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

Posts Tagged ‘Devika Rani


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 :

5000 Post No. : 16898

“Durga”(1939) was produced by Devika Rani and Himanshu Rai and directed by Franz Osten for Bombay Talkies, Bombay. The movie had Devika Rani, Rama Shukul, V H Desai, Mumtaz Ali, Peethawala, Saroj Borkar, Balwant singh, Lalita Deulkar etc in it.

“Durga”(1939) had ten songs in it. Two songs have been covered in the blog so far.

Here is the third song from “Durga”(1939) to appear in the blog.

Devika Rani is the singer. Lyrics are penned by Narendranath Tuli. Saraswati Devi is the music director.

Only the audio of this rare song is available. It is clear that the song was picturised on Devika Rani herself.

From the lyrics it is seen that the song is a “wedding” song. Whether it is a gudda gudiya wedding song or a real wedding song is not known, seeing that video of the song is not available.

Nevertheless, the fact that this song came to my notice just now and it is getting discussed today validates the oft made observation that some higher forces are overseeing this blog and it is these higher forces that often decide what songs are covered in this blog on what day. 🙂 The daughter of one of our regulars got married today and fate ordained that the blog celebrates the occasion with this song from the yore.

So we take this occasion to greet the recently wedded daughter of our regular contributor Avinash Scrapwala. We all wish Shivani and Jeegar a very happy, prosperous and long married life.


Song-Nanhi Bitiya Byaah Rachaaye (Durga) (1939) Singer-Devika Rani, Lyrics-Narendranath Tuli, MD-Saraswati Devi

Lyrics

Nanhi bitiya byaah rachaaye
dulha chadh haathi par aaye
Nanhi bitiya byaah rachaaye
dulha chadh haathi par aaye
baaje dhol mridang
?? rah jaaye dang
baaje dhol mridang
?? rah jaaye dang
laal chunariya kesari choli
sheesh chadhe chandal aur roli
laal chunariya kesari choli
sheesh chadhe chandal aur roli
kumkum pushp ka phool
maang bhare sindoor
kumkum pushp ka phool
maang bhare sindoor

baapu aaye doli chadhaaye
naina chham chham neer bahaaye
baapu aaye doli chadhaaye
naina chham chham neer bahaaye
maa ko bhaari ??
ghar ko ??
nanhi bitiya byaah rachaaye
dulha chadh haathi par aaye
baaje dhol mridang
chhalakat ??


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 : 4635 Post No. : 16290 Movie Count : 4426

Today’s song is from the film Durga-1939, a film made by the prestigious Bombay Talkies. The film was directed by the studio’s German Director – Franz Osten. Some readers may wonder, how a German could direct a Hindi film, without knowing or understanding the language ? For such readers, let me tell you that Franz Osten directed not just 1 or 2 but a total of 16 films for Bombay Talkies, from its beginning. Till the end, he never learnt Hindi language ! He was not the lone German , but there was a whole team of Germans who worked in Bombay Talkies !

Not only in Bombay talkies, but Germans contributed to Indian Cinema elsewhere too and in different segments of filmmaking. Let us take a quick look at Germans in Indian Cinema, in general. Germany had a very good name in India during the olden days i.e. during the early part of the last century. I remember my Grandfather ( who expired in 1975 at the age of 91 years) always praising Germany for so many things. In India,all things German, were considered to be the Best- even better than the Vilayati or the British things !

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

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

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

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

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

Osten and his fellow Germans directed 16 films for Rai. It was a remarkable feat for people who knew little Hindi ‘ mistaking the word “bulbul” once for a pair of bulls. While in Bombay, he became a member of the Nazi Party (1936). He was interned by the British at the outbreak of WW2 in 1939, while shooting his last film there, Kangan. Released and allowed to return to Germany (1940).

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

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

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

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

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

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

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

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

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

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

As the studio system came to an end and individual producers took over, the days of the Germans in Indian cinema were over. Many, including Osten, went back to Germany. Set designer Spreti was appointed German ambassador to Guatemala and was later shot dead by terrorists. Josef Virsching-the Cinematographer, however, stayed back in India till his death in 1967. He did few more Hindi films too.

Most of the others remained associated with the film world abroad.

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

It’s not just the Germans alone, but there was an American who contributed to Tamil Cinema as a Director, during the same period i.e. 1935 to 1950. He directed not just 14 Tamil films….without understanding the language….but also a Hindi film, ‘ Meera’ in 1947…..without knowing Hindi language ! On top of it this Hindi film featured the legendary Carnatic Classical singer M.S.Subbulakshmi. This American’s name was Ellis R. Dungan (11-5-1909 to 1-12-2001).

When Himanshu Rai and Devika Rani decided to establish a modern, well equipped cinema studio in Bombay, they started getting the right persons for different departments of filmmaking. While in London, he had met Niranjan Pal (son of the great patriot Bipin Chandra Pal)-a writer of stage dramas and films. They became friends. Soon after Himanshu Rai, Niranjan also returned to India. Rai called Niranjan to Bombay to work as a writer on a very attractive salary. He arrived and he wrote stories, screen plays and dialogues for the first 8 films of Bombay Talkies. He was assisted by J S Casshyap, Najam Naqvi, and S J Hasan. Their films used simple, day to day Hindi language. Prabhat Hindi films had a profound Marathi tilt, and New Theatre Hindi films were all round and round words- too much bookish Hindi. Naturally, Bombay Talkies Hindi was acceptable in the Hindi belt easily.

After Devika Rani’s elopement episode, Himanshu Rai’s male ego and Bangla Bhadralok prestige was shattered and he had lost his peace of mind. Later he also suffered from tantrums. Once Niranjan Pal wrote an article in an outside magazine, which Rai did not like and he quarrelled with Niranjan on this. They stopped talking. Then one day, when Niranjan was about to go home in his car, Rai came running and holding the car door, started arguing with Niranjan. Finally Niranjan left-never to come back to Bombay talkies again !

Niranjan Pal was one of the very important members of the team. He had written stories of the early films. One of his hits was Achhut kanya also. He proved to be a master in recreating Village atmosphere. After he left, Himanshu Rai immediately called Saradindu Bandopadhyaya from Calcutta. He was the one who had created the famous film and TV character Byomkesh Bakshi. He joined Bombay Talkies and wrote stories of 7 films.

Film Durga’s story was also by him. This is what “Encyclopedia of Indian Cinema ” says about the film Durga…..” Rural melodrama about Durga (Devika Rani), an adolescent child of nature, living with her aged mother Heera. Unable to get the medicine required to prevent her mother’s death, one misfortune after another befalls the heroine in spite of the sympathies of the newly arrived village doctor, Jawahar (Shukul). In the absence of Niranjan Pal, the studio’s main scenarist and author of its best-known rural dramas (Achhut Kanya, Janmabhoomi, both 1936), the tale reduces itself to a purely familial narrative. It is nevertheless a key production in Devika Rani’s self-projection of urbane charm clothed in primal innocence. Osten followed it with Leela Chitnis’s first big film, Kangan (1939). Wadkar was promoted to lead actress again opposite Shukul in her next big film, Navjeevan (1939).”

Today’s song is sung by Devika Rani and Rama Shukul. With this song, film Durga-39 makes its Debut on this Blog.

Audio

Video

Song-Shankar arpan maala koyi haath na ise lagaana (Durga)(1939) Singers- Devika Rani, Rama Shukul, Lyricist- Narendranath Tuli, MD- Saraswati Devi

Lyrics

Shankar arpan maala
koyi haath ise na lagaana
haan dil bhi na tarsaana
kali kali ko man se goondha
maala to hai meri
haan koi hathh hai teri
neer neer ki rajni jaisi
neer neer ki rajni jaisi
main jungle ki cheri (??)
haan main jungle ki cheri(??)
main devi ka daas
mujhe nahin vishvaas
main devi ka daas
mujhe nahin vishvaas
Shankar(?) sunke laaj karo
kuchh bhool gayi saugandhh
main thhaa tujhe pasand

jhhagdaa chhodo milkar baithhen
jhhagdaa chhodo milkar baithhen
Shankar se li thhi maange var ki bheekh
Shankar se li thhi maange var ki bheekh

hey yogiraaj mahaan
do teri bhanvarjaal
sun yogi chatur sujaan mujhe teri de do shaan


This article is written by Avinash Scrapwala, 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 :

4586 Post No. : 16206

Today 6th February’2021 is the one hundred sixth ‘birth anniversary’ of Kavi Pradeep (06.02.1915-11.12.1998). On this occasion here is a song from the 1941 movie ‘Anjaan’.

‘Anjaan-1941’ was directed by Amey Chakravarti for ‘Bombay Talkies Ltd, Bombay’. It had Devika Rani, Ashok Kumar, V.H. Desai, Girish, Suresh, P.F. Pithawala, Gulab, Faiti Prasad, Yusuf Suleman, Sayyad Mukhtar, David, Reva, Baby Madhuri, Arun Kumar, Ibnul Hasan, Bachan Lal Dikshit, Om Prakash, Tarun Kumar, Thelma, Ammini and others.

This movie had ten songs as given below in the order of appearance in HFGK Vol-II (1941-1950).

S.No. Song Title Posted On
01 Kheencho kamaan kheencho 26.01.2021
02 Pyaare pyaare sapne hamaare
03 Aayi Paschim se ghataa 02.03.2015
04 Saanwariya re saanwariya, chal chal re
05 Pyaare pyaare sapne hamaare
06 Chhalko chhalko na ras ki gagariya 20.01.2021
07 Mere jeewan ke path par chhaayi ye kaun 14.10.2020
08 Main to tumse bandhi rahoon 11.12.2015
09 Saanwariya re saanwariya, chal chal re
10 Pyaare pyaare sapne hamaare

The songs in this movie were written by Kavi Pradeep (08 songs including one three-part song) and P.L. Santoshi (02 songs i.e., one two-part song).

Today’s song is a three-part song sung by Ashok Kumar, Suresh, Reva and Devika Rani.

I had come across the songs of this movie in ‘2015’ when I had the songs written by Kavi Pradeep except the song ‘Chhalko chhalko na ras ki gagariya’.

Let us enjoy today’s wonderful song and take this movie closer to ‘Yippeeee’ 😊 i.e., only one step away now.

Audio – Female version

Video – Female version

Audio – Male version

Video – Male version

Audio – Group version

Video – Group version

Song-Pyaare pyaare sapne hamaare (Anjaan)(1941) Singer-Devika Rani, Ashok Kumar, Suresh, Revashankar, Lyrics-Kavi Pradeep, MD-Pannalal Ghosh

Lyrics
———————————
Female solo version-Devika Rani
———————————

Pyaare pyaare sapne hamaare
Pyaare pyaare sapne hamaare
Janam janam tak sang rahen ham
Janam janam tak sang rahen ham
Kabhi na hon nyaare ae
Pyaare pyaare sapne hamaare
Pyaare pyaare sapne hamaare

Ek hamaara rajmahal ho
Jamuna kinaare
Jamuna kinaare
Ek hamaara rajmahal ho
Jamuna kinaare
Ham wahaan par rahen yoon
Jaise gagan mein taare
Pyaare pyaare sapne hamaare
Pyaare pyaare sapne hamaare

Ek dor mein bandh gaye ab to
Man hamaare
Tan hamaare
Jeewan hamaare
Ek dor mein bandh gaye ab to
Man hamaare
Tan hamaare
Jeewan hamaare
Hamko o alag na kar sakenge
Hamko o alag na kar sakenge
Duniya ke ishaare
Pyaare pyaare sapne hamaare
Pyaare pyaare sapne hamaare

———————————-
Male version- Ashok Kumar
———————————-

Pyaare pyaare sapne hamaare
Pyaare pyaare sapne hamaare
Janam janam tak sang rahe ham
Janam janam tak sang rahe ham
Kabhi na ho nyaare ae
Pyaare pyaare sapne hamaare

Ek dor mein bandh gaye ab to
Man hamaare
Tan hamaare
Jeewan hamaare ae
Ek dor mein bandh gaye ab to
Man hamaare
Tan hamaare
Jeewan hamaare
Hamko o alag na kar sakenge
Hamko o alag na kar sakenge
Duniya ke ae ishaare
Pyaare pyaare sapne hamaare
Pyaare pyaare sapne hamaare

———————————–
Group version- Ashok Kumar, Suresh, Revashankat
———————————–

Pyaare pyaare ae
Sapne hamaare
Pyaare pyaare ae
Sapne hamaare

Pyaare pyaare ae
Sapne hamaare
Pyaare pyaare ae
Sapne hamaare

Janam janam tak sang rahe ham
Janam janam tak sang rahe ham
Kabhi na ho nyaare ae

Pyaare pyaare sapne hamaare
Pyaare pyaare sapne hamaare
Janam janam tak sang rahe ham
Janam janam tak sang rahe ham
Kabhi na ho nyaare ae

Pyaare pyaare sapne hamaare
Pyaare pyaare sapne hamaare

Ek hamaara rajmahal ho
Jamuna kinaare ae
Jamuna kinaare ae
Ek hamaara rajmahal ho
Jamuna kinaare
Ham wahaan par rahen yoon
Jaise gagan mein taare
Ham wahaan par rahen yoon
Jaise gagan mein taare
Pyaare pyaare sapne hamaare
Pyaare pyaare sapne hamaare

Ek dor me bandh gaye ab to
Man hamaare
Tan hamaare
Jeewan hamaare
Ek dor me band gaye ab to
Man hamaare
Tan hamaare
Jeewan hamaare
Hamko alag na kar sakenge
Hamko alag na kar sakenge
Duniya ke ae ishaare
Hamko lag na kar sakenge
Duniya ke ishaare
Pyaare pyaare sapne hamaare
Pyaare pyaare sapne hamaare

———————————————————-
Devnagri script lyrics (Provided by Avinash Scrapwala)
———————————————————-
Female version- Devika Rani
———————————————————

प्यारे प्यारे सपने हमारे
प्यारे प्यारे सपने हमारे
जनम जनम तक संग रहे हम
जनम जनम तक संग रहे हम
कभी न हो न्यारे ए
प्यारे प्यारे सपने हमारे
प्यारे प्यारे सपने हमारे
एक हमारा राजमहल हो
जमुना किनारे
जमुना किनारे
एक हमारा राजमहल हो
जमुना किनारे
हम वहाँ पर रहें यूं
जैसे गगन में तारे
प्यारे प्यारे सपने हमारे
प्यारे प्यारे सपने हमारे
एक डोर में बंध गए अब तो
मन हमारे
तन हमारे
जीवन हमारे
एक डोर में बंध गए अब तो
मन हमारे
तन हमारे
जीवन हमारे
हमको ओ अलग न कर सकेंगे
हमको ओ अलग न कर सकेंगे
दुनिया के इशारे
प्यारे प्यारे सपने हमारे
प्यारे प्यारे सपने हमारे
—————————-
Male version Ashok Kumar
—————————-
प्यारे प्यारे सपने हमारे
प्यारे प्यारे सपने हमारे
जनम जनम तक संग रहे हम
जनम जनम तक संग रहे हम
कभी न हो न्यारे ए
प्यारे प्यारे सपने हमारे
एक डोर में बंध गए अब तो
मन हमारे
तन हमारे
जीवन हमारे
एक डोर में बंध गए अब तो
मन हमारे
तन हमारे
जीवन हमारे
हमको ओ अलग न कर सकेंगे
हमको ओ अलग न कर सकेंगे
दुनिया के इशारे
प्यारे प्यारे सपने हमारे
प्यारे प्यारे सपने हमारे
———————————–
Group version Ashok Kumar, Suresh, Rewashankar
————————————
प्यारे प्यारे ए
सपने हमारे
प्यारे प्यारे ए
सपने हमारे
जनम जनम तक संग रहे हम
जनम जनम तक संग रहे हम
कभी न हो न्यारे ए

प्यारे प्यारे सपने हमारे
प्यारे प्यारे सपने हमारे
जनम जनम तक संग रहे हम
जनम जनम तक संग रहे हम
कभी न हो न्यारे ए

प्यारे प्यारे सपने हमारे
प्यारे प्यारे सपने हमारे

एक हमारा राजमहल हो
जमुना किनारे ए
जमुना किनारे ए
एक हमारा राजमहल हो
जमुना किनारे
हम वहाँ पर रहें यूं
जैसे गगन में तारे
हम वहाँ पर रहें यूं
जैसे गगन में तारे
प्यारे प्यारे सपने हमारे
प्यारे प्यारे सपने हमारे

एक डोर में बंध गए अब तो
मन हमारे
तन हमारे
जीवन हमारे
एक डोर में बंध गए अब तो
मन हमारे
तन हमारे
जीवन हमारे
हमको अलग न कर सकेंगे
दुनिया के ए इशारे
हमको अलग न कर सकेंगे
दुनिया के इशारे

प्यारे प्यारे सपने हमारे
प्यारे प्यारे सपने हमारे


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 :

4471 Post No. : 15971

We in this blog remember the personalities of HFM during their anniversaries. But in case of Ashok Kumar’s birth anniversary, we are constrained to defer it to next day because this day unfortunately turned out to be the death anniversary of Kishore Kumar, his younger brother.

Ashok Kumar (13 October 1911 – 10 December 2001) was easily the first superstar of HFM. He achieved his stardom in early 1940s, at a time when many actors now regarded as superstars had not even made their debuts. For instance, people like Dilip Kumar, Dev Anand, Raj Kapoor had not even made their debuts by that time. Rajesh Khanna and Amitabh Bachchan, future superstars were mere toddlers at that time.

Ashok Kumar began his film career as a lab technician. His rise to superstardom from that position was quite meteoric. Unlike meteors, he stayed on top throughout his career. He was not just a top actor, he was also a film maker. He never had to look for work. He was himself an employer of film actors. Unlike many film personalities who fell on hard times and survived in penury in old age, Ashok Kumar managed his finances well and he was always financially well secured. This is one quality of his that most film personalities needed to learn from.

Ashok Kumar was well connected to lots and lots of other well known film personalities through blood relations as well as marriage alliances. In his own household he had Anup Kumar and Kishore Kumar as his brothers. His sister Sati Rani Devi was married to film producer Shashdhar Mukherjee (founder of Filmalaya), whose brother Subodh Mukherjee was a director. Shashdhar Mukherjee’s sons were Rono Mukherjee, Joy Mukherjee, Deb Mukherjee, Shomu Mukherjee and Shubir Mukherjee, all into films. Shomu Mukherjee’s wife is Tanuja. Their daughter is Kajol.

If one looks at the filmy connections of Ashok Kumar, thanks to Kishore Kumar’s various marriages, it will turn out that Ashok Kumar was related to almost every major star in HFM and beyond. Ashok Kumar is related to Kapoors, Bachchans, Rabindranath Tagore, Mithun Chakraborty etc. Exploring all these connections can be used as an exercise in timepass by those interested. 🙂

Ashok Kumar was an actor-singer during the early parts of his career. Some of his songs have gone on to become immortal songs. Who can forget the immortal “Achhot Kanya”(1937) duet Main ban ki chidiya ban ban doloon re with Devika Rani.

Here is another Ashok Kumar-Devika Rani duet. This song is from “Anjaan”(1941). It is penned by Kavi Pradeep. Music is composed by Pannalal Ghosh.

A very nice retro style romantic song. One would love watching the picturisation.

Lyrics of this song were sent to me by Avinash Scrapwala.

Audio

Video

Song-Mere jeewan ke pathh par chhaayi ye kaun (Anjaan)(1941) Singers-Ashok Kumar, Devika Rani , Lyrics-Kavi Pradeep, MD-Pannalal Ghosh

Lyrics(Provided by Avinash Scrapwala)

Hmm hmm hmm hmm hmm
aa Haa ha haa haa aa
Hmm hmm hmm hmm hmm
Hmm hmm hmm hmm hmm

Mere jeewan ke path par chhaayi ye kaun
Poonam ki chaandni
Kaun
Poonam ki chaandni ee ee
Mere jeewan ke path par chhaayi ye kaun
Poonam ki chaandni
Badi madhur madhur man bhaayi
Madhur madhur man bhaayi
Ye kaun
Badi madhur madhur man bhaayi
Poonam ki chaandni

Mere jeewan ka path par chhaayi ye kaun
Poonam ki chaandni

Dheeme dheeme meri kuti mein
Dheeme dheeme meri kuti mein ae
Ithlaati huyi
Bal khaati huyi
Ithlaati huyi
Bal khaati huyi
Chup chaap kahin se aayi ee ee
Chup chaap kahin se aayi ee ee
Ye kaun
Chup chaap kahin se aayi
Poonam ki chaandni ee ee

Mere jeewan ka path par chhaayi ye kaun
Poonam ki chaandni

Kaun pari ye swarg se utri
Kaun pari ye swarg se utri
Badi laaj bhari mere aas paas
Khelan laagi ras rang raas
Khelan laagi ras rang raas
Pal pal lekar angdaayi
Pal pal lekar angdaayi
Ye kaun
Pal pal lekar angdaayi
Poonam ki chaandni ee ee

Mere jeewan ka path par chhaayi ye kaun
Poonam ki chaandni
Tum kaun
Poonam ki chaandni


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 :

3935 Post No. : 15009 Movie Count :

4111

Today’s song is from a film called Vachan-38. Films with the same title-Vachan were made in 1938, 1955, 1974 and 1996. Today’s film Vachan was produced by Bombay Talkies.

In the early era of Talkie films, Bombay Talkies had created great curiosity when it was established in the year 1934, mainly for 3 reasons. First reason was that both Himanshu Rai and Devika Rani, a highly educated, foreign returned couple, hailing from prestigious families, was behind Bombay Talkies. Secondly, It was the first ever film company established as a Registered company with Bombay Stock Exchange, with the most respected and very highly placed personalities of Bombay on its Board of Directors. They were Sir F.E.Dinshaw, Sir Chunilal Mehta, Sir Chimanlal Setalwad, Sir Phiroz Sethna, Sir Cawsaji Jehangir and Sir Richard Temple. Thirdly, there was a German Film Director Franz Osten and his team of Technicians consisting of Cinematographer Joseph Wirsching, Set Designer Karl Von Sreti, Sound Recordist Len Hartley and Lab Technician Wilhelm Zolle, to work in Bombay Talkies.

Germany had a very good name in India during the olden days i.e. during the early part of the last century. I remember my Grandfather ( who expired in 1975 at the age of 91 years) always praising Germany for so many things. In India,all things German were considered the Best- even better than the Vilayati or the British things !

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

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

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

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

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

Osten and his fellow Germans directed 16 films for Rai. It was a remarkable feat for people who knew little Hindi ‘ mistaking the word “bulbul” once for a pair of bulls.

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

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

Franz Osten(23-12-1876-2-12-1956) Hindi director, born in Munich as Franz Ostermayer, the elder brother of successful producer Peter Ostermayer. They set up a travelling cinema, Original Physograph (1907) and founded Munchner Kunstfilm (1909) after Osten had been making shorts for Pathé, Gaumont and Eclair. Their first feature: Die Wahrheit (1910). Osten’s début as director: Erna Valeska (1911). War correspondent in 1915. Joined Peter’s company Emelka (later Bavaria Film) in 1918. Made Der Ochsenkrieg (1920) with young cameraman Frank Planer of later Hollywood fame, one of Osten’s several contributions to a budding genre that after WW2 became known as the Heimatfilm. In fact, the Ostermayr/Osten brothers claimed to be the originators of the genre.

When Himansu Rai and Emelka made a deal to produce Prem Sanyas aka Light of Asia, Osten was assigned to direct. Continued directing Rai’s productions, often shooting in India as well as in Europe, in addition to directing for numerous companies in Berlin. Moved with cameraman Josef Wirsching and set designer Karl von Spreti to India to work at Himansu Rai’s Bombay Talkies (1934).
While in Bombay, became a member of the Nazi Party (1936). Interned by the British at the outbreak of WW2 while shooting his last film there, Kangan. Released and allowed to return to Germany (1940). Employed by Bavaria Film until 1945, for casting and setting up its film archive. In addition to Indian films, directed 33 silent features and 10 sound films.

After WW2 became manager of a Bavarian spa. His Indian films, following UFA tradition, were huge Orientalist spectacles with elephants, camels and expansive vistas often shot in deep focus. Effective authorship shared by producer Rai and scenarist Niranjan Pal. Adopted European conventions to introduce main actors, e.g. backlit mid-shots in soft focus gradually becoming more contrasted; also used mobile outdoor shots as in the railway-crossing sequence of Achhut Kanya. Strongly influenced younger Bombay Talkies film-makers Amiya Chakrabarty and Gyan Mukherjee, though they used his techniques for very different purposes.

Filmography-1925: Prem Sanyas, 1928: Shiraz, 1929: Prapancha Pash, 1935: Jawani Ki Hawa, 1936: Achhut Kanya, Janmabhoomi, Jeevan Naiya, Mamata, Miya Bibi, 1937: Izzat, Jeevan Prabhat, Prem Kahani, Savitri, 1938: Bhabhi, Nirmala, Vachan, 1939: Durga, Kangan, Navjeevan .

Film Vachan was a costume drama, first such film for Ashok Kumar. Some actors form an image in our mind. We accepted Ashok kumar as a simple hearted lover boy in early films like Jeevan Naiya, and Achhut kanya etc. Even his shaky songs became popular, because in those days all these social films with a cause were novelties. Most of the 7 films he did with Devika Rani were successful, but this film has to be rated a little on the lower side of the list. I have not seen the film, nor have I got any inkling about its story line, but from the comments in Film India Magazine of those days, it looks like a film of moderate success. It was released on 19-8-1938, at Roxy cinema, Bombay.
The cast of the film consisted of Devika Rani, Ashok kumar, meera, Mumtaz Ali, peethawala, Kamatha Prasad, Maya Devi, Pratima, Balwant Singh etc etc.

The name MEERA is one of those which cause ‘ Same Name Confusion’. Luckily, the other Meera (Mishra) started acting only in 1946, when this Meera was in the last phase of her career. Still many sites, books and writers mix up their filmography. Meera was an Anglo-Indian girl in Hindi films. During the silent film era a lot many European and Anglo-Indian girls acted in films. Few of them continued even after Talkie films started and very few like Sulochana and Sabita Devi etc. became successful even in the films for a considerable time.Some of these girls were, Ruby Meyers-Sulochana, Iris Gasper-Sabita Devi, Susan Soloman-Firoza begum ( not the singer), Effie Hippolet-Indira Devi, Bonnie Bird-Lalita Devi, Esther Abraham-Pramila, Renee Smith- Sita Devi, Berryl Classen-Madhuri, Winnie Stewert-Manorama Senior, Erine Issac Daniels-Manorama Junior, Florence Ezekiel-Nadira, Sophie Abraham-Romilla, Rose Musleah-Rose, Lilian Ezra-Lilian, Mercia Soloman-Vimla, Rachel Sofaer-Arti Devi, Rachel Cohen-Ramola Devi, Patience cooper, Violet Cooper, Ermelin-Sudhabala etc etc.

Meera’s real name was Muriel Alexander. She was born on 10-11-1919. She was from a respectable family. Her father was Superintendent-local Audit in AG’s office.Brother E. Alexander was an All India level cricketer. She passed her Inter science exam from Benaras Hindu University. It was through one Mr. Seal,who was a manager in Adarsh Chitra,she got her first break in film Dhuwandhar-1935. This was the Debut film of Leela Chitnis also. It is not known if she sang any song in that film,as no records are available.
My guess is that,besides acting,she must have sung few songs in that film.

Her name first appears as an actress and singer in film Bhabhi-38,in which she sang 3 solo songs. from 1935 to 1938,she must have sung many songs,but singers names are not mentioned. thus many singers’ credit must have been lost in those years.Same case was with Amirbai karnataki also. After Bhabhi,her name appears in Nirmala-38 and vachan-38 in which she sang 1 solo and 3 duets. She acted and sang songs in films of Ranjit,Prakash and Minerva Movietone films.

As per information available Meera acted in Dolti Naiya-34, Dhuwandhar-35, Bhabhi-38, Vachan-38, Adhoori Kahani-39, Tatar ka chor-40, Paak Daaman-40, Chingari-40, Armaan-42, Meri Duniya-42, Mauj-43, Krishna bhakta Bodana-44, Ji haan-45, Sham Savera-46, Ye hai Duniya-48 and Sansar-51. She only sang in Nirmala-38.

Another interesting name in the cast is Maya Devi. Maya Devi was from Bombay and started her career from silent films in 1928 with Anarkali by imperial. Her first Talkie film was Kunwari ya widhva-35. Her real name was Leela. She became a favourite of Bombay Talkies and she did 6 films with them in 37 and 38. In all she did 5 silent films and 31 Talkie films till 1949. her last film in India was Raaz-49. She got married with a Muslim and then migrated to Pakistan, where she did 19 films and then retired in 1964. Her first film in Pakistan was Phere-1949.She died in Lahore on 1-2-67. She did films in Gujarati and Punjabi also.

Today’s song is a song sung by Devika Rani, Meera, Lalita and Vimla. I do not know who these Lalita and Vimla were. This seems to be a friendly song of 4 of the sahelis, with dialogues in the beginning and the end of the song. With this song, film Vachan-38 makes its debut.

(For this post, I have used information from ” Walter Kaufmann in India 1934-1946″ by Amrit Gangar, The Big Indian Picture- Bombay Talkies-By Ambarish Roy Chaudhari, indiancine.ma, with thanks and my notes.)


Song-Naval Naveli Nyaari hum Kunwari baari(Vachan)(1938) Singers-Devika Rani, Miss Meera, Lalita, Vimla, Lyrics – J S Kashyap, MD- Saraswati Devi

Lyrics

hahahahaha
Malti
abhi aur khelenge
nahin Shama
ab ghar chalna chaahiye
bahut der ho gayi
kyon
darti hai
kahin pati mahashay khabar na len
hahaha
kyun nahin
pati ki dulaari hai na
hahahahaha
hum kunwaariyon ko koi fikr nahin
nahin nahin nahin nahin
hazaar baar nahin
hahahahaha

Naval Naveli Nyaari
hum Kunwari baari
Naval Naveli Nyaari
hum Kunwari baari
dosh nahin kuchh
hosh nahin kuchh
saral sahaj matwaari
dosh nahin kuchh
hosh nahin kuchh
saral sahaj matwaari
hum Kunwari baari
Naval Naveli Nyaari
hum Kunwari baari

khuli hawa mein nav kali ?? phoolen
khuli hawa mein nav kali ?? phoolen
pawan jhakoron mein madmaati jhoolen
pawan jhakoron mein madmaati jhoolen
tan man apna jeewan apna
tan man apna jeewan apna
ham ban ki chidiyaa
haan tum ??
maina
maina
maina

hahahaha
suna
jee
suna
aur guna bhi
aap ne abhi suna hi suna hai
guna nahin
hahahahah


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.

“Anjaan”(1941) was directed by Amiya Chakraborty for Bombay Talkies Limited, Bombay. The movie had Devika Rani, Ashok Kumar, V H Desai, Girish, Suresh, P F Pithawala, Gulab, Fatty Prasad, Yusuf Suleman, Saiyyad Mukhtar, David, Reva, baby Madhuri, Arun Kumar, Ibnul Hasan, Bachan Lal Dixit, Om Prakash, Tarun Kumar, Bhargavi etc in it.
Read more on this topic…


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.

“Karma”(1933) was directed by J J Freer Hunt for Himanshu Rai Indo International Talkies, Bombay. The movie had Devika Rani, Sudha Rani, Himansu Rai, Dewan Sharar, Abraham Sofire, Ghanshyam etc in it.
Read more on this topic…


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.

“Karma”(1933) was directed by J J Freer Hunt for Himanshu Rai Indo International Talkies, Bombay. Tmovie had Devika Rani, sudha Rani, Himansu Rai, Dewan Sharar, Abraham Sofire, Ghanshyam etc in it.
Read more on this topic…


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.

“Anjaan”(1941) was directed by Amiya Chakraborty for Bombay Talkies Limited, Bombay. The movie had Devika Rani, Ashok Kumar, V H Desai, Girish, Suresh, P F Pithawala, Gulab, Fatty Prasad, Yusuf Suleman, Saiyyad Mukhtar, David, Reva, baby Madhuri, Arun Kumar, Ibnul Hasan, Bachan Lal Dixit, Om Prakash, Tarun Kumar, Bhargavi etc in it.
Read more on this topic…


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.

“Izzat”(1937) was directed by Franz Osten for Bombay Talkies. The movie had Devika Rani and Ashok Kumar in lead roles. The movie also had Kamta Prasad, Fateh singh, M Nazir, Ahmad, Mumtaz Ali, K H Dharamsi, Vimla, P F Peethawala, N M Joshi, Ameer Ali, Suneeta Devi, Madhurika, Manohar Ghatwai, Chandraprabha etc in it.
Read more on this topic…


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