Posts Tagged ‘Ek Hi Raasta’
Tu Dekh Zaraa Dil Ka Darpan
Posted on: May 4, 2023
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.
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Blog Day : |
5403 | Post No. : | 17727 |
Today’s song is from an old film ‘Ek Hi Raasta’ (1939).
This film was made by Sagar Movietone and was directed by a young Mehboob Khan. This was his last film with Sagar, because after this Sagar was merged with National studios and later on it was closed down forever. This proves that generally, family enterprises where it is a one man show, be it films or politics, does not last long. If the enterprise does not adapt to changes or does not learn from its mistakes, its downfall is sure. Mehboob Khan grew big with Sagar. Mehboob was influenced by Nehru’s ideology and was his staunch supporter. It was a coincidence that Nehru died in the afternoon of 27th May 1964 and within 12 hours, Mehboob Khan too died in the early hours of 28th May 1964.
Mehboob Khan rose from the lowest step to the highest place in the film industry. Starting life as an ‘extra’ in films (he was one of the 40 thieves in Sagar’s silent film on Alibaba). He grew solely due to his own hard work and foresight. Born as Ramzan Khan in 1907 in Bilimora, Gujarat, Mehboob was from a Gujarati Muslim family. He never got a formal education in his young age, but he was keen on two things – 5 times Namaz daily and seeing films. His father being in Police Department, films were free for him. One day he ran away to Bombay to become an actor. However his father found him out and brought him back. He was immediately married off, with a belief that he would improve.
Two years after marriage and one child, he ran off to Bombay again and worked in Imperial Film Co. as an extra for Rs 30 pm. This too after he worked without any pay for 5 months due to the mistake of the clerk ! He worked in crowd scenes and sundry roles – without a dialogue, of course, starting as one of the 40 thieves of ‘Alibaba’. He worked in several films uncredited. His first, big and credited role came in the film ‘Shirin Khushru’ (1929).
In 1927, after the talkie film ‘The Jazz Singer’ was shown in US, the world started making Talkie films. India too jumped into the bandwagon. In 1931, Imperial Movietone, competing with Madon Theaters of Calcutta, wanted to make a talkie and started work fast. Mehboob Khan was almost finalized as the hero. Even his costumes were made ready, but he was destined for something different, and Master Vithal was made the hero of India’s first talkie. Ardeshir Irani’s safety valve of minimizing the risk of the first venture by selecting the existing popular hero, scuttled Mehboob’s dream.
Meanwhile, Imperial started a new company, ’Sagar Movietone’, along with Dr. Patel and Chiman Desai. Some artistes and techies were shifted to Sagar-including Mehboob- from Imperial. Mehboob continued to work in 12 silent films. Here, he met Fardoon Irani, Cinematographer and they became thick friends. Irani was with Mehboob till the end.
During this period, Mehboob wrote a film story and convinced the owners to allow him to direct this film. Owners were hesitant, naturally, to allow this young extra actor to direct a film. Lastly a deal was struck, that Mehboob and Faredoon should be allowed to shoot one reel film. If they like it, continue or else, scrap it and recover money from these two chaps. After one reel shooting the owners realized that they had struck gold in the process and Mehboob completed his first directorial venture ‘Al Hilaal’ (1935). The film was a great success and Mehboob ‘chal pada’. Mehboob went on to direct 7 more films for Sagar. All his films were successful.
From film ‘Jageerdar’ (1937) Mehboob and Anil Biswas pair teamed up for 8 films – till ‘Roti’ (1942).
When Mehboob was making arrangements for his next film, ‘Alibaba’, the sudden news that Sagar is closing down hit them. Mehboob Khan contacted Imperial to allow him to shoot for his film in their studio, which Ardeshir gladly permitted. The film shooting proceeded til Sagar became National Studios. Mehboob made 3 important films of his career in National Studio, namely ‘Aurat’ (1940), ‘Behan’ (1941) and ‘Roti’ (1942).
When National studio also closed down all workers came on road. However, Mehboob decided to start his own company. One Mr. Lalaji of Manoranjan Distributors of Delhi promised capital. National Studio was renamed as Central Studio by the owner, KK Modi – elder brother of Sohrab Modi. He allowed Mehboob to use the studio till his own studio came up. Mehboob took a place nearby to start his office. In this period there was a rift between Mehboob and Anil Biswas and they separated for ever – albeit bitterly.
Mehboob wanted a logo for Mehboob Productions. He selected a sher written by Agha Jani Kashmiri for film ‘Al Hilal” —
“muddai laakh bura chaahe to kya hota hai,”
“wahi hota hai jo manzoor e khuda hota hai”.
It was recorded in the voice of Rafiq Ghaznavi with appropriate prelude music and sound of lightening and clouds. He also took Sickle and Hammer for the logo, and clarified that because he respected workers and certainly he was not a communist.
His first film ‘Najma’ (1943) with Ashok Kumar and Veena was a hit film (his daughter’s name was Najma). It was followed by ‘Taqdeer’ (1943), ‘Humayun’ (1945), ‘Anmol Ghadi’ (1946), ‘Elaan’ (1947), ‘Anokhi Ada’ (1948), ‘Andaaz’ (1949), ‘Aan’ (1952), ‘Amar’ (1954) and his magnum opus ‘Mother India’ (1957). After the high of ‘Mother India’, Mehboob aimed to fly even higher with ‘Son of India’ (1962) but the film was a total misfire and in fact his weakest film.
Mehboob had been neglecting health in spite of suffering heart attacks. In May 1964, he suffered another attack but survived. His financiers were after him for repayment and he was worried. He called Rajendra Kumar and asked for a loan of 4 lakh rupees against his studio to be made in his name. Rajendra Kumar declined to take the studio and promised to give him the amount next day at 11 am, without any mortgage. In the evening, news of Nehru’s heart attack came. Mehboob became restless. Soon the death news came and Mehboob became grief stricken. Akhtar gave him sleeping pills, but he had to be admitted to Nanavati Hospital. He too died at 2 am on 28th May 1964. At the time of his death, Mehboob Khan was harboring ambitions to make a film on the life of Habba Khatoon, the 16th century poetess-queen of Kashmir.
Mehboob Khan directed 8 films for Sagar, 3 films for National and 11 films for Mehboob productions.
[Based on information from Upperstall, the book ‘Mehboob Khan’ by Shashikant Kinikar and my notes].
Film ‘Ek Hi Raasta’ (1939) was the first Hindi film with 3 heroes, namely Sheikh Mukhtar (this was his debut film as a hero), Harish and Arun Ahuja. In those days it was a novelty to have 3 heroes. The other star cast was Anuradha, Jyoti, Kanhaiyalal and many others. Actress Jyoti may be known to many readers. She was the younger sister of Waheedan Bai. Her real name was Sitara Begum. She was a favorite singer of Anil Biswas. After her first marriage broke, she married actor singer GM Durrani. Their married life was happy and long. She acted in 19 films and sang 38 songs in 12 films.
Anuradha was the younger sister of actress Zohra Jaan and Mushtari. Her real name was Khurshid Akhtar (same as actress Shyama). Zohra Jaan was married to actor composer Rafiq Ghaznavi, but they were divorced and Rafiq then married Anuradha. After migrating to Pakistan, Ghaznavi divorced her also.
Mehboob Khan and Anil Biswas were great friends. Both grew up in Sagar Movietone and made a name for themselves. Unfortunately, there was a dispute between them and they split bitterly forever. Many disputes are famous in Hindi cinema world like, for example Lata – Rafi, Lata – SD Burman, Shammi Kapoor – Kalpana etc. Most disputes ended with compromise, but Mehboob Khan never pardoned Anil Biswas as he felt that Anil Biswas betrayed him for money.
Anil Biswas joined Sagar Movietone in 1936 and ‘Jagirdar’ (1937) was his first film as an MD there. He became a very good friend of Mehboob. Together with cinematographer Faredoon Irani, they made a close group of friends. In every film that Mehboob directed from 1937 to 1942 (8 films), Anil Biswas was his Music Director. In 1940 Sagar staff shifted to National and in 1942, National Studios was to be closed. All employees, including Mehboob, Fardoon and Ail Biswas were worried about their future. In that period, Anil Biswas got an offer first from Ranjit Studios, but he rejected it as his friends did not get offers. Then he got an invitation from Bombay Talkies for Rs. 2,500 rupees pm as salary. This was too lucrative to reject. Though his friends were jobless, Anil Biswas joined Bombay Talkies.
Mehboob Khan was upset that being a friend also, in their bad days, Anil Biswas deserted them for personal gain. Mehboob and Fardoon felt let down. Their relations soured and thereafter Mehboob Khan never ever took Anil Biswas as an MD for films of his company. After establishing his own Mehboob Productions, he did not invite Anil Biswas. Mehboob Khan prospered and teamed up with Naushad as his MD from film ‘Anokhi Ada’ (1948) onwards, in place of Anil Biswas.
By 1954, Anil Biswas broke up with his first wife Ashalata . His career as music director was floundering and he was not getting any films. For survival he unsuccessfully tried doing truck business. Seeing his condition, Mehboob offered him the contract for his canteen, on request from Anil Biswas. That too failed miserably. Mehboob Khan was so bitter about him that even in that condition Mehboob did not offer him any film.
When Mehboob Productions planned the film ‘ Paisa Hi Paisa ‘ in 1956, Mehreesh was made the Director. Being a great fan of Anil Biswas, he asked Mehboob’s permission to call Anil Biswas as its music director. As one who believed in work ethics, Mehboob very reluctantly permitted Mehreesh, but went on a foreign trip to avoid meeting Anil Biswas. Film ‘Paisa Hi Paisa’ was a comedy film, with Kishore Kumar, Mala Sinha, Shakeela, Shyam Kumar, Murad, Mukri, Kumud Tripathi etc. Basically Anil Biswas specialised in tragedy or serious films. Comedy film was not in his comfort zone, but his financial condition forced him to bow to the circumstances. Being a talented composer, he did well in this too, though the film bombed at the box office.
[Based on information collated from the book ‘Mehboob Khan” by Shashikant Kinikar, with thanks and my notes].
Anil Biswas was very fond of singing in his own films. Here is today’s song, sung by him. In this film, Anil Biswas sang 3 solos and a duet with Waheedan Bai (Nimmi’s mother).
Song- Tu Dekh Zaraa Dil Ka Darpan (Ek Hi Rasta) (1939) Singer – Anil Biswas, Lyricist – Kidar Sharma, MD – Anil Biswas)
Lyrics (Provided by Sudhir)
jise kehta hai tu
aa gaya
aa gaya
wo gaya hi kahaan tha
ye to bata
dil ka suraj tere
jagmagaata hua..aa..aa
baadalon mein
o rehta kahaan tak chhupa
tu dekh zara dil ka darpan
tu dekh zara dil ka darpan
wahaan basa hua hai vrindavan
tu dekh zara dil ka darpan
tu dekh zara dil ka. . .
tere nainon mein ganga jamuna bahe
tere nainon mein ganga jamuna bahe
tere mann mein Mathura vaas rahe
tere mann mein Mathura vaas rahe
tere kaanon mein bansi ki taan rahe
tere kaanon mein bansi ki taan rahe
tere mukh mein. . .
tere mukh mein shyam ka naam rahe
tere mukh mein shyam ka naam rahe
giridhar ko kar tan mann arpan
giridhar ko kar tan mann arpan
tu dekh zara dil ka darpan
tu dekh zara dil ka. . .
tere nainon mein ganga jamuna bahe
tere nainon mein ganga jamuna bahe
tere mann mein Mathura vaas rahe
tere mann mein Mathura vaas rahe
tere kaanon mein bansi ki taan rahe
tere kaanon mein bansi ki taan rahe
tere mukh mein. . .
tere mukh mein shyam ka naam rahe
tere mukh mein shyam ka naam rahe
giridhar ko kar tan mann arpan
giridhar ko kar tan mann arpan
tu dekh zara dil ka darpan
tu dekh zara dil ka. . .
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Hindi script lyrics (Provided by Sudhir)
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जिसे कहता है तू
आ गया
आ गया
वो गया ही कहाँ था
ये तो बता
दिल का सूरज तेरे
जगमगाता हुआ
बादलों में
ओ रहता कहाँ तक छुपा
तू देख ज़रा दिल का दर्पण
तू देख ज़रा दिल का दर्पण
वहाँ बसा हुआ है वृन्दावन
तू देख ज़रा दिल का दर्पण
तू देख ज़रा दिल का ॰ ॰ ॰
तेरे नैनों में गंगा जमना बहे
तेरे नैनों में गंगा जमना बहे
तेरे मन में मथुरा वास रहे
तेरे मन में मथुरा वास रहे
तेरे कानों में बंसी की तान रहे
तेरे कानों में बंसी की तान रहे
तेरे मुख में ॰ ॰ ॰
तेरे मुख में श्याम का नाम रहे
तेरे मुख में श्याम का नाम रहे
गिरिधर को कर तन मन अर्पण
गिरिधर को कर तन मन अर्पण
तू देख ज़रा दिल का दर्पण
तू देख ज़रा दिल का ॰ ॰ ॰
तेरे नैनों में गंगा जमना बहे
तेरे नैनों में गंगा जमना बहे
तेरे मन में मथुरा वास रहे
तेरे मन में मथुरा वास रहे
तेरे कानों में बंसी की तान रहे
तेरे कानों में बंसी की तान रहे
तेरे मुख में ॰ ॰ ॰
तेरे मुख में श्याम का नाम रहे
तेरे मुख में श्याम का नाम रहे
गिरिधर को कर तन मन अर्पण
गिरिधर को कर तन मन अर्पण
तू देख ज़रा दिल का दर्पण
तू देख ज़रा दिल का ॰ ॰ ॰
Kaisi lagi kaisi lagi
Posted on: November 5, 2021
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.
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4858 | Post No. : | 16648 |
Today, November 5, 2021 is the 13th Remembrance Day of producer-director, B R Chopra. I admire him for his courage to make films on sensitive and socially relevant issues at a time when most of other producers would have avoided such issues. As far as I know, B R Chopra became the director without working under any one of the well-known directors of his time or even working in any other departments of the film making which is laudable.
Baldev Raj Chopra (22/04/1914 – 05/11/2008) was born in Rahon village in Ludhiana district of Punjab. His father was working in the Public Works Department in Lahore. So, most of his childhood, school and college education were done in Lahore. As a teenager, he was fascinated by films. After the completion of M A in English literature from Punjab University, he took a job as a film journalist for a film magazine, ‘Cine Herald’ which was published from Lahore so that he connects with the film personalities. Over a period of time, he took over the management of the magazine which he managed until 1947.
Just a couple of months before the partition, some friends of B R Chopra’s father suggested him to make a film which they would finance. So, he started his first film, ‘Chandni Chowk’ based on a story by I S Johar. G A Chishti was to be the music director and Khayyam, his assistant. Unfortunately, the film had to be abandoned in the wake of communal riots following the partition. B R Chopra along with his family migrated to Delhi and resumed working as a film journalist for some time. However, his heart was in the film making.
B R Chopra shifted to Mumbai with most of his joint family members sometime in 1948. With the pooling of all the resources from the family, he co-produced and directed ‘Karwat’ (1949) which bombed at the box office. After this, he became apprehensive about making one more attempt in film making. It was one of his friends who bumped in B R Chopra at a café and assured him that he would arrange the finance provided B R Chopra directed the film. That was how the film ‘Afsaana’ (1951) happened which he co-produced and directed based on a story written by I S Johar. The film was a box office success.
B R Chopra co-produced and directed his next two films, ‘Shole’ (1953) and his stalled film of 1947 – ‘Chaandni Chowk’ (1954) with his friend and partner financing these films. While ‘Shole’ (1953) did the average business, ‘Chaandni Chowk’ (1954) was a box office success.
In 1955, with the death of his partner, their joint venture in film production was dissolved. B R Chopra set up his own film production banner, B R Films. The banner’s logo had an interesting text in Latin, ‘Ars longa vita brevis’, meaning ‘Art is long, life is short’. The banner produced its first film, ‘Ek Hi Raasta’ (1956) with a theme of widow remarriage. It was a bold decision on the part of B R Chopra to produce and direct a film with such a sensitive subject in his maiden venture. But the risk paid off. The film scored a box office success.
B R Chopra produced and directed his next film, ‘Naya Daur’ (1957) with a theme of ‘man versus machine’. This was the film, with which Sahir Ludhianvi’s association with B R Films started as a full-pledged lyricist which continued until his death in 1980 with some break during 1976-79. In ‘Sadhna’ (1958), he took the subject of rehabilitation of a prostitute. In ‘Dhool Ka Phool’ (1959), B R Chopra portrayed the issues concerning the children born out of wedlock. In this film, B R Chopra entrusted the direction to his younger brother, Yash Chopra which was his maiden film as a director. Another brother, Dharam Chopra debuted as a full-time cinematographer with this film. Both these films were highly successful on the box office front.
B R Chopra experimented with his first songless film, ‘Kaanoon’ (1960) which focused on the capital punishment based on the eye witness and questioned whether one man’s words should cost another man’s life. It was a daring effort on the part of B R Chopra to produce the songless film especially at a time when the film songs had become one of the main ingredients for the box office success of the films. Later, he also produced another songless film, ‘Ittefaaq’ (1969) which happened to be last film B R Chopra and Yash Chopra worked together.
‘Gumraah’ (1963) was a personal triumph for B R Chopra as a director for his matured handling of a theme of extra-marital affair. He was successful in garnering sympathy for all the three protagonists of the film – Ashok Kumar as husband, Mala Sinha as his cheating wife and Sunil Dutt as the lover of Mala Sinha. By the way, in the same year (1963), ‘Ye Raaste Hain Pyaar Ke’ (1963) was released with a same theme.
‘Waqt’ (1965) was B R Chopra’s first colour. multi-starer and a high budget film. The film was directed by Yash Chopra. The usual ‘lost and found’ formula got reinvented with this film with sleek screen-play and dialogues. For the first time, a B R Film had elaborate sets and high glamour quotients. This film set the trend for Yash Chopra when he produced and directed films under his own banner.
During his 5 decades of association with Hindi films, B R Chopra produced 35 films and directed 20 films. Some of the major films he produced were ‘Hamraaz’ (1967), ‘Aadmi Aur Insaan’ (1969), ‘Daastaan’ (1973), a remake of ‘Afsaana’ (1951), ‘Dhund’ (1973), ‘Zameer’ (1974), ‘Chhoti Si Baat’ (1975), ‘Karm’ (1977), ‘Pati, Patni Aur Woh’ (1978), ‘The Burning Train’ (1979), ‘Insaaf Ka Taraazu’ (1980), ‘Nikkah; (1982), ‘Mazdoor’ (1983), ‘Tawaif’ (1984) ‘Aawaam’ (1987), ‘Kal Ki Aawaaz’ (1992), ‘Baaghbaan’ (2003), ‘Baabul’ (2006), ‘Bhootnath’ (2008) etc.
In 1972, Yash Chopra separated from B R Films and established his own banner, Yash Raj Films. This separation seems to have affected B R Films as most of his film made after Yash Chopra’s exit from B R Films, did not reach the level of successes as his earlier films got. However, B R Chopra undertook a mammoth work of TV serial ‘Mahabharat’ for Doordarshan with 94 episodes which were telecast during 1988-90. ‘Mahabharat’ became one of the most successful TV serials which was high TRP ratings even on the repeat telecasts.
‘Baaghbaan’ 2003) was a sort of a ‘come back’ film for B R Films followed by ‘Baabul’ (2006). However, B R Films could not sustain the new success as both B R Chopra and his son, Ravi Chopra passed away in 2008 and 2014 respectively. After ‘Bhootnath’ (2008), B R Films have not produced any film.
B R Chopra was conferred with Dadasaheb Phalke Award in 1998 in recognition of his contribution to the growth and development of Indian cinemas. He was awared Padma Bhushan in 2001.
‘Ek Hi Raasta’ (1956) was the first film produced and directed by B R Chopra under his own banner, B R Films. The star cast included Ashok Kumar, Meena Kumari, Sunil Dutt, Yashodhara Katju, Ravikant, Manik Kapoor, Uma Dutt, Nazir Kashmiri, Radhakishen etc. Kumkum and Radhika were the guest actors in the film.
The film had 8 songs (including one multiple version) of which 7 songs have already been covered on the Blog, the details of which are as under:
| Songs | Date of Posting | Singers |
|---|---|---|
| Chali gori pee ke milan ko chali | 31/01/2009 | Hemant Kumar |
| Saanwle salone aaye din bahaar ke | 21/04/2009 | Hemant Kumar -Lata |
| Bade bhaiyya laaye hain London se chhori | 11/04/2012 | Asha Bhosle |
| Chamka ban kar aman ka taara | 15/08/2012 | Lata-Hemant Kumar |
| Bekas ki aabroo ko neelaam kar ke chhoda | 27/11/2012 | Lata Mangeshkar |
| So ja nanhe mere tu to so jaa Multiple version song | 31/03/2021 | Hemant Kumar-Lata Mangeshkar |
On the occasion of 13th Remembrance Day of B R Chopra, I present a song ‘kaisi lagi jaaye to jaaye jiya’ from ‘Ek Hi Raasta’ (1956) rendered by Asha Bhosle and Usha Mangeshkar. The song is written by Majrooh Sultanpuri which is set to music by Hemant Kumar. It is a dance song in which Asha Bhosle and Usha Mangeshkar sing for Kumkum and Radhika respectively.
With this song, all the songs from ‘Ek Hi Raasta’ (1956) have been covered on the Blog.
Note: The early life sketch of B R Chopra is based on his interview recorded in 1995 after he was conferred ‘Filmfare Life Time Achievement Award’. The interview was published on April 4, 1997 in rediff.com.
Audio
Video
Song-Kaisi lagi kaisi lagi (Ek Hi Raasta)(1956) Singers-Asha Bhosle, Usha Mangeshkar, Lyrics-Majrooh Sultanpuri, MD-Hemant Kumar
Both
Lyrics
kaisi lagi
kaisi lagi
jaaye to jaaye jiya
laagi na chhoote aisi lagi
kaisi lagi
kaisi lagi
jaaye to jaaye jiya
laagi na chhoote aisi lagi
kaisi lagi
kaisi lagi
jaaye to jaaye jiya
laagi na chhote aisi lagi
kothhe pe main to khadi thhi bholepan mein
chori chori koi samaaya mere man mein
kothhe pe main to khadi thhi bholepan mein
chori chori koi samaaya mere man mein
dheere se bolo jiya
kaisi lagi
dheere se bolo jiya
kaisi lagi
aisi lagi
jaaye to jaaye jiya
laagi na chhoote
aisi lagi
kaisi lagi
kaisi lagi
jaaye to jaaye jiya
laagi na chhoote aisi lagi
jiya na maane ke ruk ruk machle
koi ye pukaare bache to zara bach le
jiya na maane ke ruk ruk machle
koi ye pukaare bache to zara bach le
haaye re haaye daiyya
kaisi lagi
haaye re haaye daiyya
kaisi lagi
aisi lagi
jaaye to jaaye jiya
laagi na chhote aisi lagi
kaisi lagi
kaisi lagi
jaaye to jaaye jiya
laagi na chhoote aisi lagi
dar ke maare kaleja mora dhadke
kahin more saiyyan ye chunri pakad ke
dar ke maare kaleja mora dhadke
kahin more saiyyan ye chunri pakad ke
laagoon main tohra piya
kaisi lagi
laagoon main tohra piya
kaisi lagi
aisi lagi
aisi lagi
aisi lagi
jaaye to jaaye jiya
laagi na chhoote
aisi lagi
kaisi lagi
kaisi lagi
jaaye to jaaye jiya
laagi na chhoote
aisi lagi
kaisi lagi
kaisi lagi
jaaye to jaaye jiya
laagi na chhoote
aisi lagi
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.
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Blog Day: |
4487 | Post No. : | 16008 |
#The Decade of Seventies – 1971 – 1980 #
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# Bhoole-Bisre Geet # 109 # Tribute to actor Vinod Mehra #
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30th October’2020 is the thirtieth ‘Rememberance Day’ of one of the much loved and handsome actors of Hindi Film Industry – Vinod Mehra. He was born on 13th February’1945 and passed away at the young age of forty-five only. The news of his death shocked everybody at that time. He started his career in Hindi movies as a child artist in the late fifties and his career as an adult began in 1971.
‘Seventies’ saw many actors who may not have worked more or given many hits but somehow they have left their indelible impression in the mind of movie-goers and children grown in ‘seventies’ like me.
I think I can include names like Vinod Mehra, Navin Nischol, Vijay Arora, Anil Dhawan, Mahendra Sandhu, Vishal Anand etc. in this list. (I may be forgetting some and not recollecting at this moment).
That was a time when we were watching movies without being a ‘fan’ of anyone. The ‘thrill’ of watching movie in the ‘theatre’ and the whole atmosphere, the big ‘posters’ , the ‘ticket windows’, the different color tickets of various ‘classes’, the ‘namkeen moongfalli, or chanaa and ‘sharbat’ was other main attraction in the intervals and coming out of the theatre after the show ends was like landing back from ‘another planet’ to our own 😊
Vinod Mehra is one such name from those years which immediately reminfds us of his ever ‘smiling face’. His hair style and his looks, his physique and appearance on the screen always give a ‘warm’ feeling. His ‘emotional roles’ make our eyes misty and gave our hearts a stir. Such was his impact. And when I am writing about him, first time here on the blog, I feel like missing a friend or like familiar person very much and my mind constantly asking me – why is that people like him passed at so early? at the age of forty-five?
I think these lines from the today’s song best explain my thoughts for him today ‘tumse nahin pehchaan meri, phir bhi aise lagtaa hai pehle bhi kisi yug mein apna saath rahaa ho jaise’…
It was like he was around in one special corner of our heart always there in the midst of so many stars around.
I remember his photo with his signature sent to my Father in reply to his fan mail which was in his possession along with other ‘star’s’ letters.
Well, going back to the movies of Vinod Mehra which I remember to have watched …
If I try to recollect now the movies of his that comes to my mind as an oldest memory of him, of course, start with ‘tere nainon ke main deep jalaaungaa’ i.e. Anuraag-1972 which I must have watched with my parents. But the song continued to haunt me as a flashback all over the years and the other song and movie permanently embedded on my impressionable mind was ‘Do Khilaadi-1976’ – its song – ‘jhoomtaa saawan dekho aaya’ – never got erased from my memory.
In between I must have watched his ‘Do Phool-1973’, ‘Kunwaara Baap-1974’, ‘Raftaar-1975’, ‘Do Jhooth-1975’,’Naagin-1976’, ‘Ghar-1978’, ‘Chakravyuha-1978’, ‘Swarg Narak-1978’, ‘Dada-1979’, ‘The Burning Train-1980’, ‘Pyaasa Saawan-1981’, ‘Khuddaar-1982’. I watched these movies either with my parents or my uncle.
For ‘Jaani Dushman-1979’ I was permitted to go alone and not take my younger brothers with me so that they don’t get scared watching and after watching the movie 😊
I watched his ‘Naukar Biwi Ka-1983’, ‘Dharam Aur Qanoon-1984’, ‘Jeene Nahin Doonga-1984’, ‘Locket-1986’, ‘Aag Hi Aag-1987’ with my brothers and cousins.
And I watched ‘Eeshwar-1989’ during my stay at Kota.
I watched his ‘Amardeep-1979’ in 2012 when Rajesh Khanna passed away and movies of Kaka were screened specially on a tv channel.
I watched his ‘Anurodh-1977’ on VCD, much later when I was in Nagpur in 2016 and liked his role very much.
The latest of his movie that I watch was ‘Aarop-1974’ which I watched on my laptop in Sep’2019 during my stay at Kenya (during my preparation for a post for BTYC).
I may have also watched his other movies but I am forgetting them like I think I had watched ‘Sabse Bada Rupaiyya-1976’ and later ‘Amarprem-1971’ may be on tv channels.
However, when I see his filmography now, I realized that I have yet to watch many of his movies from the seventies as well as of eighties till he was doing acting.
Coming back to today’s song now, it is from the movie ‘Ek Hi Raasta-1977’ wherein Vinod Mehra is lip syncing for Rafi Saab’s voice and music is composed by Rajesh Roshan. Lyrics are by Verma Malik.
Shabana Azmi and a child artist (Master Inderjeet/Master Asif/Master Babu?) are also seen in the picturization of this song.
One song from the movie was introduced by me here where in I have given the details of this movie – ‘Ek Hi Raasta-1977’. So, I will not repeat the same here, and instead I will give the details of songs from this movie in the following table (our new practice, so that whenever the movies are Yippeeee’ed on the blog we need to ‘insert’ the links of the respective songs only and update the table for grand ‘finale’ 😊
List of songs – ‘Ek Hi Raasta-1977’ as per HFGK (1971-1980) Vol-V; (in order of appearance there)
| S.No. | Song Title | Singer/s | Posted on |
| 01 | Akalmand ko ishaara… itni jaldi kahaan jaate ho | Asha Bhonsle, Kishore Kumar | |
| 02 | Dil ko mila lo dil ko takra lo… I like what you are saying | Asha Bhonsle, Amit Kumar, chorus | |
| 03 | Dheere dheere sun more sajna… piya piya boley more kangnaa | Lata Mangeshkar | |
| 04 | Tumse nahin pehchaan meri … | Mohd Rafi | Being posted today |
| 05 | Bin saathi ke jeewan kya | Kishore Kumar, Anuradha Paudwal | 17.08.2015 |
Let us now enjoy today’s song and pay our tributes to the ever ‘smiling’ ‘charming’ Vinod Mehra.
I hope you will like the song too …
Video
Audio
Song-Tumse nahin pehchaan meri lekin aisa lagta hai (Ek Hi Raasta)(1977) Singer-Rafi, Lyrics-Verma Malik, MD-Rajesh Roshan
Lyrics
(dialogues not included)
(Child’s laughing sound)
Tumse nahin pehchaan meri
Lekin aise lagta hai
Pehle bhi kisi yug mein apna
Saath rahaa ho jaise ae
Tumse nahin pehchaan meri
Lekin aise lagta hai
Pehle bhi kisi yug mein apna
Saath rahaa ho jaise
Tujhe dekh ke bhooli bisri
Tasveer ubhar aati hai
Yaad ki dhundhli si parchhaayee
Dil mein utar jaati hai
Donon ko naa yaad rahaa ho
Ho sakta hai aise
Pehle bhi kisi yug mein apna
Saath rahaa ho jaise ae
Tujhse mera kya naata
Jab samajh nahin paata hoon
Doob ke main gehraayiyon mein
Ye sochke reh jaata hoon
Kisi janam mein toone koi
vachan liya ho jaise
Pehle bhi kisi yug mein apna
Saath rahaa ho jaise ae
Tumse nahin pehchaan meri
Lekin aise ae lagta hai
Pehle bhi kisi yug me apna
Saath rahaa ho jaise ae
—————————————
Devnagri Script lyrics (Provided by Avinash Scrapwala)
—————————————
(गीत के शुरुवात में दिए गए संवाद शामिल नहीं किये गए हैं)
(बच्चे के हंसने की आवाज़)
तुमसे नहीं पहचान मेरी
लेकिन ऐसे लगता है
पहले भी किसी युग में अपना
साथ रहा हो जैसे ए
तुमसे नहीं पहचान मेरी
लेकिन ऐसे लगता है
पहले भी किसी युग में अपना
साथ रहा हो जैसे ए
तुझे देख के भूली बिसरी
तस्वीर उभर आती है
याद की धुंधली सी परछाई
दिल में उतर जाती है
दोनों को ना याद रहा हो
हो सकता है ऐसे
पहले भी किसी युग में अपना
साथ रहा हो जैसे ए
तुझसे मेरा क्या नाता आ
जब समझ नहीं पाता हूँ
डूब के मैं गहराईयों में
ये सोचके रह जाता हूँ
किसी जनम में तूने कोई
वचन लिया हो जैसे
पहले भी किसी युग में अपना
साथ रहा हो जैसे ए
तुमसे नहीं पहचान मेरी
लेकिन ऐसे लगता है
पहले भी किसी युग में अपना
साथ रहा हो जैसे ए
Mujhe mil jaayegi unki dagariya
Posted on: October 22, 2019
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 : | 4113 | Post No. : | 15264 |
Today’s song is from an old film Ek hi Rasta-39. The film was made by Sagar movietone. It was directed by Mehboob Khan and the music was by Anil Biswas. These two legends actually established themselves in the cinema industry through Sagar Movietyone, which rightly included their names in their list of ” Jewels of Sagar “.
Anil Biswas (7-7-1914 to 31-5-2003), however, had already done 9 films as a Music Director (Dharam ki Devi-35, Bharat ki Beti-35, Bal hatya-35, Shokh Dilruba-36, Sher ka panja-36, Sangdil Samaj-36, Prem Bandhan-36, Pratima -36 and Pyar ki Jogan-36) before coming to Saqgar Movietone. Of course, none of these films were famous or hits. He got success with his film Manmohan–36 from Sagar, first time. The film was also a Milestone for Sagar. Director Mehboob Khan (9-9-1907 to 28-5-1964) also had already directed one film – Al Hilal-35 very successfully and Manmohan- 36 was his second film as a director in Sagar, equally successful again.
The two became thick friends. Anil Biswas used to call him ‘ Mawali ‘ and Mehboob khan called him ‘ Bangali ‘. Cameraman Faredoon Irani also joined them and three friends enjoyed work and life together in Sagar and in National Studios, till, due to differences of work philosophies, these friends parted ways and Anil Biswas separated from the two others, never to work together ever again in life. They had worked together in 6 films (5 Sagar and 1 National Studios). Mehboob Khan directed 8 films for Sagar and 2 for National Studios. Anil Biswas was MD for 11 Sagar films and 2 films of National.
Film Ek hi Rasta-39 or The Only Way, was the first Multi-Hero film in India. It had 3 Heros and 2 Heroines. Heros were Shaikh Mukhtar, Harish and Arun Ahuja and Heroines were Anuradha and Jyoti. The real name of Anuradha was Khurshid Akhtar (same as Shyama). She was the youngest sister of actresses Miss Zohra and Mushtari. After Miss Zohra separated from her husband Rafiq Ghaznavi, Anuradha had married him. Jyhoti’s real name was Sitara Bai. She was singer actress Wahidan Bai’s younger sister. Nimmi was Wahidan’s daughter- who married singer G M Durrani.
Film Ek hi Rasta was based on two Hollywood films, namely ‘ The road back’-37 and ‘ Seventh Heaven’-37. The second world war had just begun. Mehboob tried to depict the ill effects of war in an artistic way in this film. The main Hero of the film was Arun Ahuja.
Arun Ahuja’s real name was Gulshan Singh Ahuja, a Sikh, born on 26-1-1918 at Gujaranwala (now in Pakistan). After the school education, he joined Mughalpura Engineering college and secured an Engineer’s degree in 1937. During his college life he had won the Best Football player of the year award. Mehboob Khan was on a Talent Hunt in Lahore. From among the 100 and odd candidates, his choice fell on the well built, athletic, dashing and handsome Gulshan. He was selected and brought to Bombay to act in film Ek hi rasta-39, with a screen name of Arun Ahuja. He was variously billed as Aroon, Arun, Aroon Kumar, Arun Ahuja etc.
His first film was an outstandingly successful hit film. Arun got roles in Bhole Bhale-39 and Civil Marriage-40. Later Mehboob khan took him for film Aurat 40, which he directed for National Studios. The versatile actor acted in over 25 films in 6 years, some of his films were Kanchan, Holiday in Bombay, Beti, Nurse, Savera, Return of Toofan Mail, Shankar Parvati, Andhera, Bharthari, Caravan, Amrapali etc. From 1945 onwards he became a Free lancer.
During the film Savera-42, he fell in love with his co-star – Nirmala. They got married on 5-5-1945. After marriage Nirmala (7-6-1928 to 15-6- 1996) completed 4 pending films and stopped working. Her last film Sudhar was released in 1949. In this film also she paired with Arun. Thus her last film also had her life partner. She acted in only 12 films, but she sang 63 songs in 23 films.
Arun Ahuja was in demand. He continued working in films. He set up his own production company – Arun Productions and he produced 2 films. One film Sehra was released in 1948, but the other film ” Jo hai saajan” remained unreleased for some reasons. Film Sehra was also a huge flop. Arun suffered heavy losses. He tried to work in films to compensate it, but now due to competition from new stars, new films were slow to come, so he did not get many films. His last film was Aulad-54. He had to sell all his property, bungalow, cars and jewellery. He shifted from his bungalow in Bandra to a chawl in far off suburb Virar, with his family, in 1962. Here his last son Govinda was born in 1963.
His health deteriorated. Nirmala decided to revive her singing, to help the financial difficulties of the family. . Composer A R Qureshi arranged her stage programme in Calcutta. It went off with tremendous success and offers started pouring in. She became famous as a Thumri singer. She did many jalsas in India and abroad. Their financial position improved. Their son Govinda also became a big star. He bought a house in Juhu and the family shifted to Juhu for the sake of convenience. However, Arun Ahuja continued to stay in Virar. He did not shift to Juhu.
Arun Ahuja died on 4-7-1998, two years after his dear wife’s death on 15-6-1996.
Film Ek hi rasta-39 was a hit film. Though it was a debut film of Arun, the benefit of the film being a hit went to the other Hero- Shaikh Mukhtar. The tall, strong and not so good looking actor had a meaty role in the film.All the sympathy of the audience went to him when he kills the person who accuses him falsely.
The second world war had just begun in 1939. The film, however, tried to stress that no problem is solved with a war. War is not a solution.Of course, wars do not care what films say. The II WW went on till August 1945, when the Germans were defeated and Hitler committed suicide, along with his lover, after marrying her in the last hour of their life. The Japanese had already surrendered. The film’s story has already been provided in one of the song-posts of this film, so I will not repeat it . The duet song was sung by Wahidan Bai and Anil Biswas.
Not much information is available on Waheedan Bai. Her younger sister Sitara Bai aka Jyoti and her own daughter Nawab Banoo aka Nimmi were actresses. Waheedan Bai was from a Tawayef family. Her daughter Nimmi, had always denied this-understandably too, but Waheedan Bai’s name gave away the true story.
Waheedan Bai belonged to a small town Fatehabad, near Agra. Her father’s name was Basheer khan. She was second amongst 4 sisters. The youngest was Sitara Bai aka Jyoti. Waheedan was a trained and good singer, but Tawayafs did not get social status, so she got married early to one Abdul Hakeem from Nasirabad, settled in Meerut. He had met Waheedan in a shrine in Agra, where she recited verses from Koran.
Soon after their marriage, His father, a contractor with Military, died and Hakim inherited the business. He was a novice and was cheated by his manager and they lost everything. The family moved to Calcutta to start a Leather business. Here also he failed. In Calcutta, their neighbour was director A.R.Kardar. Through his wife, Bahar, Kardar was contacted and he gave a small role to him in a film. Here again he got terrified and ran away, at the time of shooting.
Waheedan came forward and after hearing her singing, she was given a song in the film and it was recorded. Meanwhile Chandulal Shah offered her roles in his films. They shifted to Bombay and she joined Ranjit Movietone. Her first film was Toofani Toli-37. Prithvi Putra-38 was the second film. Her songs in her films were liked and became famous.She worked in other films like Prof. Waman, M.Sc.-38, Rikshawala-38, The Secretary-38 and Thokar-39.
She got acquainted with Mehboob Khan and he offered her lead role opposite Surendra in film Alibaba-40, a Sagar Movietone film initially, but later on sold to Ranjit of Chandulal Shah, in a game of gambling. Film Alibaba-40 was made in Hindi and Punjabi. The film songs became very popular. When Sagar merged into National Studios, she worked in film Sanskar-40.
Waheedan contracted T.B. and left films. She acted in only 8 films and sang 26 songs in 11 films-including her 8 films. She died in 1942.( based on information from the book- Sagar movietone by Biren kothari ji and my notes)
Here is the song. This will be only the 3rd song from this film to feature here. There were 12 songs in the film and the singers were Jyoti, Waheedan bai, Anil Biswas, Harish and Arun Ahuja.
Song-Mujhe mil jaayegi unki dagariya (Ek Hi Raasta)(1939) Singers-Anil Biswas, Wahidan Bai, Lyrics-Pt Indra Chandra, MD-Anil Biswas
Both
Lyrics
mujhe mil jaayegi ee
unki dagariya
mil jaayegi ee
unki dagariya
haan mil jaayegi
chaahe ghir-ghir aaye badariya
chaahe ghir-ghir aaye badariya
mil jaayegi ee
unki dagariya
mil jaayegi ee
unki dagariya
haan mil jaayegi
chaahe panchhi na bole
chaahe panchhi na bole
chaahe chandrmaa aankh na khole
chaahe panchhi na bole
unhe dhoondh nikaalegi hamri najariya
dhoondh nikaalegi hamri najariya
mil jaayegi ee
unki dagariya
mil jaayegi ee
unki dagariya
mil jaayegi
dwaar naya chhat nayi naya ghar
ghar ka sab saamaan naya
dwaar naya chhat nayi naya ghar
ghar ka sab saamaan naya
phir bhi sakhi kahin tikti nahin hai
phir bhi sakhi
phir bhi sakhi kahin tikti nahin hai
vyaakul
vyaakul hamri najariya aa aa
vyaakul
vyaakul hamri najariya
mujhe mil jaayegi unki dagariya
haan mil jaayegi ee unki dagariya
haan mil jaayegi
- In: 10th Anniversary Celebration Song | Anil Biswas Solo Songs | Anil Biswas Songs | Devnagri script lyrics by Sudhir | Free Spirit Song | Guest posts | Journey Song | Lyrics contributed by readers | MD-Singer Song | philosophical song | Post by Mahesh Mamadapur | Song of 1939 | Songs of 1930s (1931 to 1940) | Yearwise breakup of songs
- 20 Comments
This article is written by Mahesh Mamadapur, 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 : | 3647 | Post No. : | 14481 |
ASAD 10th Anniversary Celebrations – 3
———————————————————————
“A journey of a thousand miles begins with a single step.”
– Lao Tzu
main akela hi chala tha janib e manzil magar
log saath aate gaye aur karwaan banta gaya
– Majhrooh Sultanpuri
On 19 July 2008, a single step was taken by our Atul ji, the day on which the first song was posted on the blog. It was followed by yet another Roshan number the next day and the journey continues to this date and beyond, much akin to the above sh’er by Majhrooh Saab.
Looking back at the last decade, there is a deep sense of excitement and contention amongst all readers and especially the important contributors. However what is equally true is that the responsibilities and the hope of tracing and introducing obscure songs has only increased. This hope itself is the proof of the immense popularity that the blog enjoys all over the world. I am sure the blog has become a one-stop destination for all readers in search for old Hindi songs and the correct and reliable information that it serves and continues to provide. About 4000 movies and nearly 15,000 songs covered, the blog has a visitors hits number of more than 10.5 million. Mind-blogging numbers indeed and one can only feel proud of being a part of this great musical extravaganza.
Since it is a special occasion of a decade of the blog’s existence, I suppose, I am at liberty to write a few words about my association with it.
Old Hindi Film songs were a common feature in my house, especially with SLBC and its special program ‘purani filmon ka sangeet’, which is played to this day and to which I am addicted to this day (ask our whatsapp group 🙂 ). With the advent of internet facility, the hobby of listening and gathering information naturally started dominating the searches. And, for people with music interest this blog was a no-escape and also a welcome addiction.
In the initial days, I just tried to absorb and admire the contents. It was not long that the longing to be a part of the blog started to grow. A few comments and corrections here and there started. Seeing that a lot of songs known to self were yet to be represented, I toyed with the idea of sending the lyrics. I ended up sending lyrics for 3-4 songs, but the greed to get more involved did not stop.
It was then that I starting writing posts. After a few posts and with the ideas and plots for writing posts difficult to come by, I started a mini-series on Mukesh and his composers. There is a small contribution of self in this series with 14 posts and 04 posts in another series titled Mukesh and his co-singers. Apart from the posts on Mukesh, I feel proud to have written about Rafi saab, Talat saab and Lata Mangeshkar. There are individual posts on Shamshad Begum, Uma Devi, etc. I have also written about Ghulam Mohammed and Shankar Jaikishan whose compositions, I enjoy immensely.
Of the 30 odd posts, “Sab Thhaath Pada Reh Jaavegaa” has had a great influence on me and especially the verses.
jo paaya hai wo baant ke kha
kangaal na kar kangaal na ho o
jo sab ka haal kiya toone
ek roz wo tera haal na ho o
is haath se de us haath se le
ho jaave sukhi ye jag saara
There was time when some songs of Mukesh were not to my liking. This view is particularly for a few songs at the fag end of his career wherein you find him singing all types of songs without the Midas touch of late 1940’s and 1950’s. Not having understood the lyrics properly, I had counted the above song also in that category. However, while writing the post and especially after Sudhir ji’s English translation, the song seems to be nothing short of philosophy of life that one must follow.
And then, “Lo Mil Gayi Degree Pyaar Ki” had its own story before it was put up as a post. A virtual Kishore Kumar solo was converted into a Mukesh post just because he had two words in the song. It was the last song of Mukesh-Roshan to be introduced to the blog and there was no way, I could lose the opportunity. Many eminent personalities were contacted who held different views on how Mukesh could fit in as he was not part of the movie etc.
Lastly, “Gokul Nagri Jaana” remains the oldest song sung by Mukesh on the blog. I have special memories of writing this post, as I was aware that I had touched upon a gold mine of 06 special songs of his career. Two of them remain untraced to date, but then there have been many surprises on this blog and I am sure all six will be accounted for.
The past year has been hectic for me from job and work point of view. However, with this post, I have barely managed to avoid the guilt of not having contributed for an entire year. I expect saner time allotment for this hobby again.
Coming back to the blog, I consider the following to be a few unique and unparalleled aspects about it.
- Accuracy and authenticity of the contents
- Complete and correct lyrics
- Responsible, authoritative and sound contributors
- The classification and arrangement of songs under various heads
- Easy accessibility of information on Hindi songs
- Common platform for like-minded Hindi songs enthusiasts
- Due recognition and importance accorded to various artists
- Accurate statistics of songs and artists contribution.
There could more important USP’s of the blog; however, the following two aspects are also quite important.
- Opportunity for contributors to pen their thoughts on the blog
- A unique friendship circle amongst the regulars
I think every reader and especially the contributors can never thank Atul ji and Sudhir ji enough, to acknowledge and appreciate the opportunity given to us to pen down our thoughts and represent songs on the blog. This is a very selfless and noble deed of Atul ji. Like-minded people met online on this blog and started a very special and unique circle, with quite a few sessions, visits etc. A whatsapp group is also formed with a few of the regulars and is more active than the blog itself now. 🙂
For me personally, the opportunity to interact with Mr. Harish Raghuwanshi ji was a great personal fulfilment. He has always helped me with my lists in the posts and also with information which would have been nearly impossible to trace elsewhere. Similarly, being in touch with eminent film historians and authors and knowledgeable personalities such as Shri Arun Kumarji, Harmandir Singh ji and many others has added new dimensions to our lives. In a fast moving world with technological advances, catching up with matters of yesteryears is so soothing and heart fulfilling. When we talk of ‘good old days’, here is a platform that binds us together.
Coming back to the series on Mukesh, a sort of regret that will always remain with me is not having a post on the collaboration of Mukesh with composer Anil Biswas. People fond of Hindi music need no explanation to elaborate the influence of Anil Da and stepping stone in Mukesh’s singing career with reference to “Dil Jaltaa Hai To Jalne De”. Of the 22 odd songs that Mukesh sang for Anil Da, all have been covered on the blog. Not to give a sense of false hope, I would like to clarify that the song that I am presenting here today has nothing to do with Mukesh.
Instead, I would like to write on Anil Biswas.
What can one write about the ‘Bhishm Pitamah’ of Hindi film music that has not been written earlier. A pioneer of playback singing in India and the composer who gave the initial breaks to singers like Parul Ghosh, Meena Kapoor, Mukesh, Talat Mahmood, Sudha Malhotra etc. He is credited with coaching Lata Mangeshkar with breath control techniques during recording of songs. Begum Akhtar’s timeless classics in the film ‘Roti’ (1942) were scored by him. Mukesh, Talat Mahmood, Suraiya et al have sung several of their classic songs under his composition. Lata having sung under various composers has a lot of numbers under his composition too and these songs will always remain on a higher plane. The fame achieved by the songs in ‘Kismet’ (1943) will be discussed and mentioned for a very long time.
There is enough material on the net on Anil Biswas, his life in Mumbai and Delhi, the many pioneering aspects of his compositions, how the mighty composers of later-years were his assistants earlier etc. And then there is also a detailed wikipage dedicated to him. However, I would like to draw the attention of readers to AK ji’s blog songsofyore.com.
Seventh of July, last week was the birth anniversary of Anil Da. Four years back, 2014 was his centenary year and the AK ji’s blog has a wide range of tributes and had dedicated an entire year on Anil Biswas starting with his daughter’s introductory post which one can find here. The eighth and last post on this special series can be found here.
The last post referred above also contains in its first paragraph links to the other six posts on Anil Biswas posted in his centenary year. I think die-hard fans of Anil Da can look no further than these posts to enjoy the complete range of his compositions for various artists and well himself.
Yes, he did sing for himself and I present here one such song composed and also sung by him.
I have no words to express my happiness in writing this post and introducing the song composed as well as sung by Anil Biswas to the blog. The immense gratitude to Atul ji and Sudhir ji for giving me yet another opportunity to write goes without saying.
This solo song is from the film ‘Ek Hi Raasta’ (1939). Only one of the potential twelve songs in the film has been posted on the blog so far and this is only the second song from the film to be posted.
To conclude the post, I once again congratulate Atul ji and Sudhir ji on this stupendous achievement of one decade of existence of the blog. There is a long way to go and many more milestones to be achieved. As we complete one decade of existence and march into the second, then to silver jubilee and beyond, the journey itself has become the destination for Atulites.
Long live the music of vintage and golden era, long live the passion of Atulites and long live the longevity of the blog. 🙂
Song – Bhai Hum Pardesi Log Hamen Kaun Jaane (Ek Hi Raasta) (1939) Singer – Anil Biswas, Lyrics – Pt Indra Chandra, MD – Anil Biswas
Lyrics
bhai hum pardesi log
hamen kaun jaane
o bhai hum pardesi log
hamen kaun jaane
na koi apna na koi apni..ee..ee
sabhi paraaye log
na koi apna na koi apni
sabhi paraye log
hamen kaun pehchane re
bhai hum pardesi log
hamen kaun pehchane re
bhai hum pardesi log
hamen kaun jaane
khud hi rijhaaen khud man jaaen
chaahe ramaaye jog
khud hi rijhaaen khud man jaaen
chaahe ramaaye jog
chaahe bane diwaane re bhai
chaahe bane diwaane re bhai
hum pardesi log
hamen kaun jaane
sab se milte phir bhi akele..ey..ey
sab se milte phir bhi akele..ey..ey
apne dil ka rog
apne dil ka rog
koi kya jaane re bhai
koi kya jaane re
bhai hum pardesi log
hamen kaun jaane
o bhai hum pardesi log
hamen kaun jaane
na koi apna na koi apni
sabhi paraaye log
na koi apna na koi apni
sabhi paraaye log
hamen kaun pehchane re
bhai hum pardesi log
hamen kaun pehchaane re
bhai hum pardesi log
hamen kaun jaane
o bhai hum pardesi lo..o..ogg
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Devnagri script lyrics (Provided by Sudhir)
—————————————
भई हम परदेसी लोग
हमें कौन जाने
ओ भई हम परदेसी लोग
हमें कौन जाने
ना कोई अपना ना कोई अपनी॰॰ई॰॰ई
सभी पराये लोग
ना कोई अपना ना कोई अपनी
सभी पराये लोग
हमें कौन पहचाने रे
भई हम परदेसी लोग
हमें कौन पहचाने रे
भई हम परदेसी लोग
हमें कौन जाने
खुद ही रिझाएँ खुद मन जाएँ
चाहे रमाएं जोग
खुद ही रिझाएँ खुद मन जाएँ
चाहे रमाएं जोग
चाहे बने दीवाने रे भाई
चाहे बने दीवाने रे भाई
हम परदेसी लोग
हमें कौन जाने
सबसे मिलते फिर भी अकेले॰॰ए॰॰ए
सबसे मिलते फिर भी अकेले॰॰ए॰॰ए
अपने दिल का रोग
अपने दिल का रोग
कोई क्या जाने रे भाई
कोई क्या जाने रे
भई हम परदेसी लोग
हमें कौन जाने
ओ भई हम परदेसी लोग
हमें कौन जाने
ना कोई अपना ना कोई अपनी
सभी पराये लोग
ना कोई अपना ना कोई अपनी
सभी पराये लोग
हमें कौन पहचाने रे
भई हम परदेसी लोग
हमें कौन पहचाने रे
भई हम परदेसी लोग
हमें कौन जाने
ओ भई हम परदेसी लो॰॰ओ॰॰ओग
Chhalke ras ki gagariya bhaari
Posted on: June 7, 2017
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 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.
In my last two articles, I had discussed about the films of Mehboob Khan (as a producer as well as director) in combination with music director Anil Biswas. In the process of collecting information about the works of Mehboob Khan-Anil Biswas combination, I came across another unique association of Mehboob Khan with cinematographer, Faredoon A Irani. The uniqueness of this association is that all the films which were directed by Mehboob Khan (23 films during 1935-62) had Faredoon Irani as cinematographer.
Read more on this topic…
Bin saathi ke jeewan kya
Posted on: August 17, 2015
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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
#the Decade of Seventies – 1971 – 1980 #
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# Bhoole-Bisre Geet # 20 # Duet-4
(Composer -Rajesh Roshan#1)
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I still remember my school days when our cricket playing group used to meet every evening at the Colony recreation club. After going through the newspapers/ magazines in the library, we would hold discussions on various topics. Hindi films and their songs were naturally among the topics of discussions.
The discussions then were only in general terms and nowhere near as serious or detailed as the discussions on this blog now. We used to discuss the songs we liked and why we liked them, or songs that were popular and how one ranked them in order of our likings etc etc.
Read more on this topic…
“Ek Hi Raasta” (1956) was a B R Films production. It was produced and directed by B R Chopra. The movie had Ashok Kumar, Sunil Dutt, Meena Kumari, Daisy Irani, Shreenath, Yashodhara Katju, Jeevan etc in it.
Read more on this topic…
Chamka ban kar aman ka taara
Posted on: August 15, 2012
On the occasion of India’s 65th Independence day today (15 august 2012), here is a song from “Ek Hi Raasta” (1956). This song is a patriotic song enacted on the stage by Meena Kumari and several kids.
Read more on this topic…
“Ek Hi Raasta”(1956) was produced and directed by B R Chopra. As was his wont, this movie too was on a socially progressive theme of widow remarriage which was quite bold for the time and as a result it was a commercially risky proposition for the movie. But B R Chopra pulled it off and the movie became a commercial success and it was critically acclaimed too.
Read more on this topic…
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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