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

Posts Tagged ‘H C Bali


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 :

5127 Post No. : 17079 Movie Count :

4614

Today’s song is a duet from the film ‘Her Highness’ (1946).

The year 1946 was an year which saw many changes in the film industry. The 2nd World War had just ended. Rationing and control on many items had created black marketing. This made many people millionaires. The extra income started getting invested in film making. The increased cost of raw films made film making 7 to 8 times costlier. A film which was made in about 1 Lakh rupees in 1940, needed 8 Lakhs now. Studio system was waning and artiste rates increased in lakhs instead of thousands. In 1945, only 74 films were made. This number increased to 153 films in 1946. Some quality films were made in 1946, indicating the changing face of film making.

Film ‘Dharati Ke Lal’ (1946) was made by IPTA people and it became the first film to be exhibited in Russia. ‘Neecha Nagar’ (1946) won the Grand Prix award in the French Film Festival. Film ‘Dr. Kotnis Ki Amar Kahani’ (1946) was dubbed in English as ‘The journey of Dr. Kotnis’. It was shown in the USA and then in the Venice Film Festival. Two musical films – ‘Anmol Ghadi’ and ‘Shahjahan’ were made in 1946. Year 1946 also saw the debut of several stars and artistes. In fact one can call 1946 as the ‘debut year’ of the Hindi film industry. See this….

Nirupa Roy debuted in film ‘Amar Raaj’.

Geeta Bali debuted with a dance in film ‘Badnami’

Geeta Roy sang her first film song in film ‘Bhakta Prahlad’

Balraj Sahni debuted in the film ‘Insaaf’. It was a small role, though.

KA Abbas-Director, Pt. Ravi Shankar-MD, Balraj Sahni as hero and Damayanti Sahni as heroine made their Debut in film ‘Dharti Ke Lal’

Meena Kapoor sang her first Hindi film song in film ‘Eight Days’

Sudhir Phadke debuted as MD in film ‘Gokul’

PL Santoshi as Director, Dev Anand, Rehman, Rehana and Kamla Kotnis debuted as actors in film ‘Hum Ek Hain’

Chitragupta did his first film as MD in ‘Lady Robin Hood’

Ram Ganguly became MD with film ‘Maharana Pratap’

Abhi Bhattacharya debuted in film ‘Milan’

Chetan Anand as Director, Uma Anand and Kamini kaushal as actresses debuted in film ‘Neecha Nagar’

Hansraj Behl debuted as MD with film ‘Pujari’

Madhubala (as Baby Mumtaz) sang her first song in film ‘Pujari’

Majrooh Sultanpuri wrote his first Hindi film song in film ‘Shahjahan’

SD Burman as MD and Kishore Kumar as an actor debuted with film ‘Shikari’

So, you will find the year 1946 was truly an year of change. The winds of Partition were already blowing and the second line of supplementary artistes was ready to replace the migrators, after the Partition.

‘Her Highness’, a stunt film was made by Bharat Talkies. The cast of the film consisted of the usual members of action/stunt films. Sarla Devi, Dilawar, Mehdi Raja, Madhukar Gupte, Meerabai, Prakash, Agha Peerjaan, Narmada Shankar etc. Lyricists were Roopbani and Madhup Sharma. However HFGK does not credit any Lyricist for any specific song. It also does not mention the singers’ names of any song.

The film was directed by stunt film veteran – Balwant Bhatt. He was the elder brother of Nanabhai Bhatt, who too was an expert in directing B and C grade films. One sees this kind of close relatives following each other from the very beginning of the talkie films. Even Zubeida, heroine of the first talkie – ‘Alam Ara’ (1931) had her 2 sisters and mother in this profession. If I start listing such names, it will be a long list. One interesting feature of Balwant Bhatt was that he had also directed the film ‘His Highness’ in the year 1937. If there were films like ‘Momma Highness’ and ‘Papa Highness’, I am sure Balwant Bhatt would have directed those films too !

The elder brother of Nanabhai Bhatt, Balwant Bhatt was born at Porbandar,Gujarat on 13-1-1909. Balwant started his career by assisting Naval Gandhi in 1930-31 and Pesi Karani at Imperial Film company and then NB Vakil at Sagar Studios in 1932.

A prolific director of second tier, action oriented films, Bhatt’s first film as a director was Royal Film Company’s 1932 silent thriller ‘Passing Show’ which featured popular stunt-film actor Navinchandra. He turned director with the advent of talkie films and joined Prakash Pictures with ‘Bambai Ki Mohini’ (aka ‘Actress’) (1934) starring Miss Panna and Miss Alaknanda. His last one was ‘Nagin Aur Sapera’ (1966). He directed 33 films, mostly stunt and C grade films.

Bhatt directed action star Fearless Nadia in ‘Delhi Express’ (1949) and ‘Circuswale’ (1950) as well as the comedian Bhagwan in ‘Joker’ (1949) and ‘Jodidar’ (1950), and even had opportunities to work with bigger name’s such as Bibbo in ‘Suhaag’ (1940), Maya Banerjee in ‘Madhusudan’ (1941), and Prithviraj Kapoor in ‘Aankh Ki Sharam’ (1943). But the vast majority of Bhatt’s output was in the category of B-grade films.

He directed some Gujarati films like ‘Sansar Leela’, ‘Seth Sagsha’, ‘Divadandi’, ‘Snehlata’ etc. He was the producer of ‘Dillagi’ (1942), ‘Gunehgar’ (1953), ‘Alif Laila’ (1953), ‘Sindbad The Sailor’ (1952), ‘Son Of Sindbad’ (1958), ‘Police Detective’ (1960) etc. etc. ‘Diwadandi’ (1950) became famous for its song – ”Taari Aankhni Afini”, sung by Dilip Dholakia with music by Ajit Merchant. His film ‘Mordhwaj’ (1952) was the debut film for MD Narayan Dutt. Balwant Bhatt died on 7-2-1965, at Bombay.

Today’s song is a rare song, but we do not know who wrote or who sung this duet. HC Bali was the music director.

Harishchandra Bali aka HC Bali was born on 10-3-1906 at Jalandhar, Punjab. He received early training in music from Pt. Tola Ram and Ustad Maula Baksh of Talwandi Gharana. He was also a disciple of Bhaskarbuwa Bakhale and Pt. Dilip Chandra Vedi. He adopted their styles. Bali came to Bombay. He entered film by acting as a hero in the film ‘Naqsh-e-Sulemani’ (1933). In later life also he acted in a few more films. As a MD, his first film was ‘Aurat Ka Dil’ (1933) and last film was ‘Janta’ (1947).

He gave music to 26 films. Among these were first films of Prof. Pt. Ramanand Sharma, ‘Watan Parast’ (1934), first film of actress Pramila, ‘Bhikarin’ (1935), first film of Debaki Bose in Bombay, ‘Jeewan Natak’ (1935). In the film ‘Pati Patni’ (1939), Naushad was his assistant and composed a few songs also. In 1942, Bali gave music to ‘Aple Ghar’, the Marathi version of ‘Apna Ghar’ (1941). He was the MD for the last film of Vishnupant Pagnis, ‘Mahatma Vidur’ (1943) and in film ‘Janta’ (1947), he gave the opportunity to lyricist Rajendra Krishna for the first time.

Bali also gets the credit for bringing KL Saigal to limelight. Both he and Saigal were from Jalandhar. When Saigal was in Calcutta for his job as a typewriter salesman, Bali was living with RC Boral. Bali told Boral about Saigal’s singing and the rest is history. Bali came into news in the late 50s, when he said that Lata had sung 4 songs for his film ‘Seedha Rasta’ in 1941 and thus claimed to introduce her to  film singing. However, Lata clarified that till the death of her father Dinanath Mangeshkar in 1942, she was in Kolhapur and there was no question of her singing in films in 1941. Thus Bali’s claim got scuttled.

After 1947, Bali retired from films and returned to Jalandhar. He started his own music school, ‘Sangeet Vihar’. He became famous as a music Guru to many singers in later years. Bali also sang on radio and was an A grade artiste of All India Radio. He also wrote a few books on music – ‘Sangeet Vigyan’ in 4 volumes and ‘Sangeet Prakash’ in Punjabi language. These books were published by Punjab State University Text Book Board in Chandigarh. Harishchandra Bali died on 24-6-1976 at Jalandhar.

Here is the rare song from the film ‘Her Highness’. The names of the singers of this duet are not even mentioned on the gramophone record, but I feel the song must have been sung by the cast members itself, to save expenses. Such tactics were followed by the producers while making stunt C grade films.

With this song, film ‘Her Highness’ makes it’s debut on the Blog.


Song- La Do Sajan Mohe Baajuband (Her Highness)(1946) Singers-Sarla Devi, Dilawar, Lyrics-Unknown, MD-HC Bali

Lyrics

la do sajan mohe baajuband
la do sajan mohe baajuband
nahin jaee hoon
nahin jaee hoon
nahin jaee hoon main naihar ko aaj
o o o o
jaee hoon main naihar ko aaj
la do sajan mohe baajuband
la do sajan mohe baajuband
nahin jaee hoon
nahin jaee hoon main naihar ko aaj

jaane ka naam na lo
ro doonga
jaane ka naam na lo
ro doonga
nanhi see
nanhi see
nanhi see
zindadi main kho doonga
jaane ka naam na lo
ro doonga
nanhi see zindadi main kho doonga
haaye haaye
choolha jalaate mori jhulsen ungaliyaan
haaye haaye
choolha jalaate mori jhulsen ungaliyaan
kuchh to karo
tum laaj

aa aa aa aa
jaee hoon main naihar ko aaj
jhagdo na saajan nithhalle
jhagdo na saajan nithhalle
sambhaalo ye peetal ke chhalle
sambhaalo ye peetal ke chhalle
ye hansuli
ye mundri
ye paanwon ki paajeb
ye hansuli
ye mundri
ye paanwon ki paajeb
jhumke hamelon ke saath
ho o o
main to jaaoongi naihar ko aaj

bigdo na sajni
baat baat par
bigdo na sajni
baat baat par
paaon dabaaun torey
paaon dabaaun torey
raat rat bhar
bigdo na sajni
baat baat par
paaon dabaaun tore
raat rat bhar
kaadun nihore tore
kaadun nihore tore
roothho na sajni mose
kaadun nihore tore
roothho na sajni mose
laa doonga baajuband aaj
ho o o o
tumhe laa doonga baajuband aaj

khaao kasam mori
haan haan kasam tori
khaao kasam mori
haan haan kasam tori
laa doge baajuband aaj
haan haan haan
baba laa doonga baajuband aaj

————————————————
Hindi script lyrics (Provided by Sudhir Kapur)
————————————————

ला दो साजन मोहे बाजूबंद
ला दो साजन मोहे बाजूबंद
नहीं जई हूँ
नहीं जई हूँ
नहीं जई हूँ मैं नैहर को आज
ओ ओ ओ ओ
जई हूँ मैं नैहर को आज
ला दो साजन मोहे बाजूबंद
ला दो साजन मोहे बाजूबंद
नहीं जई हूँ
नहीं जई हूँ मैं नैहर को आज

जाने का नाम ना लो
रो दूँगा
जाने का नाम ना लो
रो दूँगा
नन्ही सी
नन्ही सी
नन्ही सी
जिंदड़ी मैं खो दूँगा
जाने का नाम ना लो
रो दूँगा
नन्ही सी जिंदड़ी मैं खो दूँगा
हाय हाय
चूल्हा जलाते मोरी झुलसे उँगलियाँ
हाय हाय
चूल्हा जलाते मोरी झुलसे उँगलियाँ
कुछ तो करो तुम लाज

आ आ आ आ
जई हूँ मैं नैहर को आज
झगड़ो ना साजन निठ्ठल्ले
झगड़ो ना साजन निठ्ठल्ले
सम्भालो ये पीतल के छल्ले
सम्भालो ये पीतल के छल्ले
ये हँसुली
ये मुँदरी
ये पाँवों की पाजेब
ये हँसुली
ये मुँदरी
ये पाँवों की पाजेब
झुमके हमेलों के साथ
हो ओ ओ
मैं तो जाऊँगी नैहर को आज

बिगड़ो ना सजनी
बात बात पर
बिगड़ो ना सजनी
बात बात पर
पाँव दबाऊँ तोरे
पाँव दबाऊँ तोरे
रात रात भर
बिगड़ो ना सजनी
बात बात पर
पाँव दबाऊँ तोरे
रात रात भर
काडूँ निहोरे तोरे
काडूँ निहोरे तोरे
रूठो ना सजनी मोसे
काडूँ निहोरे तोरे
रूठो ना सजनी मोसे
ला दूँगा बाजूबंद आज
हो ओ ओ
तुम्हें ला दूँगा बाजूबंद आज

खाओ क़सम मोरी
हाँ हाँ क़सम तोरी
खाओ क़सम मोरी
हाँ हाँ क़सम तोरी
ला दोगे बाजूबंद आज
हाँ हाँ हाँ
बाबा ला दूँगा बाजूबंद आज


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 :

4139 Post No. : 15301 Movie Count :

4215

Hindi Songs in Bangla Films – 7
– – – – – – – – – – – – – – – – –

By now, I must have watched/heard about 20 Hindi songs from the Bangla films of 1950s-1970s. I have a feeling that there may be a few more Hindi songs in Bangla films which I have yet to explore.

A question came to my mind as to why some Bengali film directors have fascination to incorporate Hindi songs in Bangla films. Is it something to do with realism or the personal preferences of the film directors? After watching some of the videos of the Hindi songs in Bangla films, I have come to the conclusion that it is for the realistic depiction of the situations in the films. Almost, all the Hindi song situations in Bengali films that I have so far watched, belongs to semi-classical genre. The Hindi song situations mostly comprises of mujra dances, a teacher of Hindustani classical vocalist rehearsing with his student, actors in the role of Hindustani classical vocalists giving stage performances etc.

Today, I am presenting a semi-classical traditional dadra, ‘jiya mein laagi aan baan’ from the Bangla film ‘Atithi’ (1965). The film directed by Tapan Sinha is based on a short story of the same title by Gurudev Rabindranath Tagore. The dadra set in raag Gara has been sung by Meera Banerjee whose name I heard for the first time. A search on the internet revealed that Meera Banerjee was Hindustani classical vocalist belonging to Patiala Gharana. A brief profile of Meera Banerjee culled out from an article in ‘The Hindu’ July 5, 2012 issue is presented below:

Vidushi Meera Banerjee (28/03/1930 – 28/06/2012) was born in Meerut (Uttar Pradesh). Her father, Shailendra Kumar Chatterjee was a musicologist who gave her the initial training in music. Later she was trained by Pandit Chinmay Lahiri. She became the listed artist of All India Radio at the age of 14.

Pandit Harishchandra Bali of Jalandhar (see my note below) who was the Guru of Meera’s father saw her potential as a vocalist and gave her training in some rare bandishes composed by him. From 1950 onward, Meera Banerjee became the disciple of Ustad Bade Ghulam Ali Khan and remained so until his death in 1968.

Meera Banerjee attained the status of one of the prominent Hindustani classical vocalists in the genre of Khayal and Thumri in the 1950s. She participated in the National Programme of Music and other musical festivals in India. She travelled abroad as a part of cultural delegation of Government of India to give performances in various countries. She had won numerous awards for works.

In 1957, she married Pandit Prasoon Banerjee, also a Hindustani classical vocalist who also became the disciple of Ustad Bade Ghulam Ali Khan.

At the later stage of her life, due to poor health, she stopped giving public performances. Meera Banerjee left for her heavenly abode on June 28, 2012 in Kolkata.

———————————————————————————————–

Note : Pandit Harishchandra Bali is the same person as H C Bali who was the music director for about 25 Hindi films during 1930s and 40s. His disciples included Pandit Amarnath Chawla, Husnalal and Bhagatram.

Probably, this may be the only song Meera Banerjee sang for a film. In the film, the song has been partially picturised as part of a medley of three songs which follows one after another. The situations in the film seem to be many families travelling in boats. While the first song is a dadra, the second is a folk song and the last one is the Bangla song.

This dadra song in raag Gara is in the traditional lyrics which was first recorded in 1916 in the voice of Gauhar Jaan. Later, many prominent Hindustani classical singers have rendered this dadra including Meera Banerjee and Rasoolan Bai in a more elaborate way. The music director for the film was Tapan Sinha.

Video Clip (Partial):


Audio Clip

Song-Jiyaa mein laagi aan baan (Atithi)(Bangla)(1965) Singer-Meera Bannerji, MD-H C Bali

Lyrics

aaaaaaaan aa
aaaa..n baaaa..n
aaaa..n baaaa..n
jiya mein laagi aan baan
jiya mein laagi aan baan
jiya mein laagi aan baan
jiya mein
jiya mein laagi aaaa..n baaaa..n
jiya mein laagi aaaa..n baaa..n
jiya mein laagi aan baan
jiya mein laagi aan
o pyaari chitwan aa ??
jiya mein basi kaise phansi
jiya mein basi kaise phansi
aan baan
jiya mein laagi aan baan
jiya mein laagi aan
jiyaa…aa mei…n laaa..gi
aan baan re
aan baan
aan baan
jiya mein laagi aan baan

pairan laagi jhuk ke saiyyan
pairan laagi jhuk ke saiyyan
koi na meherbaan saiyyan
koi na meherbaan saiyyan
tum bin mohe kal na pade
tum bin mohe kal na pade
tumhre kaaran jaa..gi re
tumhre kaaran jaa..gi
aan baan
jiya mein laagi aan baan
jiya mein laagi aan baan
jiya mein laagi aan baan
jiya mein laagi aan baan
jiya mein laagi aan baan
jiya mein laagi aan baan
jiya mein laagi aan baan
jiya mein laagi aan

1965


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

Debaki Bose (1898 – 1971) is regarded as one of the pioneers in the field of film direction along with P C Barua, V Shantaram and Nitin Bose. After the production of talkie films started in 1931, Debaki Bose joined New Theatres and got his first chance to show his directorial skills in ‘Puran Bhagat’ (1933). This film is regarded as a turning point in the realm of talkie films. For the first time, the dialogue deliveries by actors were made more like natural talk than in the loud voices with theatrical gestures which was carried over to the films from the theatres. Debaki Bose also used expressions of the actors to supplement the dialogues.
Read more on this topic…


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