song is typical of the 30s period and quite a slow one, with long music prelude. With this song, film Sansar naiya-39 and singer Sarojini will make their Debut on the Blog.

( Thanks to shri Harish Raghuwanshi ji, Sadanand Kamath ji, ‘Asli Naqli chehere’ by Vithal Pandya, ‘ Silent cinema’ by Dr. Varma, MuVyz, HFGK and my notes, for information used hereabove.)


Song-Ritu basant ki aayi pyaari (Sansaar Naiyya)(1939) Singers- Sarojini, S L Puri, Lyrics- Pandit Anuj, MD- Damodar Sharma
Both

Lyrics

ritu basant ki aayi pyaari
ritu basant ki aayi pyaari
kaisi phool rahi phulwaari
kaisi phool rahi phulwaari
ritu basant ki aayi pyaari
ritu basant ki aayi pyaari

shaakhon pe baagh ke jhoolo
shaakhon pe baagh ke jhoolo
bulbul ban gulon ko chhoo lo
bulbul ban gulon ko chhoo lo

titli ban ke phool phool mein
titli ban ke phool phool mein
jaaun waari waari
jaaun waari waari
ritu basant ki aayi pyaari
ritu basant ki aayi pyaari
kaisi phool rahi phulwaari
kaisi phool rahi phulwaari
ritu basant ki aayi pyaari
ritu basant ki aayi pyaari

bhanwra ban ke main ud jaaun
bhanwra ban ke main ud jaaun
kali kali ka ras le aaun
kali kali ka ras le aaun

kunj kunj mein prem ki beena
kunj kunj mein prem ki beena
bajwaaun(?) sukh gori
bajwaaun(?) sukh gori
ritu basant ki aayi pyaari
ritu basant ki aayi pyaari ee


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 :

3780 Post No. : 14760 Movie Count :

4036

Do you like Magic ?

I do.

Most people like magic. Right from our childhood, we have been reading stories of Magic. Good Magicians. Bad Magicians. Most fairy tales are full of magic. Magic is the escape route for the aggrieved and stressed mind. Even when we grew up,how we wished that we could do some magic and achieve what we wanted or solve the distressing problem !

Not only Children’s books, but even Mythological stories are full of Magic. No God is a God if he does not do Magic ! Every adult has a child hidden in him. Magic satiates the child’s desires. Days of real Magic were imaginary, but stage Magicians created sleight of hand shows, Hypnotism, Illusions and clever tricks on the stage to make a smart substitute for real magic.

At the same time, film makers took up interesting magical stories like Alladin to make films for their audience. Alladin, Gul e Bakavli and stories of their ilk entertained not only the children, but also adults, who lapped them up. From the Film Title Index of Hamraz ji, I counted about 36 films with the word Jadu in its titles, Magic in 10, Ram in 25, Krishna in 23, Shree in 36. Add to this, films made with other alphabets on the various saints, Gods, Satis, Matas and Bhagwan etc etc. During the 10 years period from 1950 to 1959 alone, 124 Mythological films were made !

This only shows that films having Magic were a popular brand and so ‘C’ grade films like Jadui Angoothi, Jadui Shehnai, Jadui Chitra, Jadui this and Jadui that etc were made.

One of these magic films was Jadui Bansari-48, made by Mohan Pictures-known for quickies and C grade stunt/action and fantasy films. It was directed by Nanubhai Vakil and the music was by Damodar Sharma. Lyricist was Roopbani and the cast was Amirbai Karnataki, Prakash, Ansari, Master Bachha, Anwari and others.

Talking of C grade Action,Historical, Fantasy and Costume films, in India ( and probably elsewhere in the world), there was a class of people, who not only liked these types of films but also were addicted to them. People went to theatre to forget the daily troubles of living a life and to enjoy few moments. For this purpose some people liked music, some liked emotions, some tragedy and yet some comedy. Films were made to cater to every type of audience. Due to this “speciality” actors were identified and thus we had Comedians, Tragedy Kings and queens,Great actors,Great singers and also Great Fighters.

Normally the shift of any actor from one Genre to the other was not acceptable to the audience. That is why, when the Romantic Hero of the late 30s and the 40s-Ashok Kumar acted as King Humayun and ran ( in a feminine style) with a spear in hand, in the film Humayun-1945, the audience ridiculed and laughed at him in the Theatres ! Even when Master Bhagwan acted in a serious role, the public used to laugh treating it as a comedy. Trilok Kapoor never succeeded in a social film. Of course there were some exceptional cases like actress Meena Kumari who changed over from Mythological films to social films and became No 1 star ultimately. But this was a rare and exceptional case.

Not only actors, even Directors and Producers were known for the specialities of films they made. Those who excelled in C grade films rarely tried their hand at other Genres and when they did try, they failed miserably. Here again is an exception in the form of Master Bhagwan-who transitioned from Action film to social films with his “Albela”-1951 and succeeded with this film but all his subsequent films flopped. This was because “Albela” succeeded due to extraordinary music, which could never be replicated in any of his subsequent films that followed.

There was, however one Director who was comfortable with C grade films of Magic, Action, Costume, Fantasy etc. NANUBHAI VAKIL.

Nanubhai Vakil was born in a Desai family of Valsad in Gujarat in the year 1904. In his family there were many Advocates including his father, so their family name itself became Vakil. Nanubhai came to Bombay to study Law. He completed his B.A. LL.B from Wilson College, Bombay but he did not join his family profession. Instead he was attracted towards the film world.

He joined Sharada films as a screenplay writer and later joined Ranjit films as a Director. He directed 18 silent films for Ranjit studios. However, it was Sagar Movietone which gave him the first opportunity to direct his first Talkie film. It was the First Gujarati Talkie film, “Narsimh Mehto” in 1932. After this there was no looking back. He selected and became expert in directing only Fantasy,Stunt and Costume films.
In his career from 1929 to 1973 period,he directed 20 silent and 70 Talkie films -all stunt and fantasy films, except one social film Kya yeh Bambai hai in 1959.

He was associated with Mohan pictures for a long time and directed 18 films for this company. During this period he also married his Heroine Sarojini ( real name Roshan Jehan alias Ranee). They had one daughter-AZRA, who too became an actress. Sarojini was the sister of Indurani, who was married to Ramnik Shah, owner of Mohan Pictures. Thus Ramnik and Nanubhai were ‘Sadu’s ( Co-Brothers).

Unlike most of his colleagues ,who had no formal school education ,Mr Vakil was highly educated, being B.A.L.L.B. in those days. Since beginning,he was attracted to Fantasy & Arabian Night movies.He believed that,the audience visits the cinema hall,to experience some thing,which he has not seen in his real life.He wants to be entertained & to forget the harsh realities of the outer world.Fantasy/ Costume movies transports him to an imaginary world of King & Queens,where beside the crafty Vazir,he finds gorgeous girls dancing,the handsome,manly & brave hero,rescues the pretty damsel from the clutches of evil magician.The movie come to an end and the viewers come out from the theater,happy & satisfied,since evil doers have been eliminated & brave man living happily with the petite gal,in their fairy land. Bulbul E Bagh,Rashk E Laila,Fakhr E Islam,Gulshan E Alam,Kumud Kumari were his earlier movies.

In 50s & 60s, few of his movies were, Shan E Hatim,Khul Ja Sim Sim,ShanE Khuda, Idd Ka Chand,Noor Mahal,Flying Rani,Alam Ara Ki Beti,Bansri Bala, Hatim Tai Ka Beta etc..He made remakes of many movie like Lal E Yaman, Alam Ara (Twice, in 1956 & !973) & Hatim Tai Ki Beti in 1940 & 1955. During his five decades long career, he made movies with in a small budget, with less paid actors. Nanu Bhai Vakil had two productions Companies viz Desai Films & Vakil Production. All his movies had no connect with the present. Elite & pseudo intellectuals avoided to even discuss his movies, but Vakil Sahab had a dedicated audience consisting of common public,less privileged & so called front benchers,who enjoyed his brand of cinema.

His films included less known stars like Sarojini, Navin chandra, Rafiq, Prakash,Gulnar,Daljit, Chitra etc. He also worked with Zubeida, Yakub, Jal Merchant,Jaddanbai,Shanta Hublikar, Nimmi, Veena, Jairaj, Shakila,Nirupa Roy, Nadira,Mehmood,Shobhana Samarth, Nirmala,her husband Arun Ahuja etc His MDs were also little known. However,Music Director A.R.Qureshi ( the famous Tabla Nawaz Alla Rakha-father of Zakir Hussain) gave music to his 18 films.

He never mixed with film folks and spent his life aloof. He quietly died on 29-12-1980 at Bombay.

Actress Anwari, who acted in film Jadui Bansari-48, was from a Tawayaf family of Lucknow. She started her acting career with film Heer Ranjha-32 and then she acted in film Pooran Bhagat-1932, along with K L Saigal. She joined East India Film co. and worked in films likeAurat ka pyar-33,Night Bird-34, Nagin-34 and Mumtaz Begum-34. She had also acted in another NT film Chandidas-34. She shifted her base to Bombay and worked in several films for next four decades. Her last film was Chaitali-1975. In all she did 140 films. She was known as ‘ Pride of Lucknow’ during her peak period. She was credited variously as Anwari Begum, Anwari, and Anwari bai. She expired somewhere in early 80s.

Among the old era MDs, Damodar Sharma was different, in the sense that his songs were always unlike those of his contemporaries. When you hear today’s song, you will notice that difference. From 1934 to 1948, he gave music to just 41 films. All his films were C grade films made by Paramount, Liberty, Ramnik Productions, Mohan Pictures and others. After 1948, he stopped getting films, so he worked as assistant to MD A.R.Qureshi till 1964. Today’s song is sung by Amirbai Karnataki and A.R.Oza.

Amritlal R. Oza was a Nagar Bramhin from Gujarat. He joined Ranjit when Khemchand Prakash, Gyan Dutt and Bulo C Rani were paid musicians there. His first song came in Pujari-46. He was very friendly with Bulo C Rai and Hansraj behl. He sang maximum songs for them only. At the same time he sang in Gujarati films and he became very famous and popular there.

Some Hindi films in which he sang are, Lakhon mein ek-47, Nanad Bhojai-48, Bichhade Balam-49( he sang with Meenakumari also), Bhool Bhulaiyan-49, Nili-50 etc. He sang 39 songs in 23 Hindi films,but sang much and many more in Gujarati. After retirement he settled in Ahmedabad, where he died on 13-5-1985.

Let us now enjoy this fast paced lovely duet from Film Jadui Bansari-48, which makes its Debut on the Blog.


Song-Ghar ghar yahi prachaar karo (Jaadui Bansari)(1948) Singers- Amirbai Karnataki, A R Oza, Lyrics- Roopvani, MD- Damodar Sharma
Male chorus
All together

Lyrics

Ghar ghar yahi prachaar karo
duniya waalon pyaar karo
Ghar ghar yahi prachaar karo
duniya waalon pyaar karo

pyaar se jab dil milte hain
pyaar se jab dil milte hain

man ke kamal tab khilte hain
man ke kamal tab khilte hain
jeet karo ya haar karo
jeet karo ya haar karo

duniya waalon pyaar karo
duniya waalon pyaar karo
Ghar ghar yahi prachaar karo
duniya waalon pyaar karo

apna kaho to apna jaano
preet ki reet ko tum pehchaano
apna kaho to apna jaano
preet ki reet ko tum pehchaano
sabse naina chaar karo
sabse naina chaar karo

duniya waalon pyaar karo
duniya waalon pyaar karo
Ghar ghar yahi prachaar karo
duniya waalon pyaar karo
Ghar ghar yahi prachaar karo
duniya waalon pyaar karo

hamne dekho
hamne dekho pyaar kiya hai
jooton(?) ka vyapaar kiya hai
hamne dekho pyaar kiya hai
jooton(?) ka vyopaar kiya hai

tum bhi ye vyapaar karo
tum bhi ye vyapaar karo

duniya waalon pyaar karo
duniya waalon pyaar karo
Ghar ghar yahi prachaar karo
duniya waalon pyaar karo
Ghar ghar yahi prachaar karo o


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : 3521 Post No. : 14140

Today’s song is from the 1946 film ‘Alibaba’.

The story of ‘Alibaba And The 40 Thieves‘ has been entertaining the masses of the world since the 18th century. It is a part of the ‘ Arabian Nights’ stories. These stories have been the basis of films in almost every language in every country of the world, including China. But for a few large scale films, most such films fall under stunt / action / costume films or in short C grade films.

Most of us like to watch films, be it on a TV, in a cinema hall, or through DVD. Some like old films and some like new films. Did you ever see films like, ‘Khooni Khanjar’, ‘Daghabaaz Doctor’, ‘Shaitaan Ka Paash’, ‘Chaar Chakram’, ‘Daaku Rani Talwaarwaali’, ‘Jaadu Ka Danda’, ‘Zinda Laash’, ‘Revolver Rani’, ‘Sindbad-Alibaba-Alladin’, ‘Flying Man’, ‘Fighter Sheela’, ‘Khooni Darinda’, ‘Tarzan Aur Jadugar’, ‘Tarzan Aur Jaadui Chiraag’, ‘Golden Gang’, ‘Murde Ki Jaan Khatre Mein’, or ‘Jaadui Putli’ ? I bet you may not have even heard most of these movie names. These are all stunt films or in other words ‘C’ grade films.

In India I really wonder how the classification or grading of films is done, or who is the person or the body authorised to do it. Because Censor Certificates do not label A B or C grades at all. Then how does this happen ?

My guess is that films are graded on two counts – one, the cost of production or budget and the class of stars in it and two, the class of people for whom the film is made or directed, like the rich, middle and the poor class. Whatever the basis, there is a very thin line between A and B grade films, while there is a big gulf between these two and the C grade films.

Stunt films, costume dramas, fantasy films and purely religious films are normally treated as C grade films. These film do not carry any prestige, the actors working in them are exclusive to C grade films, the production values and the budget is quite low and most important, they are ALWAYS shown in theatres situated in older parts of the town, single screens, or only for morning shows or in theatres generally frequented by lower strata of society.

In India, this is the fate of C grade films. Actually these films have everything that A and B grade films have, like story, songs, dances, fights etc., but still,the treatment given to handling of the story etc. in the films is very poor or lacking in expertise. This is a different world altogether. The set of actors is fixed, many times the composers are unheard of or they are known composers now in bad shape, the directors are typical and the production houses are exclusive to churn out such films.

It is, nevertheless, a fact that many well known and famous actors and actresses of the 40s and 50s evolved from the stunt films of yore. Examples are Jairaj and Master Bhagwan. Can you believe that this roly-poly Bhagwan Dada was a great body-builder when he started his career in stunt films in the late 1920s and 1930s ? Lalita Pawar (Amboo), Madhuri, Rampyari, Miss Moti, Sabita Devi and Sulochna (Ruby Myers) are some female examples who graduated to social films via stunt films.

Sometimes gems are found in these C grade films. Remember the famous qawwaali- Hamen To Loot Liya Mil Ke Husnwaalon Ne– which had the honour of becoming the prestigious 5000th song in this Blog ? This was from a C grade film from 1958 – ‘Al Hilal’.

In my younger days I was fond of stunt films and used to travel to theatres in old city of Hyderabad, to watch films featuring Kamran (father of famous choreographer and Director Farah Khan and director, comedian, anchor Sajid Khan), Naazi, Bhagwan and many such actors. ‘Adventures Of Captain Marvel’ (1941) and ‘Trip To Moon’ (1902) were my favourites from Hollywood’s Republic serial productions.
[Ed Note: In the early part of the twentieth century, Republic Studios was one of the main production houses in Hollywood, along with Universal, Columbia and Mascot etc. Serial productions were two reel short films, that were produced as a series – either as a comic serial (e.g. ‘The Three Stooges’ etc.) or as an action serial (e.g. ‘The Adventures Of Fu Manchu’ and ‘Commando Cody: Sky Marshals Of The Universe’ etc.)]

Today’s song under discussion is from a C grade film, ‘Alibaba’ made in 1946. Not much information is available on this film. Such C grade films generally go unnoticed. We only know that this film was made by Mohan Pictures of Ramniklal Shah (husband of actress Indurani), who was well known for making such low budget stunt films. The director of this film was his Co- Brother (साडू)- Nanubhai Vakil (husband of actress of Sarojini who was sister of Indurani and mother of actress Azra). The music was by Damodar Sharma and Ram Gopal. In the cast, only 3 names are mentioned in HFGK – namely Shanta Patel, Prakash and NA Ansari.

Recently, we learnt about a stunt film Hero-Shankar Rao Vazare. Today we will know more about another stunt actor Prakash. During the decade of 1940s, he performed in many action and stunt films.

The real name of actor Prakash was Hashmat Ullah Khan. He was born in 1914 at Gwalior, where his father was a businessman. The family was originally a Punjabi Muslim family. Hashmat studied somehow up to inter arts and left the college. He was an overactive child, interested in acting in films. Hashmat ran away to Bombay and worked in Sagar Movietone. He got a small uncredited role in film ‘Village Girl’ (1936). Not satisfied with this, he travelled to Calcutta.

In Calcutta, Hashmat worked in 3 films – Taqdeer Ka Teer’ aka ‘Prem Lakshya’ (1936), ‘Bandit Of The Air’ aka ‘Hawai Daaku’ (1936) (the first film of KN Singh as a hero; Mazhar Khan was the villain here) and ‘Dangerous Woman’ aka ‘Khatarnak Aurat’ (1938). He also got a miniscule role in New Theatre’s film ‘Abhaagin’ (1938).  Not getting what he aspired, Hashmat shifted to Delhi and worked in All India Radio as a singer. True to his nature within two years he left this job and landed in Bombay again.

It is reported that he was very arrogant, untrustworthy and a cheat of first rate; also seemingly that he was quarrelsome, a liar and short tempered. Perhaps his experiences taught him a lesson and he decided to change himself and concentrate on work seriously. This did good to him in his life. In his second stint in Bombay, first he worked in ‘Gharib Ki Ladki’ (1940), but the film got delayed and was released in 1941 only. Meanwhile he did ‘Rani Saheba’ (1940) and ‘Pyaar’ (1940) also. This time his career took a good turn. Till film ‘Gharib Ki Ladki’, he used his name Hashmat for credits, but after that he took a new name Prakash and used it till the end of his career.

A changed actor Prakash became acceptable to the industry and more assignments came his way. In all Prakash did 5 films as Hashmat and 38 films as Prakash. However, he got only action, stunt and C grade films. Once director WZ Ahmed met him and Prakash went to Shalimar Pictures in Poona to do 3 films for them, namely ‘Ek Raat’, ‘Prem Sangeet’ and ‘Mann Ki Jeet’. He was also a favourite of Master Bhagwan and appeared in many of his stunt films. The year 1946 proved to be the best year for Prakash, because he did 14 films in 1946.

After Partition he migrated to Pakistan and did few films there. He came back to India and did 3 films in the 1960s. His last film was ‘Suhaag Raat’ (1968). There is no information about him after that. May be he went back to Pakistan or died, we do not know.

The composer of today’s song – Damodar Sharma, was a name attached to stunt films of Paramount, Liberty, Ramnik Productions, Mohan Pictures etc. Starting in 1934, Damodar Sharma gave music to 41 films till 1948. After that he stopped getting films and for survival, he became assistant to composer AR Qureshi (29-4-1919 to 3-2-2000) till 1964.

Today’s song tune has been inspired (read copied) by the famous all women qawwaali – “Aahen Na Bhari, Shiqwe Na Kiye” from the film ‘Zeenat’ (1945). The tune is very similar. For this reason only this song is very melodious and worth listening to. This song is very rare.

With this post, the 1946 film ‘Alibaba’ makes its debut on our blog today.

[Author’s Note: Acknowledgments – Information for this article is taken, with thanks, from Harish Raghuwanshi ji, All India Film Directory, Who’s Who in Indian Film Industry, HFGK, MuVyz and my own notes.]



Song – Aansoo Na Girey Naale Na Kiye (Alibaba) (1946) Singer – [Unattributed], Lyrics – [Unattributed], Music – Damodar Sharma

Lyrics (Provided by Sudhir)

aansoo na girey naale na kiye
ghabra ke kaleja thaam liya
aansoo na girey naale na kiye
ghabra ke kaleja thaam liya
ghabra ke kaleja thaam liya

aansoo na girey
naale na kiye
aansoo na girey naale na kiye
ghabra ke kaleja thaam liya
ghabra ke kaleja thaam liya
ghabra ke kaleja thaam liya
toofaan sa uth’ta tha dil mein
ey..ey..ey
aaa aaa aaaaaa
aaa aaa aaa
toofaan sa uth’ta tha dil mein
par kuchh na zabaan se kaam liya
par kuchh na zabaan haan haan
par kuchh na zabaan se kaam liya
hum apni kahaani bhool gaye
jab tera kisi ne naam liya
hum apni kahaani bhool gaye
jab tera kisi ne naam liya
aansoo na girey naale na kiye
ghabra ke kaleja thaam liya

dil ke dukhde
gham ke kisse
ey..ey..ey
aaa aaa aaaaaa
aaa aaa aaa
dil ke dukhde gham ke kisse
ya hum samjhen ya wo samjhen
ya hum samjhen ya aaa haaan
ya hum samjhen ya wo samjhen..en..en
aaa aaa aaaaaa
aaa aaa aaa
majboor e mohabbat  ke dar se
alfaaz se hum azaad huye
alfaaz se hum haan haan
alfaaz se hum azaad huye
nazron ne sunaaye afsaane
aankhon se zubaan ka kaam liya
nazron ne sunaaye afsaane
aankhon se zubaan ka kaam liya
aansoo na girey naale na kiye
ghabra ke kaleja thaam liya
ghabra ke kaleja thaam liya
ghabra ke kaleja thaam liya

ab dekhne se kya hota hai
dekha karey duniya saahil se
aaa aaa aaaaaa
aaa aaa aaa
toofaan chade ab ya utrey
jo doobne waale the doobey
jo doobne waale haan haan
jo doobne waale ho ho
jo doobne waale the doobey
kashti ka sahaara jaane de
toofaan ka daaman thaam liya
kashti ka sahaara jaane de
toofaan ka daaman thaam liya
aansoo na girey naale na kiye
ghabra ke kaleja thaam liya
ghabra ke kaleja thaam liya
ghabra ke kaleja thaam liya

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
आँसू ना गिरे नाले ना किए
घबरा के कलेजा थाम लिया
आँसू ना गिरे नाले ना किए
घबरा के कलेजा थाम लिया
घबरा के कलेजा थाम लिया

आँसू ना गिरे
नाले ना किए
आँसू ना गिरे नाले ना किए
घबरा के कलेजा थाम लिया
घबरा के कलेजा थाम लिया
घबरा के कलेजा थाम लिया
तूफान सा उठता था दिल में॰॰ऐ॰॰ऐ॰॰ऐ
आss आss आsssss
आss आss आss
तूफान सा उठता था दिल में
पर कुछ ना ज़ुबान से काम लिया
पर कुछ ना ज़ुबान से हाँ हाँ
पर कुछ ना ज़ुबान से काम लिया
हम अपनी कहानी भूल गए
जब तेरा किसी ने नाम लिया
हम अपनी कहानी भूल गए
जब तेरा किसी ने नाम लिया
आँसू ना गिरे नाले ना किए
घबरा के कलेजा थाम लिया

दिल के टुकड़े
ग़म के किस्से॰॰ऐ॰॰ऐ॰॰ऐ
आss आss आsssss
आss आss आss
दिल के टुकड़े ग़म के किस्से
या हम समझें या वो समझें
या हम समझें या आं हाँ
या हम समझें या वो समझें॰॰ऐ॰॰ऐ॰॰ऐ
आss आss आsssss
आss आss आss
मजबूर ए मोहब्बत के दर से
अलफाज से हम आज़ाद हुये
अलफाज से हम हाँ हाँ
अलफाज से हम आज़ाद हुये
नज़रों ने सुनाये अफसाने
आँखों से ज़ुबान का काम लिया
नज़रों ने सुनाये अफसाने
आँखों से ज़ुबान का काम लिया
आँसू ना गिरे नाले ना किए
घबरा के कलेजा थाम लिया
घबरा के कलेजा थाम लिया
घबरा के कलेजा थाम लिया

अब देखने से क्या होता है
देखा करे दुनिया साहिल से
आss आss आsssss
आss आss आss
तूफान चढ़े अब या उतरे
जो डूबने वाले थे डूबे
जो डूबने वाले हाँ हाँ
जो डूबने वाले हो हो
जो डूबने वाले थे डूबे
कश्ती का सहारा जाने दे
तूफान का दामन थाम लिया
कश्ती का सहारा जाने दे
तूफान का दामन थाम लिया
आँसू ना गिरे नाले ना किए
घबरा के कलेजा थाम लिया
घबरा के कलेजा थाम लिया
घबरा के कलेजा थाम लिया


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 : 3491 Post No. : 14023

There was a time when the films made in Hindi could be classified easily as A grade, B grade and C grade films. A grade films were those made by big and famous banners with top class actors and leading music directors. B grade films were those made with second rung of actors, director and music directors. C grade films were those films which were made by not so famous banners, almost unknown actors directors and composers. Usually C grade films used to be action/stunt films, made on shoestring budgets, having a fixed story line resembling Tarzan, Hercules or Hollywood action films of Robin Hood, with the background of a jungle, tribe people, king-queen-wicked wazir and similar stories.

C grade films were always quickies, made on  shoe-string budgets. During the late 1930s and 40s, Master Bhagwan action films used to be completed in about Rs. 50,000 only – including studio rent, sets, artist fees and other expenses. C grade films had a captive audience comprising of factory workers, daily wagers, low income earners and students. However, such films used to rake in big profits to the film makers. Therefore, even top class banners sometimes made C grade films, to make up their losses in big film flops.

There were certain production houses which specialized and thrived on such films – like Paramount Films, Jagriti Films, Mohan Pictures, Wadia Movietone etc. Since studio system was in vogue, the film studios usually had fixed actors and directors in their employment. Music directors were of no consequence, so anybody would do. Well known composers like C Ramchandra used to take another name while composing music for C grade action films. Music assistants of famous composers used to give music to such films. Well known composers fallen on bad days also gave music to such films. C grade films rarely released commercial gramophone records for their film songs, so such songs are a real rarity even with big collectors.

Some common and regular names one finds in such grade C action/stunt films are Nadia, Boman Irani, Sayani, Bilimoria brothers, Cooper sisters, Zohra Khatoon, Ameena Khatoon, Khatoon Bai, Prakash, Adjania, Noorjehan (sr.), Moosa Pehelwan, Vasantrao Pehelwan, Baburao Pehelwan, Marutirao Pehelwan, Azim Bhai, Basheer, Ali, Bachha, Chandra Rao, Harishchandra Rao, Shankar Rao, Master Bhagwan, Mirajkar, Jamshed, John Cawas, Lalita Pawar, Navin Chandra. . . and many more such names.

Barring a few names like Lalita Pawar, Bhagwan, Nadia etc, all the other action film actors remained relatively less known. No one knows anything about them. Actors like Baburao Pehelwan, Marutirao Pehelwan (he was the hero in the first Gujarati talkie film ‘Narsi Mehta’), Chandra Rao, Sayani etc. were quite famous in their times, but except their Filmography (thanks to HFGK), nothing more is known about them. All of them ended only with mere names !

Today, I am writing about one such action film hero of 7 silent and 12 talkie films of the 1930s and 40s, whom I stumbled upon recently. His name is so obscure and unknown that even I was stunned, but he has acted with heroines like Rajkumari (Dubey), Sarojini, Vatsala Kumthekar, Gauhar Karnataki and had acted in films made by well known production houses like Paramount and Mohan Pictures.

On 2nd January 2015, I got a message on my Facebook page from an unknown person called ‘Tejas Vazare’. Since I try to avoid unknown people as my Fb friends, I ignored that message. Three years later, this January, I saw the message again. This time it attracted my attention by what he wrote. He mentioned that his grandfather was a Hindi film hero of the 1930s and 40s. Out of curiosity, I wrote to him asking him to sent information about himself and his grandfather. He informed me that Master Shankar Rao Vazare was a hero in few films in 1930s and 40s. This was a name new to me. He also sent me film posters, photos, newspaper articles etc. about him. On reading all this, I strongly felt that here was a man who needs to be brought before today’s world. We exchanged lot many mails. I checked all film names with my books and prepared a list of films having evidence.

Tejas and me have planned to meet in March, in Bombay. May be his father (son of Shankar Rao) and aunt (daughter of Shankar Rao) will accompany him. That time I will complete my interview with them and prepare a detailed article with photos, posters etc for publishing on line. But till then, I wish to present his short biography on this blog first. This blog has the right to have such things first here before anywhere else. I owe it this much. So, here we go.

Master Shankar Rao Vazare was born on 1-1-1916 in the Bhabhanagar area of Nashik (Maharashtra), in a peasant family. His father Trimbak Rao Vazare was the Patil of Nashik. (Patil used to be the overall head of the village / town) and his uncle was the chairman of the Municipality. Shankar Rao was very keen on films. Dadasaheb Phalke was also from Nashik. Taking inspiration from him, Shankar Rao developed attraction for films. He used to see English films in the tent theatre of Nashik.

He reached Bombay. He was very handsome, tall and had a good physique. He got roles in the silent films made by Mahavir Photoplays. From 1929 to 1931, he worked in 7 silent films. There could be more also, but initially he was uncredited. Problem with the silent films was that they generally had 2 or 3 titles and alias names. Additionally as per the local language the title used to change also. So, it is very difficult to trace silent films by titles in the various lists published.

The list of his silent films that has been identified so far is –  ‘Father’s Love’ (1929), ‘Ideal Woman’ (1930), ‘Prince Of The People’ (1930), ‘Avarice’ (1930), ‘Niradhar Niru’ (1931), ‘Jungle Ka Jawan’ (1931) and ‘Saroj Kumari’ (1931).

His first talkie film was ‘Toofani Tamancha’ aka ‘Hands Up’ (1935), made by Paramount Film company. In this film, his heroine was Gul Bano. He acted in 7 films made by Paramount Film Co., 3 by India Liberty Co., and 1 each made by Mohan Pictures and Allied Films. Here is the list of his talkie films,

 

Film Title Year Production Company Director

Heroine / Co worker

1. Toofani Tamancha
aka Hands Up
1935 Paramount RN Vaidya Gul Bano / Miss Pukhraj
2. Farz e Adaa
aka Loyalty
1936 Indian Liberty AM Khan Shehzadi (sister of Zubeida (of Alam Aara)) / Vidya
3. Bansari Balaa
aka Fairy Of The Flute
1936 Paramount AM Khan Gauhar Karnataki / Kamla
4. Burkhawali
aka Bombay Mail
1936 Indian Liberty (Unknown) Gauhar Karnataki / Miss Pearl
5. Madhraat Ka Mehmaan
aka Midnight Man
1938 Indian Liberty Kikubhai Desai Miss Moti / Miss Pokhraj
6. Jungle Ka Jawan 1938 Mohan Pictures Chunilal Parekh Rajkumari / Kamla
7. Madhu Bansari 1939 Paramount Nanubhai Vakil Sarojini (sister of Indurani, mother of Azra, wife of Nanubhai Vakil) / Vatsala Kumthekar
8 Son of Alladin
aka Alladin ka Beta
1939 Paramount Nanubhai Vakil Sarojini / Ranibala
9. Reshami Saari 1939 Paramount GP Pawar (husband of Lalita Pawar) Kanta Kumari / Miss Moti
10. Aflatoon Aurat
aka Veerangana
aka Amazon
1940 Paramount Kikubhai Desai Miss Moti / Kanta Kumari
11. Mere Raja 1941 Paramount TS Mani Miss Moti / Kanta Kumari
12. Jungle Ki Pukar
aka Call Of The Jungle
1946 Allied Films Ramji Arya Ameena Khatoon / Usha

After 1941, he found it difficult to get films. He returned to his hometown Nashik to look after his family, farming and also started a business dealing in cucles. In 1946, he got his last film and after that, he again returned to Nashik. Master Shankar Rao Vazare died on 21-1-1949, at a very young age of only 33 years.

Shankar Rao Vazare was the favourite hero of director Kikubhai Desai (father of Manmohan Desai) for silent and talkie films. Fearless Nadia, Ashok Kumar and Kishore Kumar were his fans. Ashok Kumar used to like seeing his films. In one interview, Kishore Kumar has said – “Despite being a hero, my brother Ashok Kumar never did a fight scene on the screen. I considered Master Shankar Vazare a better hero than him ! ”

His hometown Nashik was very proud of him. During the centenary celebrations of Nashik Municipality, they published his photo and a short Biography in their souvenir. There were articles and photos published in local newspapers. His wife expired about 4 years ago and his sons continue to live in Nashik. They are proud of him.

To get a song from his films was a great problem since nothing is available on YouTube. I sent out request letters to some famous record collectors and our own Sudhir ji. All collectors replied negatively, but only Sudhir ji had just one song from the film ‘Madhu Bansari’ (1939). He sent me the song promptly. Thank you Sudhir ji for your kind help. On finding this song, Tejas Vazare and his family were overjoyed and have thanked our Sudhir ji wholeheartedly.

This song is sung by Vatsala Kumthekar, under the baton of Damodar Sharma. The film was directed by Nanubhai Vakil. The cast of the film was Master Vazare, Sarojini (sister of actress Indurani, mother of actress Azra and wife of Nanubhai Vakil ), Vatsala Kumthekar, Ganpat, Basheer, Ali etc. There were 14 songs in the film.

Acknowledgements :

–  Inputs from Tejas Vazare (grandson of Master Shankar Rao Vazare)
–  Article in newspaper ‘Lokmat’
–  Centenary book of Nashik Municipality
–  Advertisements in Times of India and Film India magazine
–  HFGK compiled by Shri Harmandir Singh ‘Hamraaz’
–  ‘Silent Filmography’ by Dr RK Verma
–  Sudhir ji
–  And my notes 🙂


Song – Rang Rasiya Aao Re (Madhu Bansari) (1939) Singer – Vatsala Kumethkar, Lyrics – [Unattributed], Music – Damodar Sharma

Lyrics (Provided by Sudhir)

rang rasiya..aa..aa
aawo re
rang rasiya..aa..aa
aawo re
jeevan ki
prem jyot ko jagaawo
rang rasiya..aa..aa
aawo re
rang rasiya..aa..aa
aawo re
jeevan ki
prem jyot ko jagaawo
rang rasiya..aa..aa
aawo re
rang rasiya..aa..aa
aawo re

lagan lagi tumhre sang pyaa..aa..aa..re
aaa aaa aaaaa aaaaa
aaa aaaa aaaa aaaaa
aaaaaa aaaaaa aaaa aaaa
aaaa aaaa
aaaaaa aaaaaaaa
lagan lagi tumhre sang pyaa..aa..aa..re..e..e
oo oo aa..aa..aa
lagan lagi tumhre sang pyaare
lagan lagi tumhre sang pyaa..aare..e..e
oo oo oo
aa aa aaaaaaa aaaaa
aaa aaa aaaa aaa aa
lagan lagi tumhre sang pyaare
mann mein bas ke tum kahaan sidhaare
mann mein bas ke tum kahaan sidhaare
aawo
aawo preetam pyaare
aawo
aawo preetam pyaare

rang rasiya
rang rasiya aawo re
rang rasiya aawo re
jeevan ki prem jyot kojagaawo
rang rasiya. . .

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
रंग रसिया॰॰आ॰॰आ
आवो रे
रंग रसिया॰॰आ॰॰आ
आवो रे
जीवन की
प्रेम ज्योत को जगावों
रंग रसिया॰॰आ॰॰आ
आवो रे
रंग रसिया॰॰आ॰॰आ
आवो रे
जीवन की
प्रेम ज्योत को जगावों
रंग रसिया॰॰आ॰॰आ
आवो रे
रंग रसिया॰॰आ॰॰आ
आवो रे

लगन लगी तुम्हरे संग प्या॰॰आ॰॰आ॰॰रे
आss आss आssss आssss
आs आss आss आssss
आssssss आsssss आsss आsss
आsss आsss
आsssss आsssssssss
लगन लगी तुम्हरे संग प्या॰॰आ॰॰आ॰॰रे॰॰ए॰॰ए
ओ ओ आ॰॰आ॰॰आ
लगन लगी तुम्हरे संग प्यारे
लगन लगी तुम्हरे संग प्या॰॰आरे॰॰ए॰॰ए
ओ ओ ओ
आ आ आssssss आssss
आs आs आsss आss आs
लगन लगी तुम्हरे संग प्यारे
मन में बस के तुम कहाँ सिधारे
मन में बस के तुम कहाँ सिधारे
आवो
आवो प्रीतम प्यारे
आवो
आवो प्रीतम प्यारे

रंग रसिया
रंग रसिया आवो रे
रंग रसिया आवो रे
जीवन की प्रेम ज्योत को जगावों
रंग रसिया॰ ॰ ॰


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.

Forgotten Melodies of the 1940s – 12
———————————————————

Readers of this Blog may recall Talat Mehmood’s iconic song aa teri tasweer banaa loon from ‘Naadaan’ (1951) which was composed by Chic Chocolate (Antonio X. Vaz). Recently, I came across the mp3 clip of a song with the same starting verse from an obscure film ‘Rekha’ (1943). There is no mention of the names of singers and lyricist of the song. I got some information from the internet about the film but drew a blank on the names of singers. I could not locate the song on YT.
Read more on this topic…


This article is written by Sudhir, 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.

The Wonderful Sounds of 1930s – 8
– – – – – – – – – – – – – – – – – – –

An absolute gem.  A duet song from 1938 about which almost no information is available.  Just that the film is ‘Baanke Saanwariya’ and the name of the music director is  Damodar Sharma.  I even checked the actual 78 rpm record of this song, which is available with my friend.  Even the names of the singers is not mentioned.
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 THIRTEEN years. This blog has over 17000 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

17014

Number of movies covered in the blog

Movies with all their songs covered =1325
Total Number of movies covered=4609

Total visits so far

  • 15,301,303 hits

Enter your email address to subscribe to this blog and receive notifications of new posts by email.

Join 1,991 other followers

Bookmark

Bookmark and Share

Category of songs

Current Visitors

Historical dates

Blog Start date: 19 july 2008

Active for more than 5000 days.

Archives

Stumble

visitors whereabouts

blogadda

blogcatalog

Music Blogs - BlogCatalog Blog Directory
%d bloggers like this: