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

Posts Tagged ‘Harish


This article is written by Arunkumar Deshmukh, 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 :

4877 Post No. : 16672

Songs from Artiste Name Films….Second Season….No.1
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It was the most unexpected and hearty welcome to my very first post on this Blog on 1-10-2012. I was happy, elated and enthusiastic. I began writing posts after posts. In those days, like me there were some other contributors too, like Sudhir ji, Nahm ji, Sadanand ji etc.After 4-5- posts, I thought why not start a Theme Series of posts and I began my first Theme Series” Less known singers’ on 6-10-2012. The readers’ response was tremendous. After 10 songs, I started my second series ” Songs by Non- Singers’ 0n 28-11-2012.

This continued for about 3 years and during this period I did 26 different Theme Series of ,usually 10 songs. But in some cases I did more songs. For example in “Vintage Kishore” I did 21 songs. Thus in these 26 series, I covered 287 songs from as many films, from 30’s to 60’s. Those days readers used to shower comments. Readers were from all over, like UK,USA, Europe, West Indies, Fiji Islands, Australia, New Zealand, Singapore, Hongkong, Dubai etc and of course from all over India. These days, however, the comments have diminished.

There were series with novel ideas, but my favourite was ” Songs from films on Artiste Names “, which ran from 18-9-2014 to 18-10-2014-covering just 10 songs and 10 films. The series was very popular, as it contained information on that actress, even if she did not act in that film. The names were- Madhubala, Nargis, Veena, Usha Kiran, Renuka, Madhuri, Hansa, Zubeida, Kamala and Asha.

I have decided to restart my series of “Songs from Artiste Name Films” in its Second Season. Last time only actresses were covered. This time there will be a mix of actors and actresses. As usual, I will try to cover some less known or forgotten artistes. The posts are mainly for information on the artistes.

Today’s first film is GEETA-1940. In 1940, the first film to stress and emphasize the bad effects of crime and gambling, through a crime story mixed with social theme was made. This was Circo Productions’ film ‘Geeta’. It was the first ever film, which used the formula “Crime does not pay”. It was the first film in which one actor had done a double role of father and son. It was the first film, in which there was a tussle between a criminal brother and a brother who was on the side of the law. This was also the first film in which the mother testifies in the court against her criminal son, to punish him. This was the first film, in which Durga Khote started acting Mother’s role, bringing her career as a heroine to a close.

This was the beginning of a New Era, but the unsuspecting film industry did not recognise it. In the subsequent years and decades, the principle of “Crime does not pay” was used in several films – like ‘Kismet’ (1943) and ‘Sangram’ (1950). Even the remakes of ‘Geeta’ were made in the 1950s and the 1970s. The theme was used in a number of films.

Until the 40s, double roles in films were rare and still a novelty. Actually, the first double role in a Talkie film was in ‘Aawara Shehzada’ (1933). This film was based on the popular Mark Twain novel of 1881 – The Prince and the Pauper. Surprisingly, the first film on this novel was made in India. Hollywood followed much later with Warner Brothers’ film of the same name in 1937. Instead of a double role of one actor , they used two actors who were twins- Billy and Bobby Mauch for the two roles. In Hindi ‘Awara Shehzada’, the double role was done by Shahu Modak and the film was directed by Master Vithal, India’s first hero of the talkie films. Later, ‘Raja Aur Rank’ (1968), featuring Mahesh Kumar was made based on this story.

In the film ‘Geeta’, Chandramohan was the hero and had done the father and son double role. This was a bilingual film in Hindi and Marathi, and in both versions, Chandramohan was the Hero. Earlier, V Shantaram had given a break to Chandramohan in his film ‘Amrit Manthan’ (1934), which also was a bilingual film in Hindi and Marathi. Chandramohan being a Kashmiri and not knowing Marathi, in the Marathi version, his role of Rajguru was done by Keshavrao Datey.

However. soon Chandramohan picked up fluent Marathi and acted in the bilingual films of Hindi and Marathi like, ‘Jwaala’ (1938), ‘Geeta’ (1940) and ‘Apna Ghar’ (1942). He became the first Hindi actor to do roles in Marathi films.

The one line story of the film is “If father is a criminal and influences his son, he too becomes criminal”. In other words ‘parvarish’ or bringing up is important. Chandramohan’s brother’s role in the film was done by Trilok Kapoor. Trilok Kapoor became favourite ‘Mahadev’ of India after his film ‘Har Har Mahadev’ (1950) became a hit all over the country. His role in ‘Geeta’ was that of a sincere and law abiding Public Prosecutor, who in the final scene asks for the death sentence for his criminal brother! Shades of this in ‘Deewar’ (1975) – the mother too joins the good brother, becoming a witness against the criminal son.

Durga Khote had done the roles of wife and mother in this film. This was the end of her career as a heroine and the start of her character roles, ending her 8 years of being a heroine. Vatsala Kumthekar played the role of a Kothewali (which she actually was, before joining films). She was Sundari – the prostitute friend of young Mohan. Her younger sister – Lata’s role was done by Ashalata (Mehrunnisa Moosa Bhagat in reality). In real life, she was the wife of the composer Anil Biswas in this period.

The real sister of Vatsala Kumthekar was also in this film, but she played a different role in the film. She might be about 12 year old at that time. She was Baby Suman. She was also a good singer, being from a singers’ family. She has sung a few songs in this film. In the absence of information about songs in HFGK, we do not know which song was sung by whom. From the information I secured, she had sung at least 2 songs in the film. One was a solo (today’s song) and one was a duet with Harish. This Baby Suman was very beautiful.

In a way, the film ‘Geeta’ was a landmark film, because it opened up a new genre of crime films mixed with social themes. This was soon followed by the film ‘Kismet’ (1943) and later by film ‘Sangram’ (1950). Minoo Katrak was a famous sound recordist in later years of the 60s and 70s. At this time he was a writer and had written the story for this film. Screenplay and direction was by Parshwanath Altekar. Film ‘Geeta’ was remade as ‘Ustad’ in 1957 and again as ‘Karmayogi’ in 1978. In ‘Ustad’ (1957), Ashok Kumar did the father-son double role and in ‘Karmayogi’ (1978), Raajkumar did it. I saw the film ‘Geeta’ in 1960, when it came to a Hyderabad Theatre for a morning show. Even then it ran for 20 days, everyday at 11 am.

As I have said in today’s post we will know more about actress Geeta Bali. She was not acting in this film, but the film bore her name.

In the last so many years- till 1980 – I must have seen hundreds of Films- Hindi, Marathi, English, Tamil, Telugu, and Kannada. In the Hindi films, I can not forget 3 actresses, who were Bubbly, playful, with innocent looks and with Natural acting talent. They were Meena Shorey, Nalini Jaywant and Geeta Bali. I enjoyed every film of these actresses, which I saw. It is difficult to forget the role and acting of Meena Shorey in film ” Ek thi Ladki-49″, or Nalini Jaywant in film ” Hum sab chor hain-56″, or Geeta Bali in film ” Aji Bas Shukriya-58″. These were all my favourite actresses. It is very unfortunate that they all met their deaths in very tragic circumstances.

Geeta Bali’s dancing eyes and her animated, expressive face which mirrored her soul were her most outstanding features. Yet life was snatched away from this vibrant personality at an achingly young age of 35.It is some consolation that Geeta crammed a lot into her short life: 80 odd films in a ten-year career. She married struggling actor-turned-megastar Shammi Kapoor and mothered two children: a son and a daughter. Today, she is remembered as a wonderfully natural actress and a fabulous human being.She was quite close to her sisters and brother. Her childhood pet name was KEETA.

True, Geeta’s reputation as an actress rests more on her performances than her roles. Natural, spontaneous and gifted with a spot-on sense of comic timing, she never really found a vehicle worthy of her talent. Largely a shade better than the movies she starred in, she frittered away her talents in B-grade films. Probably the fact that she was born into a family that had to struggle for sheer survival and the fact that she reached the top through sheer grit had Geeta stress on quantity rather than quality. Film lore has it that when mentor [filmmaker] Kidar Sharma first met Geeta, she was living with her family in somebody’s bathroom!

Geeta Bali (real name Harkirtan kaur) was born in Amritsar on 30-11-1930, in a Sikh family, known for its religious and Scholarly traditions. Her father was a Sikh Missionary Preacher and travelled not only all over India, but also to Burma, Ceylon and Malaya. Due to frequent change of place, Geeta’s education was not consistent and it ended after 6th standard. When the family was in Kashmir, she joined the dancing and music classes. Keeta (her family nickname) did dance performances on stage in her schools.

When she was about 9-10 year old, she gave a public performance of her Dance in Lucknow. The puritans in their society objected, made a hue and cry and the pendal was burnt, to stop her show. Such experiences made her very bold in life. While at Lahore, Geeta directly entered the A.I.R. office to get a music contract. She got it also. She used to participate in Children’s programmes.

Through her Dance Director in A.I.R., she got into a documentary ” Cobbler” made by Shorey pictures. Impressed, she got a dance performance in film ” Badnami”-46 as well as Kahan Gaye-46 and Pancholi’s Patjhad-47, before moving to Mumbai. Impressed by her off-screen vivacity, Sharma cast Geeta in his Suhaag Raat (1948). Audiences related to her instantly and watched wide-eyed as she nonchalantly tossed her unconscious hero, Bharat Bhushan over her shoulder in a scene.
Soon, Geeta was inundated with contracts (that’s what they called film offers then). She accepted most. She won raves even in supporting roles like in the 1949 Suraiya starrer Badi Behan and the Madhubala starrer Dulari. In 1951, she became a major star with Guru Dutt’s first hit, Baazi (she went on to do three other films under his direction). Geeta played a gangster’s moll with a golden heart to Kalpana Kartik’s conventional heroine. But Geeta played her role with such gay abandon that hero Dev Anand divulges, “People came repeatedly to theatres to see Geeta’s spirited dancing to Tadbeer se bigdi hui taqdeer bana de.

Next she worked with Raj Kapoor in Bawre Nain-50, Bhagwan’s Albela-51 and Navketan’s Baazi-51. Now there was no looking back. Geeta Bali went on to act in 80 films in her short career of just 14 years. She even sang a few lines in a song from the film Rangeen Raaten-56, with Shamshad Begum and Uma Devi. She worked with Prithviraj Kapoor in Anand math-52 and his sons Raj kapoor in Bawre nain and in many films with Shammi kapoor. With Dev Anand she did Baazi, Faraar, Milap, Jaal, Zalzala, Ferry and Pocket Maar. She worked opposite Ashok Kumar, Motilal, Balraj Sahani, Prem Adib, Jairaj, Rehman, Bharat Bhushan, Abhi Bhattacharya, Kamal Kapoor, Karan Dewan, Shekhar, Sajjan, Amarnath, Jaswant and Suresh.

Some of her notable films were, Girls’ School-49, Dulari-49, Badi bahen-49, Nishana-550,Bawre Nain-50, Baazi-51, Albela-51, Zalzala-52, Raag Rang-52, Anand Math-52, Jhamela-53, Baaz-53, Daaku ki Ladki-54, Vachan-55, Miss Coca Cola-55, Jawab-55, Faraar-55, Bara Dari-55, Albeli-55, Pocket Maar-56, inspector-56, Coffee House-57, Mujrim-58, Jailor-58, Aji Bas Shukriya-58, Mr. India-61 etc etc.
Geeta proved she could do tragedy (Sharma’s Raj Kapoor starrer Bawre Nain) or and play the lighthearted heroine to comedian Bhagwan in the super successful Albela. Albela’s swinging C Ramchandra composed songs like Shola jo bhadke and Sham dhale mere khidki tale made front-benchers dance with the stars and even fling coins on screen. Pug-nosed Geeta was no conventional beauty, but that transparent face and that smile constantly flirting on her lips made sure you couldn’t tear your eyes away from her.

Watch Geeta Bali in the Guru Dutt-directed Jaal (1952). Dev Anand, a cigarette-smoking smuggler on the run from the police, tries to entice morally upstanding heroine Geeta into his web. Geeta evocatively communicates her struggle against, and her eventual surrender to, handsome Dev’s seduction call Yeh raat, yeh chandni phir kahan Famously down-to-earth despite her star status, Geeta was the antithesis of the coy 1950s’ heroine. She often drove herself to her premieres in an open jeep. Those who knew her claim she was a Samaritan who touched the lives of whoever she met. She is said to have personally groomed Mala Sinha, then a newcomer.

To date, so many years after her death, her secretary Surinder Kapoor’s (Boney Kapoor’s father) productions begin with a shraddhanjali to Geeta Bali.

Shammi Kapoor entered her life when they worked in the quaintly named Miss Coca Cola and Coffee House together. On an impulse, Geeta played a small role of a man in Sharma’s Shammi Kapoor starrer Rangeen Raatein. On the film’s Ranikhet outdoor, Shammi and Geeta fell in love. Kapoor was a year younger to her and was not yet a star, but the twosome were hell bent on marrying each other. Geeta had worked with Shammi’s eldest brother, Raj Kapoor in Bawre Nain, and with his father, Prithviraj Kapoor in Anand Math, Shammi was unsure about their reaction to this match. But on August 23, 1955, with producer-director Hari Walia and friend Johnny Walker as witness, the couple were married at the Banganga Temple at 4 am.

Geeta continued to work after marriage in a few films like Sohrab Modi’s Jailor (1958), where she won raves as a blind girl. With Shammi Kapoor turning into a huge star and the birth of her two children Aditya (nicknamed Mickey) and Kanchan, she eased her workload.

The desire to do that one fulfilling role she would be remembered for prompted Geeta to attempt the production of a classic for herself. She started Rano, based on Rajinder Singh Bedi’s famous novel, Ek Chadar Maili Si, based on a widow’s remarriage to her brother-in-law. Upcoming star Dharmendra played her hero.

Geeta, had not been vaccinated for smallpox, despite the fact her father too had died of Smallpox. She had ignored repeated warnings in the childhood. She contracted the dreaded disease while shooting the film. The best care was rushed to her, but her fever apparently reached 107 degrees. Her doctor saw a picture by his patient’s bedside and asked who the pretty lady was. The disease had so wracked Geeta’s frail frame that he didn’t recognise her as the same person!

Geeta Bali passed away on January 21, 1965, leaving behind eight-year-old Aditya and three-year-old Kanchan in the care of a devastated Shammi Kapoor.

Ironically, she was cremated in Banganga, not far from where she was married. ( adapted from Rediffmail.com, books Star Portraits by Harish Booch and Stars of the Indian Screen by Baburao Patel, India Today, Yaadon ki Baaraat by Shirish Kanekar and my notes – with thanks.)

Songs of the film Geeta-1940 are not available anywhere and are difficult to find. On my request our friend shri Deepak Choudhari ji provided me with this song. My hanks to his generosity. Our own Sadanand ji helped me by uploading it, my thanks to him too. The song is sung by Baby Suman, Harish and chorus.


Song-Saanwra murliwaala Yashoda ne paala Gwaala (Geeta)(1940) Singers- Baby Suman, Unknown female voice, Harish, Lyricist- S K Kalla, MD- D P Korgaonkar (K Datta)

Lyrics

Saanwra murliwaala
haan Saanwra murliwaala
Yashoda ne paala Gwaala aa aa aa
Saanwra murliwaala

chunmun chunmun aangan ghooma
nand ?? tan man ??
chunmun chunmun aangan ghooma
nand ?? tan man ??
gopin ne sundar mukh chooma
ichhaa roop banaao ??
gwaala aa aa
aa aa aa aa
Saanwra murliwaala

maakhan ?? dil ko churaaya
maakhan ?? dil ko churaaya
paapi ?? cheer hara
paapi ?? cheer hara
tan man ki sudh har lee usne
yuva bhaya nandlala aa aa
yuva bhaya nandlala aa aa
Saanwra murliwaala
Yashoda ne paala gwaala aa aa
Saanwra murliwaala

Kans ko maara
Mahabharat bhi
Kans ko maara
Mahabharat bhi
karm sikhaaya Geeta kahi
karm sikhaaya Geeta kahi
?? hain dev hamaare
?? hain dev hamaare
?? hain dev hamaare
bol hain unke aalaa aa aa
bol hain unke aalaa aa aa
Saanwra murliwaala
Yashoda ne paala gwaala aa aa
Saanwra murliwaala


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

Blog Day :

4687 Post No. : 16371 Movie Count :

4446

‘Nai Roshni’ (1941) was produced by Mehboob Khan under the banner of National Studios and was jointly directed by Chimankant Gandhi and Lalit Mehta. The star cast included Sardar Akhtar, Harish, Husn Bano, Amar, Kanhaiyalal, Sunalini Devi, Sankata Prasad, Budho Advani, Agha, Baby Meena etc.

The director-pair of Chimankant Gandhi and Lalit Mehta had also directed ‘Aasra’ (1941) and Lala Ji’ (1941) – both under the banner of National Studios. Those days, under studio system, it was not uncommon to have two directors for films. It is possible that the original directors assigned for the films were unable to continue their assignments due to a variety of reasons. But when the same pair of directors is repeated in more than one film, it can be safely assumed that the pair has jointly directed the film. For example, Bakul Bhatt and Babubhai Mistri jointly directed two films – ‘Muqabala’ (1942) and ‘Mauj’ (1943). V G Damle and Sheikh Fattelal jointly directed 3 films – ‘Gopal Krishna’ (1938), ‘Sant Dnyaneshwar’ (1940) and ‘Sant Tukaram’ (1948).

There were a few cases where only one film was jointly directed by the pair of directors but not as a substitute for the original director. For example, Zia Sarhadi and Mahendra Thakore jointly directed ‘Postman/Abhilasha’ (1938), Virendra Desai and Mahendra Thakore did for ‘Sadhana’ (1939) and S U Sanny and M Sadiq for ‘Namaste’ (1943).

On checking the details of some of the films produced under the banners of Sagar Movietone and National Studios, I found that Chimankant Gandhi and Lalit Mehta had worked as Assistant/Chief Assistant Director to Mehboob Khan in some films beside also involved in the other areas of film productions since the early years of Sagar Movietone after the advent of sound films These two names are also mentioned in the book, ‘Sagar Movietone’ by Biren Kothari.

Both Chimankant Gandhi and Lalit Mehta were in the inner circle of friends of Mehboob Khan from his Sagar Movietone days. Chimankant Gandhi had started with Mehboob Khan as his Assistant Director from ‘Deccan Queen’ (1936). He continued his association with Mehboob Khan in the same capacity until Mehboob Khan’s last film, ‘Son Of India’ (1962). I have noticed that in the credit titles of the films, the name of Chimankant Gandhi appeared first and that too in bold/capital letters among Mehboob Khan’s 3-4 assistant directors. This shows how important Chimankant was for Mehboob Khan. Lalit Mehta worked as Production Controller and in other capacity with Mehboob Khan during his days in Sagar Movietone and National Studios until he independently directed ‘Amaanat’ (1943) and ‘Azaadi Ki Raah Par’ (1948). I could not trace Lalit Mehta’s filmy career after 1948.

‘Nai Roshni’ (1942), brings another long-term association of Mehboob Khan with Agha Jani Kashmiri, the story, screen-play and dialogues writer. Lucknow-born Agha Jani Kashmiri (1908-1998) had a very interesting journey to his filmy career. At the age of 24, he ran away from his home to Rangoon to become the lead actor in ‘Shaan-E-Subhaan’ (1933) opposite Sultana. After working in a few films at Kolkata, Agha Jani Kashmiri came to Mumbai some time during the second half of 1930s and joined Bombay Talkies. Himanshu Rai, the boss of Bombay Talkies, after knowing his literary background encouraged him to pursue the career in story, screen-play and dialogue writing. He got the first assignment as a screen-play writer for ‘Vachan’ (1938) which was a box office success. He had a small role in Bombay Talkies next film, ‘Bhabhi’ (1938).

In 1940, Agha Jani Kashmiri joined Mehboob’s National Studios and wrote story, screen-play and dialogues for ‘Aasra’ (1941) and ‘Nai Roshni’ (1941). With the closure of National Studios in 1942, Mehboob Khan set up his own production house, Mehboob Productions. The first film produced under the new banner was ‘Najma’ (1943) for which Agha Jani wrote story, screen-play and dialogues. The film was a box office success. Thereafter, Mehboob Khan and Agha Jani Kashmiri combination tasted high box office success in ‘Taqdeer’ (1943), ‘Humayun’ (1945), ‘Anmol Ghadi’ (1946) and ‘Anokhi Ada’ (1948). Agha Jani Kashmiri’s last film with Mehboob Khan was ‘Amar’ (1954).

During his filmy career, Agha Jani Kashmiri wrote story/scree-play/dialogues for over 50 films most of which were box office hits. It was an irony of fate that ‘Tohfa’ (1948), the only film which he produced, directed and wrote story, screen play and dialogues, failed miserably at the box office. But this failure did not dent his stature as a screen-play and dialogue writer. He continued to be active in the film industry until about mid-1970s when he and his wife migrated to Canada to joined his two sons who have settled there. Agha Jani Kashmiri died on March 27, 1998 in Toronto.

‘Nai Roshni’ (1941) was released in Mumbai on November 8, 1941 and a review of the film was published in January 1942 issue of ‘Filmindia’. Based on the review, a summarized version of the story is given below:

Bihari (Amar) is a bank manager and Indira (Sardar Akhtar) is his fashionable wife. Mohan (Kanhaiyalal) is a clerk in the same bank whose financial condition is poor. He has a demanding wife in Vijaya (Sunalini Devi). His daughter, Geeta (Husn Bano) is of a marriageable age. Master ji (Sankata Prasad)’s family stay in the neighborhood of Mohan who has a grown-up son, Madan (Harish), a music teacher. Geeta has joined Madan’s music class and both love each other. But the marriage will have to wait until the financial condition of her father, Mohan improves.

Bihari has a reputation of having affairs with girls. One day, when his wife is away, he brings a girl to his house but is caught red handed by his wife. In order to bring her husband to the senses, Indira hatches a plan in which she pretends to have an affair with Madan by joining his music class. Madan is unaware that Indira is the wife of bank manager, Bihari. The ‘affair’ comes to the notice of Bihari and he is determined to end his wife’s affair with Madan. However, when he is made to believe that Madan has been staying in his house with Indira, Bihari hatches a counter plan which results into some hilarious situations. The only way, Bihari can end his wife’s ‘affair’ is to get Madan married to Geeta which he succeeds. At the end, parents of Geeta and Madan are happy and Indira is happy that her husband has realised not to have his extra-marital relationship.

The film had 11 songs, all written by Dr. Safdar Aah Sitapuri and set to music by Anil Biswas. None of the videos of the songs was available on any video sharing platform. So, I have uploaded a song, ‘wo poochhten hain ae dil tu kiska hai shaidaayi’ which I am presenting here. The song is rendered by Harish and Sardar Akhtar. The audio quality of the song is not up to the mark as the background music sounds as loud as the song rendition. The reviewer of the film had criticised the sound recording of the film.

A feature of this song is that it has a long prelude music (103 seconds).

With this song, ‘Nai Roshni’ (1941) makes its debut on the Blog.

Audio Clip:

Song-Wo poochhte hain ae dil tu kiska hai shaidaayi (Nai Roshni)(1941) Singers-Harish, Sardar Akhtar, Lyrics-Safdar Aah Sitapuri, MD-Anil Biswas
Both

Lyrics

wo poochhten hain ae dil
tu kiska hai shaidaayi
wo poochhten hain ae dil
tu kiska hai shaidaayi

chup hoon to jiyoon kaise
boloon to hai ruswaayi
chup hoon to jiyoon kaise
boloon to hai rusawaayi

wo poochhten hain ae dil
tu kiska hai shaidaayi
wo poochhate hain ae dil

kyun aag uthaata hai
tu phool ke dhokhe mein
kyun aag uthaata hai
tu phool ke dhokhe mein

leti hai ?? aankhon ko kinaaraa ??
let hai ?? aankhon ko ??
wo kam hai jo kar guzre
deewaana wo deewaana
wo kam hai jo kar guzre
deewaana wo deewaana

jab zabt karaana thha
phir kyun kiya saudaayi
jab zabt karaana thha
phir kyun kiya saudaayi

wo poochhaten hain ae dil
tu kiska hai shaidaayi
wo poochhaten hain ae dil
tu kiska hai shaidaa..yi


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 :

4642 Post No. : 16304 Movie Count :

4429

Today’s song is a duet from film Uski Tamanna aka Her last desire-39. Have you ever heard about this film ? I have also never known this film. But then, barring a few well known, successful film names, one really does not know any other film names in a specific year. Majority of films are like this only.

The year was 1939 and the British Government had declared war against Germany and japan, as soon as the WW II began. All countries ruled by Britain were – willingly or unwillingly, drawn into the war efforts and its effects. The war began in the month of September and soon various restrictions came into operation – like rationing, blackouts, shortages etc. The film industry which was still under its development stage suffered. It also realised the importance of remaining united as one industry. However, all that came after 1 or 2 years. In 1939 there was not much effect seen on the film industry.

The industry had its own problems. In spite of the playback system in operation, their problem was that because there was no technique of recording from the film negative yet, the singers had to sing twice. Once for the actual film shooting of the song, and later, with the same set of orchestra, for commercial records. Sometimes, the original singer was not available due to any reason, some other singer had to sing for commercial records. Thus we have many such examples, where the singer in the film song and the record is different. However, this problem continued only till mid 50’s when the Tape and the required technique became available. With just one time recording, the film and commercial recording were taken care of.

Khemchand Prakash. K.Datta (Datta Koregaonkar), Rafiq Ghaznavi and Anupam Ghatak made their Debut as Music Directors. Kavi Pradeep wrote his first film song for film Kangan. In 1939, 2 most Unusual songs were presented, for the first time ( and this record is not yet broken even after more than 80 years.). One was a Multi-Lingual song from film Aadmi-39, a film by Prabhat….Kis liye kal ki baat. This song was in Hindi, Urdu, Punjabi, Gujarati, Bangla, Tamil and Telugu. ( In its Marathi film version-” माणूस “, this song was only in one language-Marathi.) Different Lyricists and MDs were used for each language. The song became very popular.

Second unusual song was from film ‘ Ghareeb ka Laal’-1939. The song lyrics had the names of 32 artistes, operating in Hindi films that time. Top Heroes and Heroines were mentioned in this song. The beginning of the song was ” Tuze Bibbo kahoon ya Sulochana, Uma shashi kahoon ki Jamuna “. This song was sung by the comedian Mirza Musharraf. In later years many songs with film artistes’ names came but none had so many names. Thus this record is still unbroken, in case of both songs.

Besides these songs, let us quickly take a look at some films of 1939….

Aadmi – Prabhat’s hit film, a remake of the Marathi film ” माणूस “. It had some good songs by Shanta Hublikar, Sundarabai Jadhav and Ram Marathe.

Adhuri Kahani – a trend of Tragedy films set by the effect of film ‘Devdas’. All the 3 main characters of this film commit suicide in the end.

Badi Didi – A New Theatres film.

Brandy ki Botal – Master Vinayak’s comedy remake of Marathi film ‘ ब्रॅंडीची बाटली ‘.

Dil hi to hai – Debut of Kidar Sharma as a Director and Ramola as a Heroine in a Hindi film.

Dushman – New Theatres’ film of Saigal, with only his 4 songs.

Ek hi Raasta – Sagar presents first film with 3 Heroes in one film.

Ghazi Salauddin – Debut of Khemchand Prakash as M.D.

Hukum ka Ikka – First film with a Triple role by Umakant Desai ( who later specialised as Lakshman in 7 films, including Ramrajya-43).

Imaandaar – Debut of actress Shamim Akhtar.

India in Africa – This was the First Hindi film to be shot abroad (in Africa). The Hero B. Nandrekar had also gone to Africa for its shooting. Naaz-54 was not the first such film, though HFGK mentions it so.( Ref – pp 69, Maharashtra-The Birthplace of Indian cinema by Isak Mujawar)

Kangan – First of the 4 Hit films of Ashok kumar and Leela Chitnis, made by Bombay Talkies. Kavi Pradeep’s Debut as a Lyricist in this film.

Kapal kundala – New Theatres. Pankaj mullick’s hit song ‘ Piya milan ko jaana ‘.

Leather Face – Debut of Meena kumari as a child artiste.

Navjeevan – Debut of Hansa Wadkar as a Heroine- Bombay Talkies film.

Pukar – Hit film from Minerva Movietone. Naseem Bano sings ” Zindagi ka saaz bhi kya saaz hai….”

Film Uski Tamanna aka Her last desire-1939 was directed by Yakub and the music was by Anupam Ghatak. he was employed by Sagar movietone and gave music to its 6 films.he was one artiste who died quite young.

The music Director Anupam Ghatak – the second-generation Bengali-Hindi composer (after Rai Chand Boral and Pankaj Mullick) was born in 1911 at Mymensingh(now in Bangladesh). He took music lessons from father Atul Ghatak and Keshav Ganesh Dhekan. He became an excellent Flautist. After a short stint in AIR,as a singer in 1930, he joined as assistant to Bishen Chand Boral (brother of Raichand Boral) and later to R C Boral himself for Vidyapati-1937
First independent film score: Payer Dhulo. Later worked at Sagar Film in Bombay, composing Zia Sarhadi’s Bhole Bhale and a series of films for Badami, Luhar et al. (1939). Returned to Calcutta, notably for Barua’s Shapmukti; thereafter had assignments in both Calcutta and Lahore. Known for his wide range, from the sentimental Ekti paisa dao go babu in Shapmukti to the experimental Gane more kon indradhanu in Agni Pareeksha.

His Hindi film career started with ‘Tarzan ki Beti-38 and Bhole Bhale-39. He gave music to only 17 Hindi films, which included Ladies Only, Service Ltd.,Sadhana, Uski tamanna, Civil marriage, Sri Ramanuj etc. In Lahore he did Champa, Badnami and Shalimar, before Partition. His last Hindi film was Shamsheer, which was released only in 1953,after he died in 1947 itself.

The cast of the film was Yakub, Maya Banerjee, Jyoti, Bhudo Advani, Putlibai etc etc. The name Putlibai may be unknown to many. There was a famous dacoit in Chambal Ghati, by this name in the decade of the 50’s, but actress Putlibai has no connection with that. Mothers and daughters acted as leading ladies in the same era….Miss Putli or Putlibai and Miss Gohar Mamajiwala (the term Miss was used not merely to state the marital status of the leading ladies of those days)….

Like Miss Sharifa and Husna Banu , Putli and Gohar were mother and daughter. Putli was an accomplished actress of the silent screen who championed in the Talkies because of her extraordinary singing talents. Gohar was born in 1910 and entered the screen in 1926, where her mother Miss Putli too entered more or less the same time. Information about Miss Putli is very limited however, Gohar became India’s popular iconic star and is still remembered today.

Miss Putli acted in 33 Talkie films. Her first Talkie was Ratan Manjiri-35 and her last film was Dhoke baaz-46. She sang one song each in the film Lehri Badmash-44 and Dhokebaaz-46.

Today’s song is a duet sung by Harish and Maya Banerjee. With this song, film Uski Tamanna makes its Debut on our Blog. Including this film, my last 5 posts were from films which made Debut on the Blog. Today’s rare song was given to me by shri Abhay Jain ji (USA) and was uploaded kindly by our Sadanand Kamath ji. Thanks to both.


Song- O mast nazar diljaani teri taaza rahe jawaani (Uski Tamanna)(1939) Singers- Harish, Maya Banerjee, Lyricist- Pt. Indra, MD- Anupam Ghatak

Lyrics

O mast nazar diljaani ee ee
mast nazar diljaani
o mast nazar diljaani
mast nazar diljaani
teri taaza rahe jawaani ee
teri taaza rahe jawaani ee
mast nazar diljaani
o mast nazar diljaani
hai hamko pyaas bujhaani ee
hamko pyaas bujhaani ee
hai hamko pyaas bujhaani ee
piye aankhon ka paani ee
piye aankhon ka paani ee

mast nazar diljaani
o mast nazar diljaani
mast nazar diljaani

chaar nazar hai hone waali
aaa ha haha
ha ha ha ha ha
kuchh paa ke
kuchh khone waale

aaa ha haha
ha ha ha ha ha
chaar nazar hai hone waali
aaa ha haha
ha ha ha ha ha
kuchh paa ke
kuchh khone waale

aaa ha haha
ha ha ha ha ha

jeevan ki ee ee
jeevan ki ee phulvaari mein
jeevan ki ee ee
jeevan ki ee phulvaari mein
seenche aasha ka paani
seenche aasha ka paani
madhur prem veena ki dhun se
gaaye prem kahaani
gaaye
gaaye prem kahaani
madhur prem veena ki dhun se
gaaye prem kahaani
gaaye
gaaye prem kahaani


This article is written by Peevesie’s Mom, 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 :

4355 Post No. : 15675 Movie Count :

4318

Hullo Atuldom

In one of his recent posts our Avinash ji has suggested that there should be a category of posts – ‘Post inspired by fellow Atulite’ or ‘Post inspired by Atulite WA group chat’. I would like to borrow a phrase from Sudhir ji ‘thank you for the nudge’ and direct it towards Avinash ji. If not for Avinash ji I would have written this post a month later. Don’t know how I mixed up dates. And there have been posts wherein Atul ji has credited me with being good at remembering dates. It is not so Atul ji, calendars also need reminders.

I am 100% sure that the followers of this blog and non-followers too will be aware of a movie that released in the 70s. 1975 to be exact. It went by the name ‘Sholay’. It was a multi-star-cast movie that ran for years in a single cinema hall in Mumbai. This blog has already covered each and every song possible from that movie with detailed posts accompanying them. I am sure, the readers are wondering, why I am revisiting the movie then? Well ‘Sholay’ is something like an ‘Amar Akbar Anthony’ (1977) or any other formula movie. ‘AAA’ had a lost-and-found formula which was repeated in many movies after it. ‘AAA’ itself was a copy of numerous movies preceding it with the lost-and-found theme. It can be safely said that Indian movies thrive as much on the stories of the Ramayan and Mahabharata as they do on the lost-and-found theme.

So, where does ‘Sholay’ fit, in the scheme of things? Well, the ‘Thakur-Dacoit-Hired help’ formula has been repeated in a few movies too. Personally I have seen three movies on that story-line, there may be more. Two of them had a female for Thakur. That is, someone out to avenge the injustice meted out to her assisted by guys – ladies were SUPPOSED to be naajuk, bebas, etc. and a widow to add masala to the story. I am sure a woman of the new millennium will protest at the description of bebas, naajuk – even I will protest. There were Basanti and Radha as love interests in ‘Sholay’ – all the remakes also had ladies to distract the Veeru and Jai of the remakes.

Yesterday I saw ‘Army’ which had released on 28th June 1996 i.e. exactly 8 days short of 24 years ago. It was directed by Raam Shetty, produced by Nitin Manmohan and Mukul Anand and had music by Anand Milind. This is one of the ‘Sholay’ remakes that I spoke of in the previous paragraph. It has Sridevi playing a pregnant widow out to avenge her husband’s death for which she takes the help of five prisoners who are on the death-row. I hope the ‘Sholay’-connect has been explained. Explaining further- there it is two prisoners, here it is five. There the prisoners escape hoodwinking the ‘Angrezon ke zaamane ka Jailor‘; here Sridevi helps the prisoners get out of prison using sleep-inducing sweets. In ‘Sholay’; the thakur’s house was on a hillock overlooking the village, even that was replicated in ‘Army’. The prisoner’s are holed up in a secluded house that overlooks the area adjoining the palace of Sridevi’s tormentor. This was then the background of the movie from which I am presenting a song to our today’s birthday boy.

Coming back to the thoughts expressed in the opening paragraph, I asked Avinash ji if he was aware of the favourites of our today’s birthday boy. Favourite actor, singer, music director etc. Both of us thought hard and found that we don’t know much about his favourites but he knows all of us fairly well. What I do know, he has a ‘more than’ good knowledge about cricket and movies. He loves his pets and they are the family that live with him as his wife is working in a different town and daughter is a student elsewhere. Of late I have discovered that he has a love for the progresses that the country has made in the various sectors post the ’98 Pokharan tests. He is proud to be employed in the biggest service provider of the nation.

In addition to all that he has a unique sense of humor, which surfaces often on the blog in his posts and is given the title “Atulism” by our very own Rajaji.

Its is the birthday of the brain behind this blog, our Ranchiwala Gaanewala (Sudhir ji’s title for him). Wish you a very Happy Birthday Atul ji from your Army of contributors. We wish you all the best with lots of fun and music.

Today’s song is a lively song where the prisoners are having a party-like song and dance before escaping from the prison. It is sung by Alka Yagnik, Abhijeet and Vinod rathod. The two male singers are playback for Ravi Kishan. Ronit Roy, Sudesh Berry, Mohnish Behl and Harish who feed the jailor Kiran Kumar a laddo during the song and the favour is returned by the jailor. So when the song ends the rest of Sridevi’s Army have to bodily carry him out of the prison. It was an entertaining movie but becomes too violent towards the end. Whatever gory violence was snipped out of ‘Sholay’ found itself here.

Once again wishing our leader Atul ji a very Happy Birthday

Song – De Taali, De De De De Taali  (Army) (1996) Singer – Alka Yagnik, Abhijeet, Vinod Rathod, Lyrics – Sameer, MD – Anand Milind
Chorus

Lyrics 

hae haa ho
hae haa ho
hae haa ho
hae haa ho
hae haa ho
hae haa ho
hae haa ho

chaudi chaudi sadak nahin
koi tadak ya bhadak nahin
oonche oonche ghar nahin
lafda jhagda darr nahin
shor sharabaa yahaan nahin
khoon kharaba yahaan nahin
kehne wale jail kahein
par yahaan badi khush haali
de taali de de de de taali
de taali de de de de taali

chaudi chaudi sadak nahin
koi tadak ya bhadak nahin
oonche oonche ghar nahin
lafda jhagda darr nahin
shor sharaba yahan nahin
khoon kharaba yahan nahin
kehne wale jail kahein
par yahan badi khush haali
de taali de de de de taali
de taali de de de de taali

aaaa aaaa aaaa

hansi udaaye yaar hamaari
baat koi na maane
hum kaise andar aayein hain
koi bhi na jaane
baahar jeena hai to yaaro paisa chaahiye
khaana peena hai to yaaro paisa chaahiye
naukri maangoon to sarkaar paisa maange
khaali ghoomoon to dost yaar paisa maange
taxi chalaoon hawaldaar paisa maange
ghar jo jaoon to parivaar paisa maange
kisi bank mein mera koi khata nahin
koi fokat mein khaana khilaata nahin
apna to yeh kehna hai
humko andar rehna hai
apna toh yeh kehna hai
humko andar rehna hai
yahan toh apni zindagi hai tension se khaali
de taali de de de de taali
de taali de de de de taali
hae haa ho
hae haa ho

bina degree ke kaam yahaan sab ko mile
kaam karte hi daam yahaan sab ko mile
yahaan time se roti sab ko mile
dal chaawal boti sab ko mile
bina bhaade ke kholi sab ko mile
arre yaar humjoli sab ko mile

haan haa haa haaa
hoo hoo oo
aaj ka din bhi achha din hai
sundar bada muhoorat hai
tum jaise logon ki pyaare
baahar bahut zaroorat hai
baahar jao
jaa ke duniya walon ko samjhao
subah shaam marne waalon ko tum jeena sikhlaao
jo bhi baahar jayega woh jeevan bhar pachhtayega
jo bhi baahar jaayega
woh jeevan bhar pachhtayega
baahar jaake milegi humko nafrat gurbat gaali
de taali de de de de taali
de taali de de de de taali

chaudi chaudi sadak nahin
koi tadak ya bhadak nahin
oonche oonche ghar nahin
lafda jhagda darr nahin
shor sharaba yahaan nahin
khoon kharaba yahaan nahin
kehne wale jail kahein
par yahaan badi khush haali
de taali de de de de taali
de taali de de de de taali
hae haa ho
hae haa ho
hae haa ho
hae haa ho


This article is written by Arunkumar Deshmukh, a fellow enthusaist 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 :

4249 Post No. : 15468 Movie Count :

4262

Today’s song is from film Amanat-43. There were 4 films with the same title, made in 1943, 1955,1975 and 1994. The films of 1955 and 1975 have already been yippied on the Blog. Amanat-43 makes its Debut with today’s song. The song is sung by Tara Harish.

When I had heard this name first time, somewhere in the late 40s, I had thought that this was some lady’s name. Later I thought that it was a joint name of two persons – one female and one male. However, after I read about ‘him’, his name mystery was solved. Harish, also known as Tara Harish, was born on 23-10-1916 at Delhi. His real full name was Tarachand Anand Biharilal Mathur. He was distantly related to Motilal and Mukesh. His father died when he was just 3 year old. He was brought up by his brothers and uncle. He graduated in 1937. After trying and failing in a second hand car business, he decided to enter film world and joined Sagar Movietone, where Motilal was getting established.

His first foray into films was in film ‘ 300 days and after ‘-38. In this film, however, he was uncredited. He got roles in other films like Postman, Ladies only, Service Ltd, Hum,Tum aur Voh, Ek hi Rasta, Civil marriage, Aurat, Nai Roshni, Vijay, Haqdar etc etc. He used to sing also in the films. As a Hero his last film was Amanat-43.

Harish took up Direction with film Beda Paar-44, a stunt C grade film, but soon he directed many social films also. In his career he directed 21 films. Some of his films are Toote tare-48, Ustad Pedro-51, Malhar-51 ( originally Harish was to be the hero, but he gave chance to Arjun), Daku ki ladki-54, Lalten-56, kali Topi laal rumaal-59, Do Ustad-59, Burmah Road-62. His last film, as a Director, was Awara Abdulla-63.

Harish acted in 21 films. He sang 39 songs in 16 films ( stats by MuVyz). He established his own production company- Omar Khayyam Films. When he was directing film Ustad Pedro-51, he changed the name of actress Nargis Rabadi to Shammi, since another more famous actress of same name- Nasrgis- was existing already in films.

Tara Harish died sometime in 1970.

Film Amanat-43 was made by N R Desai Productions and it was directed by Lalit Chandra Mehta. Earlier, Mehta had directed 2 films, namely, Nai Roshni and Lalaji, both in 1941. After Amanat-43, he directed one more film- Azadi ki raah par-48, before disappearing from films, as I did not find his name in any film later on.

The film had music by Ninu Mujumdar. There were 8 songs, written by Neelkanth Tiwari, MA. This Sahitya Academy award winner hailed from Madhya Pradesh. He was a very well known poet and a writer and was highly respected in film industry. He was a friend of Dilip kumar and Kishore kumar. He even acted in films like Nirdosh and Apna paraya in 1941. Both films were made by National studios. Tiwari also tried his hand at singing a song in film Nirdosh-41.

As a lyricist, he wrote 140 songs in 36 films. His last film as a lyricist was Hameer Hath-64. First song of Mukesh-“Dil hi bujha hua ho” from film Nirdosh-41 as well as the first yodelling song of Kishore kumar from film Adhikar-54 were written by him.

In addition to film songs, he also wrote many Jingles for advertising companies, for various products. After films he returned to M.P. and continued writing. He died on 11-2-1976, leaving behind wife Rama Devi, 2 daughters and one son.

The cast of film Amanat-43 was Harish, Husn Bano, Sankata Prasad, Bhudo Advani, Jyoti, Dulari, Nawab, Master Badri and many more. Actress Jyoti, besides acting in the film had also sung 2 duets in the film, one with the composer Ninu Mujumdar and the other with Dulari. This Dulari does not seem to be the one who acted in film Shehnai-47 and on whom the famous song “aana meri jaan Sunday ke Sunday” was filmed. She also became a popular character artiste in later films. She could neither sing nor dance, according to her interview published in Blog Beete hue din run by Shishir krishna Sharma ji. This singer Dulari may be Shama Dulari who later on had a 3 year contract with Shalimar Pictures, Poona and acted/sang in 3 of the films under this banner. Before Amanat, she seems to have sung songs in film Jhankar-42 also.

JYOTI ( real name Sitara Begum) was born in 1921 in a professional singer’s house in Agra-UP. Waheedan Bai was her elder sister. She was Nimmi’s aunt also.
She grew up in a musical atmosphere. She learnt the classical music of Agra Gharana.
Her entry into films was easy due to elder sister already being in films. Anil Biswas gave her first opportunity in Comrades-39 to act and sing 2 solo songs.
Then came Ek hi Rasta and Sadhana. She had done also Uski tamanna and Bhole Bhale in 1939.
Actually, she became famous after Aurat-40,in which she had 5 songs. Same year Pooja and Sanskar also added to her fame. In Sanskar,she sang with sister Waheedan Bai and also with Harish. Thus 1940 was a very lucky year for Jyoti.
In 1941,Darshan and Radhika, Jawani-42, Amanat-43. During 1942, there were rumours of bombing in Bombay. Jyoti got scared and stopped working for about 3 years. After much cajoling by Mehboob and Kardar she started working in 1945. Thus films Devar and Saathi in 46 saw her in films.

Her voice had some resemblance to Parul Ghosh. She was not a great singer, but Anil Biswas supported her very much.
Jyoti was married earlier, but her husband had left her. In Bombay she fell in love with G M Durani.
She married G.M.Durani-MD,Singer and Actor. Their married life was happy and long.
Jyoti acted in 19 films. Her last film was Sati Vaishalini-59. She sang 38 songs in 12 films. Her last songs were in film Devar-46.

Today’s song is sung by Harish. I have listened to other few songs of this film, but the music was very disappointing. This must be Ninu Mujumdar’s poorest film music easily. I selected this song as I felt, this was the best among other songs. After listening to this song, you can imagine about other songs.

(Audio video not available on Youtube – This is another site audio mp3 song)
Audio – Mp3 Link
Click Here – Chhoo gayi Chhoo gayi koi mera.mp3
Song-Chhoo gayi Chhoo gayi koi mera mann (Amaanat)(1943) Singer-Harish, Lyricist- Neelkanth Tiwari, MD- Ninu Mujumdar

Lyrics

Chhoo gayi Chhoo gayi koi mera mann
chhoo gayi
Chhoo gayi Chhoo gayi koi mera mann
murli bana gayi koi mera mann

mere hi honthhon se murli banaay ke
mere hi honthhon se murli banaay ke
koi baja gayi mera bhola mann
murli bana gayi koi mera mann
chhoo gayi

praanon mein bhar gayi koi nayi dhun
praanon mein bhar gayi koi nayi dhun
kaanon mein bhar gayi nayi run jhun
kaanon mein bhar gayi nayi run jhun
sapnon se
sapnon se
sapnon se bhar gayi mere nayan
murli bana gayi koi mera mann
chhoo gayi

soyi thhi mere aangan mein raat
soyi thhi
soyi thhi mere aangan mein raat
aayi wo kirnon ki le kar baaraat
aayi wo
aayi wo kirnon ki le kar baaraat
kamal sa khil gaya
kamal sa khil gaya angna ??
murli bana gayi koi mera mann
Chhoo gayi Chhoo gayi koi mera mann
murli bana gayi koi mera man
Chhoo gayi Chhoo gayi koi mera mann
chhoo gayi


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 :

3765 Post No. : 14738 Movie Count :

4028

Today’s song is from the first decade of the Talkie films, viz 1930s. This song is from “Hum,Tum aur Woh”(1938). This was a film made under the banner of Sagar Movietone, a highly prestigious and famous film company of the times. This company was riding on waves of popularity and fame during those days of 1938.

Shri Biren kothari ji has written a wonderful book on Sagar Movietone. It is based on interactions with the surviving members of the Desai clan as well as several contemporary documents and is regarded as an authentic volume on Sagar Movietone. However, oday’s article is based on another book, “Mehboob Khan” written by Shashikant Kinikar, published in 2015, 2 years after Kothari ji’s book. This 300+ page book, in Marathi, has plenty of original photos and articles on Mehboob Khan written by Anil Biswas, Sitara Devi, Shamshad Begum, P.K.Nair, Wazahat Mirza, Naushad and Shakeel Badayuni and therefore it is full of several anecdotes which are unknown to many. The book also contains 4 articles by Mehboob Khan himself. The book is an excellent treatise on Mehboob Khan-the Director and the Human Being, with 230 pages dedicated on him and his films.

However, Mehboob’s story is incomplete without Sagar’s story.

Hindi film industry has produced some great directors who, besides having a commercial outlook, also served the society by making films on burning social issues. On their parts, they contributed their “Two Cents” to serve the Nation. Such directors included Raj Kapoor, V.Shantaram, Guru Dutt, Satyajit Ray and Mehboob Khan-to name a few.

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 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 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-competing with Madon Theatres of Calcutta- wanted to make a Talkie and started work fast. Mehboob Khan was almost finalised 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 Faredoon 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 realised that they had struck Gold in the process and Mehboob completed his first Directorial venture ” Al Hilaal “-35. 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-37 Mehboob and Anil Biswas pair teamed up for 8 films-till Roti-42.

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-40, Behan-41 and Roti-42.

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, K.K.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 lakh bura chahe to kya hota hai, vahi hota hai jo manjur 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-43 ( his daughter’s name was Najma), with Ashok Kumar and Veena was a Hit film. It was followed by Taqdeer-43, Humayun-45,Anmol Ghadi-46, Elaan-47, Anokhi Ada-48, Andaaz-49, Aan-52, Amar-54 and his Magnum Opus Mother India-57. 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 inspite 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. Rajendrakumar refused 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, Mehboob Khan by Shashikant Kinikar and my notes).

One advantage of reading a Biography is that you get to know the person’s version on controversies. As far as Mehboob and Anil Biswas’s split is concerned, Mehboob’s version is 180 degrees opposite to what Anil Biswas gave. Difficult to side anyone. But this split did help first Rafiq Ghaznavi and then Naushad.

In the cast of the film, one finds a name Sunalini Devi. Now let us know something about Sunalini Devi, the actress. She was born on 1-1-1896 in Hyderabad Deccan. Her father, Aghornath Chattopadhyay-a Bengali settled in Hyderabad – was a Sanskrit scholar, was proficient in 27 languages and was the first Indian to get the D.Sc. honour. Sunalini was the elder sister of Sarojini, who became Sarojini Naidu after her marriage, and Harindranath Chattopadhyaya-renowned poet.

Sunalini learnt Music and Dance from her third year of age itself. Due to her sweet voice, she was called ‘ Kokila ‘. It is to be noted that her younger sister Saojini naidu was called ‘ Nightingale of India’ ! It is unfortunate that the film industry did not use Sunalini’s music skill in her films and she sang just one song in her career in film ‘ Raja Rani-42’.

Sunalini started acting in stage dramas from 1918. her first movie was ” Light of Asia”-released initially in Germany and Poland in 1925 ( its restored version was released on 5th July 2001, in India. This film was made by Himanshu Rai. The film was shot in Lahore. It was a silent film on Gautama the Buddha. Her first Talkie film was ‘ veer Kunal-32’. She acted in 56 films. Mostly she was known for motherly roles only. She had, like her more eminent sister, married a south Indian- mr.A.S.Rajan, a writer from Madras.

Some of her more known films are, Aurat, Lalaji, Inkaar, Nai roshni, Talaash, Bairam khan, Tamasha, Dilruba, Malhar etc etc. She retired from films in 1956.

Let us now listen to the song of today. It is sung by Maya Banerjee and Harish. The music was by Anil Biswas. I find the tune of this song a little unusual. It looks like the lady is stressing her point with fists hammered on a desk.

With this song, this film “Hum Tum aur Woh” (1938) makes its Debut in the Blog.


Song-Hamen preet kisi se nahin karni (Ham Tum Aur Wo)(1938) Singers-Maya Banerjee, Harish, MD-Anil Biswas

Lyrics

hamen preet kisi se nahin karni
hamen preet kisi se nahin karni
hamen preet ki reet bataao nahin
hamen preet ki reet bataao nahin
hamen preet kisi se nahin karni
hamen preet kisi se nahin karni
hamen likh likh chithhiyaan mat bhejo
hamen likh likh chithhiyaan mat bhejo
hamen jamuna kinaare bulaao nahin
hamen jamuna kinaare bulaao nahin
hamen preet kisi se nahin karni
hamen preet kisi se nahin karni

ham likhh likhh chithhiyaan bhejenge
tumhen apne paas bulaayenge
ham likhh likhh chithhiyaan bhejenge
tumhen apne paas bulaayenge

ham roothhenge
ham jhagdenge
ham roothhenge
ham jhagdenge
ham dor se kheench ke laayenge
ham dor se kheench ke laayenge
in baaton se hamko daraao nahin
in baaton se hamko daraao nahin

hamen preet kisi se nahin karni
hamen preet kisi se nahin karni
hamen preet ki reet bataao nahin
hamen preet ki reet bataao nahin
hamen preet kisi se nahin karni
hamen preet kisi se nahin karni


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

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

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


This article is written by Arunkumar Deshmukh, 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.

Today (18 february 2014) is the Birth Anniversary of NALINI JAYAWANT. She was one of my favourite actresses from the 40s and 50s. Her film which I liked the most was “Hum sab chor hain “-1956. Though she was 30 year old by this time, she still looked very charming, naughty and beautiful. The Hero,Shammi Kapoor was only 26 years,but no one ever felt that she looked older than him. There were excellent songs in the film,composed by O.P.Nayyar and the story was quite entertaining.
Read more on this topic…


Today (27 march 2013) is the festival of Holi. This is the fifth Holi for this blog ! Majority of well known Holi songs from Hindi movies have been covered during the last four such occasions. Those are the songs that one gets to listen from all radio and TV stations that play Holi songs. But we in this blog, unlike radio and TV, cannot repeat the same songs and we have to discuss “new” as yet undiscussed songs on every occasion.
Read more on this topic…


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

In one of my earlier write-ups posted on this blog, I had mentioned that of late, my memories of childhood and younger days have become very sharp where as I tend to forget many events which had happened in recent years. Recently, I came across an article on reminiscence bump theory. It says that there are three stages of memories: (1) the period of childhood amnesia during which we do not remember the events that had happened during infancy to say up to the age of 5 years, (2) reminiscence bump is a tendency for older people to increasingly remember events that happened during 10 to 30 years of age and,(3) the period of middle age to old age, viz.over 35 years of age to the present period during which there is a tendency to forget the events. So my memory is working as per reminiscence bump theory :-). And I am not complaining because it helped me to remember and locate about half a dozen rare songs of 30s and 40s which have already been posted on this blog.
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 16600 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.

Total number of songs posts discussed

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Movies with all their songs covered =1291
Total Number of movies covered=4543

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