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

Posts Tagged ‘Dewan Sharar


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

Blog Day :

4801 Post No. : 16567

‘Parbat Pe Apna Dera’ (1944) was V Shantaram’s second film under his banner, Rajkamal Kala Mandir following a tremendous box office success of his first film ‘Shakuntala’ (1943). The film was released on August 8, 1944. The starcast included Vanmala and Ulhas in the lead roles supported by Shantarin, Madan Mohan, Kanta Kumari, P L Samant, Vijaya, Baby Nalini etc.

The lead actor of the film, Ulhas (real name: M N Kaul) had switched over to character actor’s roles when I started watching films in the theatre. So, it was a new experience to me when I first saw his performance as a lead actor in ‘Basant’ (1942) about 6-7 years back after which I saw his performance in the lead role in ‘Parbat Pe Apna Dera’ (1944). I have noted that Ulhas had worked in some films under V Shantaram – ‘Wahaan’ (1937), ‘Dr Kotnis Ki Amar Kahani’ (1946), ‘Dahej’ (1950), ‘Surang’ (1953), ‘Toofaan Aur Diya’ (1956), ‘Do Aankhen Baarah Haath’ (1957), ‘Navrang’ (1959) and ‘Sehra’ (1963).

Ulhas’s connection with V Shantaram goes back to 1937 when he left his home town, Ajmer and reached Pune to try his luck as an actor. He met his fellow Kashmiri, Chandramohan who has become a well-known actor in Prabhat Film Company. He helped Ulhas in getting a side role in ‘Wahaan’ (1937) in which Chandramohan was a lead actor and V Shantaram was the director. After this, there was no looking back for Ulhas. He acted in over 150 films during his active filmy career of over 3 decades.

V Shantaram who had been making films with progressive themes like in ‘Duniya Na Maane’ (1937). ‘Aadmi’ (1939), ‘Padosi’ (1941) etc, chose a different theme for the film which he had not handled in his previous films. The theme was an unusual romance between an ascetic with a hilltop as his abode sans the worldly pleasure and a blind heiress staying in her palatial home. I have watched the film a couple of months back. The story of the film is as under:

Sadhu Ram Das (Ulhas) has renounced the world and made a hill top his abode Just below his hilltop abode is a Shiva temple. Meera Devi (Vanmala) an heiress who has lost her eyesight in the childhood, often visit Shiva temple along with her father (P L Samant) and her maid (Shantarin) to seek the blessing for curing her eyesight as modern medical science has not been able to restore her eyesight.

During one of her visits to Shiva temple, Meera Devi hears a singing voice from a distance which happens to be that of Sadhu Ram Das. Meera Devi is eager to visit the place to see the singer. Sadhu Ram Das does not like people visiting him as they distract his concentration during the prayer. First, he discourages her to come near him. But finding Meera Devi blind, he offers to cure her blindness within six days through his herbal eye drops.

On the sixth day, Meera Devi’s eyesight is restored. Now she wants to become a devotee of Sadhu Ram Das to serve him in his daily routine. But Sadhu turns her away as he does not want to get affected in his prayer and the concentration. After she leaves, Sadhu Ram Das is restless and feels her absence. Hence, when Meera Devi starts visiting his abode to help him in his daily routine, he does not object her presence. Slowly, he tastes the luxury of someone doing the work for him.

Meera Devi’s daily visit to the abode of Sadhu Ram Das creates a flutter among other sadhus staying nearby. She suggests Sadhu Ram Das to shift to her palatial residence which after some hesitation, he agrees. He soon gets used to the luxuries of life. He shades his beard and sadhu’s outfits. He starts flirting with Meera Devi and soon they get married.

After marriage, Sadhu Ram Das becomes Ram Babu who suddenly develops taste for enjoying the company of other ladies. During a boat ride with Meera Devi, he gets attracted towards a courtesan who is singing in her own boat. He clandestinely visits her boats every day and enjoy her company with wine. During one of his such visits, he is caught red-handed by Meera Devi’s father but decides not to tell his daughter after Ram Babu promises not to repeat the mistake.

Ram Babu’s addiction for the company of females results in breaking his promises to his father-in-law and flirts with a florist in the vicinity of his home itself. He is once again caught red-handed by Meera Devi who is hurt by his behaviour. She debars him from entering her home.

Now that his wife knows about his weakness for women, he now openly flirts with women during the Navratri festival. On the Dusshera day, he flirts with one of Meera Devi’s friends (Kanta Kumari) and attempts to molest her. To save herself, she throws a burning cracker towards Ram Babu which hits him in his eyes resulting in blindness.

When Meera Devi comes to know about the incidence, she goes with her father in search of him. Eventually, they find him in his hilltop abode. Meera Devi suddenly remembers his magic herbal eye drop bottle which she retrieves from his cave. Alas, on the way, it falls and bottle is broken. Finally, it is the continuous ringing of the temple bell by both Meera Devi and Ram Babu which restores his eyesight.

Most of V Shantaram’s films have some message to the society and ‘Parbat Pe Apna Dera’ (1944) is no exception. In the film, he sets out the message that it does not take much time for ascetic to turn hedonist. Afterall, an ascetic is also a human and is subject to the temptation of the worldly pleasures which are addictive in nature. The title of the film did make me hesitant to watch the film. But once I began to watch, the film unfolded like a smooth sailing.

There is nothing much in the story by Diwan Sharar. In fact, the story’s end is a tame affair. But his dialogues are crispy. It is V Shantaram’s direction which makes the story visually interesting. There are a few brilliant streaks of symbolisms in his direction. For instance, the ascetic’s abode on a hilltop conveys that his status is on a high pedestal. When he decides to shift to Meera’s palatial home on the plains and is walking with her to come down, a big bolder with accompanying rocks and stones roll down symbolising that the ascetic is walking down to a lower status to become a householder.

On the performances of the actors in the film, only 4 actors have a large screen presence – Ulhas, Vanmala, Shantarin and Madan Mohan (not to be confused with music director, Madan Mohan). All the four have given a good performance.

Another plus point of this film is the musical compositions of Vasant Desai. Most of the songs have pleasing tunes and good orchestrations which have been nicely picturised. All these three elements of the songs put Vasant Desai’s music being ahead of its time.

So far, six songs (out of 9) have been covered in the Blog. I am presenting the 7th song from the film, ‘sapanon mein aane waale’ rendered by Khan Mastana. The song is written by Diwan Sharar which is set to music by Vasant Desai.

The song is picturised on Ulhas who, after renouncing from asceticism and marrying Vanmala, has become a playboy. He sings this song during a festival gathering to attract female participants.

Video Clip:

Audio Clip:

Song-Sapnon mein aanewaale hamko jaga rahe hain (Parbat Pe Apna Dera)(1944) Singer-Khan Mastana, Lyrics-Dewan Sharar, MD-Vasant Desai

Lyrics

aaa aa aa aa
aa aa aa
aa aa aa aaa

sapanon mein aanewaale
sapanon mein aanewaale
hamko jagaa rahen hain
hamko jagaa rahen hain
ham jinko dhoondhte thhe
ham jinko dhoondhte thhe
wo khud bula rahen hain
wo khud bula rahen hain

mehmaanon ki hai raunaq
mehmaanon ki hai raunaq
taanta sa lag raha hai
taanta sa lag raha hai
do chaar jaa rahen hain
do chaar aa rahen hain
do chaar jaa rahen hain

hairaan hain nighaaein
hairaan hain nighaaein
kya chaahen kya na chaahen
kya chaahen kya na chaahen
wo kuchch dikha rahe hain
aur kuchch chhupa rahe hain
aur kuchch chhupa rahen hain

doley ae
doley hain mann ki naiyya
doley ae
doley hain mann ki naiyya
aur bekhabar khaiwaiyya
aur bekhabar khaiwaiyya
bhooli huyi dagar mein aen
bhooli huyi dagar mein
ham dagmaga rahe hain
ham dagmaga rahe hain
sapanon mein aanewaale
hamko jagaa rahe hain
ham jinko dhoondhte the
wo khud bula rahe hain
sapanon mein aanewaale ae


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

Blog Day :

4732 Post No. : 16452

After leaving Prabhat Film Company in May 1942, V. Shantaram had announced his new film, ‘Shakuntala’ (1943) under his own banner, Rajkamal Kala Mandir. He was looking for a reputed writer who could write screen-play and dialogues for the film. Baburao Patel, the editor of ‘Filmindia’ magazine who had business relations with Prabhat Film Company (through its printing press) and with V Shantaram, suggested the name of Dewan Sharar, author, playwright, poet and journalist of the international repute. In those days, Dewan Sharar used to publish his short stories every month in ‘Filmindia’ magazine after returning to India sometime in 1941 from London where he had been staying for many years.

Around the same time, D R D Productions of D R D Wadia had announced its maiden film, ‘Ishaara’ (1943) based on the Dewan Sharar’s famous novel, ‘The Gong of Siva’ (1935). With this film as well as ‘Shakuntala’ (1943), Dewan Sharar had shifted from Delhi to Mumbai and had made Cricket Club of India (CCI) as his temporary abode to write screen-play and dialogues for both these films. Since V Shantaram, after leaving Prabhat Films, did not have his own office, it was at CCI where he and Dewan Sharar met frequently to finalise the screen-play and dialogues for ‘Shakuntala’ (1943).

‘Ishaara’ (1943) was released in June 1943 and after couple of months, ‘Shakuntala’ (1943) was released. Both these films were box office success. Dewan Sharar had a long partnership with Rajkamal Kala Mandir as a story, screen-play, dialogue, song writer and sometime as an actor until ‘Jhanak Jhanak Paayal Baaje’ (1955).

Shantaram was to direct ‘Omar Khayyam’ under the banner of Prabhat Films in 1941 and the screen-play of the film written by Baburao Patel was ready. However, at that time, Shantaram did not go ahead with the film as his relationship with other directors of Prabhat Films was strained. After leaving Prabhat Films and the successful run of his maiden film, ‘Shakuntala’ (1943), Shantaram toyed the idea of reviving ‘Omar Khayyam’. He entrusted Khwaja Ahmed Abbas to rewrite the screen-play of ‘Omar Khayyam’. However, due to the fear of copyright issue that may crop up with Prabhat Films, Shantaram once again abandoned the plan to direct ‘Omar Khayyam’. It is quite possible that during this period, Khwaja Ahmed Abbas might have brought to the notice of Shantaram his novella, ‘And One Did Not Come Back’ which was based on the life of Dr. Dwarkanath Kotnis who spent 4 years in China during 1938-42 on a medical mission.

The story of Dr, Dwarkanath Kotnis impressed Shantaram so much that he not only decided to make a film as a biopic but also decided to act in the title role of Dr. Kotnis. The film took nearly 2 years to complete at a total cost of Rs.20 lakhs. The delay was mainly due to reshooting of some sequences which Shantaram was not happy when viewing the film at the editing table. For the sake of authenticity, Dr. B K Basu, one of the doctors who accompanied Dr. Kotnis to China and a Chinese lady was part of the production team to supervise during the shooting of the film [Source; from the advertisement which appeared in ‘Film Pictorial’, April 1946].

‘Dr. Kotnis Ki Amar Kahaani’ (1946) was made in Hindi and English with the title ‘The Eternal Tale of Dr. Kotnis’. The film had V Shantaram in the title role of Dr. Kotnis and Jayshree as Chinese nurse, Ching Lan. Other actors in the film were Keshavrao Date, Pratima Devi, Ulhas, Janaki Das, Dewan Sharar, Salvi, Hudlikar, Baburao Pendharkar, Master Vinayak etc. The screen-play was jointly written by Khwaja Ahmed Abbas and V P Sathe, the writer and publicist. Dialogues and songs were written by Dewan Sharar. The film was released on March 16, 1946 at Swastik Theatre, Mumbai.

I am not sure whether the English version of film was released. But there is a mention in one of the issues of ‘Filmindia’ magazine of 1946 that Shantaram along with Jayshree and Dewan Sharar sailed to London in July 1946 on their way to New York taking with them the English version of ‘Shakuntala’ (1943) and ‘Dr. Kotnis Ki Amar Kahaani’ (1946) for release in the USA.

‘Dr. Kotnis Ki Amar Kahaani’ (1946) had 7 songs – all written by Dewan Sharar which were set to music by Vasant Desai. Three songs have been covered on the Blog. I am presenting the 4th song, ‘chit doley nit doley subah shaam prabhu ji’ a lullaby from the film sung by Jayshree on whom the song is picturised along with V Shantaram. Dewan Sharar makes a brief presence in the song picturisation. The child in the cradle is Rajshree, the reel and the real daughter of V Shantaram and Jayshree.

Lyrics of the song were sent to me by Prakashchandra.

Video Clip:

Audio Clip:

Song-Chit doley nit doley (Dr Kotnis Ki Amar Kahaani)(1946) Singer-Jayshree, Lyrics-Dewan Sharar, MD-Vasant Desai

Lyrics(Provided by Prakashchandra):

chit doley
nit doley
chit doley
nit doley
subah shaam prabhu ji ee
chit doley
nit doley
chit doley
nit doley
subah shaam
ho shaam savera
subah shaam
ho shaam savera
mann preetam kaa ho dera
aa aa
mann preetam kaa ho dera
iss dere kar bhi le
iss dere kar bhi le
vishraam prabhu ji
chit doley
nit doley

neele parvat khet sunahre
neele parvat khet sunahre
neeli nadiyaan gahre gahre
neeli nadiyaan gahre gahre
chanda taare lete saare
chanda taare lete saare
ae ae
teraa naam prabhu ji ee
chit doley nit doley

pyaare nazaare
pyaare nazaare hain pyaare pyaare
pyaare nazaare
pyaare nazaare hain pyaare pyaare
aaankhon hi aankhon mein
ae ae ae ae
aankhon hi aankhon mein karte ishaare
nain tere
nain mere
nain tere
nain mere
ae ae ae
din rain prabhu ji
chit doley
nit doley
subah shaam prabhu ji
chit doley
nit doley


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 :

4640 Post No. : 16299

———————————————–————————————
Blog 10-Year Challenge (2011-2021) – Song No. 20
———————————————————————————–

This day ten years ago (viz on 1 april 2011), five songs from five different movies were covered in the blog. Here are thge details:-

Blog post number Song Movie (Year) Remarks
3717 Pareshaan hoon ki kyun apni pareshaani nahin jaati Parbat Pe Apna Deraa(1944) 5 songs covered out of 9
3718 Yaad aane lagee Daman(1951) 8 songs covered out of 10
3719 Dekho dekho jee gori sasuraal chali Shagoon(1964) Movie YIPPEED by now
3720 Naach re man badkamma Rajkumar(1964) Movie YIPPEED by now
3721 Gori ke haath mein jaise ye chhallaa Mela(1971) Movie YIPPEED by now

One can notice that three movies out of five have since been YIPPEED in the blog.

“Parbat Pe Apna Dera”(1944) is one of the two movies not yet YIPPEED. This movie was directed by V.Shantaram for Rajkamal Kala Mandir Limited, Bombay. The movie had Vanmala, Ulhas,Shantarin, Madan Mohan, Kantakumari, P L Samant, Baby Nalini, Vijaya, Suman, Kamal etc in it.

Five songs from the movie (out of 9) have been covered so far.

As blog ten year challenge today, here is a song from “Parbat Pe Apna Dera”(1944). This song is sung by Vasant Desai and Naseem Akhtar. Dewan Sharar is the lyricist. Music is composed by Vasant Desai. The song is picturised as a romantic song on Madan Mohan (later he would make his mark as a music director) and Shantarin. Ulhas is also seen in the picturisation serving as a peeping Tom.

Lyrics of this song were sent to me by Prakashchandra.

video link:

Song-Aa niklo guinyaan meri gali se (Parbat Pe Apna Dera)(1944) Singers-Vasant Desai, Naseem Akhtar, Lyrics-Dewan Sharar, MD-Vasant Desai

Lyrics(Provided by Prakashchandra)

aa niklo guinyyaan meri gali se
aa niklo guinyaan meri gali se
raatein guzaari maine
bekali se
raatein nahin ratiyaan
ratiyaan guzaarin maine bekali se
aa niklo guinyaan
aa niklo guinyaan meri gali se

sunn lo jee..eee..eee..ee..eee
sunn lo jee baatein
batiyaan
sunn lo jee batiyaan mori..ee..ee
paas bhi aao gori..eee
aao aa khelo holi
aao aa khelo holi bali se
aa niklo guinyaan meri gali se

baali
baali umariyaa mori..eee..ee
baali umariyaa mori
kheloon main tujhse hori..ee..eee
kheloon main tujhse hori
guzroongi chori chori
guzroongi chori chori
gali se

chori se kyon ?
bijuri ..eee giraati aao aao
bijuri giraati aao
teer chalaati aao
o teer chalaati aao
aankhein
ankhiyaan ladaati aao gali se
aa niklo guinyaan aan aan aan
aa niklo guinyyaan meri gali se

aaoon..oon oon oon oon
aaoon oon
aaoon bahaanaa kar ke ae ae
dil ka nishaanaa karke
dil ka nishaanaa kar ke ae ae
jaaoon
jaaoon thhikaanaa kar ke
jaaoon thhikaanaa kar ke
gali se

hhaa. hhaa…ha..haa..aaa…aaaa
niklo guiyiyyaan meri gali
meri gali se


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 :

4540 Post No. : 16110

“Jhanak Jhanak Paayal Baaje”(1955) was directed by V Shantaram for Rajkamal Productions. This movie which was mainly about dancing, had Sandhya, Gopi Krishan, Keshavrao Date, Madan Puri, Manorama, Chandrakanta, Mumtaz, Chaube Maharaj, Nana Palsikar, Nimbalkar, Chaman Puri, Bhagan, Jayshree Gadkar etc in it.

The movie had twelve songs in it. Six songs have been covered in the blog so far.

Today (22 december 2020) is the 45th remembrance day of Vasant Desai (9 June 1912-22 december 1975) who was the music director of this movie.

As a tribute to Vasant Desai, here is a song from “Jhanak Jhanak Paayal Baaje”(1955). The song is sung by Lata Mangeshkar. Dewan Sharar is the lyricist. Music is composed by Vasant Desai,

The song is picturised as a mujra dance song on Sandhya, with others also seen in the picturisation.


Song-kaisi ye muhobbat ki saza haay dee hai kisi ne(Jhanak Jhanak Paayal Baaje)(1955) Singer-Lata, Lyrics-Dewan Sharar, MD-Vasant Desai

aa aa aa aa
aa aa aa
aa aa aa aa
kaisi yeh muhobbat
kaisi yeh muhoobbat ki saza
kaisi yeh muhobbat ki saza
haay dee hai kisi ne kisi ne
kaisi yeh muhobbat ki saza
duniya hi mere dil ki dil ki
duniya hi mere dil ki dil ki
mita di hai kisi ne kisi ne
kaisi yeh muhobbat ki saza
haay dee hai kisi ne kisi ne
kaisi yeh muhobbat ki saza

reh reh ke machalna aa aa
kabhi ro ro ke tadapna
aa aa aa aa aa
o o
haalat yeh meri ee aaj
bana di hai kisi ne
kisi ne
kaisi yeh muhobbat ki saza
haay dee hai kisi ne kisine
kaisi yeh muhobbat ki saza
duniya hi mere dil ki dil ki
duniya hi mere dil ki dil ki
mita di hai kisi ne kisi ne
kaisi yeh muhobbat ki saza
haay dee hai kisine kisine
kaisi yeh muhobbat ki saza

aa aa aa aa aa
dil ghat’ta hai
ae ae ae ae
dam ghut’ta hai
aahon ke dhuen se
ho o
kuchh aisi khushi(?) ee aag laga di hai kisine
kaisi yeh muhobbat ki saja haay dee hai kisine kisine
kaisi yeh muhobbat ki saja
duniya hi mere dil ki dil ki
duniya hi mere dil ki dil ki
mita di hai kisine kisine
kaisi yeh muhobbat ki saza haay dee hai kisine kisine
kaisi yeh muhobbat ki saza

aa aa aa aa
aa aa aa
parwaana kare chaahe
jalne ka nahin saamaan aan
o o
ek shama thhi to o bhi
bujha di hai kisi ne ne
kaisi yeh mohabbat ki saza
haay dee hai kisine kisine
kaisi yeh muhabbat ki saza
duniya hi mere dil ki dil ki
duniya hi mere dil ki dil ki
mita di hai
mita di hai
mita di hai kisine kisine
kaisi yeh muhobbat ki saza
haay dee hai kisine kisine
kaisi yeh muhobbat ki saza


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 :

4394 Post No. : 15762

Today’s song is from the film Jeewan yatra-46. This film was made by Rajkamal. The film was a social film, directed by Master Vinayak and its music was composed by Vasant Desai.

V Shantaram left Prabhat films or rather was compelled to leave it, because he broke a rule of Prabhat Films. Soon after When the company was founded, one of its directors S Fattelal had married one of its lead actresses Gulab Bai aka Kamla Devi (one who is seen bending in the Prabhat Logo). After this, the team of partners/directors made a rule that if, in future, any of them falls in love with an artiste of the company or gets married to her, he will have to leave the company. After a few years, Keshav Rao Dhaiber, one partner, married Prabhat’s Heroine Nalini Tarkhad. He had to leave the company,in 1938.

V Shantaram also loved and married Prabhat’s lead actress Jayashree (Kamulkar) and had to leave the company. As such, all was also not well between Shantaram and other directors,because they felt that somehow, Shantaram kept all the focus on him for publicity, though they too were capable. Due to all this he left Prabhat. For some time he worked in the Films Division and then started his own studio “RAJ KAMAL Kalamandir”, on the premises of Wadia studios. The name of his company was made up by taking the first syllable of his parents’ names – RAJ(aram) and KAMAL(abai) making RAJKAMAL.

The first film of Rajkamal was Shakuntala with Jayashree playing the role of Shakuntala and Chandra Mohan being King Dushyant. Next films were, Parbat pe apna Dera-44 and Jeevan Yatra-46. Then came the iconic film “Dr. Kotnis ki amar kahani”-46. Rajkamal produced many well known films, mostly in Prabhat tradition. I personally consider the film “Do aankhen barah haath”-58, as its best film in terms of the content, acting and the Music. It’s a matter of pride that one of the songs of this film-“Aye Maalik tere bande hum”, became the school prayer song in Pakistan, till 1965.(Ref:Ruperi Smaranyatra by Prof. Subhash Savarkar).

Film Jeevan Yatra-46 was directed by Master Vinayak. This was his last film as a director for Shantaram. Rajkamal films were directed by Shantaram, Vinayak, Keshavrao Datey, V Awadhoot or Kiran Shantaram only. Initially the studio system was very strong in the film industry, but during and after the II WW, Freelancing and crumbling of the studios, one after the other saw the virtual extinction of the studio system. Companies affected were Sagar, Ranjit, National, Wadia, Prabhat, Bombay Talkies, New Theatres, Madon Theatres, East India, Shalimar, Paramount, Imperial etc. It sadly heralded individualistic operations. Most studios became available for hiring for shootings. Only Rajkamal, Mehboob and RK studios etc continued some more years with almost the same force. Now, RK studio is demolished and Rajkamal and Mehboob studios are used for TV serial shooting and audio recording facilities.

Talking of Master Vinayak, it was Shantaram who helped shape his career. In Kolhapur, the 3 families- Bhal G. Pendharkar, V Shantaram and Master Vinayak were closely related. Bhal ji Pendharkar (Bhalchandra Gopal Pendharkar) was the son of Dr.Gopal Pendharkar, the Royal Physician of Shahu Maharaj of Kolhapur state and his partner Radhabai. Dr. Gopal was already married to another lady. This couple gave birth to Bhalji and Baburao Pendharkar. Their mother Radhabai left Dr. Gopal Pendharkar and married Damodar Karnataki. They had two sons- Master Vinayak (father of Baby Nanda), famous actor, director, producer and a studio owner and his brother Vasudev- who became a Cameraman. Kamalabai, the younger sister of Radhabai married Rajaram Vankudre and they had 2 sons- V.Shantaram, famous actor, director,producer and a studio owner and his brother V. Awadhoot- equally famous Cinematographer.

Master Vinayak Karnataki ( 19-1-1906 to 19-8-1947) was born in Kolhapur. Many of his cousins and family members were already in the 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 brought him in 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 Chhaya-36. (almost all films made by Vinayak till 47 were bilingual in Marathi and Hindi-sometimes with different Titles ( like Ardhangi in Marathi became Ghar ki rani-40 in Hindi etc.)

While Shantaram stressed on technical aspects of film making successfully, Vinayak was keen on a strong story. Therefore he used the works of Top class writers in Marathi like V.S.Khandekar, P.K.Atre, Mama Varerkar etc. ( V.S.Khandekar, later won Sahitya Akademi award, Jnanpith award, Padma Bhushan award and many honours like D.Litt etc. The Government issued a Postage stamp after his death also). Film Chhaya won many awards and was commercially successful. Next Dhrmaveer-37 and Premveer-37 ( The Heroine in this film was Ashalata-wife of Anil Biswas). Then came film Jwala-38, with Chandramohan in both versions-Marathi and Hindi. He learnt to speak excellent Marathi for this film. Later he did 3 more Marathi films also. unfortunately, film Jwala was a resounding flop-not because of anything else. According to V.S.Khandekar, Vinayak had meddled with the story too much. ( this looks to be a chronic ailment of the film line !)

Vinayak fell back on comedy and made Brahmachari-38 and Brandi ki botal-39. Both were successful, but the loss due to Jwala was too big. Even one more comedy- Ghar ki rani-40 could not salvage the damage and Hans pictures was dissolved to form another company Navyug Chitrapat, with added P.K.Atre as a partner. Navyug was the first film company to offer 100 rs. shares directly to the public. ( Bombay Talkies had shares with only the directors, initially). The first film was Lapandav-40. Though successful, P.K.Atre left the company- (along with its Heroine Vanmala- his consort) and established his own company Atre Pictures.

After another comedy, Navyug made Amrit-41. In the year 1942, Navyug made the film ‘ Pahili Mangalagaur”-42, 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, Vinayak left Navyug and started his own ” Prafull Pictures”. Vinayak made several Hindi and Marathi films including Badi Maa-45. Vinayak died on 19-8-1947, just 4 days after Independence.

Vinayak acted in 18 Hindi films, from Jalti Nishani-32 to film Mandir-48. He also directed 13 Hindi films, from film Nigah E Nafrat-35 (debut film of Shobhana Samarth) to film Mandir-48. He sang 22 songs in 10 films. But from film premveer-37 onwards he could not sing properly due to his tooth problems, hence Master Vasant Eric used to sing his songs for the balance 6 films, though mostly Vinayak is credited for these songs.

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-34 and Honhaar-36. He sang songs in films from 1937 onwards. In all the Marathi/Hindi films of 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 Huns, 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.(Ack: Marathi Chitrapat Sangeetkar Kosh by Madhukar Potdar).

As per The Encyclopedia of Indian Cinema, film Jeewan Yatra-46 features a large number of characters travelling on a bus to Benares. A storm forces the passengers to take shelter in an abandoned temple where a prostitute tries to seduce Raja (Yakub) and he is left behind. The bus later breaks down and when Raja rejoins the group a local bandit, Vishwas (Pendharkar), attacks it. Eventually the bandit turns out to be Raja’s father and the husband of an old woman, Kalindi (Protima Devi), another passenger on the bus. Vinayak’s only film in the mainstream Hindi cinema, it included the collective number Ao azadi ke geet gate chalein and Lata Mangeshkar’s Chidiya bole choo choo. Lata Mangeshkar plays a village girl.

There were 10 songs in this film. Twqo songs are already on the Blog. This is the third one. It is a song sung by Khan Mastana, Zeenat Begum and other uncredited voices.


Song-Motor maze se chala re musaafir (Jeewan Yaatra)(1946) Singers- Khan Mastana, Zeenat Begum, Lyricist- Dewan Sharar, MD- Vasant Desai
Unknown male voice 1
Unknown male voice 2
Unknown male voice 3
chorus

Lyrics

Motor maze se chala re musaafir
Motor maze se chala re musaafir
Motor maze se chala dheere dheere
Motor maze se chala dheere dheere
ho o o
o o o
motor waale
re motor waale

Motor maze se chala re musaafir
Motor maze se chala
dheere dheere
hai naazuk zamaaana
dheere dheere
hai naazuk zamaana
haule haule hata chalaana
haule haule hata chalaana

kahin lachke na patli kamariya
kahin lachke na
kahin jhapke na teekhi majariya
ho kahin jhapke na teekhi majariya
kahin sarke na sar ki chunariya
kahin sarke na sar ki chunariya

dheeme dheeme chala
haule haule chala
dheeme dheeme chala
haule haule chala
motor maze se chala dheere dheere

haan maze se chala halke halke
o motorwaale
haan maze se chala halke halke
jaise ?? ke dhhalke
jaise mad ka bhara pyaala chhalke
jaise dulhan
jaise dulhan koi aaye chal ke
jiska joban ho jaadoo bhara aa
Motor maze se chala dheere dheere

?? ki motor ke purze hain ??
naaarayan
inko bachaayega paapon ki aanch se

haan shashtri
jeewan ki yaatra pe jaana hai door door
jeewan ki yaatra pe jaana hai door door

laagi jo thhes kahin to motor hai choor choor
bach bach ke bach bach ke jaa aa gaadi
bach bach ke bach bach ke jaa
haan
Motor maze se chala dheere dheere
ho o o
o o o
motor waale
re motor waale

haaye
motor maze se chala re musaafir
Motor maze se chala dheere dheere
Motor maze se chala aa aa aa


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : 3696 Post No. : 14613

Today’s song is from film Shakuntala-43. It was the first film made by V.Shantaram, in his newly established own studio Rajkamal Kalamandir Ltd. This name was made by combining the first few letters of his parents- RAJaram and KAMALabai Vankudre. The studio was set up in 1942 and the first film was made almost immediately with Shantaram’s second wife, Jayashree as the Heroine opposite Chandramohan- the (actually) Blue Eyed boy of Shantaram.

The year 1942 was an eventful and Milestone year for Hindi film industry.

It was in 1942 that a splinter group from Bombay Talkies, led by S Mukherjee, separated and established their own Filmistan Studio.
Abdul Rasheed Kardar started his own Kardar Studios, after working for many famous film makers of Bombay and Calcutta.
Leaving Prabhat Films, with select associates like brother V.Awadhoot (cinematographer), Vasant Desai and few others, Shantaram started his own studio-Rajkamal Kalamandir.

Mehboob Khan left National studios( earlier Sagar movietone) and established his own Mehboob Studios, with the famous Sicle and Hammer on its Logo.

Homi Wadia left Wadia Movietone ,along with fearless Nadia, and started his own Basant pictures.

Begum Akhtar made her rare appearance in film Roti-42.

Muqabala-42 was the ffirst film with many Trick scenes and double role of Fearless Nadia,speaking shudh Hindi in one character and donning Saree with bangles, kumkum etc.

Bharat Milap was the first film in which Prem Adib and Shobhana Samarth played the roles of Ram and Seeta. Later they created history with film Ramrajya-43 in the same roles.

Madhubala debuted as Baby Mumtaz in Basant-42.

This splurge of activities in 1942 and its roll over effect flooded the next year 1943 with ” ek se badhkar ek ” films from the new establishments, competing with the established ones. Films like Aabroo from Hind Pictures of Nazeer Ahmed, Adab Arz by Amar pictures of Virendra Desai (ex Sagar), Kanan Devi’s Hospital, Hamari Baat and Kismat from Bombay Talkies, Kanoon and Namaste by Kardar, Hunterwali ki beti and Mouj from Basant pictures, Andhera, Bansari, Gauri and Nurse from Ranjit, First film Najma by Mehboob studios, Panghat and Ramrajya by Prakash, Poonji from Pancholi of Lahore,Prithvi wallabh by Minerva and the biggest grosser Shakuntala from Rajkamal made the year 1943 a memorable year indeed. In addition other films from Circo, Mohan, Murali and many other production houses too joined in.
Out of all this, Shakuntala ran for 104 weeks and it was the First film shown in USA also. The success reassured Shantaram about his decision to go alone. He started with new vigour.

film Shakuntala had a cast of Jayashree ( Shantaram’s second wife), Chandramohan,Kumar Ganesh, Ratan Piya, Nana Palshikar, Shantarin etc etc. The songs were written by Dewan Sharar and Ratan Piya. The music was given by Vasant Desai. This was his first film with Shantaram. He went on to give music to several films from Rajkamal, like Parbat pe apna dera-44, Dr. Kotnis ki amar kahani-46, Matwala Shayar Ram Joshi-47 ( Amar Bhoopali-50, Marathi), Dahej-50, Surang-53, J.J.Payal Baje-55, Do ankhe bara haath-57 and Ladki Sahyadri ki-66.

Sharar had adapted the story from the original ” अभिज्ञान शाकुंतल by Mahakavi Kalidas ” written in the 3rd century. He wrote the story, dialogues and Lyrics also. This was Sharar’s first film with Shantaram . Their association continued for some more films like, Parbat pe apna dera-44, Dr. Kotnis ki amar kahani-46, Apna Desh-49, Teen batti char Raasta-53 and J.J. Payal baje-55.

Dewan Sharar also acted in 8 films and wrote 62 songs in 12 films.

Hindi film industry has seen uneducated, educated and talented artistes in various fields like acting, direction,production, cinematography, story and dialogue writing, Lyricists,composers etc etc. It has also seen successful artistes leaving films and shining somewhere else on their merits like, Shashi kapoor-sr, S D Batish, Lyricist Moti,B.A. etc etc. However , there is only one example where the artiste had an extraordinary success in totally unrelated fields, was a distinguished author and an acknowledged scholar BEFORE joining the film industry . He is Dewan Sharar. Not much has been written about him so far. Here is something about him.

Dewan was not his first name. It was a Title used as a prefix. He came from a family which had served as Dewans in many states traditionally in few generations. His name was Atmanand Sharar. He was born (1899-1969) in Multan in erstwhile Punjab. From 1929 to 1942, he travelled in many countries. He is credited with editing the Magazine, ” Shabistan “, the first Urdu cinema paper in India. He worked as a Publicist for the League of Nations in Geneva, Switzerland. He edited a leading weekly ” Great Britain and the East ” for 3 years He regularly contributed to British and American press. He was the first Indian whose 4 plays were broadcast over BBC. From 1937 to 1940, he was in charge of the cataloguing of Urdu books and Manuscripts in India House at London. He published many books like’ Indian Folklore’, ‘ In the garden of Peacocks’, ‘ East meets West’ and ‘ Gong of Shiva’. The last one was translated in many languages of Europe. Hindi film ‘ Ishara’-43 was based on this novel. He also wrote the story of Himanshu Roy’s film ” Karma”-33- first English film by an Indian. The film credits start with his name First.

This is what South Asian Cinema Faculty of U.K.said about him, “Film and stage actor, writer of English novels, short stories, stage and radio plays, “Eastern Adviser” to British-Gaumont films in London and Urdu poet. He also contributed prominently to Indian cinema as a producer, character actor and a story and dialogue writer. Born in Multan, Dewan Atmanand Sharar (1899-1969) came from a family that had served as Dewans or Ministers in Indian princely states. After graduating from Punjab’s prestigious Government College, Lahore, he established an impressive repertory company in 1919 and presented several Hindustani plays and mushairas in various urban centres. In 1929, he set up a film-producing and distribution company and began to edit Shabistan,reputedly the first Urdu cinema paper in India.
In 1933, Dewan Sharar moved to London for the completion and launch of Himansu Rai’s Indo-British film, Karma (1933) ofwhich he was the storywriter. It was completed in England by Indian & British Film Productions with J.L. Freer Hunt as the director and Thorold Dickinson as editor. Sharar also produced and acted in Nagin ki Rani, the Hindustani version of Karma. While in London, many of his English short stories on Indian life appeared in mainstream newspapers in the UK and overseas. A major London publishing firm, George G. Harrap & Co., published two of his English works: The Gong of Shiva(1935) and Hindu Fairy Tales(1936). His short stories were also published as part of an anthology which included contributions from other famous contemporary writers. He also contributed a number of English radio plays for the BBC.

After returning to India in 1939 just before World War II, he worked for All India Radio Bombay and Delhi. He then joined filmmaker, V. Shantaram and adapted Kalidasa’s Sanskrit classic, Shakuntala for the silver screen in Hindustani. The film was a runaway success and the Sharar-Shantaram combine lasted over a decade winning laurels for both Sharar and Shantaram’s banner, Rajkamal.

In 1943, Ishaara (1943), a film based on Sharar’s English novel The Gong of Shiva catapulted actor Prithviraj Kapoor to stardom. Besides becoming an important pillar of popular Indian cinema, he also started Dewan Sharar Publications in 1963. His descendants include famous Bombay-based Indian film actor Akash Khurana and Nagpur-based businessman turned playwright and theatre actor Vikash Khurana. ”

The other Lyricist of film Shankuntala-43 was a poet with a very romantic name-Ratan Piya. He was born on 5-3-1904 at Lucknow. His father Pt. Madan Mohan was secretary to Motilal Nehru. His father was a theatre lover and so started his own Theatre company at Allahabad. Ratan, after his matriculation started working in it. He was trained to write songs for its dramas. Their company was patronised by the Viceroy, who paid Rs. 20 p.m. as his Patronage !

Ratan debuted as a Lyricist in film Pakke Badmash-1939. For this film, he even wrote an English song. His films were Zaban-43, Mali-44, Umang-44 Nai Baat-47 and Batohi-48. For sustenance, he even acted in few films like, Shakuntala-43, Umang-44, Meena-44, Mahakavi Kalidas-44, Panna Dai-45, Khush Raho-49, Janam Patrika-49 and Begunah-49. After this ratan Piya returned to Allahabad to look after their Theatre when his father died.

Today’s song is sung by Vasant Desai himself. He gave music to 46 films. He acted in 4 films. He sang 13 songs in 9 films. He was often called for giving Background music to films. He gave Background music to 99 films.

( credits- http://www.sacf.co.uk, stagecrafttheatre.com, film directory-48, HFGK, MuVyz, and my notes )

Audio (without dialogues)

Song-Chali apne ghar ko Shakuntala (Shakuntala)(1943) Singer-Vasant Desai, Lyrics-Dewan Sharar, MD-Vasant Desai

Lyrics

is bargad ko abmain tumhaare palle daal chali
par bahan
hamen kiske palle daal chali ho

hamen kiske palle mein daalegi
sakhi laadli
tu chali
chali
hamen kyon thhi ye ghadi dekhni
chhuta chhutpane ka jo naata thha
chali
chali aashram se shakuntala
chali aashram se shakuntala

??priya
priyamvada
?? mat
chhodo
shakuntala ko dheeraj do

madan
mere nanhe
ab main tujhse juda ho rahi hoon
ghabra nahin
baba teri paalna karenge

gurubaba
apne pyaaron ko vida karne jal tak hi aana thheek hota hai
ab ye jheel ka kinaara aa gaya
hamen aagya de kar
aap aashram ko laut jaayiye

kya
aap sab yahin se laut jaayenge

main tum sabko phir kab dekhoongi

baba se kab miloongi
baba
tapasya seap waise hi duble ho rahe hain
mere jaane se aur dukhi na hona
baba
mere baba

jo hansaati thhi
usey do diye
jise paaya thha
usey kho diye
gale mil ke rona judaai ka
pita putri ki hai yahi vidha
chali

beti
samay ho gaya

chali apne ghar ko shakuntala
ye safar tera path yatra
tujhe chhaaon achchi ghani miley
miley tujh ko chaman khile khile
tujhe peene ko miley ganga jal
path yatra teri ho sufal
chali


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 : 3685 Post No. : 14590

“Apna Desh”(1949) was directed by V Shantaram for Rajkamal Kalamandir, Bombay. The movie had Umesh Sharma, Pushpa Hans, Manmohan Krishna, K.Datey, Parshuram etc in it.

There were nine songs in the film. Four songs have been covered in the past. Here is the fifth song from the movie. This song is sung by Pushpa Hans and it is picturised on her as well.

Dewan Sharar is the lyricist. Music is composed by Purushottam.

Audio

Video

Song-Bedard zamaana kya jaane (Apna Desh)(1949) Singer-Pushpa Hans, Lyrics-Dewan Sharar, MD-Purushottam

Lyrics

bedard zamaana kya jaane
bedard zamaana kya jaane
hum kaise hain kis haal mein hai
bedard zamaana kya jaane

jis gul mein nahin khushbu ki mahak
jis gul mein nahin khushbu ki mahak
bulbul ka
bulbul ka tarana kya jaane
bedard zamana kya jaane

jis dil mein nahin bijli ki tadap
jis dil mein nahin bijli ki tadap
nainon ka
nainon ka nishaana kya jaane
bedard zamaana kya jaane

jis aankh ne shama dekhi na ho
jis aankh ne shama dekhi na ho
dard e parwaana kya jaane
dard e parwaana kya jaane
jise laila aur majnu ka ilm nahin
jise laila aur majnu ka ilm nahin
ulfat ka
ulfat ka fasaana kya jaane
bedard zamaana kya jaane

hum kaise hain
kis haal mein
bedard zamaana kya jaane
bedard zamaana kya jaane
haaye kya jaane


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 : 3661 Post No. : 14529

From the title of the film, it looks like a Historical film. However, genuine Historical films are rare in our country. Historical titles are used to actually showcase a Love story. It is generally a song, dance, love, sacrifice film, culminating into a Tragic or a happy ending. Films which are true to its historical content have hardly been made here. Of course, we can not blame the producers or the film makers. They make what sells !

We come to the old question, whether the reel life depicts the real life or real life copies the reel life ? This is a question similar to another age old question, What came first-the egg or the Hen ? Looking around today at the younger generation, I feel that nowadays the real life is following-nay, copying the reel life very much. Earlier, it was only following the fashion shown in the films-like dress or ornaments etc- by the audience, but now the lingo,dress,morals,methods and philosophy of the films are being followed blatantly. Some may feel that being an old person, I may be feeling that way, but what I read in papers, see on TV, and experience on the social media, it is exactly what I have said and felt. Today’s generation is frighteningly influenced by films and TV. So be it. The main point of contention was that real or realistic historical films are very rare.

Many film makers ( like Shantaram or Mehboob) took the risk of making films on social evils, but no one dared to make a historical film with pure historical content. The reason may be that the public emotions about history are stronger than social reforms and ithere is a great risk of inviting violent troubles from those who think otherwise !

I have not seen the film, Shahenshah Akbar-43, but obviously, it was a ” run of the mill” film, since there are no reports of it being a ‘different’ film. 1943 was an year in which Milestone films like Kismat and Ram Rajya were released. The Indian audience was savouring its music and contents. Shantaram’s Rajkamal Chitramandir released its First film ” Shakuntala “. K L Saigal’s film ” Tansen ” had mesmerised Indians. Nargis appeared first time as a Heroine in ” Taqdeer “, opposite Motilal. The Calcutta giant New Theatres released 3 Hindi films, Jawab, Kashinath and Hospital in 1943. Other big studios like Bombay Talkies, Prabhat, Ranjit, Prakash, Circo, Kardar productions, Mehboob studios, Sunrise, basant Pictures, Navyug, Mohan Pictures, Minerva, Amar pictures and many others with B and C grade films were active in 1943. Naushad with 3 films and C Ramchandra with 5 films were competing with each others in 1943.In all this competition, Shahenshah Akbar was lost, inspite of having an impressive star cast of Kumar, Vanmala.Rampyari, Husn Bano, K N Singh, Prakash, Azuri, Bikram Kapoor, Leela mishra etc etc.

Vanmala was one of those actresses, who not only came from a very respectable Royal family, but was also a highly educated person. In those days, these two things were valued highly. Veteran Marathi and Hindi actress Vanamala will always be associated with her roles in the landmark films, Sikandar (1941) opposite Prithviraj Kapoor and in particular the title role in Shyamchi Aai (1953), the first film ever to win the Best Film Award when the National Awards were instituted for Indian Cinema in 1954.

Vanamala was born Susheela Devi Pawar on 23-5- 1915. Her father Lt.Col. Rao Bahadur Bapu Rao Pawar was a Minister in Gwalior state. Vanmala grew up in the Royal palace with Princess Kamla Devi. Vanmala graduated from Agra University in 1935 and did her B.T. from Bombay University in 1937.

She began her career in the late 1930s following her graduation and having become a teacher in Pune’s Camp Education Society. Vanamala entered films at a time when it was considered taboo for women from respectable families to work in films though women like Devika Rani and Durga Khote had started working in films by then. It was V.Shantaram who encouraged her to come into the film industry as an actress. Her first film was a Marathi film ” Lapandav”. Pricipal Acharya Atre became very friendly with her and brought her to Hindi films. Vanmala had unusual Brown eyes. Hindi film industry had only two actresses with Brown eyes. One was Vanmala and the other was Ragini, who migrated to Pakistan, after partition.

Vanamala acted in both Hindi and Marathi Cinema. Among her Hindi films, Vanamala will always be best remembered for Sohrab Modi’s historical Sikandar and Sharbati Ankhen (1945), directed by Ramchandra Thakur for Wadia Movietone. In the former she played Alexander the Great’s love interest, a Persian woman, Rukhsana, who fearing for Alexander’s life extracts a promise from Porus that he will not harm Sikandar. Vanamala made a major impact in her role, her beauty coupled with her light-coloured lively eyes taking the audiences breath away. The film itself was a spectacle – its lavish mounting, huge sets and production values equalling the best of Hollywood then particularly its rousing and spectacular battle scenes. It was rated by a British writer as, “…well up to the standard of that old masterpiece The Birth of a Nation.”

In Sharbati Ankhen, her Brown eyes were again used to mesmerising effect, the film so aptly titled one feels, after her! The film has some of the earliest songs sung by Mohammed Rafi in his career includingPyaar Karna hi Padega and Bahut Mukhtasar Hai Humari Kahani. The music for the film was done by Feroz Nizami who went on to compose unforgettable music in a hat-trick of films with the great Noor Jehan (Jugnu (1947) in India and Chan Wey (Punjabi) (1951) and Dopatta (1952) in Pakistan).

However, the one role that undoubtedly immortalized Vanamala forever was the title role in the National Award winning Marathi film, Shyam chi Aai-1953, directed by PK Atre. The film, regarded as a cult classic today, is based on one of the most influential Marathi novels of the 20th century (1935), a fictionalised account of the childhood years of Sane Guruji (1899 – 1950). A nationalist influenced by Vinoba Bhave and especially Gandhiji, he was imprisoned repeatedly for his work among the peasantry and participation in the Quit India agitations. His book Shyamchi Aai, written in jail, has 45 episodes in which Shyam, a youth living in poverty in Konkan, recalls the teachings of his mother, a devoutly religious person with an earthy and practical philosophy. The hit film has remained a generic landmark in Marathi Cinema and especially so for Vanamala’s maternal prototype. Actor Madhav Vaze, who played the role of her son Shyam in Shyamchi Aai, recalls Vanamala as a woman of few words. “Her actions spoke for her. She was well-educated and a cultured woman who belonged to a noble family from Gwalior,” he said.

Some other films that Vanamala acted in include Payachi Dasi (Marathi)/ Charnon ki Dasi (Hindi) (1941), Vasantasena (1942), Dil ki Baat (1944), Hatim Tai (1947), Beete Din (1947) and Shree Ram Bharat Milap (1965). In all, she did 25 Hindi films. She sang 24 songs in 5 films in her career. For some time she was a partner in Atre pictures also. She produced film Bramhan Kanya aka Khandani-1947.

The supposedly demure Vanamala was a staunch nationalist and was deeply involved in the freedom movement along with stalwarts like Aruna Asaf Ali and Achyut Patwardhan. She was deeply involved in several social causes and was a member of the Chhatrapati Shivaji National Memorial Committee. She also ran a school to train children in traditional Indian arts and culture, The Haridas Kala Sansthan.

Vanamala who had been suffering from cancer, passed away in Gwalior on May 29, 2007.

Her Hero in this film was actor Kumar. KUMAR was born in the prestigious family of Syed s of Lucknow-UP in India,in 1912. His real name was SYED HASSAN ALI ZAIDI. His family used to call him MIJJAN Miyan.

He was a handsome and tall person. He was keen on joining cinema,so he came to Calcutta and joined New Theatres. After doing side roles in Subah ka Tara and Zinda lash,he was hero in PURAN BHAGAT in 1933.Even Saigal was also in the film.The film was about to be released and suddenly communal riots broke out in Calcutta.The new Theatre management found it difficult to announce a muslim name of the hero of PURAN BHAGAT,in the tense atmosphere of Calcutta.The director of the film was kumar Debaki Bose,a person from a Royal family.He took a dicision and told Mijjan,” from today,I am giving you a part of my name. You will become KUMAR now.”This solved the film release problem and thus his name became KUMAR, from then onwards. Truly enough,Debki Bose, thereafter never used his name Kumar again in his life !

After doing Yahudi ki Larki, Watan, Suhag, Shehar ka Jaadu and Maa ka Pyar, Kumar came to Bombay and joined Ranjit Studios. In 1939, he married another actress PRAMILA (who was actually a Jew, Esther Williams. Pramila was later India’s FIRST Miss India in 1947).They got a daughter Naqi Jehan(who too became a Miss India in 1967, exactly 20 years after her mother. Naqi acted opposite Rajesh Khanna in Akhari Khat – 66,as a Heroine. Later she married into the business family of Kamdar of Bombay and became Mrs.Nandini Kamdar, by converting to Hinduism.)

Kumar did many films in Ranjit,but in 1942,he was removed from Ranjit.At the same time,his friend,CHANDRAMOHAN also left Minerva Movietone( reason-despite PUKAR-39 being a blockbuster,his salary was not increased inspite of a promise by Sohrab modi).They both decided to lauch own company and on 16-3-1942,SILVER FILM CO. was launched.Its first film was Jhankaar.They produced Bhalai,Bade Nawab Saab,Devar,Naseeb,Dhun and Bahana.Kumar acted in these films.he also directed Dhun and Bahana.

He produced and directed Aap-Beeti-1948 under his company,Kumar Studios.Then under Shama prodn. he made Nahle pe dehla,Dhoom Dham and Dilbar.
later in life he made badal aur bijlee and jungle king under Artists United films.

From Najma in 1943,Kumar did only character roles in films like Bhishm Pratigya, Dayara, Mahal, Shri 420, khiladi, Maalik, Baiju Bawra, Yahudi ki Ladki. His memorable role was in Mughal e Azam, that of the sculptor and the famous song-‘Aye mohabbat zindabad’ was shot on him.

His last film was Raat aur Din – 67.

Then he decided to migrate to Pakistan. In Pak also he worked in few films and died in 1982.His sons are active in Pak film industry.

Rampyari was from Low cast and profession, but was a highly polished and sophisticated actress in those days. Rampyari hailed from a Telugu family of highly skilled professional dancers and singers. She lived in Nagulchinta area of old Hyderabad city.

She was born in 1908 December. That year Hyderabad witnessed devastating floods.She was taught Urdu and English. Apart from her mother tongue Telugu she was also proficient in Marathi and Kannada. She was trained in Dancing and singing. In 1918, at the age of 10 years, she was taken to Madras by her aunt, who trained her in Bharat Natyam. After 4 years of rigorous training, she became the best dancer of Madras.

In 1926, a film producer from Kohinoor Film company, Bombay ,visiting Madras, saw her dancing and invited her to Bombay.It was the era of Silent movies. Her first film was Gunsundari, with Miss Gauhar and Raja Sandow. It was directed by Chandulal Shah and was released in 1927. Her supporting role as a dancer in the film was lauded by the audience. Next film Vile woman was also successful. She acted in more than 20 films as a Heroine and dancer and established her name as a seasoned actress of the 30s.

With advent of Talkies, she easily switched over. She had no difficulty in delivering Urdu dialogues. In 1931, she acted in Paak Daman, Laila Majnu and Ghar ki laxmi, Gunsundari in 1934 and Azad Abla,Meethi Nazar and Hamlet in 1935.

Famous director Debki Bose from New Theatres, Calcutta invited her and signed up for ” Sunehra Sansaar”-36 and Vidyapati-37, which was a mega hit. After this, she did few films in Calcutta with other companies. Her film Milap-37 was famous for being the first to show the prototype of a “vamp” in Indian Cinema. Rampyari was shown wearing “an off-shoulder dress” and using a cigarette-holder, with the intent of seducing the hero Prithwiraj Kapoor, the scene was later used by Raj Kapoor on Nadira in his film Shree 420 (1955) for the song “Mud Mud Ke Na Dekh”.

She toured the entire south India and gave dance performances in major cities. She became so famous that the Ceylon Labour Union invited her to Ceylon and presented her with Gold Mementos. She was greatly inspired by the acting of Sulochana aka Ruby Meyers and Miss Gauhar of ranjit, with whom she acted in many films.

She shifted to Bombay permanently in the 30s. Her family also moved out of Hyderabad and came to Bombay. She had a large fan following in Hyderabad. She had a great fan mail too, which she replied in fluent Urdu and English. later she got married and retired from films.

She acted in 30 films. Her last film was Dak bungla-47. She sang 14 songs in 8 films.

The music of this film was by Ustad Jhande khan. The film had 14 songs and there were 4 Lyricists. Today’s song is written by Dewan Sharar, who also wrote the story, screenplay and dialogues of this film. This song is by a chorus, though individual voices can be heard, but not identified. HFGK is also silent about singers of all songs. The film makes a Debut in the blog with this song.

( Credits- The music and arts of Hyderabad Deccan, Upperstall, beetehuedin.com and my notes)


Song-Akbar mahabali ki jai ho (Shahanshah Akbar)(1943) Singer-Unknown female voice, unknown male voice, Lyrics-Dewan Sharar, MD-Jhande Khan
Chorus

Lyrics

Akbar mahabali ki jai ho
Akbar mahabali ki jai ho
Bharat chhatrapati ki jai ho
Bharat chhatrapati ki jai ho
Akbar mahabali ki jai ho
Akbar mahabali ki

karm hamaare nek
karm hamaare nek
mile hain
karm hamaare nek
karm hamaare nek
huye hain Hindu Muslim ek
Hindu Muslim ek
huye hain Hindu Muslim ek
Hindu Muslim ek
huye hain

Akbar mahabali ki jai ho
Akbar mahabali ki jai ho
Akbar mahabali ki jai ho
Akbar mahabali ki

Hindu dharam ka sooraj ??
Muslim ka hai chaand sitaara
Hindu dharam ka sooraj ??
Muslim ka hai chaand sitaara
apne
apni pasand ke donon nishaan hai
?? hai
apni pasand ke donon nishaan hai
?? hai

Akbar mahabali ki jai ho
Akbar mahabali ki jai ho
Akbar mahabali ki jai ho
Akbar mahabali ki

Akbar mahabali ki jai ho
Akbar mahabali ki

Hindu dharam ka sooraj ??
Muslim ka hai chaand sitaara
Hindu dharam ka sooraj ??
Muslim ka hai chaand sitaara
apne
apni pasand ke donon nishaan hai
?? hai
apni pasand ke donon nishaan
?? hai

Akbar mahabali ki jai ho
Akbar mahabali ki jai ho
Akbar mahabali ki jai ho
Akbar mahabali ki jai


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.

Today (30 november 2017) is the birth centenary of Pushpa Hans (30 november 1917- 9 december 2011). She was an actor- singer in Hindi and Punjabi movies. Wikipedia page on her contain very little and incomplete details on her. According to wikipedia, she only worked in two Hindi movies. viz Apna Desh (1949) and “Sheesh Mahal”(1950). We in this blog are aware that she worked in “Singaar”(1949) and “Kaale Baadal”(1951) as well. Songs sung by her, from these four movies are represented in this blog.
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.

“Jeewan Yatra”(1946) was directed by Vinayak for Rajkamal Kala mandir, Bombay. This social film had Nayan Tara, Yakub, Baburao Pendhhrkar, Pratima Devi, Lata Mangeshkar, Shantarin, Sunalini Devi, Mehar Sultana, Sundar Bai, Dixit, Chandrakant, Daamu Anna Mavlankar, Nimbalkar, Parshuram, Kamal, Janki Das, Vikas etc in it.
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 16500 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

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(© 2008 - 2021) 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.

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